What does sex have to do with Tantra

Tantra is an ancient path of meditation with roots in both Hindu and Tibetan Buddhist spirituality. It is called the "Royal Path" because, in ancient times, Tantra was the

spiritual path taken only by those who had mastered all other paths. Tantric writings date back over 5,000 years and are still used in many modern meditation teachings today.

Of these writings, perhaps the best known is the Vigyan Bhairav Tantra. The Vigyan Bhairav is a Hindu Tantric text which consists of 112 meditations designed specifically to center, to bring the meditator to a single point of focus, that point being this moment, and this moment only. It has been said that Tantra is the fast track to enlightenment by virtue of the sophistication required to practice its meditations. It is the Tantric's ability to surrender to the paradox of duality in every moment that hones him or her to the sharpness of adeptdom.
Of the 112 Tantric meditations given in the Vigyan Bhairav, only 3 of these are sexual meditations. So, why the focus on sex in Tantra?

Why are so many Tantric explorations begun in the sexual realm? If Tantra is a science of meditation that includes all of life and living, why do the teachers of modern times bring so much emphasis to the sexual aspects of the path?
It's true that Tantra views every facet of human experience, including sex, as potential for personal transformation and self-actualization.
For the Tantric, life is a meditation. Every activity . . .eating, drinking, breathing, dancing, making love . . . can be entered into with awareness, bringing a quality of meditation into even these simplest of acts. Yet, the

emphasis given to sex and sexual ecstasy within Tantra today is cause for much controversy. Yes, sex is a basic human experience; in fact, none of us would be here without it, but isn't all the focus on sex in Tantra today just a hedonistic indulgence for spiritual gluttons?
Truly, sex is a very important part of human life for the purpose of procreation, but sex as meditation? What does sex have to do with Tantra?

Because Tantra finds its momentum in surfing the abyss created by duality, what better more challenging - abyss than that of yin and yang? That chasm between action and receptivity? The basic duality of being alive. And what better place to dive in and experience it all than in sexual orgasm? No other human experience demands such a tenuous balance between focused activity and total surrender. And there is such power in it, so much of life and death in it. To enter this moment with total awareness, to taste the orgasm as meditation, is to invite the abyss within . . . to experience the chasm fully. Intimacy with reality brings to the meditator the direct experience of oneness. Not oneness as a concept.
Not oneness as an attainment. But oneness as a living reality, as the natural state of the universe, oneness felt through the human senses.

The meditations of Tantra center, for the most part, around the five senses: sight, smell, hearing, tastes and touch. It is through these five senses that we experience our world. Our senses bring the world "inside" us and make it possible for us to interact with it intimately. Each of our senses has yin qualities and yang qualities. In order to taste one must take a bite, in order to hear one must listen, to see one must look. Sensual, and very sexual. To enter and be entered, the weaving of the two bringing forth a third quality that cannot exist with out the other two. The flavor cannot exist without the meeting of the fruit and the mouth . . . the color cannot exist without the meeting of the rainbow and the eye . . . and orgasm itself cannot exist without the meeting of desire and fulfillment.
The polarity of the opposites reveals the single point of the center and delivers it to the Tantric via the doorway of the senses in every moment of living, in every activity of life. Tantra seeks not to encourage nor deny free sexual expression and sexual experience,

Tantra simply acknowledges that, as human beings, we are sexual beings. And that sex, as any other human experience, holds within it the mystery of life.

Regard

Acharya Shree Vijay Kumar

Contact : 0922 4399 275

WWW.DHYANSANJIVANI.ORG

What does sex have to do with Tantra

Tantra is an ancient path of meditation with roots in both Hindu and Tibetan Buddhist spirituality. It is called the "Royal Path" because, in ancient times, Tantra was the

spiritual path taken only by those who had mastered all other paths. Tantric writings date back over 5,000 years and are still used in many modern meditation teachings today.

Of these writings, perhaps the best known is the Vigyan Bhairav Tantra. The Vigyan Bhairav is a Hindu Tantric text which consists of 112 meditations designed specifically to center, to bring the meditator to a single point of focus, that point being this moment, and this moment only. It has been said that Tantra is the fast track to enlightenment by virtue of the sophistication required to practice its meditations. It is the Tantric's ability to surrender to the paradox of duality in every moment that hones him or her to the sharpness of adeptdom.
Of the 112 Tantric meditations given in the Vigyan Bhairav, only 3 of these are sexual meditations. So, why the focus on sex in Tantra?


Why are so many Tantric explorations begun in the sexual realm? If Tantra is a science of meditation that includes all of life and living, why do the teachers of modern times bring so much emphasis to the sexual aspects of the path?
It's true that Tantra views every facet of human experience, including sex, as potential for personal transformation and self-actualization.

For the Tantric, life is a meditation. Every activity . . .eating, drinking, breathing, dancing, making love . . . can be entered into with awareness, bringing a quality of meditation into even these simplest of acts. Yet, the

emphasis given to sex and sexual ecstasy within Tantra today is cause for much controversy. Yes, sex is a basic human experience; in fact, none of us would be here without it, but isn't all the focus on sex in Tantra today just a hedonistic indulgence for spiritual gluttons?
Truly, sex is a very important part of human life for the purpose of procreation, but sex as meditation? What does sex have to do with Tantra?

Because Tantra finds its momentum in surfing the abyss created by duality, what better more challenging - abyss than that of yin and yang? That chasm between action and receptivity? The basic duality of being alive. And what better place to dive in and experience it all than in sexual orgasm? No other human experience demands such a tenuous balance between focused activity and total surrender. And there is such power in it, so much of life and death in it. To enter this moment with total awareness, to taste the orgasm as meditation, is to invite the abyss within . . . to experience the chasm fully. Intimacy with reality brings to the meditator the direct experience of oneness. Not oneness as a concept.
Not oneness as an attainment. But oneness as a living reality, as the natural state of the universe, oneness felt through the human senses.

The meditations of Tantra center, for the most part, around the five senses: sight, smell, hearing, tastes and touch. It is through these five senses that we experience our world. Our senses bring the world "inside" us and make it possible for us to interact with it intimately. Each of our senses has yin qualities and yang qualities. In order to taste one must take a bite, in order to hear one must listen, to see one must look. Sensual, and very sexual. To enter and be entered, the weaving of the two bringing forth a third quality that cannot exist with out the other two. The flavor cannot exist without the meeting of the fruit and the mouth . . . the color cannot exist without the meeting of the rainbow and the eye . . . and orgasm itself cannot exist without the meeting of desire and fulfillment.
The polarity of the opposites reveals the single point of the center and delivers it to the Tantric via the doorway of the senses in every moment of living, in every activity of life. Tantra seeks not to encourage nor deny free sexual expression and sexual experience,

Tantra simply acknowledges that, as human beings, we are sexual beings. And that sex, as any other human experience, holds within it the mystery of life.

Regard

Acharya Shree Vijay Kumar

Contact : 0922 4399 275

WWW.DHYANSANJIVANI.ORG

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Regard

Acharya Shree Vijay Kumar

Contact : 0922 4399 275

WWW.DHYANSANJIVANI.ORG

The Philosophy of Tripura Tantra

Proportionately slight effort is enough for erasing slight vasanas. He whose mind has been made pure by good deeds in successive past incarnations, gains supreme results quite out of proportion to the little effort he may make - Tripura Rahasya, XIX, 65-66, Ramanashram edition

This is another article from the Sarasvati Bhavana Studies series, written by the eminent tantrik scholar Gopinath Kaviraj, which is out of copyright. Here, he deals with the Tripurarahasya, and more especially with the 36 tattvas of the Kaula Shri Vidya and Trika systems. Words which were in Sanskrit in the original have been put into iTrans format.

The Tripurarahasya exists in several English translations.

The Philosophy of Tripura Tantra
It is a truism that every system of theocratic culture in India has behind it a consistently evolved system of philosophic thought. It is difficult, in the present state of our knowledge, to give a definite idea of the number of such systems in ancient and mediaeval times and even of the extent of literature comprised under each. Continued progress in researches in this field is likely to yield fresh materials favourable to the better understanding of the true history and philosophic value of these systems. The work known under the name of "Tripurarahasya" (Jnana Khanda) forms indeed a highly important document in the history of Indian Philosophy, so far as the system of a section of the Sakta Tantra is concerned, and should be appreciated from that point of view.

The systematisation of Tantric Philosophy, on its Sakta side, does not, seem to have yet been seriously attempted. The Sarva Darsana Sangraha of Madhavacharya ignores the Sakta School altogether. So do the other compendia, earlier and later. (e.g. Saddarsana Samuchchaya of Haribhadra, Sarvasiddhanta Sangraha of Sankaracharya etc.). There are different lines of Sakta culture still in existence and we have reason to believe that some at least of these have preserved the philosophical tradition. The literature associated with the third Mahavidya, named Sodasi or Tripura Sundari is very extensive and presents several interesting feature of Tantrik literature. It is possible to construct a regular philosophy of the school out of the materials available to us and in this work of reconstruction the present treatise will, it is hoped, prove to be substantially helpful.

The Tripurarahasya, which claims to treat of the secrets of the Tripura Culture in all its aspects, is said to consist of three sections - viz. Mahatmya, Jnana and Charya. The Jnana Khanda has been published at Benares in a new edition1. The Mahatmya Khanda, of which (as of the Jnana Khanda) we have an original manuscript in the Government Sanskrit College, Benares, was entrusted for publication to the publishers of the Chowkhambha Sanskrit Series, Benares. The third section is apparently lost, no trace of it having yet been found. It is an extensive work of which the first two sections contain 2163 and 6687 verses.

The work is attributed to one Haritayana and the commentary called Tatparyadipika is from the pen of one Dravida Sri Nivasa, son of Vaidyanatha Diksita, resident of the village of Mahapuskara in the Dravida country. The commentary was composed in 4932 Kali Era (1831 A. D.). The text is in 22 chapters.

The book is in the form of a discourse delivered by Haritayana to Narada. This discourse professes to be a reproduction of the teachings of Dattatreya to Parasurama and claims to be based on personal realisation and reason.

The plan of the work may be thus summed up. Parasurama having heard Dattatreya's lectures on the greatness of the Supreme Deity Tripura Sundari as embodied in the Mahatmya Khanda expressed a desire to the Master to be enlightened on the methods of worship for propitiating the Goddess. He was subsequently initiated in due form into the mysteries of Tripura worship and practiced penances for 12 years, under instructions from his tutor, at a hermitage on the Mahendra Hill in the South. In the course of his spiritual exercises the ultimate problems of life and reality began to trouble his mind, and being unable to reach a solution himself be betook himself to the feet of his Guru for light and guidance. He has already heard a teaching on the subject from Samvarta, the great Avadhuta, on his discomfiture by Rama Chandra in the Treta age, but he had not been able to realise it at the time. He requested the master to explain to him the secrets of Samvarta's lessons, so that his doubts might be dispelled for ever. Dattatreya's response to Parasurama's question, interspersed with Parasurama's cross-questions here and there, constitutes the body of the Jnana Khanda. It would thus appear that the text of the Tripura Rahasya, which embodies the teachings of Haritayana to Narada, represents an old traditional lore of secret science originally revealed by Samvarta and subsequently expounded by Dattatreya to Parasurama.

The name Parasurama stands eminent among the votaries of Tripura. The Kalpa Sutra, treating of the secrets of the Tripura worship in ten Khandas and containing 335 Sutras, is attributed to Parasurama who is described as a scion of the family of Bhrgu, a disciple of Shiva and the son of Jamadagni and Renuka. This description of Parasurama implies that the Parasurama of the Tripura Rahasya is believed to be identical with the author of the Kalpa Sutras, though Pandit A. Mahadeva Sastri has, perhaps rightly questioned this identity2. The tradition has it that Dattatreya was the author of a Samhita work in 18000 verses which was known under his own name (viz. Datta Samhita). Parasurama studied the extensive work and, to bring its contents within easy reach of students, summarised it in a body of Sutras distributed into 50 sections (Khandas). This contained 6000 Sutras, The Samhita and the Sutra were both summed up, in the form of a dialogue between Dattatreya and Parasurama, by Sumedha (pupil of Parasurama). This tradition is found recorded in the Tripurarahasya, Mahatmya Khanda.

It is evident that the work of Sumedha, who was of the Harita family and consequently known as Haritayana, is really to be identified with the Tripurarahasya itself rather than with the Kalpasutras of Parasurama as Laksmana Ranade has done3, because the Parasurama Kalpa Sutra is not in the shape of a dialogue between Datta and Parasurama and is not attributed to Sumedha, whereas the Tripurarahasya has the form of a similar dialogue) 4and is ascribed to Sumedha Haritayana.

The line of Tripura worship is represented by several teachers. We have already referred to Dattatreya, and Parasurama. The names of Durvasas, Agastya, Lopamudra and several others may be added in this connection. Durvasas is associated with the authorship of a mahimnaH stotra of the Goddess, where he is described in the colophon as sakalAgamAchArya. Nityananda, who wrote a commentary on the above Stotra, says that Durvasas inter alia, Krodha Bhattaraka is really identical with Siva Himself, who is the Master of the teachers of all the Agamas (sakalAgamAchAryachakravatI.m), as born from the womb of Anurapa.

The Supreme Goddess is variously named - as Tripura, Sundari Lalita, Sodasi, Sri Vidya, Kamesvari, etc. She is called Tripura, in as much as Her Body consists of three Saktis, viz. Brahma, Vaisnavi and Raudri.5 The Tripurarahasya speaks of Her in the following terms:

tripurAnantashaktyaikyarUpiNI sarvasAxiNI .
sA chitiH sarvataH pUrNA parichChedavivarjanAt.h ..

The partial appearance of the Self as thus occurring is known as bAhyAvabhAsa, because such appearance implies the manifestation of what may be described as empty space which is other than the Self. Remembering that Chaitanya is all-embracing and can have nothing outside it - for if there were any such thing it would not shine out and would therefore be non-existent - what is popularly called the external is indeed only a reflection on Chaitanya as on a mirror. When the universe comes into being it does so as only an image within the unique Self. The universe as such is varied but underlying it is the pure and simple unity of Chaitanya revealing itself to the eye of diligent search (anusandhAna). The manifestation of the universe, due to the Free Will (svAtantrya) of the Absolute, is thus a process of Abhasa, - and for the initiation of this process nothing beyond the play of the Will is needed. The material and efficient causes, supposed to be necessary for every product, are held unnecessary.

The peculiar metaphysical position of the Tantra consists in the theory of Abhasa, which is consistent with this position. It rejects the Vivartavada of Neo-Vedanta, because the world is not originally a false appearance due to Error. It is real in the same way as an image is real, but it has no existence apart from the medium in which it is manifested. Its existence is only the existence of the medium. To the Vedantist the world appears as such to the ignorant owing to his ignorance and in the last analysis it is resolved into Maya which is not identical with Brahman and is material; but to a Tantrist the world is real and is expression of the Chit Sakti or Free Will of the Lord and is really spiritual in essence like the Lord Himself. In the last resort it turns back into the Chit Sakti which is never withdrawn, for the Will (svAtantrya) remains, even after the world has disappeared. The Vedanta system has had to fall back on the doctrine of Vivarta, because it denies in a sense svAtantrya to Pure Chaitanya. The first stadium of creation is thus an Abhasa. The second stage which represents the subsequent condition shows how the Chit Sakti, already appearing (AbhAsamAna) in the Pure Chaitanya, further progresses. Maya emerges on the scene now and the Vivarta is the logical outcome. The third stage marks how Maya becomes productive. This is the Parinama or Evolution which gets on till the bhutas spring into manifestation. The fourth stage which represents creation out of the bhutas is known as Arambha or physico-chemical process of genesis. From the supreme stand-point of Tantra, however, the entire Creation is an Abhasa.

As thus realised She is the Eternal and supreme Truth beyond all limitations consequent on time and place. She is the essence of Chaitanya and is called Lalita owing to Her transcendent charms. The Sakti Sangama Tantra observes that it is this Lalita which assumes the form of Krsna as Purusa. 6

Sundari is one of the ten Mahavidyas (Mundamala Tantra, Patala 1). It is said (Ibid) that the ten Vidyas combined form a Mahavidya, but Sodasi is a Mahavidya by Herself. The Todala Tantra (Patala 1) calls Maha Tripura Sundari by the name of Panchami with Siva (five-faced) as Her Bhairava. The Sakti Sangama however (Purascharyarnava, pp 13-14) makes Lalitesvara Her Bhairava. This is different from Tripura Bhairava (or Vikarala, the companion of Chhinna) and Ghora Bhairava (i. e. Kala Bhairava, the companion of Dhumavati).

The system teaches that the Supreme Reality is of the nature of Pure Intelligence, which is self-luminous and unaffected by the limitations of time, space and causality. It has absolute freedom (pUrNa svAtantrya) in as much as its Power or Will (sa.mkalpa) is unrestricted. This Power is really identical with the Essence of Chaitanya and remains either involved in it or expresses itself as its inalienable property. In the technical phraseology of the Shastra it is known as Vimarsa or Krpa, and is an eternal attribute of Chaitanya. The freedom referred to above implies that the Essence of Consciousness is free from vikalpas and is fundamentally distinct from matter. The Chaitanya is free, as it does not depend on anything else for its own revelation of matter.

The Power exists in a two-fold condition. What is generally known as creation or dissolution is in reality consequent on the manifestation of this Power or on its abeyance. It always functions, but its function is sometimes (e. g. during the creative period) expressed as the manifestation of the Universe till now absorbed in and identified with the Essence of Reality and at other times expressed as self-manifestation alone.

The Supreme Reality of the Agamas would thus seem to differ in a sense from the Brahman of Vedanta. Though both are essentially of the nature of Intelligence there is a fundamental distinction between the two. The Absolute of the Tantra is endowed with Power which is held to be identical with Itself and by virtue of which It is described as the Free Agent (svatantrakarttA). Freedom to act forms the essence of Chaitanya. In other words, according to the Tantric viewpoint, Siva and Sakti are aspects of one and the same Reality. But in the current non-dualistic school of Vedanta Brahman, which as in this Tantra is described as of the nature of Pure Consciousness, is no better than an action-less Locus (adhikaraNa), on which the Power, which is attached to It mysteriously and is neither identical with nor distinct from It, plays. It is conceived as a Pitha or passive background in relation to the active power operating on It. The Sakti, called Maya in the Vedanta School, is not thus of the nature of Brahman but is material (anirvachanIya), though it is held to be, of course mysteriously, subservient to it. But as conceived in the Tantra Sakti or Pure Freedom is absolutely non-material. The term Chit Sakti used to denote this power implies its spiritual essence.

What in the Tantras is known as vAhyAbhAsa or the manifestation of a non-ego (anahambhAva) within the Pure Ego (shuddhAtma) but appearing as external to it is tha Radical Nescience (mUlavidyA) of Vedanta. This non-ego is the so called Avyakta (Unmanifest) or Jada Sakti (Matter). But the Freedom or the Spiritual Power (Chit Sakti) of the Lord, as described in the Tantras, is beyond the Nescience referred to above, and to this Power the Advaita Vedanta seems to be a stranger.

In as much as the Avidya itself or the Material Power is a product of the Spiritual Power which is the ultimate source of all existence there is no discrepancy in the statement, often found in Tantric Literature, that this Power has three distinct states of its existence: -

(a) During the universal dissolution when the Self is free from all vikalpas the Sakti exists as Pure Chit Sakti or Chit Prakrti.

(b) When the vikalpas are on the point of merging - when though there is no vikalpa as such there is yet a tendency in the direction of vikalpas - the Sakti is called Maya Sakti or Jada Prakrti.

(c) But when the vikalpas are fully developed and materiality becomes dense the Sakti appears as Avidya.

It has already been observed that the appearance of the universe follows upon the self-expression of the Divine Power and the Cosmic End follows from the withdrawal of the self-same Power.

After the period of Cosmic Night is over the Will of the Lord, in co-operation with the mature adrsta of Jivas, manifests only partially, as it were, the Essence of the Self, whereby the Self is revealed as limited.

The appearance of limitation is thus the emergence of not-self, known as Avidya or Jada Sakti, called also by the name of Void (shUnya), or Prakriti or Absolute Negation or Darkness (tamaH) or Akasa. This is the first stage in the order of creation and represents the first limitation imposed on the Limitless. 7 The erroneous belief, generated through the Freedom of the Lord - the Self - that the Ego is partial (ekadeshika) and not full and universal (pUrNa) is responsible for the appearance of this Something which being a portion of the Self is yet outside of it and free from self-consciousness and is described as not-self or by any other name as shown above.

Thus the Supreme Reality splits itself spontaneously, as it were, into two sections - one appearing as the subject and the other as the object. The Purnahanta which is the essence of Supreme Reality disappears after this cleavage: the portion to which limited egoism attaches being the subject and the other portion free from egoism the object. The object as thus making its appearance is the Unmanifest (avyakta) Nature from which the entire Creation emanates and which is perceived by the subject as distinct from itself.

It has been observed that Chaitanya is of the nature of self-luminous Light (sphurat.h prakAsha), which may shine on itself (svAtmA), in which case it is known as Ahanta, or I-ness may rest on the Non-ego (anAtmA) and express itself as Idanta or This-ness. The essence of Chaitanya consists in the fact that the light (prakAsha) is always confined to itself. This universal Ego or 'I' stands, behind all dualism. The Supreme Ego is universal, as there is nothing to limit (parichCheda) or to differentiate (vyAvR^itti) it, and the entire visible universe exists in identity with it. But this characteristic by its very nature is absent from Matter (jaDa), which is not self-manifest. Just as light and heat co-exist in fire, in the same way universal Ahanta and Freedom or Sakti co-exist in Chaitanya. This freedom is Maya which though essentially identical with Chaitanya (chidekarUpa) brings out varieties of an infinite kind, but in bringing out this variety it does not in the least swerve from the Essence.

The appearance of the Universe in Pure Chaitanya is the action of Avidya, which has three distinct stages:

(a) The first is the germinal state (bIjAvasthA), when the material power, which is still in its earliest phase of manifestation, is pure. Matter does not assert itself at this stage and consequently there is no differentiation in experience. In other words, it does not yet appear as distinct from Chaitanya, though potentially it exists. This stage is represented by the five pure Tattvas, viz., Siva, Sakti, Sadasiva, Suddha vidya and Isvara.

(i) The Avidya, which has been described above as being the Chaitanya in its limited appearance as an object external to the subject is called Siva. In pure Chaitanya, owing to the play of Its own Will, an infinite number of limited aspects (spA.msha) arises. These are mutually distinct. From this point of view to every limited aspect of Chit there is a corresponding object external to it (bAhyAbhAsa), but to the Unlimited Chit or Pure Self (pUrNashrAtmA = parashiva) there is no externality. The universal (sAmAnya) common to all the pure and limited Chit aspects referred to above is called Siva Tattva. This Tattva is thus a Samanya holding within it all the Visesas, but Para Siva or Pure Self is transcendent and above both Samanya and Visesa. Hence Siva Tattva may be more properly described as Pure Chaitanya in its general but conditioned form, free from all Vikalpas and is to be distinguished from the Absolute proper.

(ii) The appearance of Siva (parichChinna nirvikalpachit.h) as aham.h is called Sakti. Although this self-presentative character (aha.mbhAsana) is in the essence of Chit, so that there can be in fact no differentiation between Siva and Sakti as such, the Chit is nevertheless known as Siva in so far as it is free from all visesas and as Sakti by virtue of its characteristic self-awareness (aha.mbhAsana).

(iii)When the self-presentation (aha.mbhAsana) is no longer confined to the Self but is extended to the not-self or the object (mahAshUnya) external to the Self it is known as Sadasiva. This state marks the identification of the Self with the not-self in the form "ahameva idam.h" and indicates predominance of spirit over matter.

(iv) But when matter prevails and the consciousness assumes the form "idam.h aham.h" the state is technically called Isvara.

(v) The term Suddha Vidya is reserved for the state which represents an equality in the presentation of the subjective and objective elements in consciousness.

(b) The second stage in the evolution of Avidya, described as a~nkurAvasthA, represents a further development of difference or materiality, when the subtle products of matter and spirit make their appearance. In this mixed condition both spirit and matter are equally predominant and the seven mixed (mishra) tattvas, viz, Maya, Kala, Vidya, Raga, Kala and Niyati reveal themselves.

(i) The confirmation of difference due to the Free Will of the Supreme, which characterises the second stage, has the effect of reversing the normal relation between spirit and matter. Thus while in the first stage described above Spirit or Chit Sakti dominates matter or Jada Sakti which exists in a rudimentary state, merged in spirit or Self, the second stage shows the preponderance of matter over spirit. Consciousness loses its supremacy and becomes a quality inherent in the material subject. All this is due to the emergence and development of bhedasa.mkalpa in Chaitanya. This material subject - which is matter prevailing over spirit and related to it as a substance to its quality - is called Maya.

(ii-vi) The five aspects of Maya are the five so-called Kanchukas which are the five eternal Saktis of Para Siva in a limited form. The obscuring power of Maya acts is a veil as it were upon the Omnipotence, Omniscience, Self-contentment, Eternity and Freedom of the Supreme Self and thus acting is known as Kala, Vidya, Raga, Kala and Niyati respectively.

(vii) The Pure Self as obscured by Maya and its fivefold activities appears as Purusha with its limitations of action, knowledge, contentment, eternity and freedom.

(c) The third or grossest stage in the evolution of Avidya is represented by the dense products of the mixed tattvas, where matter is overwhelmingly strong. This stands for the group of the twenty four tattvas, from the Primary Prakriti down to Prithivi, constituting the material order.

Prakriti, with which the lower creation begins, is indeed the assemblage (samaShTi) of the Vasanas of all persons with various and beginningless Karmans: it may be fitly described as the body of the Karman Samskaras of the Jivas, considered as inhering in Chit Sakti or Self. This Karma vasana or Prakriti is threefold according as the experience which is the moral outcome of this vasana is pleasant or painful or of the nature of a comatose condition in which neither pleasure nor pain is felt.

The Vasanas exist in a twofold condition, as Avyakta when they lie unmanifest in dreamless sleep or as Chitta when they manifest themselves in dreams and wakeful states. In the dreamless state there can be no experience of pleasure and pain, because the mature Karmans having been worked off through experience the others which are not yet ripe are not ready for fructification. It is a fact that Karmans, when they are matured by time, cause the Jnana Sakti of the Conscious Self to move outwards and have contact with the objective world. In a state of sleep such movement is naturally absent. But the process of time during which the sleep continues acts on the Karmans and matures some of them, so that the Jnana Sakti is allowed to come in touch with the external objects or with their eemblances and sleep is over. The Sakti as thus qualified by the body of Karma-Vasanas leading to contact with the objects and consequent enjoyment (bhoga) is known as Chitta.

The Chitta differs according to the difference of Purusa but it is one with Prakriti in dreamless sleep. Thus the Chitta may be viewed as Purusha or as Prakriti according as the conscious (chiti) or unconscious (avyakta) element prevails in it. It is not therefore a distinct category, but falls either under Purusa or under Prakriti.

Notes

1. This section was originally published in open leaves. But the edition became scarce and the growing interest in Indian philosophical thought rendered a republication of the text necessary.

2. Preface to the edition of the Kalpasutras of Parasurama as published in the Gaekwad's Oriental Series, No. 22, in 1923 (P. VIII).

3. Preface to Parasurama Kalpasutras, P. X.

4. P. Laksmana was well aware of the weakness of his arguments, for he admits that the Kalpa Sutras is not in a dialogue form. He adds however that the concluding passage of the work shows that it is a dialogue between the Master and his pupil (Ibid.) (P.X). But it must be pointed out that there appears to be nothing in the text of the Sutras to warrant this inference.
iha khalu sakalAgamAchArya kravartI.m sAxAt.h shiva eva .
anurUpAgarbhasambhUtaH krodhabhaTTArakAkhadurvAsA mahAmuniH, etc.

5. See Puraischaryarnava, Sundarl Stava P. 20).
kadAchidAdyA lalitA pu.mrUpA kR^iShNagrahA . etc.

6. This is the view of the Sakti Sangama Tantra. But in the Vaisnavism associated with the name of Sri Chaitanya, Lalita is represented, not as identical with Krsna - which position is reserved for Radha -but as a Sakti, whose function is to preside over Nikunja, where the eternal sport of the Divine Couple takes place and from where all are shut out. Cf. Radhatattvasudhanidhi for further particulars.

7. It should always be borne in mind that the Absolute suffers no change, not even when through its power it assumes limitation. It remains always pure and undivided, although to those whose vision is dimmed it appears as multiple.

Regard

Acharya Shree Vijay Kumar

Contact : 0922 4399 275

WWW.DHYANSANJIVANI.ORG

Tantra yoga

The Sanskrit word TANTRA literally means "warp (on a loom)", or "extension". It proceeds from the verbal roots TAN - "to stretch, expound", and TRA - "to save", which give further hints upon the other meanings of the word TANTRA.

This name is applied both for a certain category of texts of the Oriental spirituality, and for the doctrine, and teachings which they contain. However, the Tantric texts, the TANTRA-s - and there are several hundreds of them: proper TANTRA-s, SHIVA AGAMA-s, VISHNU SAMHITA-s, SHAKTA NIGAMA-s, etc. - are written in a kind of "code language", so that without an oral explanation from a competent GURU, a lot of passages are bound to remain unclear. Moreover, there are still many untranslated, and secret Tantric texts under the dust of forgotten, or private libraries. All these, plus the extremely varied, and complicated nature of Tantrism renders the manipulation of a single definition almost impossible. That is why, it has been found useful to sketch some of the main features of the Tantric system in a detailed manner.

CHARACTERISTICS OF TANTRISM

1. TANTRA YOGA offers an alternative, and practical individual road to salvation, called a SADHANA, beside the Vedic one which is often deemed to be antiquated. It is important to remark here that the true Tantric SADHANA is accessible to people of any caste, social status, age, women as well as men, householders as well as ascetics.

2. The TANTRA-s are presented as the most fit form of teaching for the men of KALI YUGA, that is for the people of the "dark age", in which we live today. KALI YUGA is often connected with the "iron age" of the Greek mythology, and with the "age of the wolf", of the Northern Edda, deemed to have exactly the same meaning. Therefore, nowadays, when the spirituality is declining while man is desperately trying to reintegrate himself in a spiritual reality, it is stated that TANTRA is the last, and best way of salvation.

3. TANTRA has a rigorous metaphysical basis, of a very non-dualist nature. However, according to its opinion an intellectual knowledge is not enough, but there is need of direct, personal experience, which becomes possible only through the agency of SHAKTI, the power, the intense energy. The concept of SHAKTI, the feminine energy is the specific colour of the entire Tantric system.

4. TANTRA recognizes, and expounds mundane aims besides spiritual emancipation, as a lawful goal for a practiser. Its aim is to transform the adept in a kind of super-man, who not only has liberated himself of the Universe, reaching Enlightment, but also - alike the Supreme Lord Himself - is able to rule over it, and control its secret forces. This involves that Tantric methods are applicable for various sorts of practical accomplishments, including astrology, medicine, parapsychology, alchemy, and magic. Many written sources are pre-occupied with the description of supernatural abilities (SIDDHI-s), and the ways to attain them. There remains however, always a connecting thread between the magical, and the spiritual.

5. The eminent place given to the energy entails a brilliant revalorisation of the body. This is not meant with the sense of object of idolatry, like in the contemporary world, but as necessary instrument, unavoidable premises of the spiritual realization. This is due to the perpetually reminded analogy between the macrocosm, and the microcosm, which is the human body: "What is here is everywhere, what is not here is nowhere". A consequence of this fact is the appearance of the HATHA YOGA system in the Tantric schools; system which has as goal neither the "health", nor the "well-being", as it is commonly believed.

6. TANTRA teaches the practice of a special variety of YOGA, destined to transform the animal instincts and functions, by creating an upward movement in the body, along the energy- channels, NADI-s, and through the centre-s of force, CHAKRA-s. The process is most commonly expressed as "raising the KUNDALINI". Connected with this YOGA is the elaboration of a subtle physiology, in which the microcosm of the body is homologized with the macrocosm, and the world of the gods.

7. TANTRA emphasizes the metaphysical, and operative importance of the feminine principle. The Woman, the Goddess, SHAKTI represents for the TANTRIKA-s the universal Power, the energy of bondage and Liberation, who veils and reveals, blinds and illuminates; the world is her toy, and her mirror. Therefore we encounter here a genuine revalorisation of the woman, and perhaps the only spiritual path that acknowledges a total equality between the two sexes, at all levels. The importance of the female manifestations extends on all the levels of the experience, from daily life, till metaphysics.

8. Important are also the speculations upon the mystic nature of speech, and its constituents; the existence is assumed of a phonic creation, parallel to the material phenomena. These revelations are connected with the sounds of the Sanskrit alphabet.

9. This has been developed concretely in the very frequent use of generally short, unintelligible formulas, called MANTRA-s and BIJA-s, correlated with various supernormal powers, and levels of consciousness by means of definite Yogic procedures, and which make the object of cosmic symbolism. Actually, the MANTRA-s are the most efficient instruments, according to TANTRA, and therefore the overwhelming majority of the Tantric texts deals to some extent upon this topic, and its secrets.

10. The general use of other concrete devices, like geometrical designs (YANTRA-s), symbolical representations (MANDALA-s), gestures (MUDRA-s), for the practical accomplishment or expression of metaphysical principles. The supernatural worlds are approached by specific methods of meditation (DHYANA), visualization, worship, etc.

11. The Tantric teachings are structured on several levels, depending on those to whom they address; the traditional texts assert the existence of three different human types: the "divine" one (DIVYA), that practically doesn't exist any more in our age, the "heroic" one (VIRA), which is the best for the Tantric initiation, though rare, and PASHU, "the herd of the Gods", the "animal", that swarms in our dark age. Only the VIRA-s, say the tantric texts, the heros liberated of fear, hate, and absurd shame are qualified for receiving the full of the Tantric revelations, while the others receive an adequate SADHANA, which will first gradually bring them to the heroical condition.

12. Addressing to heroic beings, TANTRA is not so very concerned with theology, or common moral. It is not a trite anarchism that we are talking about, but the need for transcending some of the appearances of the illusory world, for reaching the strongest awakening. Very often the Tantric texts themselves over-emphasize this side, for banishing the narrow-minded aspirants, by the use of a symbolical language: "to pet the breasts of your sister" means to arouse the SHAKTI in ANAHATA CHAKRA, "to put the LINGAM (penis) in the maternal cavity" means to pierce the root-CHAKRA, and so on.

13. Most of the Tantric lines are SHIVA-ite, because of the exceptional aspects of SHIVA: Benefactor, and Terrible, Healer and Destroyer of the evil, Supreme Androgyne.

14. TANTRA emphasizes the absolute necessity of initiation by a qualified spiritual guide, or teacher (GURU), and on constantly following his (or her) directions for spiritual practice. That is why, the Tantric texts use a special set of terminology, inaccessible for the outsiders, and whose "key" is handed over orally by the GURU.

15. In TANTRA there often appears an ambivalence of the divine and human existence, as complementary aspects of the same awesome, grandiose reality.

16. There is also a far-fetched categorization of the reality, especially in the symbolism of the numbers, and speech, which leads to the mysterious science of the breath, and TATTVA-s, and to connections with the ancient alchemical processes of the SIDDHA-s, and the body culture of the HATHA YOGIN-s.

Regard

Acharya Shree Vijay Kumar

Contact : 0922 4399 275

WWW.DHYANSANJIVANI.ORG

Shri Tara Devi

In the centre [of the island of gems] is the wish fulfilling tree. Under this, a sadhaka should meditate on himself as being one with Tarini, as bright as the rising sun, the utmost sphere of light, in a place surrounded by beautiful maidens with fans and bells, wafted by a gentle breeze bearing the odour of scent and incense - Todala Tantra, IV
Tara is quite well known to the West through Her Tibetan manifestations, but some are unaware of the important position She occupies in the Hindu tantrik pantheon. She is the second of the ten Mahavidyas.
The major sources used on this page are an important Kaula tantra called Brihad Nila Tantra (see below) and the Tararahasya (Secrets of Tara) of Brahmananda Giri. The first deals with the exposition of Nila Sarasvati -- the Sapphire Blue Sarasvati. Sarasvati is the Brahma-Shakti, or spouse of the Supreme Deity in his Creative aspect. The other aspects are Vishnu and Mahesh -- all three symbolised in the three heads of Lord Dattatreya, patron guru of the Natha tradition.
Some have attempted to separate the Hindu Tara from the Tibetan Tara, but there is little doubt that She is the same Devi. This is shown in a reference to Tara in the Hindu Tantrarajatantra, where Her mantra is given as Om Tare Tuttare Ture Svaha -- identical to the Tibetan version. Here Tara takes her form as Kurukulla.
The various other forms are given in Brihad Nila Tantra and Devirahasya, under the names Nilasarasvati, Aniruddha Sarasvati, Ugra Tara, Tarini. Nilasarasvati gives as the fruit of worshipping Her poesy and eloquence. This, aside from clearly relating Nilasarasvati to White Sarasvati, also points to this Goddess being the Shakti of the Letters of the Alphabet, the Matrika Shakti.
She has an important role in Tantrik cosmology because mantra, words, music are considered to be the very source of the cosmos. As Matrika Shakti She deludes the entire human race with Her Maya of letters, and words. This has been expressed in a Tantrik form, but, practically speaking, it is sufficient to say that much hypnosis (Maya) comes about via the medium of words. Millions of people have lost their lives through this power.
Thus Her power and place in the Tantrik pantheon is quite justified, and Her mantra is described as a Siddha-Vidya, the cause of Maya and Englamouring. The background GIF here is the bija mantra of Sarasvati, Aim.

Abstract of Brihad Nila Tantra

Chapter One

The tantra opens with a request from Devi to Mahakala Bhairava to reveal the Nila Tantra. Bhairava states that this tantra is the secret of all secrets and revealing it will cause lack of sccess. Having it in one's home is like having Lakshmi, the goddess of wealth. It protects against all misfortunes and its specific virtue is that through it a person can become a miracle worker. It is the king of all tantras and is the core of the quintessence. Bhairava summarises its contents, which include daily worship (puja), the king of mantras, the rules of puja and preparation of its mantra, optional and occasional rites, the secrets of magical restraint, the rules of Kumari puja, hymns, meditations, how to become eloquent, rites of sacrifice (homa), the attainment of poesy, the secret sadhana, the secret mantra, alchemy, preparation of miraculous ashes (bhasma) and everything related to the six magical acts (satkarma).
Firstly, Bhairava deals with the Devi Tarini, which he says is a siddha vidya, causing Maya and englamouring. Her mantra is Om Hrim Strim Hum Phat. This vidya is said to be the heart of Nila Sarasvati. Its appliction is the attainment of poesy. It is to be pronounced facing north and meditated on as being like a lotus fibre extending from the base of the spine to the 1,000 petal lotus, like ten million fires, suns and moons.
Next the rules of bathing in the morning are described. Again, a sadhaka should face north, visualising the guru in the 1,000 petal lotus. Offering must be given to the rising sun. Then the gayatri or twilight mantra of Tarini should be pronounced, which is given as Tarayai vidmahe mahograyai dhimahi tanno devi prachodayat.

Chapter Two

This covers the daily puja of Nila Sarasvati, in the usual way. It should be done in isolated places including cremation grounds, hills and forests. This puja also appears in the Todala Tantra, translated as part of the Magic of Kali.

Chapter Three

Describes initiation and the characteristics of guru and disciple, as well as the right times for performing diksha (initiation).

Chapter Four

Contains a description of purashcharana, the method of preparing a mantra so that it becomes successful. Tara's rosary is made of human bone and must be purified and made carefully.

Chapter Five

Optional rites are the topic of this chapter, as well as the pithas or sacred spots. Kamarupa, where the yoni of the goddess fell after being sliced into fifty parts, is the most important.

Chapter Six

Covers Kumari Puja, the worship of a maiden. This is preceded by an offering to jackals, implying that the rite takes place in the cremation ground (shmashana). As in the Kulachadamani Tantra, there is reference to the eight Kula trees, which must also receive their share of worship. A day is the same as a year. Wine must be used when worshipping Kalika but has to be purified first, because Shukra placed it under a curse.

Chapter Seven

Covers the satkarma, or six magical acts, as well as worship of the kumaris. A most interesting section deals with Maha China Krama, which is, essentially left hand tantra (vamachara). The rule here is that of Svecchachara, the path of acting according to one's own will. In this, there is no need for external worship. All can be performed mentally. There are no rules as to the time the puja should be performed, no rules about the place, no need for preparation. The conjunction of yoni and lingam is the essence of the rite. During intercourse, the partners should mentally recite the Tara mantra. It should be performed in the cremation ground.

Chapter Eight
Describes the yantra of Tara (see above). In the centre she and Mahakala are in sexual union. The yantra should be engraved on copper, smeared with kundagola and svayambhu flowers (menstrual blood) and scents including camphor. The practitioner meditates in the heart on Tarini and then draws her, by vital breath, using a flower, into the centre of the yantra.

She is then considered to be present in the yantra and various offerings (upacharas) are dedicated to her and to her attendants in the different parts.

Chapter Nine
Heroic worship is the subject of this chapter, which I have translated on the site. Vira Sadhana.

Chapter Ten
Continues the subject of the previous chapter and expands on Lata Sadhana (creeper sadhana), a synonym for sexual worship.

Chapter Eleven
Gives the Tara mantras, the foremost of which is Om Hrim Strim Hum Phat. Ugra Tara's seventeeen letter mantra is Om padme mahapadme padmavati maye svaha. Nila Sarasvati mantra is Aim Hrim Shrim Hsaum Shauh vada vada vagvadini Klim Klim Klim Nilasarasvati Aim Aim Aim kahi kahi kararim Svaha.

Chapter Twelve
The origin of Tarini is the subject of the chapter. She was created by Mahakali to destroy the demons and bring the gods back to their former position.

Chapter Thirteen
This chapter covers the worship of Mahakali and has been translated in full in the Magic of Kali.

Chapter Fourteen
Kamakhya and Tripura worship. The devi Kamakhya dwells at Kamarupa and has a yantra wherein the 64 yoginis receive honour. Tripura's mantra is Aim Klim Sauh, and the tantra says that she represents the triple Kundalini, her puja being triple in every way.

Chapter Fifteen
A geographical chapter describing mountains, streams and springs sacred to the worship of various devis and devas.

Chapter Sixteen
This chapter outlines the specific festivals of Tara and the things to be done during the twelve solar months, as well as the kinds of offerings which please the goddess.

Chapter Seventeen
Outlines and continues details about worshipping Kali. Her favourite time is on the fourteenth day of the dark moon in the month of Kartik, when she should be worshipped at night. The dhyana (meditation image) of Kali is described with details of the types of pits in which to do homa. This chapter also gives puja details of Sandhya (Twilight) Devi.

Chapter Eighteen
The thousand names of Tara.

Chapter Nineteen
The armour and the secret mantra of Tara are described.

Chapter Twenty
The hundred names of Tara.

Chapter Twenty-One
A most interesting chapter which deals with alchemy. Copper and lead can be turned into gold. Adepts can create a powerful, magical ash which creates miracles. The chapter also describes the divya (celestial), vira (heroic) and pashu (beast-like) characteristics of tantrik practitioners.

Chapter Twenty-Two
The 1,000 names of Kali.

Chapter Twenty-Three
The hundred names of Kali.

Chapter Twenty-Four
Describes the worship of Devi Annapurna (Full of Food) and gives her mantra and the hundred names.

Regard

Acharya Shree Vijay Kumar

Contact : 0922 4399 275

WWW.DHYANSANJIVANI.ORG

The Todala Tantra

Listen, O Devi, I will speak concisely of the essence of yoga. The body resembles a tree, with the root above and the branches below. In the macrocosm there are tirthas (bathing places) which also exist in the body. The macrocosm is like the microcosm. - Todala Tantra, II

This Hindu tantra is a brief but often quoted work of ten patalas or chapters. It is referred to, for example, in the Matrikabhedatantra. It also contains the daily pujas of Tara, Kali and Shiva, as well as information about yoga. This tantra has been translated, and we propose to offer it as an Adobe PDF file in the near future.

Patala one deals with the ten Mahavidyas, a subject which is returned to in chapter 10 of this tantra.

These major forms of the goddess are described in the Todala Tantra as Kali, Tara, Sundari, Bhuvaneshvari, Cchinnamasta, Bhairavi, Dhumavati, Bagala, Matangi, and Kamala. According to Alain Danielou's Hindu Polytheism, these ten aspects of Shakti are the epitome of the entire creation. Chapter 10 also outlines their consorts, although Dhumavati, the widow form, is not allocated a consort. At the close of the chapter comes the essential tantrik view that Shiva, as the witness is not involved in creation, maintenance or withdrawal.

Many tantras, particularly those associated with Bengal, speak of ten major aspects of the goddess, the Mahavidyas. Vidya means knowledge but in the tradition this word is synonymous with both a Devi and her mantra form. Mantra is divinity in its purest form as sound, yantra is divinity represented as diagram and the dhyana, or meditation form, is considered to be the grossest representation. But these forms are given as ways of concentrating the mind easily.

The Mahavidyas are, in order, Kali, Tara, Sodashi (Tripurasundari), Bhuvaneshvari, Cchinnamasta, Bhairavi, Dhumavati, Bagalamukhi, Matangi and Kamala. Each, except Dhumavati, who is a widow, has her own form of Shiva.

1. Kali. Seated on a corpse, greatly terrifying, laughing loudly, with fearful fangs, four arms holding a cleaver, a skull, and giving the mudras bestowing boons and dispelling fear, wearing a garland of skulls, her tongue rolling wildly, completely naked (digambara - clad in the directions), thus one should meditate on Kali, dwelling in the centre of the cremation ground.

2. Tara - Akshobhya. Seated in the pratyalidha asana, seated on the heart of a corpse, supreme, laughing horribly, holding cleaver, blue lotus, dagger and bowl, uttering the mantra Hum, coloured blue, her hair braided with serpents, the Ugratara.

3. Sodashi. For her meditation image, see Mahatripurasundari.

4. Bhuvaneshvari. Like the red rays of the rising sun, with the moon as her diadem, and with three eyes, a smiling face, bestowing boons, holding a goad, a noose and dispelling fears, thus I hymn Bhuvaneshi.

5. Cchinnamasta. For her meditation image, see Cchinnamasta.

6. Bhairavi. Her head garlanded with flowers, she resembling the red rays of 1,000 rising suns, smeared with red, holding milk, book, dispelling fears and giving boons with her four hands, large three eyes, beautiful face with a slow smile, wearing white gems, I worship Bhairava.

7. Dhumavati. The colour of smoke, wearing smoky clothes, holding a winnowing basket, dishevelled clothes, deceitful, always trembling, with slant eyes, inspiring fear, terrifying.

8. Bagalamukhi. Three eyes, wearing yellow clothes and gems, moon as her diadem, wearing champaka blossoms, with one hand holding the tongue of an enemy and with the left hand spiking him, thus should you meditate on the paralyser of the three worlds. See also Bagalamukhi.

9. Matangi. Dusky, beautiful browed, her three eyes like lotuses, seated on a jewelled lion-throne, surrounded by gods and others serving her, holding in her four lotus-like hands a noose and a sword, a shield and a goad, thus I remember Matangi, the giver of results, the Modini.

10. Kamala. With a smiling face, her beautiful lily-white hands hold two lotuses, and show the mudras of giving and dispelling fear. She is bathed in nectar by four white elephants and stands upon a beautiful lotus.

"Shri Devi said: Lord of the world, lord of all knowledge, tell of the worship of the mahadevas in the three worlds. On the right hand side of each are various forms. Mahadeva, speak of each one separately.

"Shri Shiva said: Listen, beautiful one to Kalika's Bhairava. On Dakshina's right, worship Mahakala, with whom Dakshina is always in love union. Worship Akshobya on the right of Tara. Devi, the kalakuta poison produced by the churning of the ocean caused great agitation to all the gods and their consorts.

"Because he destroyed the agitation caused by the deadly yellow poison, he is known as Akshobya. Thus Tarini, the Mahamaya, always delights in her consort.

"On the right hand side of Mahatripurasundari, worship Shiva in his five-faced form with three eyes in each of the faces, O lady of the gods. She always delights in sexual union with her consort, O Mahadevi. For this reason, she is known as the famous Pancami. On the right side of Shrimad Bhuvaneshvari, who in the heavens, on earth, and in the underworlds is known as the Adya, worship Tryambaka. She makes love with Tryambaka in these places, it is said. He and his Shakti are mentioned and worshipped in all tantras. On Bhairavi's right side is Dakshinamurti. By supreme efforts, one should certainly worship that five faced one.

"On Cchinnamasta's right side, worship Shiva-Kabandha. By worshipping him, one becomes lord of all siddhi. The Mahavidya Dhumavati is a widow. Seated on the right of Bagala is the Maharudra, with one face, who dissolves the universe. On Matangi's right side is Shiva Matanga, similar to Dakshinamurti, the form of cosmic bliss. He who worships Sadashiva, the Vishnu form, on Kamala's right side becomes perfect, there is no doubt about this.

"On Annapurna's right hand side, worship Brahma, the giver of great liberation, the god with ten faces, the Maheshvara. On the right side of Durga, worship Narada. The letter Na causes creation, the letter Da maintenance, while the letter Ra causes dissolution. So he is known as the famour Narada. Worship the Rishi who "gave birth" to the other vidyas on their right hand side." (Todala, chapter one)

Shiva, in the second chapter, tells Shakti of yoga and describes the body as resembling a tree. There is no difference between the macrocosm or the microcosm. The supreme mantra is hamsa, equivalent to 21,600 breaths in a day. The letter Ha is Shiva while the letter Sa is Shakti. According to ancient texts, breath is time. An individual inhales once every four seconds and exhales once every four seconds. One is a solar breath and one a lunar breath.

In chapter three, the different forms and mantras of Kali are described, along with the sandhya (twilight) mantras of both Kali and Tara. These are the four tantrik twilights of dawn, midday, sunset and midnight, when the currents of pranayama change direction and the sadhaka can do his or her puja knowing he is close to the in-betweenness which is the essence of tantra. Kali's daily rites are detailed.

The fourth chapter deals with Tara's puja, giving a beautiful meditational image of her as situated in the centre of a lovely island, seated on a lion throne under a jewelled pavilion. Chapter five turns to Shambhunatha (Shiva). In this yuga, sadhakas should not worship his form known as Nilakantha, an aspect of Shiva. At the churning of the milk ocean, at the beginning of time, Shiva swallowed the poison which stained his throat a deep blue. It is unclear, however, why this tantra prohibits his worship. One should never worship Shakti unless Shiva is first worshipped, preferably with a clay linga.

In chapter six, Shiva gives the vasana or inner meaning of Kali and Tara mantras Krim and Strim. The different letters of the mantras are placed on separate parts of the human body. The seventh chapter speaks of yoga and of the seven islands and of their locations in the body. Kamarupa is in the muladhara cakra. Other sacred centres are also situated in the body.

The 51 letters of the alphabet are the sacred pithas within the body, each associated with one of the parts of the Devi which fell to earth when sliced by the discus of Vishnu.

Chapter eight continues the previous topic. The body is permeated with millions of nadis and the elements have their place there too. In chapter nine, Shiva speaks of the Sundari mantra.

Even though Shiva has already spoken of it in the Nitya Tantra, Shakti asks him to reveal its true meaning. Shiva says that 21,600 is the head of the letters of the alphabet and the true rosary in the thousand petalled lotus. Details of the rosary follow. Using tantrik methods, sadhakas can be both liberated and enjoy.

The last chapter equates Vishnu's ten incarnations with the ten Mahavidyas. Durga is the Kalki, the last of the avatars of Vishnu. He is yet to come, and when he does he will be born in Shambhala. He will ride a white horse and hold a sword which blazes like fire, bringing back to the planet harmony, according to the Agni and other Puranas. Kali's consort is Krishna.

"Shri Devi said: Lord of gods, guru of the universe, tell me of the ten avatars. Now I want to hear of this, tell me of their true nature. Paramesvara, reveal to me which avatar goes with which Devi.

"Shri Shiva said: Tara Devi is the blue form, Bagala is the tortoise incarnation, Dhumavati is the boar, Cchinnamasta is Nrisimha, Bhuvaneshvari is Vamana, Matangi is the Rama form, Tripura is Jamadagni, Bhairavi is Balabhadra, Mahalakshmi is Buddha, and Durga is the Kalki form. BhagavatÌ Kali is the Krishna murti." (Todala, chapter 10)

Regard

Acharya Shree Vijay Kumar

Contact : 0922 4399 275

WWW.DHYANSANJIVANI.ORG

Spiritual experience in Tantra

The fundament of all knowledge be it about this world, or about the subtle universes, is certainly the concrete experience.

The experience is either total, or partial and incomplete, but it always refers to the reality of the experienced thing.There have been many debates about the reality of the physical world. Of these, we shall mention the monist doctrine of the sage Shankaracharya (from which emerged the VEDANTA) as compared to the tantric point of view, our main topic of interest.

Shankaracharya defines the Reality as being that which does not change, unlike the finite experience, which - although "real" for a moment - changes finally.

Considered from this perspective, our universe - as a changing thing - holds a relative reality.

Consequently, for Shankaracharya and his followers, the world we live HERE and NOW is not real, it is merely an illusion one must surpass in order to experience the Reality.
This point of view is true, however, if we look at things from the perspective of the Transcendent Absolute (BRAHMAN). The Tantric view on these things rests upon the idea that this world is NECESSARILY real. Thus, a particular thing may be real and at the same time subject to change.

In Tantra, the divine couple Shiva and Shakti represents the Real and Total experience of the universe. In order for us to understand the Reality, they are said to limit themselves and "contract" in fragments of Reality which belong to the Supreme Reality, in a gesture of divine sacrifice.The tantric adept has to perceive his/her own reality, to convince himself/herself of the reality of this world as ground of his actions.

For the tantric, this universe is real because it originates in the divine couple Shiva-Shakti. The total experience one may have is exactly the Consciousness of the Supreme, from which emerged the Macrocosm.
The finite, limited experience has a fragmented character, consequently the knowledge obtained thus will not be of the whole.
The essence of the limited experience is the experience we have within the coordinates of time and space.

The Ultimate experience though, through its permanent nature, is placed beyond time and space, as time and space define change.
As shown before, "illusion" represents merely the experience of the Supreme Self in time and space. An important aspect of Tantra is being aware of your actions, even of the most common ones, like eating.

The idea behind this focus on the present actions is that by this focus the past "disappears", and so is the future. The one that remains is the present, an eternal "now", which makes us go beyond the ordinary notion of time. This is synonymous with getting close to the Supreme Source, which transcends both Time and Space.

The famous secret treaty VIJNANA BHAIRAVA TANTRA advises that one should become one with the food or drink, filling your being with it.Moreover, another sutra says that when singing, looking, or tasting something, one should be always aware, because this is how he/she will discover eternal life."Being in action means being free in that action."
This is the point of disruption, the limit that may make one reach the ultimate consciousness right here and right now.

Regard

Acharya Shree Vijay Kumar

Contact : 0922 4399 275

http://www.dhyansanjivani.org/

Sexual energy

The polarity of the two types of energy (Yin and Yang) represents the key in harmonizing the flow of the energies of the human being. This is the most simple and also the fundamental secret of all authentic traditions.

It is simple because it is based on the universal law of attracting opposites, that is the positive and negative forces attract each other and are in a permanent interaction.
It is true to the degree to which the two opposing poles of two simple magnets are attached to one another, or the protons and electrons dance and compose the atom.

Yang is the fire, and Yin is the water. Man is the "fire", the woman is the "water". When the man makes love to a woman, he prepares the woman's "water" with his "fire". The profound orgasm constitutes a delicate balance of the sexual energies.

The sexual life is dominated by the above-mentioned principle of polarities. It is, however important to understand that the two types of energy are inseparable, it is in fact one energy, manifested under complementary forms.
They cannot exist one without the other, their interaction is "fluid", and they issue from one another. Therefore, if during the erotic act performed with continence, man and woman become aware of the play of the two polarities, they have the possibility of becoming one being only.

Each of the two lovers is situated on one "side". When the exchange of energy reaches a sphere of harmony, the two lovers vibrate in the rhythm of one heart.

The feeling of having a physical body disappears, all one feels now is a huge energy, vibrating as one with his/her lover. This is the profound, total orgasm of both body and soul.
Many men have the intuition of these things, but those who are actually capable to expand and go deeply into these special states of the mind are quite few, because they usually lose their sexual energy through ejaculation.

The true, profound orgasm appears when both the man and the woman vibrate in the same rhythm. Their sexual energy forms now a complete circuit, the two "opposing" poles being reunited.
This circuit is represented by the Yin and Yang symbol, emerging from one another in a perfect eternal harmony. However, the flow of the sexual energy alone cannot lead anyone to spiritual achievements in the absence of love and an appropriate mental focus.

The physical union alone is not sufficient, and therefore sex alone cannot make anybody happy. One other important aspect is that the ordinary orgasm, implying ejaculation, on which many men depend, restrains the sphere of experience and knowledge.

The profound, transfiguring erotic experiences, performed through sexual continence, go beyond/transcend the borders of ordinary individual pleasure and perception, reaching a complex level of experience.
There are couples that radiate all around profound happiness and love without practicing any esoteric methods of lovemaking. And there are couples that radiate even more love and happiness, live for a longer time, healthy and in harmony, because they have learned how to sublimate their sexual energy.

Will they be just as radiant, enthusiastic and blissful when they reach old age? The secret techniques of the Oriental tradition will help them reach faster an advanced level of spiritual evolution. There is no limit as regards the depth and health one may get to through love.

Regard

Acharya Shree Vijay Kumar

Contact : 0922 4399 275

WWW.DHYANSANJIVANI.ORG

Rajarajeshvari Kavach

Shiva's sun mandala, having opened, melts the moon mandala, causing a flow of birth-nectar-liquor which is blissful and gladdening. Having abandoned her family of young Kula women, she becomes Shiva, with no qualities, no characteristics, devoid of the form of time - Vamakeshvarimatam IV, 13-14

The word Rajarajeshvari means "the lady queen of queens", the empress, and this kavacha or armour appears in the fine Tripura tantra, Gandharvatantra. The devotee or sadhaka can write or utter the armour, all the while visualising mantra, devata, and in this case yantra on her or his body. Here, the entire armour focuses on the symbolism of Shri Shri Mahatripurasundari, the Empress, queen of queens, and her attendants in the chakra called Shri Yantra. Our notes are in square brackets. It may also be helpful to refer to this page on the nine mandalas.

Kavacha

The Rishi of the Rajarajeshvari Armour is Shiva, the metre Virat, and the devata Mahatripurasundari. Hamsah is the Shakti, Para the Bija, and Shrim the linchpin. Its application is Dharma, Artha, Karma and Moksha.
May Tripura in three ways protect me, and give all success. May Bala, in the mouth, with Aim Klim Sauh, protect and give all success. The auspicious holy great Devi Tripurabhairavi must protect with Hsasrahn Ha Sa Ka La Hrim Hasrauh in the throat. May the great Lady Mahatripurasundari shield in the heart!
May the Rajarajeshvari Vidya, Shodasi, who confers great good fortune, may She always protect me in the Brahmarandhra, O Kamala Parameshvari! May the Devi who is the daughter of the Lord of the Mountain always protect on the head!
May the Kama Bija [Klim] shield on the forehead! Let the Vag Bija [Aim] shield on the throat! Let Sauh protect me in the ribs and Om on the shoulders!
The beloved of Shambhu must always protect my right and left arms. May the beloved of Vishnu always protect in the wrists. May Parvati protect the hands! Let the beloved of the Sidereal Constellations protect in the eye! May the beloved of Rati protect in the ear, and let Shakra shield the nose! May Parvati Parameshvari always protect the back.
Hsauh in exhalation and inhalation must protect, O Supreme Giver of Siddhi! Kama must always protect in sexual love. May Pinaki protect in the region of the penis. Prithivi must entirely protect! Let Hrim be a shield of the heart!
May the beloved of Vishnu protect in the breasts, belly, and in front of the heart. Let Vajradara protect in the eye, and let Maya shield the abdomen. May Sauh protect the feet, and let Aim shield the restless tongue. The syllable Klim must protect the region of the teeth, O Boon Giver!
May Bhuvaneshvari extend from the head to the feet, and be in all the limbs! May the Supreme Goddess, beloved of Hari, always protect with armour against loss and destitution. In the adhara, the Vagbija must protect! Dear One, the Kamaraja must shield the heart region. Parvati, the Shakti part must protect in the brow-centre!
On the head the Trikuta must protect, with all mantra, on the forehead. May the 28 letters always protect the circle of the face!

[The 15 Nityas]

May Kameshvari shield in the forehead, and Bhagamalini in the face. Let Nityaklinna, the Conferrer of Great Good Fortune, forever protect the right eye. Let Bherunda shield the left eye, and Vahnivasini the right ear. May the transcendent Vajreshvari protect in the region of the left ear. May the Supreme Goddess Shivaduti protect the right nostril. Let Tvarita, the all Success Bestower, protect the left nostril. May Kulasundari always and forever protect my right cheek. Trailokyavimala must protect the region of my left cheek. Nilapataka, shield my upper lip. Vijaya, shield my lower lip. Devi Sarvamangala, always protect my upper teeth. Jvalamalini, always shield my lower teeth. Everywhere, in the head, Vichitra protect. The base, the most important thing, the Mahatripurasundari, She who is the Shodashi, may She always protect my face! See the fifteen Nityas.
The different Gurus must always protect the back.

[Nine Chakreshvaris - forms of Tripura ruling the nine mandalas]

O Parameshvari, may Tripura always protect my feet. May Tripureshvari always protect my knees. Tripurasundari Devi must always protect my thighs. Tripuravasini Devi must always shield my hips! Let Tripurashri always shield my genitals. The Devi Tripuramalini must always shield the Muladhara. Let Tripurasiddha shield my navel, and Tripuramba shield my heart ! Mahatripurasundari must always protect me in the 1000 petal lotus

[Male Lords of Chakras - matching forms of Chakreshvaris]

In the midst of the heretical host, may Buddha encompass and protect me! Let Brahma shield the Brahmanda (macrocosm) and may Shiva protect my Yoga Power! Let the Sun protect me in Knowledge, and may Lord Narayana protect me in Liberation!

[Outer Line of Shri Yantra]

Anima must protect in the West, Laghima in the North. Mahima must protect in the East, Ishitva must protect in the South. May Vashita protect in the North West, and in the North East Prakamya, the giver of siddhi. Bhuktisiddhi in the South East, and Icchasiddhi in the South West must protect. Praptasiddhi must protect below, and Mokshasiddhi on high!

[Middle Line]

Brahmani must protect the twilight. Maheshvari must shield the day. Kaumari must protect at noon! Indrani must protect at night! Vaishnavi, who gives all siddhi, must protect me in the Brahma Muhurta! At midnight Varahi must protect! Let Chamunda protect in hostile invasion! Mahalaksmi, in great power, must always protect !

[Inner Line]

Sankshobhini must protect on the head. Dravini must protect in the heart. Akarshini in the peak, and Vashyada in the armour must protect. Unmadini in the eye, and Mahankusha in all my body must protect. Trikhanda, protect my arms. Bija must protect the seed. Khechara must protect the feet, and Yoni Mudra on all sides!

[16 Petals]

Let the Kamakarshana form always shield works of sexual attraction. Let the BuddhyakarshaÙa shield me in the great place of Buddhi Akarshana. Let the Ahamkara Vikarshani always protect in the Ahamkara. Let the Shabdakarshana form shield the actions of the Shabda. May the Sparsha Karshana form always protect me in matters of touch. Let the Rupa Karshana form always shield the great Rupavikarshana! O Parameshvari, may the Rasakarshana shield in taste! Let the Gandhakarshana form always protect me in smell! May the Chittakarshana form protect me in attraction. Let the Dhairya Karshana form protect in steadiness always! Let the Smritya Karshana form shield works of Knowledge and Attraction. Let the Namkarshana form shield uttering of names always! May the Bija Karshmia form protect me in the sprouting of seed. Let the Atma Karshana form protect in Para Jiva Karshana! Let Amrita Karshini protect always in works of Nectar (Amrita). Let Sharira Karshini always protect in bodily protection !

[8 Petals]

Anangakusuma must protect protect in all work in front of me. Anangamekhala must protect behind. On the left, Anangamadana must protect me. Anangamadanatura must protect me on the right. Let Anangarekha always, and forever, shield me above. Anangavegini must protect me below. Let Anangankusha always protect me in the directions! Anangamalini must protect always in the intermediate points.

[14 Triangles]

Sarvasangkshobhini must protect me above. Sarvavidravini must protect me below. Sarvakarshini must protect me in the directions. Sarvahladakari must encircle and protect me in the intermediate points. Sarvasanmohini must protect completely. Sarvastambhanakarini must protect me within and without. Sarvajrimbhani must always protect me in the heavens. Sarvavashyakari must protect me in the underworld. In the world of Gods, Sarvaranjaaakarini must always protect me! Sarvonmadanashmkti must encircle and protect me on earth. Sarvarthasadhani Shakti must protect me amongst the host of created beings! Sarvasampattipurani must protect in dissolution. Sarvamantramayi must protect fran Rakshas and Yakshas in the house! Sarvadvandvakshayamkari must protect from Denors in the house!

[Outer 10 Triangles]

Sarvasiddhiprada must always protect me in the king' s palace! Sarvasampatprada must protect me in my own home, and give all prosperity! Sarvapriyankari must protect in all the worlds everywhere! Sarvamangalakarini must shield me in all good actions. Sarvakamaprada Devi must protect me in all works everywhere! Sarvaishvaryapradayini must protect me in lordship everywhere ! Sarvamrituprashamani must protect me always at my death! Let Sarvavighnavasini protect always in all supports! Sarvangasundari must protect me in the form of my bodily parts! Let Sarvasaubhagyadayini protect all my good parts!

[Inner 10 Triangles]

Sarvajna protect my house! Sarvashaktimaya, protect me in battle! Sarvaishvaryaprada must protect me on the road, Sarvajnanamayi on water! Sarvavyadhivinashini must protect me from all disease everywhere! Sarvadharasvarupini must powerfully protect me on the mountain! Sarvapapahara must protect in all works everywhere! Sarvanandakarini Devi must protect from random killing in open places. Sarvarakshasvarupini must protect from all hostile anxieties! In all determined work, Sarvepsitaphalaprada must protect!

[8 Triangles]

Vashini must shield in works of subjugation. Kameshi must shield in works of paralysing. Modini must protect in works of delusion. Vimala must shield in works of driving away. Aruna must protect in speech, Jayini in matters of conversation. Sarveshvari must always protect in sexual acts, Kaulini in acts of dissension.

[The Weapons of Devi]

O Maheshvari, the five arrows must always protect in blossoming. The bow must protect in works of delusion, the noose in acts of subjugation. The greatly illustrious goad must protect me in acts of paralysing.

[The Central Triangle]

All-Knowledge must protect me in the heart! Satisfaction must guard me in the head! The state of being eternally awake must always protect me in the tuft of hair! Let Independence shield me in the Armour. May Courage always shield me in the eyes. Let the three without form protect and give all siddhi! Kameshvari, protect in sexuality! Vajreshvari, protect me in battle! Bhagamalini, always protect me in the love-lore of Shri!

[Bindu ]

Devi consisting of All Bliss, Mahatripurasundari, protect me in taste, sight, smell, sound, and touch! Vatuka, protect in the North East! Numbers of Yoginis, protect in the South East! They must protect skin, blood, fat, bone, flesh, marrow and semen! Kshetrapala must protect in the South West, and Ganesha in the North West of the Temple!
The Elephant Woman Shoshika must protect me, O Beautiful Lady of the Kulas. The Female Dweller in the Muladhara must always protect my Shakti!

Regard

Acharya Shree Vijay Kumar

Contact : 0922 4399 275

http://www.dhyansanjivani.org/

Niruttara Tantra

You will be see new article soon !



Regard
Acharya Shree Vijay Kumar
Contact : 0922 4399 275
WWW.DHYANSANJIVANI.ORG

Mahavidya

The terrible force of time, the grace of endless compassion, dazzling beauty, all-comprising vision, endless courage, capacity for self-sacrifice, fascinating brightness, sublime vacuity, expressive play, intoxicating harmony...all these are different aspects of the Supreme Feminine Energy and each of them may lead you to the experience of the Ultimate Reality.

YOU MAY GAIN THE CONTROL OVER YOUR ENERGIES

In the context of this series of articles we will try to analyze the main philosophical and practical aspects that refer to the spiritual tradition of the Ten Great Cosmic Forces (Dhasha Mahavidya).This tradition is essentially a Tantric practice whose purpose is to gain a "magic" control over the subtle energies and forces that animate both our inner microcosm and the Macrocosm in its various aspects of manifestation.The fundament for this spiritual Tantric practice lies in the idea that one should not avoid the tests life puts us through isolating and retreating in a desert place in order to reach spiritual fulfillment.Instead, the Tantric tradition asserts that Mahavidya Upasana should be performed in the context of the every-day life, which offers us the possibility of mastering our problems and transcending them.In this respect, the Tantric tradition (Tantra Shastra) offers several methods suited to any type of situation and to any human type. It is therefore not necessary to seek a different method to evolve spiritually.It is enough to activate as many sublime aspects of our superior nature, attempting to fulfill any positive, beneficial desire we have sublimating the energies that animate it.The purpose is on one hand to experience a refined pleasure and on the other to experience the state of divine freedom.Consequently, the Tantric spiritual practice is not meant only for those initiates, but it also offers amazing opportunities for those who ardently aspire to reach the state of ultimate freedom.

TANTRA IS NOT SORCERY

Although the Tantric texts are filled with cryptic expressions, with metaphors and allegories that represent obstacles that are unsurpassed for those who are not initiated, Tantra is not sorcery.The misunderstandings of these metaphors have caused even reputed researchers to make huge mistakes in the interpretation of these sacred texts.The most frequent error is that they are ignorant of an important aspect of the Tantric system - they consider the metaphorical language ad literam, attributing thus to the Tantric texts meanings they never had.Consequently, they associate Tantra with "abominable practices" such as sacrificial rituals, orgiastic sexual practices, etc. Actually, one may describe the teaching of the Tantric tradition as transcendence of any phenomenal tribulations; it is thus a religious and philosophical system deeply non-dualistic (advaita).The authentic Tantric spirituality has nothing in common with witchcraft or magic of some sects, which have deviated practices, often gruesome many times mistaken for the deeply spiritual Tantric doctrine.

ALL THINGS LEAD TO HIM

The purpose of spiritual fulfillment through sadhana is the state of full union with the Supreme Reality of God, whose nature is Sat-Chit-Ananda (Pure Existence, Pure Consciousness, Pure Bliss).In the Tantric tradition, this nature of the divine reality bears the name Cit and refers to the infinite force of God's consciousness.On a transcendent level, Cit (or the Absolute Consciousness of God) is associated with a tough, compact monolith, infinite in its splendor.Nonetheless, this essential character differentiates in the creation under different aspects, as particular attributes and expressions, such as the expression of Maya, the force of illusion covering the intrinsic reality of all manifested things.In fact, the Supreme Reality, which is beyond any attribute or conceptual understanding, projects itself in the creation in a finite and determined form through the aspect of dynamics of the Divine Consciousness as Force (Cit).From this point of view, the Great Cosmic Forces (Mahavidya) represent reflections of Cit as idea or divine expressions in creation, consequently having a universal character.

The ten Cosmic Powers are considered as feminine entities whose consciousness is quite close to the consciousness of God, and who are like "administrators" of the creation.This is because their character is more subjective (in other words, the perception of their influence and of their manifestation is the subtle domain of consciousness) and less objective.However, the Hindu pantheon contains plenty appearances of these feminine deities who illustrate each in a symbolic manner their main attributes and characteristics in the Macrocosm.In the spiritual Tantric practice, the physical aspects constitute an important base in elevating one's consciousness. Besides the various iconographic representations and graphical symbols (yantra, mantra), the Tantric tradition confers a tremendous importance to the devotion of the ten Great Cosmic Powers.The spiritual purpose of such a procedure is that starting from the physical level, the individual consciousness gradually accedes to the state of transcendence characteristic to the Great Cosmic Power adored by the Tantric practitioner.Then, in an ultimate spiritual effort, the Tantric will accede to the state of Supreme Transcendent Void, origin and quintessence of any divine energy.Consequently, the principle at work in this case is that of gradual elevation of the consciousness, starting from the inferior levels up to the sublime, total experience of the divine transcendence, without neglecting, nor interdicting any "mundane" aspect.

THE MYSTERY OF FULFILLMENT RESIDES INSIDE OF YOU

This approach of the practice and experience of the ten Great Cosmic Powers has a unitary, holistic character, in which the parts of the whole intermingle in harmony in order to create the image of the Whole.This aspect is obvious mostly in the awakening and ascension of the Kundalini Shakti. For instance, this energy may be either latent, "sleeping" in Muladhara chakra, or it may become active, purifying, activating all the levels of our being.This polarization of Kundalini has a different correspondent in the human being. Thus, when Kundalini Shakti is sleeping in Muladhara chakra the person is somewhat "awake" for the exterior world, even though this world is ephemeral considered through the point of view of the Supreme Transcendent Reality.When this energy is awake and active, reaching as high as Sahasrara chakra, the practitioner becomes "dead" for the outer world, yet unbelievably lucid and awake from the point of view of the divine reality.

Each of the ten Great Cosmic Powers (Kali, Tara, Tripura Sundari, Bhuvaneshvari, Tripura Bhairavi, Chinnamasta, Dhumavati, Bagalamukhi, Matangi, and Kamalatmika) has a characteristic sadhana,

but still each sadhana has 3 fundamental points:
1. Devotion to the image of the deity (that is the Great Cosmic Power chosen for devotion at a certain time)

2. Concentration on the yantra (geometrical representation corresponding to the field of beneficial influence of a certain great cosmic power).

3. Mental emission of a mantra corresponding to a Great Cosmic Power

.In the devotion for these ten Great Cosmic Powers we have, nonetheless, to differentiate the Great Cosmic Powers and Matruka.The first represent the gigantic spheres of consciousness of the divine energy and they encompass the whole universe, while the later represent the cosmic forces of the most important gods of the Hindu pantheon, and in the oriental tradition they are known as the consorts of those gods. They are: Maheshvari, Vaishnavi, Brahmani, Kaumari, Indrani, Narasimhi, and Varahi.Thus, with some guidelines clearly cut through the Tantric tradition and through the practice of the devotion of the ten Great Cosmic Powers, we will introduce brief and representative characteristics of each Great Cosmic Power in the following articles of this section.

Regard

Acharya Shree Vijay Kumar

Contact : 0922 4399 275

WWW.DHYANSANJIVANI.ORG