nirvANa sundarI

श्रीमात्रे नमः

भूताः प्रेताः पिशाचाश्च राक्षसा ब्रह्मराक्षसाः |
भूतप्रेतग्रहाश्चैव तथा बालग्रहाः शिवे ||
कश्मलाश्च निवाताश्च डाकिनी शाकिनी तथा |
याकिनी राकिणी चैव हाकिनी लाकिनी तथा ||
काकिनी प्रमुखाश्चैव झोंटिगा भैरवेरिताः |
रुद्रग्रहास्तथा विष्णुग्रहा ब्रह्मग्रहास्तथा ||
कृत्याग्रहास्तथा देवि कूष्माण्डा यक्षिणीग्रहाः |
कामग्रहा मदोन्मादास्तथोन्मत्तग्रहाः शिवे ||
जलग्रहास्तथा सर्वे ग्रहाश्च कटपूतनाः |
स्कन्दग्रहा महेशानि तथा वैनायिकाः शिवे ||
धनग्रहास्तथा देवि तथा देवग्रहा अपि |
यक्षाश्च दानवा दैत्या वेतालाः किन्नरीगणाः ||
भूतिन्यप्सरसश्चैव तथैव नागिनीग्रहाः |
एवमादिग्रहादीनां नाशनं येन जायते ||
शूलिनी शरभश्चैव शिवपञ्चाक्षरी तथा |
नवदुर्गा बहिर्बन्धस्तथान्तर्बन्ध एव च ||
सुब्रह्मण्यो महेशानि तथैव खड्गरावणः |
हनुमान् भैरवश्चैव वटुकः क्रोधभैरवः ||
प्रत्यङ्गिरा वीरभद्रः त्रैलोक्यविजया तथा |
नारसिंहो महेशानि महाशरभशूलिनी ||
चण्डकाली भद्रकाली प्रोक्ता रुद्रमहाङ्कुशा |
महापाशुपतास्त्रं चाघोरास्त्रं च तथैव च ||
एते मन्त्रा मया प्रोक्ता शाबरद्वययोगतः |
ब्रह्मराक्षसवेतालकृत्यादौ खड्गरावणे ||
ब्रह्माविष्णुस्तथारुद्रः प्रेतापस्मारनाशने |
यातुधानविनाशे तु तथा किंपुरुषादिके ||
शरभो हनुमान देवि विरूपाक्षोऽङ्गिरा अपि |
भूतप्रेतपिशाचादि क्रूरग्रहनिवारणे ||
शूलिनी वनदुर्गा च तथा पञ्चाङ्गुलिः प्रिये |
कूष्माण्डडाकिनीनाशे प्रेतापस्मारनाशने ||
वीरभद्रः शिवः प्रोक्तः सर्वनाशे तु तद्गणाः |
सर्वेषां नाशने शान्तौ प्रीतावपि महेश्वरि ||
महानित्यामण्डलं च बन्धद्वयसमन्वितम् |
महानित्यामण्डलेन किं तद्यन्न करे स्थितम् |
गोपनीयं गोपनीयं गोपनीयं प्रयत्नतः ||

नमामः कामाक्ष्याश्चरणमधिकाश्चर्यकरणम्

Sarva krtyAtmakatva

na - srShTi
maH- sthiti
shi - samhAra
vA - tirodhAna
ya - anugraha

Sarva yugAtmakatva

na - krta yuga
maH - tretA yuga
shi - dvApara yuga
vA - kali yuga
ya - yugAntara

Sarva shuddhyAtmakatva

na - Atma shuddhi
maH - sthAna shuddhi
shi - dravya shuddhi
vA - mantra shuddhi
ya - linga shuddhi

Sarva archAtmakatva

na - AvAhana
maH - sthApana
shi - sAnnidhya
vA - sannirodhana
ya - pUjA

Sarva kalAtmakatva

na - 5 kalAH
maH - 4 kalAH
shi - 8 kalAH
vA - 13 kalAH
ya - 8 kalAH

Sarva mudrAtmakatva

na - AvAhanI mudrA
maH - bhUtapanchaka mudrAH
shi - muShTi mudrA
vA - yoni mudrA
ya - dhenu mudrA

- vimalAgama

ईशानः पुरुषश्चैव अघोरः सद्य एव च |
वामदेवश्च भगवान् पापमाशु व्यपोहतु ||

The twenty-third tIrthankara of the Jainas is the well-known pArshvanAtha and the consort of his yakSha dharaNendra is known as padmAvatI. Jaina mantra-shAstra works such as bhirava padmAvatI kalpa, jinadatta sUryAmnAya, padmAvatI kalpa etc. discuss the worship and prayogas of this deity in great detail. Many famous jaina mantravAdins are known to have attained siddhi and escaped from great perils through the grace of padmAvatI. This shAsana-devI of pArshvanAtha is enshrined at Hamchavadi in Shimoga district of Karnataka. While the tIrthankaras are known to have passed even beyond the realm of the devas, padmAvatI, on account of being present within the accessible realm of the devas, is held by the jaina mantravAdins to be kShipraprasAdinI.

It is believed that the origins of this deity lies in jaratkAru, who later came to be known as manasA, the deity of serpents. The Buddhist parallel to padmAvatI is most possibly jAngulI, associated with the dhyAnI buddha akShobhya, again a form inspired by manasA devI. jAngulI is frequently referred to as a specific form of tArA in texts such as sAdhanamAlA and this is reiterated by jaina texts such as the celebrated padmAvatI stotra in the context of padmAvatI thus establishing a link between the two.

The dhyAna of manasA in bhaviShya purANa refers to her as padmA (padmAm maheshIm) where as the padmAvatI stotra calls her mahAbhairavI indicating clearly her association with Hindu tantra. It is not for us to establish here as to who was conceived first: manasA, jAngulI or padmAvatI.

The bhairava-padmAvatI kalpa describes the dhyAna of padmAvatI thus:

पन्नगाधिपशेखरां विपुलारुणाम्बुजविस्तरां
कुक्कुटोरगवाहनामरुणप्रभां कमलाननाम् |
त्र्यम्बकां वरदाङ्कुशायतपाशदिव्यफलाङ्कितां
चिन्तयेत्कमलावतीं जपतां सतां फलदायिनीम् ||

padmAvatI is conceived in various forms worshipped through different mantras and invoked for different purposes. Her two-handed form, seated in lalitAsana, hols pAsha and divya-phala. Her four-handed mUrti sports pAsha, ankusha, vINA and pustaka. Sometimes in texts such as the bhairava-padmAvatI kalpa, she is also depicted as holding vajrAyudha, ankusha, pAsha and padma. Adbhuta-padmAvatI kalpa describes her as holding pAsha, ankusha, varamudrA and divya-phala. Sometimes varamudrA is replaced by uraga or snake. She is also depicted as sporting eight and twenty-four arms. Her vAhana is described as kukkuTa (cock) and also as kukkuTa-sarpa (a variety of snake).

The following stotra describes the Ayudha-s held in the twenty-four hands of padmAvatI and is used for japa and archana. Jaina mantravAdins recount tales of miraculous help received from the Goddess during times of distress on account of reciting this stotra. pATha of the stava published below is based on the handwritten copy of padmAvatI-kalpa in the possession of our dear jaina mitra who is a siddha upAsaka of devI chakreshvarI.

श्रीसव्यपाणिगततीक्ष्णमस्त्रं वज्रायुधं नाम जगत्प्रसिद्धम् |
त्रैलोक्यव्याप्तं भयनाशनं च पद्मावति त्वत्पदमर्चयामि || १ ||

भित्त्वा सुपाताळमूलं च शस्त्रं कृत्वा विनाशं कलिघोरदुःखम् |
सुवामभागे करमङ्कुशं च अर्चामि शस्त्रं जनशर्मकारि || २ ||

कमलकरसुसंस्थं भीमरूपं च देवीं
अखिलमघनिवारं सव्यभोगा च नाम्नीम् |
जिनचरणसुसेव्यं वारिगन्धादिपूज्यं
खचरभुचरवन्द्यं वारिगन्धादिपूज्यम् || ३ ||

परमतमदहारि चक्रवामाङ्गधारि
भवश्रमखलुवारि भूतप्रेतादिहारि |
निखिलभुवनजालिं भव्यजीवकृपाळिं
धरणिधरसुपत्नीं पद्मिनीं पूजयामि || ४ ||

contd...

pUrvAmnAya

bhuvaneshvarI
tripurA
lalitA
padmA
shUlinI
sarasvatI
tvaritA
nityA
vajraprastAriNI
annapUrNA
mahAlakShmI
lakShmI
vAgvAdinI

dakShiNAmnAya

prAsAda parameshvara
dakShiNAmUrti
vaTuka
manjughoSha
Bhairava
Mr^itasanjIvanI
amR^ita mR^ityunjaya

pashchimAmnAya

vAsudeva
viShNu
Ramachandra
gaNesha
Vahni
Surya
Chandra
dikpAla-s
hanumAn

uttarAmnAya

dakShiNA kAli
mahAkAlI
guhyakAlI
smashAna-kAlI
bhadrakAlI
ekajaTA
ugratArA
tAriNI
kAtyAyanI
ChinnamastA
nIlasarasvatI
mUladurgA
jayadurgA
navadurgA
dhUmAvatI
vishAlAkShI
gaurI
bagaLAmukhI
pratyangirA
mAtangI
mahiShamardinI

UrdhvAmnAya

tripurasundarI
tripureshI
bhairavI
tripurabhairavI
smashAnabhairavI
bhuvaneshI bhairavI
ShaTkUTabhairavI
annapUrNA bhairavI
ShoDashI
mAlinI
bAlAbalA
panchamI
rAjarAjeshvarI parA bhaTTArikA (chatushchatvArimshadakSharAtmikA)

adharAmnAya

devatA sthAna
Asana
Yantra
mAlA
naivedya
balidAna
sAdhanA
purashcharaNa
Mantra-siddhi

In humans, the kuNDalinI is said to be present as a serpent of three and a half coils. However, the kuNDalinI in AdyA kAlI or mahAtripurasundarI transforms and various permutations of shakti-s emanate. For example, when the mUla kUNdalinI is triguNAtmikA or trivalayA (or सार्धत्रिवलया ) - AdyA appears as kAlikA or mahAtripurasundarI. When triguNA transforms to turIyA, ekajaTA appears, ugratArA when the transformation is fivefold and so on.

mahAbindu or niShkala - sacchidAnanda
Three ( सार्धत्रिवलया ) - AdyA kAlI or tripurasundarI
Four - ekajaTA
Five - mahogratArA
Six - siddhi-kAlikA
Seven - madhumatI
Eight - bhuvaneshvarI
Nine - chAmuNDA
Ten - dasha mahAvidyA
Eleven - shmashAna kAlikA
Twelve - chaNDabhairavI
Thirteen - tArA
Fourteen - vashya kAlikA
Fifteen - mahApanchadashI
Sixteen - mahAShoDashI
Seventeen - ChinnamastA
Eighteen - mahAmadhumatI
Nineteen - mahApadmAvatI
Twenty - kamalAtmikA
Twenty-one - kAmasundarI
Twenty-two - dakShiNA kAlikA
Twenty-three - mahAvidyArAjnI
Twenty-four - gAyatrI
Twenty-five - panchamI sundarI
Twenty-six - ShaShThI sundarI
Twenty-seven - mahAratneshvarI
Twenty-eight - parA bhaTTArikA or mritasanjIvanI
Twenty-nine - mahAnIlasarasvatI
Thirty - vasordhArA
Thirty-one - trilokyamohinI
Thirty-two - trilokyavijayA (mahAvaiShNavI)
Thirty-three - kAmAkhyA
Thirty-four - aghora bhairavI
Thirty-five - sa~NgIta yoginI
Thirty-six - bagaLAmukhI
Thirty-seven - arundhatI
Thirty-eight - annapUrNA
Thirty-nine - nakulIshvarI
Forty - trikaNTakI (tribhanginI)
Forty-one - rAjeshvarI
Forty-two - trailokyAkarShinI
Forty-three - rAjarAjeshvarI
Forty-four - kukkuTI (or alternately charpaTI)
Forty-five - siddhavidyA
Forty-six - mrityunjayA bhairavI
Forty-seven - mahAbhogavatI
Forty-eight - vAsavI
Forty-nine - phetkAriNI (mahAkuNDalI)
Fifty - mAtrikA sundarI

One who performs the mAtrikA nyAsa in samhAra krama using the mUla vidyAs of these shaktis during mahAnishA after having recited the manus of kAlikA and sundarI is blessed with amogha siddhi and oneness with paradevatA. When the shakti of the mahAyoginI surges through the upAsaka, great caution is needed and according to gurUpadesha, control is attained through dhAraNA on guruchakra while sealed in shAmbhavI mudra.

पशुनिर्मूलनोद्युक्तां पशुतर्जनमुद्रिकाम् |
तिरस्करणिकां वन्दे खड्गहस्तां परात्पराम् ||

Satish Arigela pointed us to this interesting article. Good find!

Considering this article is on our buddy Dwai's website, I am surprised how I missed it. Time to have another of our interesting talks

It is totally another matter that Nithyananda's own learning and teachings are simply a big joke. Such buffoons always make me appreciate Jiddu Krishmamurti better.

The Transcendent or anuttara (‘a’), by means of visarga (upto ‘h’ or prANa), reveals itself as shakti (‘ha’) and then returns to itself and abides in the indivisible prakAsha, which is its own eternal Self, called shiva-bindu (‘m’)-a-h-am. This is how in the universal consciousness, which is no better than bare awareness, there arises a sense of “I”. its relation to the not-self, e.g. body, etc. is an event in time which is psychologically explicable. The Ego-sense in pure consciousness reveals it as one’s own Self (svAtman). The unity of shiva and shakti follows logically from the integrality or oneness of this sense which covers both. This is the secret of the fullness of Ego or pUrNAhamtA to which reference has already been made.

The unity of prakAsha and vimarsha is the bindu called kAma or ravi (Sun). The emergence of two bindus out of this primordial one is the state of visarga. The two bindus are agni (fire) and soma (moon), conceived as chit-kalA. It is not a state of dualism, but one of union between two inseparable elements of a single whole. The two aspects combined, namely, bindu and visarga, are represented as a significant symbol of divine unity, though it is true that in the ultimate state even these elements lose their own lustre. The interaction of the bindus causes nectar or creative fluid to flow out. This is the so-called hArdha kalA, the essence of Ananda. The interaction is like the heat of fire acting on butter and causing it to melt and flow. The one is sat, the two is sat as aware of Itself, i.e. chit (chit-kalA) and the hArdha-kalA flowing from between the two is the result of self-awareness felt as Ananda. The entire science of kAmakalA is thus the science of sacchidAnanda and brahma-vidyA as indicating an eternal creative act. The substance of delight which flows constitutes the essence of all creative principles.

Though prakAsha and vimarsha are identical, it is to be remembered that prakAsha is always partless and continuous, while vimarsha is partless and as well as divisible into parts. Whenever therefore prakAsha is referred to as discrete it is to be understood only in a secondary sense. The three bindus working together towards a common end form as it were a single triangle.

prakAsha within vimarsha is of the form of a white bindu; and vimarsha within prakAsha is of the form of a red bindu called nAda. The two bindus in union constitute the original bindu called kAma of which these are kalAs. The unity of the three is the substance called kAma-kalA from which the entire creation consisting of words and the thing singnified by them originates.

bhAskara rAya in his varivasyA-rahasya while speaking of kAmakalA refers to the three bindus as well as the hArdha kalA the nature of which is held to be very secret. The white and red bindus represent in his opinion, male and female energies.

amR^itAnanda says that hArdha-kalA flows from between the two bindus and is the wave (laharI) of vimarsha and sphurattA. prakAsha is like fire and vimarsha is like butter which melts under it. The flow is the so-called hArdha-kalA noted above. The baindava chakra, made of three mAtR^ikAs, is the out-flow of kAmakalA along with hArdha-kalA, and it is out of this that the thirty-six creative principles emanate.

contd...

नमो वेदान्तवेद्ये ते नमो ब्रह्मस्वरूपिणि |
समायया सर्वजगद्विधात्र्यै ते नमो नमः ||
भक्तकल्पद्रुमे देवि भक्तार्थं देहधारिणि |
नित्यतृप्ते निरुपमे भुवनेश्वरि ते नमः ||
अस्मच्छान्त्यर्थमतुलं लोचनानां सहस्रकम् |
त्वया यथा धृतं देवि शताक्षीत्वं ततो भव ||
क्षुधया पीडिता मातः स्तोतुं शक्तिर्न चास्ति नः |
कृपां कुरु महेशानि वेदानप्याहराम्बिके ||

व्यास उवाच
इति तेषां वचः श्रुत्वा शाकान् स्वकरसंस्थितान् |
स्वादूनि फलमूलानि भक्षणार्थं ददौ शिवा ||
नाना विधानि चान्नानि पशुभोज्यानि यानि च |
काम्यानन्तरसैर्युक्तान्यानवीनोद्भवं ददौ ||
शाकम्भरीति नामाऽपि तद्दिनात्समभून्नृप |
ततः कोलाहले जाते दूतवाक्येन बोधितः ||
ससैन्यः सायुधो योद्धुं दुर्गमाख्योऽसुरो ययौ |
सहस्राक्षौहिणीयुक्तः शरान् मुञ्चंस्त्वरान्वितः ||
रुरोध देवसैन्यं तद्यद्देव्यग्रे स्थितं पुरा |
तथा विप्रगणं चैव रोधयामास सर्वतः ||
ततः किलकिलाशब्दः समभूद्देवमण्डले |
त्राहि त्राहीति वाक्यानि प्रोचुः सर्वे द्विजामराः ||
ततस्तेजोमयं चक्रं देवानां परितं शिवा |
चकार रक्षणार्थाय स्वयं तस्माद्बहिः स्थिता ||
ततः समभवद्युद्धं देव्या दैत्यस्य चोभयोः |
शरवर्षसमाच्छन्नसूर्यमण्डलमद्भुतम् ||
ततो देवीशरीरात्तु निर्गतास्तीव्रशक्तयः |
कालिका तारिणी बाला त्रिपुरा भैरवी रमा ||
बगला चैव मातङ्गी तथा त्रिपुरसुन्दरी |
कामाक्षी तुलजादेवी जम्भिनी मोहिनी तथा |
छिन्नमस्ता गुह्यकाली दशसाहस्रबाहुका ||

- devIbhAgavata mahApurANa