“Chakra Raja Rathaa Roodha Sarvaayudha Parishkritaa”
Lalita Tripura Sundari.
The Devathas were being harassed by Bhandasura and the Devas entreated Brahma, Vishnu and Shiva.
Lord Shiva in his Form as Maha Sambhu performed a Maha Yaga and Lalitha Devi appeared in the Homa Kunda, Chdagni Kunda-Philosophically speaking from the Chit.
Article follows on the Special Homa by Shiva.
Lalita Devi appeared in Her Chariot, Sri Chakra Raja Ratha.
This is the description by Brahmanda Purana and Lalithaopkyana.
The Sri Chakra Raja Ratha had the following dimensions:
A. Width
4 Yojanas (1 Yojana is approximately 9 miles)
B. Height
10 Yojanas
C. Parvas (landings)
9 in number
D. Chakras (wheels) – the four Vedas
E.
Horses – the four-fold aims (Purusharthas)
F.
Flag
absolute bliss
G.
The seat at the topmost landing is the Bindu Peetha.
H.
Form :
of the form of Meru Prastara.
I.
The material that was used to make this was ‘Tejas
Lalitha Sahasranama was composed at Thirumeyachur in Tamil Nadu by the Yoginis of Goddess Laitambika, at Her Command.
One of my readers has been asking for a detailed Post on the Saptha Kanyas.
He has been asking for this for the past two months,
He had asked for some Mantras and I have published them.
Somehow Saptha Matrika deatil post has been delayed.
Here it is.
Here I have provided the basic details.
Tantra implication will be posted separately.
The Sapta Matrikas are mentioned in the
Rigveda, Gobhilasmriti, Markandeya Purana,
Matsya Purana, etc. Varahamihira’s Brihat
Samhita also mentions about the images of Sapta
Matrikas. The sclupture of the Sapta Matrikas
are referred to in theKrityaratnakara. The Devi
Purana mentions the name of the flowers used
for the worship of Matrikas.
Preavalence of the worship of the divine
mothers is believed to be as early as 3rd millenium
B.C., when the Indus Valley Civilization
flourished. The earliest epigraphic reference to the
Matrikas is to be found in the Gangadhara
inscription of Vishwa Varman, in Malwa Samvat,480 or 423-424 A.D
However, they may sometimes be eight (Ashtamatrika(s):ashtamātṝkāh, अष्टमातृका:, “eight mothers”).
The Ashta-Matrika or Ashta-Matara as described in Devi Mahatmya .
Brahmani (Sanskrit: ब्रह्माणी, Brahmâṇī) or Brahmi (Sanskrit: ब्राह्मि, Brāhmī) is the Shakti (power) of the creator god Brahma. She is depicted yellow in colour and with four heads. She may be depicted with four or six arms. Like Brahma, she holds a rosary or noose and kamandalu (water pot) or lotus stalk or a book or bell and is seated on a Hamsa (identified with a swan or goose) as her vahana (mount or vehicle). She is also shown seated on a lotus with the hamsa on her banner. She wears various ornaments and is distinguished by her basket-shaped crown called karaṇḍa mukuṭa.
Vaishnavi (Sanskrit: वैष्णवी, Vaiṣṇavī), the power of the preserver-god Vishnu, is described as seated on theGaruda (eagle-man) and having four or six arms. She holds Shankha (conch), chakra (Discus), mace and lotus and bow and sword or her two arms are in varadamudra (Blessing hand gesture) and abhaya mudra (“No-fear” hand gesture). Like Vishnu, she is heavily adorned with ornaments like necklaces, anklets, earrings, bangles etc. and a cylindrical crown called kiriṭa mukuṭa.
Maheshvari (Sanskrit: माहेस्वरी, Māheśvarī) is the power of god Shiva, also known as Maheshvara. Maheshvari is also known by the names Raudri, Rudrani andMaheshi, derived from Shiva’s names Rudra and Mahesh. Maheshvari is depicted seated on Nandi (the bull) and has four or six hands. The white complexioned, Trinetra(three eyed) goddess holds a Trishula (trident), Damaru (drum), Akshamala (A garland of beads), Panapatra (drinking vessel) or axe or an antelope or a kapala (skull-bowl) or a serpent and is adorned with serpent bracelets, the crescent moon and the jaṭā mukuṭa (A headdress formed of piled, matted hair).
Indrani (Sanskrit: इन्द्राणी, Indrāṇī), also known as Aindri, (Sanskrit: ऐन्द्री, Aindrī), Mahendri, Shakri, Shachi’ and Vajri, is the power of the Indra, the Lord of the heaven. Seated on a charging elephant, Aindri, is depicted dark-skinned, with two or four or six arms. She is depicted as having two or three or like Indra, a thousand eyes. She is armed with the Vajra (thunderbolt), goad, noose and lotus stalk. Adorned with variety of ornaments, she wears the kiriṭa mukuṭa.
Kaumari (Sanskrit: कौमारी, Kaumarī), also known as Kumari, Karttikeyani and Ambika[36] is the power of Kumara (Kartikeya or Skanda), the god of war. Kaumari rides a peacock and has four or twelve arms. She holds a spear, axe, a Shakti (power) or Tanka (silver coins) and bow. She is sometimes depicted six-headed like Kumara and wears the cylindrical crown.
Varahi (Sanskrit: वाराही, Vārāhī) or Vairali is described as the power of Varaha – the boar-headed form of Vishnu or Yama – the god of death, has a boar head on a human body and rides a ram or a buffalo. She holds a Danda (rod of punishment) or plough, goad, a Vajra or a sword, and a Panapatra. Sometimes, she carries a bell, chakra, chamara (a yak’s tail) and a bow. She wears a crown called karaṇḍa mukuṭa with other ornaments.
Chamunda (Sanskrit: चामुण्डा, Cāṃuṇḍā), also known as Chamundi and Charchika is the power of Devi (Chandi). She is very often identified with Kali and is similar in her appearance and habit. The identification with Kali is explicit in Devi Mahatmya.[ The black coloured Chamunda is described as wearing a garland of severed heads or skulls (Mundamala) and holding a Damaru, trishula, sword and panapatra. Riding a jackal or standing on a corpse of a man (shava or preta), she is described as having three eyes, a terrifying face and a sunken belly.
Narasimhi (Sanskrit: नारसिंहीं, Nārasiṃhī), power of Narasimha (lion-man form of Vishnu), is a woman-lion and throws the stars into disarray by shaking her lion mane.
cintāratnavinirmitaṁ janani te siṁhāsanaṁ bhāvaye||
O Mother [of the universe]! I visualize Your throne studded with precious gems of thought in the middle of rolling waves in a nectar-ocean, which is sitting in a gem-island, which is surrounded by the heavenly wish-granting trees, which is within the enclosure of Kadamba trees, which is inside a hall with thousands of diamond pillars, and which is on a marvellous pedestal.||1||
eṇāṅkānalabhānumaṇḍalalasacchrīcakramadhye sithatāṁ
bālārkadyutibhāsurāṁ karatalaiḥ paśāṁkuśau bibhratīm|
cāpaṁ bāṇamapi prasannavadanāṁ kausumbhavastrānvitāṁ
tāṁ tvāṁ candrakalāvataṁsamakuṭāṁ cārusmitāṁ bhāvaye||
I visualize that You, Who is situated at the center of the Shricakra shining with its three spheres of moon, sun and fire, Who has a splendor of rising sun, Who is holding a lasso, a sphere, a bow and an arrow by the palms, Who has a happy face, Who is possessing a saffron dress, Whose crown is carrying the artistry of the Moon, and Who has a radiant smile.||2||
īśānādipadaṁ śivaikaphalakaṁ ratnāsanaṁ te śubaṁ
pādyaṁ kuṅkumacandanādibharitairarghyaṁ saratnākṣataiḥ|
śuddhairācamaniyakaṁ tava jalairbhaktyā mayā kalpitaṁ
kāruṇyāmṛtavāridhe tadakhilaṁ saṁtuṣṭaye kalpatām||
O Goddess, Who is the ocean of the nectar of compassion! Partake my offering of an auspicious diamond seat for You, which is held by Ishana and others, and which has Shiva as a single plank. Partake — water scented with saffron, sandalwood and other perfumes as pādya, arghya filled with gems and akṣata, and pure water for ācamaniyaka — all these with satisfaction; all these are offered by my devotion.||3||
lakṣye yogijanasyarakṣitajagajjāle viśālekṣaṇe
prāleyāmbupaṭīra kuṅkumalasatkarpūramiśrodakaiḥ|
gokṣīrairapi nārikelasalilaiḥ śuddhodakairmantritaiḥ
snānaṁ devi dhiyā mayaitadakhilaṁ kalpatām||
O Goddess, Who is the goal of the Yogis, Who has protected [us] from the world’s mundane net, and Who has large eyes! Take a holy bath in the water, which is produced by melting, which is mixed with sandalwood-fragrance, kumkuma and shining camphor, in the milk of cow, in the coconut water, and in holy-chanted water. Partake all these offering of mine with satisfaction.||4||
hrīṁkārāṅkitamantralakṣitatano hemācalātsaṁcitaiḥ
ratnaurujjvalamuttarīyasahitaṁ kausumbhavarṇāṁśukam|
muktāsaṁtatiyajñasūtramamalaṁ sauvarṇatantūdbhavaṁ
dattaṁ devi dhiyā mayaitadakhilaṁ saṁtuṣṭaye kalpatām||
O Goddess, Who has a body marked with the mantra of “hriiḿ”! Take the resplendent blouse associated with jewels collected by the ice-mountains, the saffron-colored stick, the pure sacred thread made of golden thread strung with pearls, and a sārī made of golden silken threads. Partake all these offering of mine with satisfaction.||5||
hamsairapyatilobhanīyagamane hārāvalīmujjvalāṁ
hindoladyutihīrapuritatare hemāṅgade kaṅkaṇe|
mañcīrau maṇikuṇḍale makuṭamapyardhenducūḍāmaṇiṁ
nāsāmouktikamaṅgulīyakaṭakau kāñcīmapi svīkuru||
O Mother, Who has the gait desired even by the swans, Who is filled excessively with the shimmer of the diamonds of the swing, Who has golden bangles, Who has bracelets, and Who has jewel-studded ear-hoops! Accept a resplendent garland, a crown with the crescent moon as a crest-jewel, a pearl for the nose, finger rings, and a golden girdle.||6||
sarvāṅge ghanasārakuṅkumaghanaśrīgandhapaṅkāṅkitaṁ
kastūrritilakaṁ ca phālaphalake gorocanāpatrakam|
gaṇḍādarśanamaṇḍale nayanayoḥ divyāñcanaṁ te’ñcitaṁ
kaṇṭhābje mṛganābhipaṅkamamalaṁ tvatprītaye kalpatām||
Partake, in all the organs, thick paste made of kumkuma, camphor and sandalwood, a forehead-mark of kastūrī, a leaf of gorocana on Your forehead plank, a divine ointment on your cheeks and eyes, and a pure never-fading musk-paste for Your lotus-like neck. Partake all these with happiness.||7||
kalhārotpalamallikāmaruvakaiḥ sauvarṇapaṅkeruhaiḥ
jātīcampakamālatīvakulakairmandārakundādibhiḥ|
ketakyā karavīrakairbahuvieidhaiḥ kaḷuptāḥ srajo mālikāḥ
saṁkalpena samarpayāmi varade saṁtuṣṭaye gṛhyatām||
O Goddess, Who bestows the boons! I mentally submit garlands made in many ways with the flowers of water-lily, lotus, jasmine, Maruvaka, golden lotuses, Jati, Campaka, Malati, Vakula, Mandara, Kunda and others, Ketaki, and Karaviraka. Partake all these with happiness.||8||
hantāraṁ madanasya nandayasi yairaṅgairanaṅgojjvalaiḥ
yairbhṛṅgāvalinīlakuntalabharairbadhnāsi tasyaśayam|
tānīmāni tavāmba komalatarāaṇyāmodalīlāgṛhāṇyāmodāya
daśāṅgaguggulughṛtairdhūpairahaṁ dhūpaye||
You entertain the slayer of Madana (Shiva) by the means of Your organs of beauty and brilliance, Your black tress-locks imitating the rows of bees. You trap His thoughts. O Mother! Having pleased You in the nice blissful and sporting homes, I wave the incense made of the ten ingredients, fragrant-resin, cow-milk’s butter, and incense-wood for You.||9||
lakṣmīmujjvalayāmi ratnanivahodbhāsvattare mandire
mālarūpavilambitairmaṇimayastambheṣu saṁbhāvitaiḥ|
citrairhāṭakaputrikākaradhṛtairgavyairghṛtairvadhitai-
-rdivyairdīpagaṇairdhiyā girisute saṁtuṣṭaye kalpatām||
I invoke auspiciousness in the temple — with heaps of precious-stones, with gem-decked pillars arrayed in a garland-shape, and with colorful young-women sculptures carrying lamps in their hands whose flames are increased by cow-milk’s butter. O Goddess, the daughter of Himalaya! Accept rows of such divine lamps. Partake all these with happiness.||10||
hrīṁkāreśvari taptahāṭakakṛtaiḥ sthālīsahasrairbhṛtaṁ
divyānnaṁ ghṛtasūpaśākabharitaṁ citrānnabhedaṁ tathā|
dugdhānnaṁ madhuśarkarādadhiyutaṁ māṇikyapātre sthitaṁ
māṣāpūpasahasraṁ amba saphalaṁ naivedhyamāvedaye||
O Goddess of the “hriḿkara”! O Mother! I present the offering of cooked divine grains, split-pea soup with leaves and cow-milk’s butter, many types of rice, rice cooked in milk with sugar, honey and curd, gram-cakes of thousand kinds, and naivedyam bearing fruit situated in precious-stone vessels, in golden vessels, and in thousands of plates.||11||
gacchāyaiḥ varaketakīdalarucātāmbūlavallīdalaiḥ
pūgaiḥ bhūriguṇaiḥ sugandhimadhuraiḥ karpūrakhaṇḍojjvalaiḥ|
muktācūrnṇavirājitaiḥ bahuvidhairvaktrāṁbujāmodanaiḥ
pūrṇā ratnakalācikā tava mude nyastā purastādume||
O Uma! Placed before You is a precious-stone ladle with the fragrance of Ketaki, and has betel-leaves and catechu-leaves — which have many qualities, which have beautiful fragrance, which are resplendent due to the chunks of camphor, which have powdered pearl, which are made in various steps, and which will please the lotus-like mouth in many ways. These are for Your enjoyment!||12||
kanyābhiḥ kamanīyakāntibhiralaṅgārāmalārārtikā
pātre mauktikacitrapaṅktivilasatkarpūradīpālibhiḥ|
tattattālamṛdaṅgagītasahitaṁ nṛtyatpadāmbhoruhaṁ
mantrārādhanapūrvakaṁ suvihitaṁ nīrājanaṁ gṛhyatām||
Accept an Aratī, which is associated with tala of ‘tat-tat’ and beats of drum, which is full of dancing lotus-feet, which is full of mantra-adoration, which is beautifully arranged, which is accompanied by beautiful girls possessing radiance, and which is accompanied by a beautiful plate having colorful pearls and shining lamps made of camphor flame.||13||
lakṣmīḥ mauktikalakṣakalpitasitacchatraṁ tu dhatte rasāt
indrāṇī ca ratiśca cāmaravera dhatte svayaṁ bhāratī |
vīṇāmeṇavilocanāḥ sumanassāṁ nṛtyanti tadrāgavadbhāvaiḥ
āṅgikasātvikaiḥ sphuṭarasaṁ mātastadākaṇyartām ||
Lakṣmī holds an umbrella — which is bejeweled, sparkling, white and decorated with pearls — over You; Indrāṇī and Rati sway hand-fan for You; Bhāratī has the string-lute [to which] celestial dancers with beautiful eyes are dancing gracefully. O Mother! Hear the clear songs coming out of the sāttvika sounds possessing musical patterns.||14||
hrīṁkārātrayasaṁpuṭena manunopāsye trayīmaulibhiḥ
vākyairlakṣyatano tava stutividhau ko vā kṣametāmbike |
sallāpāḥ stutayaḥ pradakṣiṇaśataṁ saṁcāra evāstu te
saṁveśo namasaḥ sahasramakhilaṁ tvatprītaye kalpatām ||
O Mother, Who is prayed by men with the three parts of the “hriḿkara”, and Whose manifestation is the aim of the words of the three-heads [of hrīḿkāra]! Who knows how to pray You. O Ambika! Forgive me. [So] Let my uttering be Your eulogies, let my walking be hundred pradakṣiṇā around You, let my dreaming be thousand salutes to You. Partake them with happiness.||15||
śrīmantrākṣaramālayā girisutāṁ yaḥ pūjayeccetasā
saṁdhyāsu prativāsaraṁ suniyatastasyāmalaṁ syānmanaḥ |
cittāmbhoruhamaṇṭape girisutā nṛttaṁ vidhatte rasādvāṇī
vaktrasaroruhe jaladhijā gehe jaganmaṅgalā ||
He who regularly worships the daughter of Giri (Himalaya) with consciousness and with this garland of Mantra-syllables, during the evening and the morning prayers — the daughter of Giri will dance in the maṇṭapa of lotus-like-mind, will never leave His tongue as Sarasvati, and will never leave his lotus-face as Lakshmi.||16||
Literal meaning:-Some connoiseurs of the highest enjoyment,adding before the beginning of Thy mantra(verse)the Bija-syllables of Kaamaraaja(kleem),Bhuvaneswari(hreem),and Sree(shreem)and adorned with a necklace of Chintamani,worship Thee with oblations consisting of countless streams of Kamadhenu‘s ghee in the purified fire of Shiva(i.e.Shakthi established as the thrikona in the anaahatha-chakra).
In Sri.Bhaaskararaya’s commentary on Lalitha Sahasranamam , the term “Chintamani” is described as thus:-
Chintamani is that jewel which yields all the objects desired;of this the city is built.
Maha Tripura Sundari, in Chintamani Gruham
This house is described in detail in the Brahmaanda Purana,”In that house of Chintamani all is Chintamani.”This house having an extent of a thousand yojanas is above the world system.
The Rudrayaamala says,”In that Chintamani house of a thousand yojanas in extent.
The Lalithaasthavaratna (v.105) says,”May that house,built of Chintamani stone which is on the northern side of Sringaaravana (on Meru),whither all the devas go to worship,remove all my mental trouble(chinta).”
In the commentary on Gowdapaada-sutra(no.7)the Chintamani house is explained as the place of origin of all those mantras which bestow all desired
objects(chinthitha),and its construction is elaborately described.
Chintamani is specially mentioned in the 3rd,8th and the 33rd slokas of Soundarya Lahari.
The dust of Thy lotus feet is the Island City,wherefrom takes place the luminous sun-rise of spiritual illumination driving away the over-casting darkness of ignorance in the hearts of the devotees.
It forms the cluster of flower buds from which gushes forth the nectar of intelligence,enlivening the dull-witted.
It is a veritable necklace of wish-yielding gems for the poverty-stricken.And for those immersed in the ocean of worldly affairs,it becomes their uplifter like the tusk of Vishnu,which raised the earth from submergence in pralayaa waters when He incarnated as the Cosmic Boar.
The Nagara.
Nagara had 25 streets circling it, made of iron, steel, copper, and lead. An alloy made of five metals, silver, gold, the white Pushpa raga stone, the red Padmaraga stone, onyx, diamond, Vaidoorya, Indra neela (topaz), pearl, Marakatha, coral, nine gems and a mixture of gems and precious stones.
In the seventeenth street lived the different Yoginis. In the eighteenth street lived Maha Vishnu.
In the nineteenth street lived Esana, in the twentieth Thara Devi, twenty-firstVaruni, the twenty-second Kurukulla who presides over the fort of pride,
twenty-third Marthanda Bhairava, twenty-fourth the moon and twenty-fifth Manmatha, presiding over the forest of love.
Bhaskararaya’s Explanation.
Sri Nagara is beyond all the Universes,in the middle of Amrutha Saagara,in Ratna Dweepa.
It is surrounded by many Forts and lush gardens .
These are.
1. Diifrent Trees,
2. Mahothyaanam Kalpa Vatikai.
3.Santhaana Vatikai.
4.Hari Santhana Vatikai.
5Manthaara Vatikai.
6.Parijaatha Vatikai.
7.Kadambavana Vatikai.
Forts as described in the above, of metals and Gems.
In addition to this it is surrounded by Manas(mind),Buddhi(Discriminating power, Intellect),Ahankaaram(‘I’ ness),the Tejas of Sun and Moon.
In this resides Mha Padhmadavi.
In the Center ,lies the Chintamani Gruham.
In the middle of this Chinatamani Gruham lies the Sri Chakra, surrounded by the Nava Aavarnaas.
In its center, Mahathripurasundari is seated in the Mahasmihaasana(on the Pancha Brahmaasana),of the Bindu Peeta of Sarvaanadhamaya.
The Lalita Sahasranaama is a powerful Mantra and form a part of The Tantra, Yantra Shastras of India.
Lalita means’ one who plays”
This can be recited daily as a Paarayana and as a Puja.
Excepting Paarayana, the others have to be initiated by a Guru and performed.
The Lalita Sahasranama has the thousand names of the Devi Lalita.
Hinduism describes the Reality as the One without Attributes, Nirguna,
It also provides for worshiping personal Gods,Iswara, Saguna Brahman.
Lalita Sahasranaama contains both Nirguna Upasana and Saguna.
Broadly the Stotra has Nirguna and Saguna Upasana.
It describes the Devi with Attributes in Saguna Saradhana Section, also details the Nirguna aspect.
In Saguna ,The Devi is worshiped as The Mother, as who else can take care of the Child but the Mother!
Nirguna follows the pattern of the Upanishads,’the neti Nyaya’ , that is not his, not this.
Nirguna, Nirahankaara….the list goes on.
And as a mode of worship of Shiva and Shakti it has Eykyaanusanthaanam, where the union of the individual and Universal Soul and of Shiva and Shakti are explained.
Bhaskararay Temple,Bhaskararaaja puram
Maha Meru Bhaskararaaja Puram
Sri Bhaskararaya
Lalita Sahasranaama also deals with the description of the Devi, Her Evolution, though not really She Evolves for “She Always Is’ the details of Her Dwelling place, Sri Pura and Sri Chakra,
The Stotra is Yantra Shastra because it deals with the Sri Yantra,
It deals with Tantra Shastra, when it deals with all the Tantra.
Akulaa Samayaanthastha Samayaachhara Thatpara’
It accommodates all the sects of Devi worship,Kulachaara,Samayaachaara,Vaamaachara, you name it , the Lalita Sahasranaama has it.
Lord Shiva divulged is and other stotras and it was later passed on to the others.
It is also on record that Sri Lalita Devi had ordered Her Yoginins to compose this.
The Stotra also has Yoga embedded in it .
The Angannyaasa and Karanyaasa are of Yogic Discipline.
The various Chakras of the yoga are fixed in the Devi’ specifying the Chakra in its functional aspects.
The fundamental aspect of Human understanding, Thought and Words are embedded her.
‘SriMad vaakbha Koodaika swaroopa,
She rests as Savitri inin the tongue, remaining as Gayatri in the Consciousness Process and expresses herself as Sarasvati when words are formed.
She is the Swaroopa of Brahma, Vishnu, Rudra and She transcends them All.
The letters and words are locked mystically.
This Stotra contains the Bheejaakshara of Bhuvaneswari,Kali, Lakshmi.
And it contains Laita Thripurasundaris Akshara as well.
The practice of Bala as a Deity is also found.
I can go on writing on these lines, which I shall do later.
The reason for this post is about the The Giant who had written Bhashya, Explanation oh Lalita Sahsranaama, Sri Bhaskararaya.
He was born in 1690 in Bhaga, Maharashtra, India, is Mother Konamba and father Gambiraraya, a Scholar.
Gambirraya was conferred the Title ‘Bharathi by the Vijayanagar Empire.
He was of Viswamitra Gotra,
Gambiraraya administered the Saraswati Mantram and had Bhaskararaya trained under Sri Narasimha Advari in Benares,Varanasi.
Bhaskararaya was highly respected by the learned and won accolades from Kings and Scholars.
He was married to Anandhi and Parvati.
He settled in Benares and wrote over 40 books on Vedanta, Mimamsa,Vyakaran,Nyaya, Smriti,Mantra Shastra.
All the works are research papers!
He referers to more than 150 sources for his laita Sahasranaama Bhahsya.
He had a host of Disciplies and Umanandanathar wrote a book on Parasuramakalpasutram and a Biography of Bhaskararaya in Bhaskara Vilaasam.
Bhaskararaya , with the support of his disciples and the Kings had many temples renovated.
Then Bhaskararaya proceeded South, after staying for some time on the banks of the Krishna river and settled on the banks of Kaveri.
A village was created for him as Bhaskararajapuram in Thanjavur district Tamil Nadu.
Later,reached Tiruvidaimaruthur,near Kumbakonam and lived there till 1785, till the age of 95.(1690-1785).
Among his many works the famous are.
Sowbhaagya Bhaaskaram’- this is the Lalita Sahasranaama Bhashyam.
Sethubandham , dealing ith Shodasikaavarnam.
Varivasya Rahasyam.
These three are called the Ratnathraya of Devi Upasana
ललित सहस्रनामम् भारतीय तंत्र और यंत्र शास्त्र का एक महत्वपूर्ण मंत्र है। ललिता उसका नाम ‘खेलनेवाली’ है। इसे दैनिक प्रार्थना और पूजा के रूप में पाठ किया जा सकता है। पाठ के पश्चात इसे गुरु द्वारा संप्राप्त करना चाहिए। यह हजारों नामों का मंत्र है जिसमें देवी ललिता की महानता का वर्णन है। इसमें निर्गुण और सगुण उपासना दोनों हैं। श्लोकों में सगुण उपासना खंड में देवी को माँ के रूप में आराधित किया जाता है, क्योंकि कोई भी बच्चे की देखभाल कर सकती है सिवाय माता के। निर्गुण उपासना उपनिषदों की प्रणाली ‘नेति नेति’ का पालन करती है। इसमें देवी का विविधता, स्थान, श्रीपुर और श्री चक्र का वर्णन है। यह मंत्र शास्त्र है क्योंकि इसमें श्री यंत्र का वर्णन होता है, तंत्र शास्त्र है क्योंकि इसमें सभी तंत्र का वर्णन है। इसमें सभी देवी की प्रवृत्तियों का वर्णन है, जैसे कूलाचारा, समयाचार, वामचार और अन्त तक। इसका बड़ा भाग के रणाबांध कवि शिव ने ओर अन्य स्तोत्रों को लिखा है और यह बाद में दूसरों को भी पहुंचाया गया है। इस पोस्ट का कारण यह है कि ललित सहस्त्रनाम के टिप्पणीकरण के लिए भाष्य लिखने वाले ग्रामवासी थे, इसका नाम भास्करराय था। उन्होंने 1690 में महाराष्ट्र के भागा में जन्म लिया था। उनके पिता का नाम गंबीरराय था, जो एक पंडित थे। गंबीरराय को विजयनगर साम्राज्य ने भारती नाम से सम्मानित किया था। वे विश्वामित्र गोत्र के थे, गंबीरराय के नेतृत्व में श्री नरसिंह अदवारी के तत्वों के तहत भास्करराय का अद्ययन हुआ था। उन्हें ज्ञानी और राजाओं से महान सम्मान मिला था। उनकी शादी आनंदी और पार्वती से हुई थी। उन्होंने वाराणसी में बसने के बाद 40 से अधिक पुस्तकें वेदांत, मीमांसा, व्याकरण, न्याय, स्मृति, मंत्र शास्त्र पर लिखीं। उनकी सभी प्रविष्टि प्रमाणिक हैं। उनके लिखे भाष्य के लिए वे 150 से अधिक स्रोतों का उल्लेख करते हैं। उनके अनेक छात्रों के सहयोग से और राजाओं के सहयोग से उन्होंने कई मंदिरों का मरम्मत करवाया। फिर भास्करराय दक्षिण की ओर चले गए, कृष्णा नदी के किनारे कुछ समय बिताकर कावेरी नदी के किनारे बसे। उनके नाम पर भास्करराजपुरम नामक गांव बनाया गया। बाद में उन्होंने थांजावुर जिले के तिरुविडैमरुथूर पहुंचा, वहां रहकर उनकी उम्र 95 वर्ष (1690-1785) तक रुकी। उनकी कई प्रमुख पुस्तकें हैं: “सौभाग्य भास्करम्”- यह ललित सहस्रनाम के भाष्य है, सेतुबंधम्- शोडशीकावर्णमध्ये संबंधित, वरिवस्य रहस्यम्। ये तीन देवी उपासना की रत्नत्रय माने जाते हैं।
ఈ పోస్టును తెలుగులో అనువదించండి:
లలిత సహస్రనామం ఒక శక్తిపూర్ణ మంత్రమానికి చెందిన ఒక భాగముగా భారత దేశంలోని తంత్రశాస్త్ర యంత్ర శాస్త్రాలు. దినపత్రంలోనికి అనేక ఆవశ్యకమైన ప్రవృత్తిలతో, ఇది హరిపాద్యము అంటారు. ఒక గురునాయకుడి ద్వారా నిర్ధరించబడిన మీరు పారాయణము చేసుకోగలిగే వారికి సహపాఠం నేది. లలిత సహస్రనామంలో దేవి లలితాకు ఎప్పుడూ ఒకటిగానే ఉన్న సహస్ర నామాలు ఉన్నాయి. హిందూధర్మంలో సామర్థ్యముగా నరలో గుణాలేక ఉండే రహస్యస్వరూపముందు కూడా దేవరానికి ప్రార్థభావబద్ధమైన అర్చన పటం ఉన్నది. ఈ సహస్రనామం నిర్గుణ ఉపాసన మరియు సగున ఉపాసన రెండూ ఉన్నాయి. సర్వేయుడిగురించిన పట్ల వివరణలు అంటే అని సాగుతుంది. సగున ఉపాసన విభాగంలో దేవిని తాయనిగే ఆరాధించగలదు. సగుణ ప్రకారం, పిల్లలను ఎలాంటివారు పరిగణింకగలిగేందుకు తాయుడు ఏమీ చేయలేదో ఆరాధించగలడు. నిర్గుణ నాయకుడు పురాణ పద్ధతిలో, ‘నేతి నేతి’ అనే పద్ధతిని అనుసరించుటకు భక్తులకు ఉపదేశించబడును. నిర్గుణ, నిరహంకారం … జాబితాపు జరుగుతుంది.
శివుని మరియు శక్తిని ఆరాధించే పటంలో ఆత్మీయత ఏక్యానుష్ఠానం ఉన్నది, ఇక్కడ వ్యక్తిదైవత్వ సహజ జీవ యొక్క ఏకైక ఆవేశకాలం మరియు శివుడు మరియు శక్తి యొక్క ఏకైక సమానత గురించి వివరణ చెప్పగలుగుతుంది.
లలిత సహస్రనామంలో దేవిని, ఆకృతిని మరియు దేవి అభివృద్ధిని వివరిస్తుంది. రహస్యకోనంలకు దాని నామపదం చేరుకోగడమంటే “ఈశ్వరుని, విష్ణువు, రుద్రుని” అని ఉంటుంది. పత్రాలు మరియు పదాలు రహస్యవాదంగా ఉండును.
ఈ స్తోత్రములో భీజాక్షరముల గురించి చర్చించడానికి నేల కలిగినా సాగుతుంది. ఇది లలిత త్రిపురసుందరి అక్షరమును కూడా గురించి చెప్పగలదు. బాలునిని ఆరాధించే పటంలో కూడా గుర్తింప ఉంది.
ఈ రచయిత గురించి మరింత వ్రాస్తాను, అందువలన ఆవశ్యకం కానిది. ఆ పేజీలను గుర్తించడానికి ఇక్కడ క్లిక్ చేయండి.
Sri Vidya is unique in Hinduism as it has the rare distinction of combining Mantra and Tantra Shastras.
It also includes Yoga.
Sri means Prosperity and Plenitude.
Vidya is Knowledge.
Sri Vidya is that which grants Knowledge and Prosperity or Knowledge of Prosperity.
As Knowledge that liberates the Soul, it has no equal.
The special feature is that Sri Vidya grants both prosperity and Liberation here and in the after Life, nay, also Liberates one from the cycle of births and deaths.
In two short phrases Lalitha Sahasranama describes Goddess Lalitha as .Bhaktha Sowbhagyadhaayini’
One who grants every thing for the welfare of Her Devotees.
She is The Universal Mother.
The Lalitha Sahasranama begins addressing the Goddess as The Mother , Mother of Prosperity,
“Sri Matha, Maharajne’
As Knowledge of Prosperity Sri Vidya it gives scope for prosperity in this world through Saguna Upasana and for Beyond by Nirguna Uapasana.
Sri Vidya combines Gnana, Bhakti, Karma and Raja Yoga and synthesizes them in one format.
It also provides for Dualism,Dwaita and Advaita in worship.
As a Devotee if one worshps the Devi as different from the Self, it becomes Dwaita.
When Sri Vidya is practiced as the raising of Kundalini through the Chakra in the Human Body it becomes Yoga.
In Kunḍalini yoga, one realizes divine consciousness through the activation of the hidden energy of Kunḍalini.
There are six centers (cakras) in the spinal channel. Kunḍalini is said to be initially coiled up at mulādhara.
She is the Mother. She passes through these six from mulādhara at the bottom of spine to ajna at the forehead, then to the crown of the head (sahasrāra) where individual consciousness fully unites with cosmic consciousness.
When you concentrate on the Unity of Shiva and Shakti, it Unites Shaiva and Shakta.(Aikyaanusnathaanam)
When one meditates on the Devi as an expression of the Universal Self, Brahman, it is Advaita.
As the mantras are mystically locked, it is Mantra Shastra.
Sound is produced through contact, vibration and obstruction.
This is called āhata. However cosmic hiss if one can hear is eternal and existent.
This is called Anāhata. It is not produced by us but only heard.
A yogi can hear this.
In sādhana one makes the sound oneself (by doing mantra japa), in a rhythm, resonant with the vibrations of his nādis and his breath.
Through this one will be able to discover the deeper vibration.
This way of merging individual with cosmic is called mantra yoga.
Mantra is said to be the sound-form of Devata (god-form).
One realizes Devata through the chanting of mantra in mantra yoga.
Mantra yoga concentrates on nada (sound) to strike rhythm between individual and cosmic vibration, to activate the right nādis, to expose one into the cidākāsa or daharākāsa (causal space).
Śabda (sound) is the tanmatra (subtle attribute) of mahābhuta (primal element) ākasa (space)
It practices Geometrical Worship, Sri Chakra, it becomes a Tantra Shastra.
As Laya Yoga.
Meditation is the means in laya yoga. One controls mind through the control of breath, so that full concentration is possible in meditation.
Through meditation, one’s consciousness merges in the object of meditation and one realizes Atman.
The state, in which the difference between the one who meditates the act of meditation and the object of meditation dissolves, is called samādhi or sāyujya.
One also observes during meditation one’s own being, the different sheaths of consciousness.
There are five kosas or sheaths of consciousness of being – annaMāya (physical), prānaMāya (vital-life), manoMāya (mental), vijnānaMāya (intellect-knowledge) and ānandaMāya (causal – blissful).
The first is gross, next three constitute subtle and the fifth causal being.
The causal being is Īśvara who resides in all beings, along with Māya His consort. She veils the unmanifest form of the divine, Brahman.
The Mother is MahāMāya, who covers the world with veil of ignorance and lifts the veil out of grace, causing the entire play of creation.
This is the cosmic sport She does for the Lord, Her līla. Her play, action can be seen in karanākāsa the causal space.
She is the moon of that space, and is called Cidākāsa candrika.
Sources for Sri Vidya.
The Tantric texts like Rudra Yamala expound ŚrīVidyā. Khadgamāla Stotra, is the map and worship of Śrī Chakra
.Besides there are several Śrī Kula texts in the oral traditions, either as compilations or as part of the mantra Śāstra texts like Mantra Mahodādhi, Mantra Mahārnava and Śāktā texts.
The Devi (mother Goddess) killed Madhu and Kaidabha as Vishnu Maya (Thamasic-base), killed Mahishasura as Lakshmi (Rajashic form-materialistic) and killed Shumbha and Nishumbha in the form of Goddess Saraswathi (Sathvic-spiritual).
All the three are combined in this Stotra.
It consists of Chapters 74 to 86 (13 chapters) of the Markandeya Purana and has 700 stanzas.
Manikyamba devi also considered as Kula devata of vesyas.
On every Ekadasi day Lord Bhimeswaraswamy and Manikyamba devi ekanta seva will be performed. Eight slokas will be sung by priests regarding Manikyamba devi and Bhimeswaraswamy and their romantic love story.Fridays also important days to worship Manikyamba devi. Kumkumarchana will be done in Fridays.
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