The Heart of The Yogini The Yoginihrdaya
The Heart of The Yogini The Yoginihrdaya
The Heart of The Yogini The Yoginihrdaya
Yoginī
This page intentionally left blank
THE HEART OF
THE YOGINĪ
The Yoginīhṛdaya, a Sanskrit
Tantric Treatise
z
Introduction, translation, and
commentary
by
ANDRÉ PADOUX
with
ROGER-ORPHÉ JEANTY
1
3
Oxford University Press is a department of the University of Oxford.
It furthers the University’s objective of excellence in research, scholarship,
and education by publishing worldwide.
Oxford New York
Auckland Cape Town Dar es Salaam Hong Kong Karachi
Kuala Lumpur Madrid Melbourne Mexico City Nairobi
New Delhi Shanghai Taipei Toronto
With offices in
Argentina Austria Brazil Chile Czech Republic France Greece
Guatemala Hungary Italy Japan Poland Portugal Singapore
South Korea Switzerland Thailand Turkey Ukraine Vietnam
1 3 5 7 9 8 6 4 2
Printed in the United States of America
on acid-free paper
To the memory of Professor Vraj Vallabha Dvivedi and of
Pandit R. N. Bhatt
This page intentionally left blank
Contents
Preface ix
Note on the Transcription and Pronunciation of Sanskrit xi
Introduction 1
1. Encounter in the Cakra: Cakrasamketa 24
2. Encounter in the Mantra: Mantrasamketa 58
3. Encounter in the Worship: Pūjāsamketa 93
Notes 163
Glossary 181
Bibliography 185
Index 187
This page intentionally left blank
Preface
the introduction and the notes and in the translation) whenever necessary
to make it more grammatically correct, more fluent, and conforming to
American usage.
It is sincerely hoped that this conjoined effort will make this important
text much more widely known and distributed within an English-speaking
readership.
Note on the Transcription and
Pronunciation of Sanskrit
as socially valid but unable to give liberation, which could only be attained
through the complementary and higher teachings of the Tantras.
First limited to small esoteric transgressive groups of ascetics, this
teaching progressively spread to larger groups, being adopted by (exter-
nally) orthodox Hindu householders who, from a certain time (perhaps
the seventh or eighth century) onward, formed the vast majority of Tantric
believers. This was in spite of the fact that Tantric teachings are esoteric
and in principle meant only for initiates, initiation (dīkṣā) being theoreti-
cally the necessary first step toward liberation—a liberation giving both
mukti (liberation) and bhukti (the enjoyment of mundane or supramun-
dane rewards or supernatural powers) and, of course, to be enjoyed while
still living: a jīvanmukti. The Tantric jīvanmukta, the liberated in this life, is
not only free from this world, but he also dominates it magically.
In the course of time, Tantric traditions developed, expanded, and
diversified. As they spread, their notions and ritual practices progressively
permeated the whole Hindu world, so much so that for the last thousand
years, there has been practically no Hindu tradition entirely devoid of
Tantric elements. The Hindu worship, the pūjā, for instance, is Tantric in
its conception and ritual process, the principles of Hindu temple building
and iconography are Tantric, and so on. The Tantric domain penetrated
also the social and political field. It spread to the whole Indian subconti-
nent and South Asia. Its textually most active period was (approximately)
from the eighth to the fourteenth centuries. One of its main centers
in the Indian subcontinent was in Kashmir, where several important
Śaiva traditions appeared, such as the Spanda, Krama, Pratyabhijñā, or
Trika. Abhinavagupta, one of the most remarkable and brilliant Indian
philosophers and mystics, the master of the Trika, was from Kashmir (fl.
c. 975–1025).
Among the Kashmiri nondualist systems and forming one of the four
“transmissions” (āmnāya) of the Kula is the Śrīvidyā, whose main deity is
Tripurasundarī, the supreme goddess of the YH.
different schools. There are, however, at least since the thirteenth century,
two different lineages, with two different forms of the srīvidyā (as we shall
see). Variants also appeared. There is in particular a modern South Indian
Śrīvidyā, based in Sṛṅgeri, very largely “vedantized” and “de-Tantricized,”
which is, however, not socially unimportant since it has been adopted by
the Śaṅkarācāryas.11
as we have seen, the four āmnāyas have different main deities, different
pantheons and mantras, and so on; however, because of their common
Śaiva kāpālika origin, they have, if not exactly a common esoteric core, at
least a common fund of metaphysical (and sometimes theological) notions
or doctrines, or ritual or spiritual practices, expressed by using a common
vocabulary, such as the use of the term kula and its derivatives (akula,
kaula, kaulika). Some mantras, too, are common to different āmnāyas.
although it is still the most active tradition of the Kula, the Tripurā
tradition is little known outside India. There is, as far as we know, no
complete and systematic study of its vast literature.12 This includes,
among earlier authors, such people as Punyānanda, who was the master
of Amṛtānanda, who often refers to his Kāmakalāvilāsa,13 and Śivānanda or
Vidyānanda, both of whom commented on the YH but also wrote various
ritual, theological, or philosophical works. Later came Lakṣmīdhara (16th
c.) and the polymath Bhāskararāya (c. a.d. 1700), who wrote a commen-
tary on the YH to which we sometimes refer here; Kasināthabhaṭṭa is also
worth mentioning.
The tradition includes such works as the vast mythical and speculative
Tripurārahasya, a number of Tantras or Tantric compilations such as the
Gandharvatantra, the Tantrarāja, the Tripurārnava, the Śaktisaṅgama, the
Vidyārnava, and so on. There are Upaniṣads, too, such as the Tripurā, the
Tripurāttāpinī, or the Bhāvanopaniṣad. Very important from the ritual point
of view is the Parasurāmakalpasūtra (where the goddess is Lalitā), com-
mented on by Umānanda in the Nityotsava (1745) and then by Ramesvara
in 1831. A number of other works—digests, ritual manuals, hymns, and
so on—would deserve mentioning.14 Of these, we only refer to one of the
best known, the Saundaryalaharī, traditionally attributed to Śaṅkarācārya.
there are two important commentaries on the YH. The earlier one is
the Dīpikā (“The Lamp”) by Amṛtānanda, which we often refer to here
(abbreviating it as Dī) since it is used as the basis of our explanation of
the YH. The other one is the Setubandha by Bhāskararāya, who lived in
Mysore and Varanasi at the end of the seventeenth and the beginning of
the eighteenth centuries. It is a commentary on both the VM/NṢA and the
YH, treating them as one and the same work. Amṛtānanda’s Dī interprets
the YH in the spirit of the later Pratyabhijñā as developed by Kṣemarāja,
which shows that even if Amṛtānanda was South Indian, he was neverthe-
less steeped in the Kashmirian Śaiva nondualist tradition. Bhāskararāya’s
Setubandha, on the other hand, which was finished, we are told, on the
Śivaratri day of Śaka 1655 (a.d. 1733), is the work of a much later remark-
able polymath (more than forty works are ascribed to him), not charac-
teristically written in the spirit of a particular sectarian tradition but very
true to the Tantric spirit of the YH. It is clear and useful.17 There are other
commentaries of lesser interest.
It may be useful here to draw the reader’s attention to the fact that
Indian religious or philosophical texts, often obscure or arcane or cast in
brief elliptical statements,18 were meant to be made explicit by commen-
taries given orally through the teaching of masters or in written exegetical
works. This is how Indian traditions appeared and developed, permitting
“change in continuity.” Truth being deemed to have been proclaimed in
the origins of time—or out of time—in the Veda, or by deities, nothing
could be added to it except by way of commentaries and explanations.
A problem that arises concerning the text of the YH is its relation-
ship to the VM/NṢA. The three chapters of the YH have often been con-
sidered to be the latter part of a work in eight chapters, the first five of
which constitute the VM/NṢA. The YH begins with the Goddess asking
Bhairava to explain to her “the many unknown elements that are in this
Vāmakesvaratantra” (vāmakesvaratantre ‘sminn ajñātārthas anekasaå). The
YH would thus appear to be an esoteric complement to the more exoteric
VM, which is a work of erotic magic and ritual, whereas the YH is mainly
metaphysical and devotional, even in its third chapter on the srīcakrapūjā.
To this can be added that Amṛtānanda sometimes refers to the VM in his
Dī, notably when explaining why a particular point is or is not mentioned
Introduction 9
Yoginī
The Yoginī of the title is the goddess Tripurasundarī. Amṛtānanda, in
his Dī, explains that she is so called because she manifests the coming
together (yoga) of all the constitutive elements of the universe. She bears
this name, he says, because she is eternally in union, yoga, with Śiva.
These explanations are of some value insofar as they underscore the at
once transcendent and immanent nature of the Goddess Śakti and her
indissoluble union with Śiva.
The name Yoginī is also interesting as a reminder of the links between
the Tripurā tradition, as an āmnāya of the Kula, with the ancient (but still
surviving) Yoginī cults. This tradition having as its main deity a goddess
who is the supreme power, Śakti, surrounded by a retinue of feminine
secondary deities/powers—ṣaktis, which are also Yoginīs—could be called
Śākta. But the so-called Śākta systems developed in a Śaiva context and
are in effect Śaiva. Metaphysically, Tripurasundarī is subordinated to
Paramasiva, the supreme level of the godhead. The YH is expounded by
Bhairava, the fearsome form of Śiva, in answer to a question of the Goddess.
True, he does so because she orders him (“I am ordered by You,” tvayāham
Introduction 11
ājñaptaḥ), but this order is a form of his own will (madicchārūpayā, 3.202).
As the Dī explains, the universe is the “play” (līlā, kṛḍ) of Śakti, but Śiva
is her master. Theologically, in the devotion and worship of her devotees,
the Goddess is supreme; but if Śiva and Ṣakti are inseparable, Śiva, the
masculine aspect of the total supreme godhead, is higher: Ṣakti is Śiva’s
energy. Tripurā’s tradition is therefore Śaiva.20
Surrounded by the Yoginīs abiding in the srīcakra—in the cosmos, that
is—Tripurasundarī is the first of them, infusing them with her power and
presiding over their activity. They emanate from her in a hierarchical order,
embodying and spreading her power on all planes of the cosmos and ful-
filling the functions allotted to them. As Bhairava says in YH 3.194: “You
alone it is, Enchantress of the worlds, who are playing under the guise of
these [deities].” They are aspects (rūpa) she takes on in her cosmic play.
In the Tantras and the Purānas, the Yoginīs are usually said to be
sixty-four in number, which is eight times eight, that is, eight times the
Eight Mothers (aṣṭamātaraḥ, aṣṭamātṛkā).21 In the third chapter (3.193), the
YH multiplies this number by ten million, mentioning sixty-four crores22
of Yoginīs, to be worshipped in an eightfold ritual. In the srīcakra, how-
ever, although they are in eight groups (plus the Goddess), corresponding
to the structure of the diagram, they number seventy-eight. Their names
also are not those usually found in the Purānas.
Hṛdaya
The great secret (mahāguhya) disclosed to initiates by the YH is the
Yoginīhṛdaya, the “Heart of the Yoginī,” by which is meant the supreme
reality, the supreme divine plane where the Goddess, consciousness (of)
itself, manifests her power and her glory. She does this by means of the
srīcakra and the srīvidyā, which are not a mere ritual diagram and a mere
mantra but her visual, or diagrammatic, and her phonic form, two aspects
of her cosmic creative (and destructive) power.
The heart as the supreme reality, as the spiritual plane, and as the
center in the human body (or, more exactly, in the image of the body)
where this reality is revealed and experienced is an ancient Indian notion.
It was taken over and developed in nondualist shaivism by such authors
as Utpaladeva, Abhinavagupta, and Kṣemarāja, who described it in his
commentary on the Śivasūtras as being “the light of consciousness since
it is the place where everything abides” (visvapratiṣṭhasthānatvāt citprakāso
hṛdayam). He also describes it as throbbing and flashing consciousness
12 t he hea rt of the yo ginī
Mudraˉ
Mudrās do not play a fundamental role in the YH. Their case, however,
needs to be mentioned here because of the particular conception of
mudrās in Tantric texts. They are not mere symbolical gestures evoking a
deity or some person or entity, object, or feeling, as is true of the mudrās
(or hastas) of dance or theater. They are both evocative/invocative gestures
and—in the case of deities or powers—the supernatural entity they evoke
or symbolize. They are both bodily gestures or attitudes by which the per-
former invokes and makes present (and, up to a point, identifies with) the
entities they symbolize and these very entities. The nine mudrās described
in sl. 59–61 of the first chapter of the YH are nine deities, ancillary god-
desses of Tripurasundarī made present by a gesture whose performance
(together with the mental visualization) identifies the adept with that deity.
(Such deities are to be worshipped during the srīcakra pūjā, as we shall see
in the third chapter.)
Gestures are an important element in human communication. They
play a role in support of language. They also supplement it. In ritual, they
have meaning and power, and they act, usually by accompanying a mantra
but also sometimes by their own visual/bodily power; this appears clearly
here in chapter 1.
For many texts, mudrās are more than gesture; they are mystical atti-
tudes, and in practicing them, the yogin identifies with a deity or even with
the absolute. Such is the case, for instance, with the mudrās described in
the Vijñānabhairava or those described in chapter 32 of Abhinavagupta’s
Tantrāloka, where he explains that the mudrā, together with the mental
concentration of the adept, brings about the presence of the deity invoked
and identifies the adept with it.
Metaphysics
The philosophical conceptions of the YH can be said to be those of the non-
dualist Kashmirian shaivism, and especially those of the pratyabhijñā-based
Introduction 13
Śiva, to be present with him in the srīcakra, hence the title of the chapter,
Cakrasamketa. What is described is a cosmic process bringing about the
existence of the cakra that embodies this process and mediates it to the
sādhaka who is to visualize mentally its aspect and its dynamism through
an intense identifying form of meditation called bhāvanā.27
After presenting the dialogue, in the Absolute, between the Goddess
and Bhairava, which makes up the text of the YH, the chapter first
describes the cosmic unfolding of the srīcakra from the central bindu to
the outer square (sl. 10–21). Then the adept, following a reverse movement,
since he is a human being, is to visualize and perceive within himself the
three main constituent parts of the cakra, going from the outer square
to the center. Now, once the meditation of the sādhaka has reached the
central bindu, he is to evoke and follow mentally the ascending levels of
phonic energy (the kalās, “parts”), from ardhacandra to unmanā, of the
utterance (uccāra)28 of the bīja HRĪṂ, the basic mantra of the Goddess.
The mental process goes thus from the spatial, visual domain of the
diagram to the oral one, as if sound were felt as a subtle extension of
space. The adept is to meditate there on three planes of the Word, vāc,
from the supreme, parā, to the intermediate, madhyamā,29 and to evoke
the fifty phonemes of the Sanskrit alphabet while also meditating such
entities as pīṭhas or liṅgas (sl. 37–49). He is to conceive the srīcakra as
being the universe produced by the will (icchā) of the deity, a will that is
eventually to become action (kriyā) and which is then mudrā “because it
rejoices [mud] the universe and makes it flow [rā].”30 Stanzas 57–71 then
describe ten mudrās that are both ritual hand gestures and aspects of the
Goddess, corresponding also to the nine parts of the srīcakra (and to its
entirety). The mudrās symbolize or, more accurately, are actually stages in
the progression of the sādhaka from the outer world where he lives to the
godhead.
Other meditations on the srīcakra are then prescribed, all meant to
help the adept to realize the metaphysical import of the diagram as the
form the Goddess takes on in her cosmic creative (and destructive) play;
added to the preceding ones, this bhāvanā will lead him to liberation.
identify the performer with the deity while worshipping her. It includes
the following items:
The last stanzas (199–204) deal with the fruits, worldly or otherworldly,
resulting from the performance of the pūjā.
All of these rites will be explained and discussed later, with the translation
of chapter 3. The following, however, may be said now about some of them.
Nyaˉsa
Eighty-one stanzas, nearly one-fifth of the chapter, are taken up by the
prescription of this long and complex ritual, which is indeed important
since it infuses the body of the officiating adept with the powers of the
Goddess, identifying him with her. First, six different “forms” (rūpa)—
we could say epiphanies, divine and cosmic—of the Goddess are placed.
This ritual placing (or imposition) being sixfold, it is called ṣoḍhānyāsa. It
is considered particularly important and efficacious. It is prescribed and
extolled in many of the texts, ancient or modern, of the Tripurā/Śrīvidyā
tradition. It is also mentioned in other Śaiva traditions.38 Next (sl. 41–68)
comes the nyāsa of the srīcakra, first of its nine concentric parts, then of
the deities abiding in those parts, going from the outer square, imposed
on the extremities of the body, to the Goddess, imposed on the heart. This
is followed by another placing (the third series of nyāsas) of these dei-
ties, starting with the Goddess and ending with the Siddhis of the outer
square. These two rites will increase the feeling of identification of the
officiant with the Goddess by an interiorization of her diagrammatic cos-
mic form. The YH says (sl. 81) that he is now to consider himself as insepa-
rable from her (svābhedena cintayet). Then, as a fourth series of nyāsas (sl.
81–86), come eight different placings of various entities on the hands and
on other parts of the body. The nyāsas end with a libation (samtarpana)
to the Goddess, which is, in fact, a meditative practice with an ascent of
kunḍalinī; this somehow confirms the ritual identification of the adept
with the deity he worships.
Śrīcakrapūjaˉ
This is not a worship of the srīcakra but a worship, performed on the cakra,
of Tripurasundarī, who resides in its center while also pervading it, and of
all the deities of her retinue placed in concentric tiers around her in the
different parts of the diagram. They are worshipped going from the outer
20 t he hea rt of the yo ginī
square to the inner triangle, the Goddess herself being worshipped in the
whole srīcakra since it is her diagrammatic cosmic form.
We have already enumerated the different parts of this pūjā. We note
here, however, that in each of the constituent parts of the srīcakra, a Siddhi
is worshipped, which is both a deity and a supernatural, magical power.
Thus, the worship in each of the cakras confers on the sādhaka one of
the eight main magical powers, the mahāsiddhis, animā, and so on.39 The
ritual worship, therefore, is not only a means to approach the Goddess
and identify with her but also a means to acquire supernatural powers, as
is expressly stated in sl. 189 and 203 of the chapter. This is in conformity
with the Tantric conception of liberation in this life, which confers worldly
powers along with liberation.
The pūjā is made up of a number of sometimes complex rites orga-
nized as a dynamic, coherent ritual process, with two intermediate medi-
tative periods, carrying the worshipper from the outer, ordinary world to
the realm of the gods, a process during which he acts out symbolically
an inner transformation from his condition of a mere mortal being to
that of jīvanmukti by identification with the godhead. Progressing along
this structured ritual and spiritual path, the officiating adept, after “enter-
ing” the diagram by paying homage to the lower and most external deities
abiding in the outer square, the bhūgṛha; purifies his hands and his prāna
(in the two lotuses); then causes his kunḍalinī to ascend and feels thus
absorbed into the cosmic energy (the kulasakti), which is also present in
his body, this in the cakra of fourteen triangles. As he concentrates on
an inner subtle phonic resonance (nāda), he raises his kunḍalinī again
from the mūlādhāra to the ājñācakra (in the first cakra of ten angles),
and then, along with the kunḍalinī (in the second ten-angles cakra), he
becomes absorbed in his own essence. After that, as his prāna is concen-
trated in his heart (cakra of eight triangles), he realizes the pure essence of
consciousness, and (having attained the central triangle) he worships the
higher deities destructive of the cosmos surrounding the Goddess, which
means that he rises to the source of the universe. The worship having now
reached the central bindu “whose nature is that of the supreme brahman,”
the adept worships Tripurasundarī in the whole srīcakra since she per-
vades it. This he does “in total freedom,” that is, with the absolute liberty
of one who has outsoared (ritually, of course) all limitations.
Perceived in this way, as a movement from this world to the supreme
deity, the pūjā is for the adept not a random succession of discrete ritual
actions but a total and fulfilling existential experience of participation in
Introduction 21
Japa
Finally comes the japa, the recitation of the srīvidyā, the mūlamantra of
the Goddess, a rite performed in the last part of all ritual Hindu worships.
The japa prescribed here is, however, not really a recitation. It is a com-
plex spiritual and yogic exercise associating the enunciation (uccāra) of the
vidyā with visualizations and with the ascent of kunḍalinī. The uccāra is, in
fact, an upward movement of the phonic resonance of the srīvidyā along
the suṣumnā, going from the mūlādhāra up to the dvādasānta,40 insepa-
rable from the ascent of the kunḍalinī. It is therefore a practice of Tantric
mantrayoga where the srīvidyā is used as a means to facilitate the fusion of
the adept with the cosmic divine power of the Goddess.
The japa is made up of four meditative-yogic practices:
Japa of the three parts of the srīvidyā (sl. 169–173). This consists in
visualizing the three parts and the nine constituent cakras of the
srīcakra as tiered along the suṣumnā, then to perceive the kalās
of the subtle vibration of the bīja HRĪṂ, which ends these three
parts (kūṭa) of the mantra as ascending from the mūlādhāra to the
heart, then from the heart to the ājñācakra and thence up to the
dvādasānta, where the threefold phonic vibration reaches the plane
of unmanā, the “transmental,” and dissolves into the silence of the
Absolute, with which the adept also fuses. Table 3.1 in chapter 3
shows the pattern of this japa.
Japa of the sixfold void, sūnyaṣaṭkam (sl. 174–175). This practice involves
only the uccāra of the three HRĪṂ and their kalās, the uccāra being
organized along six “voids,” or points of the yogic body. It does
not seem to include visualizations. Like the first one, it leads to a
fusion with the Absolute “in the central void of the divine undivided
Consciousness,” says the Dī.
Japa of the five states of consciousness, the avasthās: jāgrat, waking;
svapna, dream; suṣupti, dreamless sleep; turya, the “fourth” state;
and turyātīta, “above the fourth” (sl. 176–180). It is also an uccāra of
the srīvidyā with which the adept experiences these states, from the
ordinary waking state up to the highest, “above the fourth,” which
is identical with the absolute divine Consciousness.
22 t he hea rt of the yo ginī
Finally, the third chapter describes the last offerings of the pūjā. It ends,
too (sl. 188–189), by promising the adept who has performed all of these
deifying rites or practices (and who is, we may believe, on the way to lib-
eration) not liberation, jīvanmukti, but that he will rapidly be in possession
of all possible supernatural powers. This may strike us as something of
an anticlimax. But on the one hand, is this ritual worship meant to lead
progressively, by its daily practice, toward liberation, or is it not rather
an acting out of such liberating experiences? Be that as it may, the fact is
that the srīcakrapūjā, being performed repeatedly every day, cannot but
create mental impregnations (vāsanas) which can eventually bring the per-
former, if not to liberation, at least to its threshold. This salvific efficacy
can act progressively with the repeated performance of the pūjā, whereas
the magical powers are “rapidly” obtained; both can therefore be given
by the same ritual. On the other hand, in the Tantric perspective, libera-
tion and powers are inseparably linked: a jīvanmukta may despise super-
natural powers, consider them as fetters, but he is necessarily endowed
with them. We may recall here the Śivasūtras, or Abhinavagupta stating
that whatever the jīvanmukta says is mantra and that all of his actions are
mudrās; these are supernatural actions resulting from the condition of lib-
eration in life. The Tantric perfection is metaphysically not of this world,
but it takes place in it. It is not disincarnate. It is total plenitude (pūrna). It
is experienced, “lived,” on all planes of being. The liberated person is free
from the fetters and illusions of this world: he or she outsoars it but also
dominates it. The quest of a magical domination of the world is, as much
as the hope for liberation, an Indian dream.
the edition used for this translation is the one prepared, on the basis
of several manuscripts, by Pdt. Vrajvallabh Dvivedi, former head of the
Yoga-Tantra Department of the Varanasi Sanskrit University, which
was published by Motilal Banarsidass in Delhi in 1988, together with
Introduction 23
The Goddess said:
srīdevyuvāca
O God of gods, great God, expanding in total fullness, there are in
this Vāmakesvatatantra many unknown elements //1// please reveal
them entirely, O Bhairava!
devadeva mahādeva paripūrnaprathāmaya /
vāmakesvaratantre’sminnajñātārthas tvanekasaḥ //1//
tāmstān arthān aseṣena vaktum arhasi bhairava /
Encounter in the Cakra 25
Bhairava said:
srībhairava uvāca
Hear, O Goddess, the great secret, the Heart of the Yoginī, supreme.
//2// What I tell you now out of love for you is to be kept carefully
hidden. On earth, it has [always] been taught and received by word
of mouth. //3// It must not be given to the disciples of other [mas-
ters], nor to unbelievers, O Goddess! nor to those who do not wish
intensely to hear it, or who do not give over riches. //4//
sṛnu devi mahāguhyam yoginīhṛdayam param //2//
tvatprītyā kathayāmy adya gopitavyam viseṣataḥ /
karnāt karnopadesena samprāptam avanītalam //3//
na deyam parasiṣyebhyo nāstikebhyo na cesvari /
na susrūṣālasānām ca naivānarthapradāyinām //4//
which is the “central” inner essence of the deity: one who moves (cara) in
that void is identified with Śiva. The state of khecaratā is thus the highest
spiritual attainment: liberation.
The teaching as expounded by Bhairava now begins:
As stated in the introduction above, the adept must realize and experi-
ence ritually and mystically the divine co-presence of the two aspects, male
and female, of the supreme deity during the practices and observances
prescribed in the three chapters of the YH, their spiritual efficacy resulting
from this active, dynamic co-presence.
The first chapter will now describe this divine presence and power as
found and understood in the srīcakra:
As long as one does not know this threefold agreement, one will
not be recipient of the supreme authority [inherent] in the cakra of
Tripurā. //7//
yāvad etan na jānāti samketatrayam uttamam /
na tāvat tripurācakre paramājñādharo bhavet //7//
The concentric series of triangles that make up the srīcakra result from
the intersections of five triangles apex downward:3 the energies or powers
Encounter in the Cakra 27
(sakti), the female aspect of the godhead, and four triangles apex upward: the
so-called fires, the male aspect. The energies (sakti) are creative. The cos-
mos appears through their play. Fire, on the contrary, evokes destruction,
resorption. The total cosmic play of the Goddess, who creates and dissolves
the universe, is thus implicitly present in the very pattern of the srīcakra.
I will tell you, O Perfect One, the descent [on earth] of your cakra.
etac cakrāvatāram tu kathayāmi tavānaghe /
When She, the Supreme Power, [becoming] out of her own free will
embodied as all that exists (visvarūpinī), perceives herself as flash-
ing forth, the cakra then appears. //9//
yadā sā paramā saktiḥ svecchayā visvarūpinī //9//
sphurattām ātmanaḥ pasyet tadā cakrasya sambhavaḥ /
The srīcakra being the cosmic form of the Goddess results from the
same act of consciousness or awareness (vimarsa) of the deity as the cos-
mos. As Amṛtānanda says in the Dī, “The intensely luminous flashing
forth of the Supreme Power is nothing else than the emission of the cos-
mos.” The apparition of the srīcakra is therefore described in slokas 10–17
in terms of a cosmic process that simultaneously manifests the geometric
pattern of the srīcakra and brings about the apparition of the deities that
abide in the cakra and animate, nay manifest it, by their power. This is why
the process is described starting from the center, that is, from the Goddess.
Note that each of the nine constituting parts of the srīcakra is called
cakra. (See figures 1.1 and 1.2.)
From the void letter A and from that which ends by emission, [that
is] from the bindu, vibrating consciousness whose supreme nature
is light and which is united with the flashing flow [of divine power,
appears] the throne of the bindu (baindavāsana) which is the [birth]
place of the flow made up of the three mātṛkās. It then assumes a
threefold aspect. // 10cd–12a //
sūnyākārād visargāntād bindoḥ praspandasamvidaḥ //10//
28 t he hea rt of the yo ginī
1–2 3
bindu vasu-kona
. or asta-kona
.. .
trikona
.
4 5
antar-daśaˉśra bahir-daśaˉśra
figures 1.1 and 1.2 The nine constitutive parts (cakras) of the srīcakra.
prakāsaparamārthatvāt sphurttālaharīyutāt /
prasṛtam visvalaharīsthānam mātṛtrayātmakam //11//
baindavam cakram etasya trirūpatvam punar bhavet /
6 7
manu-aśra or caturdaśaśra vasu-dala or asta-dala
.. padma
8 9–10
sodaśa-dala-padma
. . bhuˉpura
figures 1.1 and 1.2 (Continued)
The bindu, the anusvāra, the nasal addition to the preceding vowel (A,
in this case), written as a dot over the letter it prolongs, is conceived of
as the fusion of Śiva and Śakti into one point of concentrated energy: the
notion is both visual (a dot) and metaphysical. Bindu is thus metaphysi-
cally both the totality of the Absolute and the power that will manifest the
universe. Being a concentrate of creative power, bindu is always described
as luminous and vibrating, throbbing.
The “flow of the three mātṛkās” issuing from it are (says the Dī)
the three levels of the Word: pasyantī, madhyamā, and vaikharī,4 which
is another way of saying that the central bindu is the birthplace of the
whole cosmos, while underlining the fact that the levels of the cosmos
appear together with those of the Word and with the letters of the Sanskrit
30 t he hea rt of the yo ginī
alphabet, which, as we shall see, are in effect associated with the different
parts of the srīcakra.
The triangle surrounding the bindu is said to have a threefold aspect
insofar as the two triangles (one of energy, one of fire, therefore one female,
one male) are added to the central one, which makes three times three.
This is why the triangular cakra surounding the bindu is called navayoni,
ninefold womb. This navayonicakra is associated with, or rather brings
about the apparition of, nine elements, as follows:
[Thus appear] dharma and adharma, then the [ four] ātman,5 the
knower, what is to be known and knowledge: the cakra is thus a
ninefold womb. It is immense, a compact mass of consciousness
and bliss. A division of mantras in nine [corresponds to] this nine-
fold cakra. //12–13//
dharmādharmau tathātmanau mātṛmeyau tathā pramā //12//
navayonyātmakam idam cidānandaghanam mahat /
cakram navātmakam idam navadhā bhinnamantrakam //13//
baindavāsanasamrūḍhasamvartānalacitkalam /
ambikārūpam evedam aṣṭārastham svarāvṛtam //14//
The cakra of eight triangles results from the expansion of the navayoni,
says the Dī. This is why the navayoni is said to be present in it as Ambikā,
the Mother, the Goddess, who dominates and brings together the three
first energy-goddesses, Vāmā, Jyeṣṭhā, and Raudrī, and who is to be imag-
ined as encircled by the fifteen “vowels,” from A to bindu, the sixteenth
one, visarga, remaining inside.
The two next cakras are made up of ten triangles:
The [first of the two cakra] of ten triangles is a shining form born
from the flashing forth of the nine triangles. It causes the luminos-
ity of the ten phonemes, from the one preceding sakti10 to the last
of the nine [ following ones]. //15// It is the support of the light of
the ten subtle and gross elements. The flashing form of the second
ten-pointed [cakra is associated with the ten] phonemes beginning
with krodhīsa. //15–16//
navatrikonasphuritaprabhārūpadasārakam /
saktyādinavaparyantadasārnasphūrtikārakam //15//
bhūtatanmātradasakaprakāsālambanatvataḥ /
dvidasarasphuradrūpam krodhīsādidasārnakam //16//
The nine triangles are the eight of the navayoni together with the
so-called baindavāsana, the throne of (or the throne that is) the bindu.
In each of the ten triangles of this cakra is a phoneme, beginning with
YA (which, in the Sanskrit alphabet, precedes RA) and going up to the
last phoneme, KṢA.11 The light (prakāsa)—the essence, that is—of the ten
gross and subtle elements (bhūta and tanmātra) abides also in these ten
triangles. The ten phonemes “beginning with krodhīsa” are the five gut-
tural and the five palatal phonemes, from KA to ÑA (krodhīsa12 being a
name for KA); they are associated with the objects of the senses and the
organs of action (speech, etc.).
phonemes from khecarī to jayā, its nature being therefore that of the
luminescence of Raudrī flashing forth as fire and energy. //17–18//
catuscakraprabhārūpasamyuktaparināmataḥ /
caturdasārarūpena samvittikaranātmanā //17//
khecaryādijāyantārnaparamarthaprathāmayam /
evam saktyanalākārasphuradraudrīprabhāmayam //18//
[Then appear] the square, a form of Jyeṣṭhā, and the threefold circle,
a form of Vāmā. //19a//
jyeṣṭhārūpacatuṣkonam vāmārūpabhramitrayam /
The square is the outer quadrangular part of the srīcakra, sometimes called
bhugṛha, the house of the earth, since it is the part of the diagram deemed
to be metaphysically on the level of the earth. The “threefold circle” refers
to the two eight- and sixteen-petal lotuses with the three circular lines that
enfold them.
Another vision of the nature of the srīcakra, as associated with the five-
fold cosmic division of the kalās, is now propounded:
mahābindu
unmanā
sahasrāra
lambika
viśuddha kantha
..
anāhata hrdaya
.
manipūraka
. nābhi
svādhisthāna
..
śākta
mūlādhāra
kulapadma
visu
.
kanda
akulapadma
The adept should do this while giving to each of these mental images
the prescribed length of time. These, however, are so infinitesimal as to
be entirely theoretical. We may therefore surmise that they are meant
merely to express the extreme subtlety and transcendence of these phonic
elements.
When this supreme kalā sees the flashing forth of the Self, assum-
ing the aspect of Ambikā, the supreme Word is being uttered. //36//
ātmanaḥ sphuranam pasyed yadā sā paramā kalā /
ambikārūpam apannā parā vāk samudīritā //36//
When the supreme Goddess perceives herself as identical with the
supreme Śiva—that is, when the supreme godhead, in total plenitude,
at once male and female, becomes conscious of this state—she becomes
38 t he hea rt of the yo ginī
Ambikā, the Mother, the origin, in other words, of all that is. She is then
also the supreme Word (parā vāk), which is the basic ground and substrate
of the universe, and the absolutely peaceful, Śāntā, energy deity.
This metaphysical level is to be imagined diagrammatically as in the
center of the srīcakra.
The creative function of the levels of the Word is then shown as visibly
embodied in the geometrical structure of the inner triangle of the srīcakra:
These four slokas describe the process whereby the Goddess, hav-
ing perceived herself as the supreme (divine) limiting creative power
(paramakalā), manifests the universe through the three stages or levels
of the Word (vāk), starting out from paravāk, the supreme Word, which is
the eternal, omnipresent, pervasive ground of the whole process. This pro-
cess, in the metaphysics of nondualist shaivism, brings about the cosmic
manifestation as resulting from the Word: the world exists because it has
been and is eternally being enunciated, expressed by the supreme deity,
which is essentially Word.
Encounter in the Cakra 39
There are, based on parā, three stages or levels in this process. First is the
visionary (pasyantī) word, in which there appears in the divine consciousness
a vision of what will be manifested—the word and the vision being inextri-
cably mixed. Then comes the plane of madhyamā, the intermediate word, in
which there appears a differentiation between elements of word or speech
and in which the lineaments of the objective world appear but still ideally.
There is a third and lower plane of the word, that of vaikharī, the “cor-
poreal,”19 in which words and objects appear manifested and separately.20
But in the present case, what appears after the intermediate word is not the
next stage of manifestation but the opposite movement: toward resorption,
with the bindu, the dot in the center of the central triangle. This is because
the whole process takes place within the deity and because creation and
destruction are always present together in the supreme godhead.
This process, which unfolds on the highest divine plane, is thus
described as resulting from the Goddess assuming the aspect of four
goddesses and of four energies. First is Ambikā, the Mother of creation,
together with the highest peaceful (sāntā) goddess form of energy, on the
plane of parā vāk. Then comes vāmā, “because she vomits the universe”
(visvasya vāmanāt), projects it outside, that is, together with the energy
of will (icchā). She also visualizes ideally the universe in herself, the
level of the word being pasyantī. After this comes the goddess Jyeṣṭhā,
together with the power of knowledge (jñānasakti), since she takes cog-
nizance of her creation on this plane. It is the level of madhyamā vāk.
Since the creative movement stops here and a reverse, resorption move-
ment appears, the Goddess takes on now the form of the fearsome Raudrī,
deemed to arise together with the divine power of action (kriyāsakti),
described as abiding in the central bindu wherein all powers are united
and concentrated. The central triangle is thus complete, its three sides
being made by the forms taken on by Ambikā, Vāmā, and Jyeṣṭhā, with
Raudrī on bindu in the center.
What the adept is to realize here is the first creative movement of the
supreme Goddess manifesting the inner triangle of the srīcakra together
with the four basic forms of energy and four forms of herself as four
energy-goddesses, while retaining all this within herself: hence the fourth
goddess, Raudrī, and the return to the bindu.
In or around this central triangle, other entities are now to appear:
These pīṭhās are located respectively in the bulb, the word, the form,
and beyond all form. Their forms are respectively those of a square,
a circle with six bindus, a half-moon, and a triangle. They are known
as being yellow, smoke-gray, white, and red. //42–43//
bhāsanād visvarūpasya svarūpe bāhyato ‘pi ca /
etās catasraḥ saktyas tu kā pū jā o iti kramāt //41//
pīṭhāḥ kande pade rūpe rūpātīte kramāt sthitāḥ /
caturasram tathā binduṣaṭkayuktam ca vṛttakam //42//
ardhacandram trikonam ca rūpāny eṣām kramena tu /
pīto dhumras tathā sveto rakto rūpam ca kīrtitam //43//
The four basic energies, from sāntā to kriyā, present in the central tri-
angle around the Goddess are now said to bring about the apparition of
more concrete cosmic elements, the pīṭhas, which are the four main seats
or centers of presence and power of the Goddess. They are quoted by the
initials of their names, which are Kāmarūpa, Pūrnagiri, Jālandhara, and
Oḍḍiyāna, four places ensuring “geographically” the concrete presence
of the Goddess in the Indian subcontinent.22 A characteristic of Tantric
sacred geography is that it is mentally and bodily interiorized, so the pīṭhas
are also to be visualized by the adept on four points of his yogic imagi-
nary body. The bulb (kanda in Sanskrit) is a bulge in the lower part of the
suṣumnā usually considered as the center from which issue and radiate in
the body the 72,000 nāḍīs, the channels in which the prāna circulates. It is
also assimilated to the lower yogic center, the mūlādhāra.
The three terms “word” (pada), “form” (rūpa), and “beyond the form”
(rūpātīta)—together, usually, with pinḍ a rather than kanḍ a—are the names
of four centers of the yogic body. According to the Dī, “word” refers to the
hamsa, which we may understand here as the inner breath in the heart. The
“form” (rūpa) would be the bindu, on the forehead, on the so-called ājñā
center. “Beyond the form” (rūpātīta) refers to the brahmarandhra. The pīṭhas
appear thus as tiered along the kunḍ alinī, where they are to be visualized as
colored geometrical shapes, which are, in fact, those of the manḍ alas of four
elements, the tattvas of earth, water, fire, and air. Their being associated with
cakras of the yogic body, from the base to the summit of the kunḍ alinī, corre-
lates cosmic and human levels. This practice (since the pīṭhas are to be visual-
ized and “interiorized”) is thus at once mental-spiritual, diagrammatic-visual,
bodily (in the yogic sense), and cosmic, the description of this part of the
Encounter in the Cakra 41
srīcakra being at the same time the prescription of a yogic practice. This is
one more instance of the tantric association of ritual and yoga.
Now liṅgas are described as present in the same places:
The self-existing liṅga, the bānaliṅga and the itara, then the supreme
[one], O Dear One, are present in the pīṭhas. //44//
They shine like gold, [like] the bandhūka flower, the autumn
moon. The great svayambhuliṅga is surrounded by the vowels and
is three-pronged. //45// The bānaliṅga, triangular, is encircled by
the phonemes from KA to TA. [The itara] is shaped like the round
flower of the Kadamba and is encircled by the letters from THA
to SA. //46// The supreme liṅga is subtle; it is enclosed by all the
phonemes. It is the bindu, root of supreme bliss, arising from the
eternal plane. //47//
svayambhūr bānaliṅgam ca itaram ca param punaḥ /
pīṭheṣvetāni liṅgāni samsthitāni varānane //44//
hemabandhūkakusumasaraccandranibhāni tu /
svarāvṛtam trikūṭam ca mahāliṅgam svayambhuvam //45//
kāditāntākṣaravṛtam bānaliṅgam trikonakam /
kadambagolakākāram thādisāntākṣarāvṛtam //46//
sūkṣmarūpam samastārnavṛtam paramaliṅgakam /
bindurūpam parānandakandam nityapadoditam //47//
case, it is described as three-pronged (that is, says the Dī, having three
bindus on its summit) and golden in color. Bānalingas, as a rule, consist
mostly of quartz and are egg-shaped pebbles. Here it is triangular and
red. The itaralingas, as their names indicate (itara means “other”), are nor-
mally all other sorts of liṅgas. Here it is said to be round like a ball and
white. The paraliṅga is colorless, invisible, since it is above the field of the
senses. It is, says the Dī, “the root made of bliss of the liana extending
from A to KṢA whose boughs are the [levels of the Word] pasyantī,25 etc.,
and whose imperishable root is the supreme (parā) word. It ‘arises from
the eternal plane’ because the mātṛkā is eternal. This liṅga arises as the
primordial vibration (prathamaspanda)26 from the eternal plane which is
to be reached by all those who wish to be liberated from the fetters of this
world.”
Here, too, the phonemes of the Sanskrit alphabet are present but in their
subtle form, as the mātṛkā, the “mother” of the phonemes, not as utterable
phonic elements. The vowels are associated with the svayambhuliṅga since
they are of a higher nature than the consonants, associated with the bāna
and itara liṅgas, whereas the whole alphabet, the totality of the power of
the Word, is associated with the supreme liṅga.
Such are the kula and kaula entities expressed by the whole mantra
taken as a whole with its three bījas. //48//
Such [too] are the states called waking, dream, deep sleep, and
fourth, as well as the one beyond, supreme splendor [wherein]
appears the consciousness of the Self. //49//
bījatritayayuktasya sakalasya manoḥ punaḥ /
etāni vācyarūpāni kulakaulamayāni tu //48//
jāgratsvapnasuṣuptākhyaturyarūpāny amūni tu /
atītam tu param tejas svasamvidudayātmakam //49//
Having associated the four liṅgas with the mātṛkā and with the levels
of parā, pasyantī, and so on, that is, with the total power of the Word, the
YH now considers these entities to be expressed or predicated (vācya), that
is, brought to existence by—or to have their essence in—the three parts,
here called bījas, of the srīvidyā and (for the supreme liṅga) by or in the
ṣrīvidyā taken in its totality. The term kula is understood by the Dī as refer-
ring to the three human and cosmic divisions: knower, object of knowl-
edge, and knowledge—or subject, objectivity and cognition; or measurer,
Encounter in the Cakra 43
[One must see the energy of consciousness as] the resting place of
the very nature of Śiva as the sustaining power of the expansion
of the forms of the universe, supremely beautiful, resting as on a
couch against the hip of Kāmesvara. //52// Shining, she holds the
noose made of the energy of will, the hook which is [energy of ]
knowledge, the bow and the arrows made of energy of action. //53//
Split into support and supported, divided into eight, bearer of weap-
ons, arising from the cakra with eight points, she has the ninefold
cakra as a throne. //54//
visvākāraprathādhāranijarūpasivāsrayam /
kāmesvarāṅkaparyaṅkaniviṣṭam atisundaram //52//
icchāsaktimayam pāsam aṅkusam jñānarūpinam /
kriyāsaktimaye bānadhanuṣī dadhadujjvalam //53//
āsrayāsrayibhedena aṣṭadhā binnahetimat /
aṣṭāracakrasamrūḍham navacakrāsanasthitam //54//
of the expansion (through the thirty-six tattvas) of the cosmos. This divine
pair is described as each bearing the four symbolical “weapons” (āyudha,
here called heti) of Tripurasundarī, each identified with one of the four32
basic energies of Śiva, and is therefore said to be divided into eight.
Although arising from the bindu, in the center of the inner triangle,
this pair, which is somehow the Goddess herself, stretches out in the
whole srīcakra, which is ninefold, and is thus her throne.
action, she [produces it] by her own free will. //56// [She is then]
energy of activity, called mudrā because she gladdens the universe
and makes it flow.
cidātmabhittau visvasya prakāsāmarsane yadā /
karoti svecchayā pūrnavicikīrṣāsamanvitā //56//
kriyasaktis tu visvasya modanād drāvanāt tathā /
mudrākhyā
1 2
Sarvasamksobhinı̄
. . . Sarvavidrāvinı̄
.
3 4 5
Sarvākarsinı̄
. . Sarvāveśakarı̄ Sarvonmādinı̄ Sarvonmādinı̄
present practice
6 7 8
.
Sarvamahānkuśā Khecarı̄ Sarvabı̄jā
9 10 (1) 10 (2)
Sarvayoni Sarvatrikhandā
.. Sarvatrikhandā
..
technically called a door (dvāra), by which the officiating adept can enter or
leave40 the diagram. Being considered on the level of the empirical world,
of māyā, this cakra is fittingly called Trailokyamohana (“delusion of the
three worlds”), since the Goddess deludes, enchants, the world by uphold-
ing its deceiving nature through her māyā.
The goddess Vāmā is so called, it is said, because she “vomits” (vamati),
that is, brings out, manifests, the world.
The YH mentions only the metaphysical aspect of the mudrās, their
role as divine energies. They are, however, also hand gestures, to be dis-
played by the adept. This is explained in the Dī for each of the ten mudrās.
These explanations are interesting, but translating these passages would
take too much space here. Sketches of these hand poses, made by a panḍit
of the French Institute of Indology in Pondicherry, are given in figures 1.4
and 1.5.
joined middle and index fingers and joining the ring and little fingers. Its
nature being to attract desires, it causes fullness of divine grace.”
The role of this mudrā does not seem to differ greatly from that of the
preceding one, whose action it seems merely to confirm. Interestingly,
the Dī says that if this mudrā is attracting (ākarṣinī), it is “because of the
curved position (like a hook) of the two index fingers”; the gesture is given
as explaining a metaphysical element. This is one more case of the total
interpenetration of the theoretical and the bodily, characteristic of the
mudrās.
This mudrā is localized in the lotus of eight petals called
Sarvasamkṣobhanacakra, the cakra of universal agitation.43
[The mudrā ] who holds herself in the interval between two vyo-
mans, O Mahesvarī! //62// is known as causing the absorption into
the deity resulting from the conjunction of Śiva and Śakti. It is an
embodiment of the bliss of consciousness, located in the cakra of
fourteen triangles. //63//
vyomadvayāntarālasthabindurūpā mahesvari //62//
sivāsaktyākhyasamsleṣād divyāvesakarī smṛtā /
caturdasāracakrasthā samvidānandavigrahā //63//
The term vyoman, which means sky, space, or ether, refers here to sec-
ondary centers of the yogic body sometimes also called sūnya, void. They
are described as numbering five, tiered along the suṣumnā, where they are
located between the bodily cakras, from mūlādhāra to ājñā. The Dī adds
that between these elements there are also five other secondary centers,44
bindus, to be identified with the gross elements (the mahābhūtas).
The absorption (āvesa) in the union of Śiva and Śakti embodied in this
mudrā, called Sarvāvesakarī, is displayed in the corresponding hand ges-
ture, which consists in a joining of the hands, the fingers being inter-
locked. It embodies the bliss of consciousness (samvidānanda), since the
fusion (samslesa) of Śiva and Śakti is intensely blissful.
Encounter in the Cakra 51
When she flashes forth between the bindus as a subtle flame, the
energy Jyeṣṭhā predominating, she intoxicates all beings. She
remains, staying in the [external] cakra of ten triangles, O Praised
by the heroes! //64–65a//
bindvantarālavilasatsūkṣmarūpasikhāmayī /
jyeṣṭhāsaktipradhānā tu sarvonmādanakārinī //64//
dasāracakrāsthāyā samsthitā vīravandite /
This mudrā, looking like a flashing flame, extends, according to the Dī,
from a yonibindu placed in the mūlādhāra to a mahābindu, on the level of
the brahmarandhra, therefore along the suṣumnā, which means that the
experience of the adept is one of kunḍalinīyoga, not a merely mental, visual
one. What with the visual evocation of the mudrā in the yogic body as
part of a practice of kunḍalinī yoga, conjoined with the display of the cor-
responding hand gesture, this practice appears as a particularly complex
mental-bodily experience.
The mudrā’s name is Sarvonmadinī (“totally intoxicating”). The cakra
of ten triangles is called Sarvārthasādhaka (“accomplisher of all [human]
aims”).
Dharma here means Śiva, and adharma is Śakti. That the khecarī mudrā
should be born from their conjunction, samghaṭṭa (their total fusion,
sāmarasya, says the Dī), is not surprising, since this mudrā has a very high
position in many kula traditions. It is the main mudrā described in the
Tantrāloka (chapter 32), where it is described as a complex bodily-mental atti-
tude deemed to bring about the presence of the deity and unite the adept with
it. In the Parātrīsikā, a basic Trika work, the highest spiritual state the adept
can reach is khecaratā, the state of being khecara, of moving (cara) in the void
of consciousness (khe46), a state described as the state of Śiva (sivāvasthā). In
such a state, all forms of discursive, differentiated thought evidently disappear.
The luminous state of identification with the union of Śiva and Śakti
having been reached while displaying the khecarīmudrā, the adept, enjoy-
ing the bliss of the full luminousness of the divine consciousness, displays
Encounter in the Cakra 53
the last yonimudrā, which evokes by hand gesture the yoni of the Goddess
and also the Goddess as yoni, source or seed (bīja) of the universe. The Dī
says that this mudrā embodies the dynamic power of the conscious aware-
ness (vimarsakalā) of the supreme deity: the deity, in Tantra, is never static
but is dynamic: bliss, absolute total consciousness, but also life, power, as
is underlined in the next half-stanza.
The yoni being always symbolized by a triangle, this mudrā abides
therefore in the central triangle of the srīcakra.
The YH concludes:
The adept must never forget that it is the supreme deity, the united
Śiva and Śakti, that acts through the energies of which kriyāsakti, that
of activity, is the lowest. The YH reminds us, therefore, that the deity
acts through her own free will, svecchayā. This the devotee must medi-
tate in his heart, perceiving it directly, being however helped by his
spiritual master, his guru (who for him is Śiva), and whose compas-
sionate glance falls on him. This is called in Sanskrit gurukatākṣapāta,
the descent of the glance (bearer of the power of Śiva) of the guru, who
thus transmits the divine saving energy of the deity, sometimes called
saktipāta.
54 t he hea rt of the yo ginī
Now [here] are the threefold and the ninefold encounter of the
cakra. //72b//
tridhā ca navadhā ca cakrasamketakaḥ punaḥ //72//
and two triangles apex downward (the “energies”), this constituting the
eight-angle figure of the navayoni. The next portion is seen as adding to
the preceding one two series of three triangles, one male (“fire”), the other
female (“energies”), which results in the two ten-triangle cakras and the
fourteen-triangle one. The third portion is made up of the threefold circle
and the square outer portion enclosed by three lines.
The reason the srīcakra is to be conceived and meditated upon as made
up of three section is—as the Dī explains—that each of these three threefold
portions has a particular aspect (prakāra). In the central section, resorption
(samhāra) predominates, and in the middle one, conservation (stithi) pre-
dominates, while manifestation (sṛṣṭi) predominates in the outer portion. In
addition, in each of these three cakras, samhāra, sthiti, and sṛṣṭi are respectively
considered as predominating. Thus, the dynamism of the srīcakra taken as a
whole is that of emanation when going from its center to its outward portion,
that of resorption when going from the outer portion to the center.
But since resorption, conservation, and emanation are all present in each
of the three sections, the whole srīcakra is, at the same time, entirely per-
meated by these three aspects of the cosmic activity of the Goddess, who is
thus eternally and everywhere at once the creator, the maintainer, and the
destroyer of the universe, a fact expressed by this three-times-threefold struc-
ture of her cakra. As the diagrammatic form of the Goddess, the srīcakra thus
symbolizes and expresses her ever living, throbbing, creative, and destructive
power. To meditate and realize this mystically, as is here prescribed, is to real-
ize and to fuse with this divine dynamic plenitude. Hence the usefulness of
the srīcakra, whose nine sections are now again enumerated and then named:
Since the srīcakra is not only the diagrammatic form of the Goddess
but also the means to be used to worship her, the YH adds:
One could be tempted here to note that the practice of the srīcakra
appears to be conferring immortality and not merely liberation, that is,
a physical, worldly benefit, not a purely spiritual one. The Dī, however,
interprets this by saying that the one who has immortality and liberation
is the supreme Śiva. Therefore, what is obtained by the worship of the
srīcakra is in effect acquiring the perfect and immortal state of Śiva, a
point confirmed by the last sloka.
Thus has been said, O supreme Goddess! the encounter with the
great cakra of the goddess Tripurā, giver of liberation while still in
life. //86//
evam eṣa mahācakrasamketaḥ paramesvari /
kathitas tripurādevyā jīvanmukti pravartakaḥ //86//
2
the purpose of this chapter is to teach how to understand the inner hid-
den meaning—and thus the mystical efficacy—of Mahātripurasundarī’s
mantra, the srīvidyā. As was the case for the srīcakra, this efficacy results
from the agreed common presence (samketa) of Śiva and Śakti in Tripurā’s
mantra, whose constituent phonemes will be shown to be pervaded by the
interactive presence and power of these two, male and female, aspects of
the supreme deity and therefore as imbued with saving power. Different
aspects assumed by the Goddess, along with cosmic elements, are also
shown as expressed by the phonemes of the vidyā.
The interpretations given in this chapter of the hidden meanings of the
srīvidyā are, however, often extremely far-fetched and sometimes very dif-
ficult to understand, even with the help of Amṛtānanda’s commentary. Even
Professor Dvivedi, whose edition was used to translate the YH and the Dīpikā
and with whom I read and discussed this chapter, was in many cases unable
to explain the meaning of some stanzas and the corresponding passages of
the commentary. We therefore do not expect the reader to find our attempt at
deciphering such passages very satisfactory or always fully intelligible.
I will now tell you the divine presence of [Siva and the Goddess
embodied] in the mantra. Whoever knows this becomes, like
Tripurā, master of the circle of heroes. //1//
mantrasamketam divyam adhunā kathayāmi te /
yad vettā tripurākāro vīracakresvaro bhavet //1//
Encounter in the Mantra 59
The master of the heroes (vīra), that is, of those who have attained the
highest knowledge and supernatural powers, is the supreme Śiva. The
realization of the inner secret meaning of the srīvidyā leads thus to identi-
fication with the supreme godhead.
The srīvidyā being the root mantra (mūlavidyā) of the Goddess is con-
sidered to be, like the deity, surrounded by secondary (or ancillary) femi-
nine mantras—those of the Cakresvarīs, the regent-goddesses of the nine
parts of the srīcakra, which the sādhaka is to assign by nyāsa on the nine
centers of his yogic body, thus mentally identifying himself with these
nine powers. These nine vidyās are the following:
These nine Vidyās preside over the nine parts of the srīcakra, from the
outer square to the central triangle with the bindu in its center. To each of
them a particular role or function, expressed by her name, is ascribed. The
first is Karasuddhikarī, “purifier of the hands,” since the hands of the adept
are to be purified before he performs the ritual. He is also to protect himself
against all mental or spiritual imperfections and especially against egoism
and the illusion of duality, hence the name Ātmarakṣikā, “protector of the
Self,” of the second Vidyā. The third one, “who stays on the throne of the
Self,” embodies, according to Amṛtānanda, the consciousness of the unity of
the sādhaka, the cakra, the mantra, and the Self. The fourth is Cakrāsanagatā,
“having the cakra as a seat,” while the fifth, Sarvamantrāsanasthitā, “abiding
60 the heart of the yogin Ī
on the throne of all mantras,” presides over the portion of the srīcakra called
Sarvārthasādhaka, “which fulfills all wishes.” The sixth, Sādhyasiddhāsana,
“the seat of the accomplishment of what is to be accomplished,” governs the
powers nearest to the Goddess, the accomplishment alluded to being the
cosmic work of the Goddess as symbolized by the srīcakra and the srīvidyā.
The seventh is the Mūrtividyā, the visible form of the Goddess. The eighth
one, Āvāhinīvidyā, is the one used to invoke and keep (during worship) the
presence of the Goddess. The ninth vidyā is Bhairavī, the Goddess herself;
she is therefore the srīvidyā, the mūlamantra of Mahātripurasundarī.1
Thus, O Mistress of Kula, these nine kinds [of vidyās] are to be care-
fully placed //5// at the time of worship, in order, by the sādhaka.
evam navaprakārās tu pūjākāle prayatnataḥ //5//
etāḥ kramena nyastavyāḥ sādhakena kulesvari /
The term kula, or Kula, is often met with in the YH and the Dīpikā.
It refers in a general way to the ensemble of nondualist Śaiva traditions
formed by four āmnāyas (see the introduction, above). But it also has
technical meanings. It is used to designate not only the yogic imaginal
body but also the physical body or the universe conceived as a body: the
grouping of diverse elements. In its usual meaning, kula means family or
clan, notably the clan of the Yoginīs. The Goddess as “Mistress of Kula” is
thus the mistress of the universe in all its cosmic or bodily aspects.
The places where these nyāsas are to be made are as follows:
On the end of the feet, on the legs, the knees, the thighs, the anus,
the tip of the penis. //6// On the [mūl]ādhāra is to be imposed
the Mūrti[vidyā] on which is to be placed the Āvāhinī. With the
Mūla[vidyā] one must do a vyāpakanyāsa,2 Paramesvarī! //7//
pādāgrajaṅghājānūrugudaliṅgāgrakeṣu ca //6//
ādhāre vinyasen mūrtim tasyām āvāhinīm nyaset /
mūlena vyāpakanyāsaḥ kartavyaḥ paramesvari //7//
Of these I shall tell the names in their proper order. The first is the
goddess Tripurā; the second is Tripuresvarī; //9// the third is the
the goddess named Tripurasundarī; the fourth, a great goddess, is
Tripuravāsinī. //10// The fifth is Tripurasrī, the sixth Tripuramālinī;
the seventh is Tripurasiddhi, the eighth Tripurāmbikā. //11// As for
the ninth, she is the great Goddess Mahātripurasundarī. These god-
desses are to be worshipped in their proper order in the ninefold
cakra previously described. //12//
tāsām nāmāni vakṣyāmi yathānukramayogataḥ /
tatrādyā tripurā devī dvitiyā tripuresvarī //9//
tṛtīyā ca tathā proktā devi tripurasundarī /
caturthī ca mahādevi devī tripuravāsinī //10//
pañcamī tripurāsrīḥ syāt ṣaṣṭhī tripuramālinī
saptamī tripurasiddhir aṣṭamī tripurāmbikā //11//
navamī tu mahādevi mahātripurasundarī /
pūjayec ca kramād etā navacakre purodite //12//
to the bindu. This identifies the adept with these nine forms of the supreme
Goddess, who appears thus as ninefold though remaining the one and
supreme power, bestowing youth and immortality through identification
with Śiva:
The Dī explains here that the only one who is eternally young and
immortal is Śiva, and therefore, what the worshipper will now enjoy is the
condition of Śiva. The reader will note that the above stanza shows that
the aim of the rites described in the Tantra is the gaining of supernatural
rewards or powers in addition to liberation.
The reason stanzas 1–13 of this chapter enumerate the deities of the
srīcakra and prescribe their nyāsa and worship in the srīcakra is not clear,
since the theme of this chapter is the expounding of the esoteric mean-
ings of the srīvidyā. We may imagine, however, that such a worship and
the spiritual union with the deity are to precede and facilitate the mental
exertion needed to understand the often abstruse reasoning and arcane
speculations of stanzas 16–80 of this chapter, which are now expounded.
As we will see in the following pages, the interpretation that the YH gives
in stanzas 18–25 of the bhāvārtha of the srīvidyā is anything but a description
of “simply the meaning of the syllables” (akṣarārtha) of the vidyā; of all the
six arthas, this is by far the most obscure and difficult to understand.
The above stanzas 17 and 18 describe the whole srīvidyā (considered the
highest and best mantra and thus called the king of mantras, mantrarāja)
as resulting from the conjunction (samāyoga) of Śiva and Śakti and also
from that of the pairs of male and female deities surrounding them. In
this respect, too, the srīvidyā is, like the srīcakra, the place and the embodi-
ment, and the result, of the “meeting” (samketa) of Śiva and Śakti.
Amṛtānanda interprets the term Yoginī as referring to the three
goddesses Bhāratī, Pṛthivī, and Rudranī and to the three basic powers
of Śiva, namely will, cognition, and activity (icchā, jñāna, kriyā); these
entities, being feminine, correspond to the aspect of consciousness
(vimarsāmsa) of the Goddess. The Vīras, associated with the Yoginīs, are
Brahmā, Viṣnu, and Rudra, who, being male, are aspects of the light of
consciousness (prakāsāmsa) aspect of the supreme godhead, who is con-
sidered to be in its fullness prakāsāvimarsamaya, both pure conscious
light and supreme active consciousness. The Vīrendras, we are told by
Amṛtānanda, transcend the cosmos, their nature being pure energy, and
whereas the Yoginīs and the Vīras are considered to be present in the
three kūṭas, the three groups of syllables of the srīvidyā, the Vīrendras
are associated with the three HRĪṂ (here called kāmakalā) which end
the three kūṭas.
We thus have to understand the srīvidyā as pervaded by Śiva and Śakti
together with their retinue of male and female ancillary deities. Being thus
engendered and permeated by the united Śiva and Śakti and by their threefold
Encounter in the Mantra 65
[Held] between the middle bindu and the visarga, the supreme [power]
in her coiled form has space and kalā as reflected image. //21//
madhyabinduvisargāntaḥ samāsthānamaye pare /
kuṭilārūpake tasyāḥ pratirūpe viyatkale //21//
A
sun kâma
face
fire moon
kalâ kalâ
breast HA breast
yoni
hârdhakalâ
figure 2.1. The kāmakalā diagram.
of Śiva) on whose apex is a bindu and on each of whose two lower angles is
also a bindu: two bindus, therefore, which make up a visarga whose written
form is that of two dots (:). The upper bindu, it is said, is kāma, desire or pas-
sion; it is considered to be made up of the coalescence of the whole Sanskrit
alphabet, from A to HA and as being the Sun. The visarga results from the
division in two of bindu. It is the sixteenth “vowel” of the alphabet symbol-
izing the creative power9 of vāc, its two dots being symbolically Moon and
Fire.10 It is kalā, that is, active power. Between these two, between kāma and
kalā, extends the kunḍ alinī, which is graphically drawn as the letter Ī inscribed
within a triangle pointing downward (a feminine symbol, that of Śakti). On
the down-pointed apex of this triangle is the letter HA, or hārdhakalā, “the
power of the half of HA” (a term that denotes also the visarga).
These two triangles with kunḍalinī located inside them are considered
a symbol of the totality, from A to HA. They are also, mainly, a figure of
the Goddess (sexually united with Śiva), her face being the “middle” upper
bindu, the two lower bindus on the ends of the lower line of the masculine
triangle being her two breasts, and the apex of the down-turned feminine
triangle (where HA or hārdhakalā is) being her yoni. The shape of kunḍ alinī,
the letter Ī (or, rather, the bīja ĪṂ, since kunḍ alinī is topped by the middle
bindu), evokes her coiled form. This kunḍ alinī, says the YH, is reflected by
the two lower bindus, a statement not clearly explained by the commenta-
tors. Thus, this diagram, with kunḍ alinī and the two superposed intersecting
triangles, represents the co-presence of the sexually united Śiva and Śakti.11
68 the heart of the yogin Ī
She holds herself in the central block [pinḍa] of the mantra in the
sky of the primordial vibration [ formed by] the expansion of the
central breath. Then, in the third block, //22// she flashes forth
undivided in the kūṭa of Rahu. //23a//
madhyaprānaprathārūpaspandavyomni sthitā punaḥ /
madhyame mantrapinḍe tu tṛtīye pinḍake punaḥ //22//
rāhukūṭādvayasphūrjat
(sl. 39), but only insofar as one receives it from an initiated master well
versed in the traditional teaching, hence the name of this artha.
Through the mūlavidyā, of which Śiva and Śakti are the primary
[cause], by her, O Paramesvarī! the whole universe is permeated.
Listen to this carefully, O Dear One! //27//
sivasaktyādyayā mūlavidyayā paramesvari /
jagatkṛtsnam tayā vyāptam sṛnuṣāvahitā priye //27//
Śiva is the letter A, and Śakti is HA; the whole universe is therefore
permeated by the totality of the Sanskrit alphabet, by the totality of the
word with which the mūlavidyā, the “basic vidyā,” the srīvidyā, that is, is
identified.
The Goddess and her mantra are deemed to be made of the five gross
elements (the bhūtas) constituting the gross, concrete level of the cosmos.
This is said to show that the universe as identical with the deity is meta-
phorically present in the srīvidyā.
HA, KA, RA, SA, and LA are, in all traditions, considered the bījas, the
vācakas, of the five gross elements. “Thus,” says the Dī, “the five gross ele-
ments and the phonemes which express them are born in this way from
the light and consciouness (prakāsa and vimarsa) which form the supreme
Reality whose nature is the total fusion of Śiva and Śakti. The nature of
this supreme vidyā is the total fusion of these two [aspects of the deity]. In
other terms, she is made of the phonemes that compose her and of the
universe [that they ‘express’].” The Dī then quotes stanzas 9, 10, 13, and 14
of Punyānanda’s Kāmakalāvilāsa.13
It is said that the fifteen gunas of the gross elements [are also found
there]. Thus formed, she is favorable. //30//
gunāḥ pañcadasa proktā bhūtānām tanmayī sivā //30//
There are, in fact, only three gunas : sattva, rajas, and tamas (goodness,
passion, and darkness). This number could be explained by the fact that
there are five gross elements (bhūtas), which would result in 5 x 3 = 15. But
the commentary explains this number by the fact that the bhūtas “interpen-
etrate mutually”; that is, the higher ones are present in those that follow,
. This is a peculiar conception, not
which results in 1 + 2 + 3 + 4 + 5 = 15 gunas
the generally admitted one of the Sāmkhya, for whom the gross elements
issue from the subtle ones (tanmātra). Fifteen, however is the number of the
phonemes of the srīvidyā. There are, therefore, two series of fifteen elements.
In any object one can say that there is energy [sakti]. This [energy]
is the Goddess, the universal sovereign. And any object is the
supreme Lord. //31//
yasya yasya padārthasya yā yā saktir udīritā /
sā sā sarvesvarī devī sa sa sarvo mahesvaraḥ //31//
Śiva
Śakti
Sadāsiva the eternal Śiva
Īsvara the Lord
suddhavidyā pure wisdom
māyā cosmic illusion
kalā limitation
vidyā (limited) wisdom; the cuirasses (kañcuka)
rāga passionate attachment
niyati necessity
kāla time
puruṣa Spirit, or the Lord
prākṛti the source matter, Nature
buddhi intellect
ahamkāra “egoity”
manas understanding (sensorium commune)
srotra hearing
tvāk touch
cakṣus sight; organs of perception (buddhīndriya)
rasana taste
ghrāna smell
vāk speech
pāni holding
pāyu excretion; organs of action (karmendriya)
upaṣṭha copulation
pāda movement
sabda sound
sparsa contact
rūpa form; subtle elements (tanmātra)
rasa savor
gandha smell
ākāsa ether, space
vāyu air
tejas fire; gross elements (bhūta)
jala water
pṛthivī earth
Encounter in the Mantra 73
that exists, from Śiva to the earth, whereas all that is object is the supreme
Lord, the supreme Śiva. These two, he adds, take on in the vidyā the aspect
of objects (the fifteen male gunas of the five tattvas) and that of the fif-
teen (female) phonemes of the vidyā. The basic male-female dichotomy
is therefore present in the vidyā. This, however, includes other elements:
These three groups of syllables are those of the three kūṭas of the
srīvidyā, which have six, then five, then four syllables. These phonemes
are said to pervade the vidyā, since she is made up in her totality of these
fifteen letters.
If we divide the vidyā into vowels and consonants, we have eleven letters
in the first kūṭa, thirteen in the second, and nine in the third; thirty-three
phonemes to which are to be added the three bindus which crown the
three HRĪṂ; thirty-seven in all.14 Divided in this way, the vidyā can be con-
sidered as made up symbolically of the thirty-six tattvas and thus to have
the same nature as these cosmic divisions of the universe. The srīvidyā
is the Goddess in her cosmic activity, carried out by the tattvas, which
she dominates, transcends, being in this sense a thirty-seventh tattva. Her
essential nature, says Amṛtānanda, is that of Śiva, and it is as such that she
is to be meditated (bhāvyate).15
The Dī quotes here the first twenty-seven stanzas of the
Saubhāgyasudhodaya, which describe the cosmic creative activity of the deity
as Śakti, and the divisions and aspects of this work. The passage is inter-
esting but is too long and needs too many explanations to be quoted here.
74 the heart of the yogin Ī
The YH now considers again the fifteen elements and the three gunas
previously mentioned in sl. 32:
Thus, sound, the guna of space, pervades the [gross elements] air,
etc., the fivefold sound [present in these elements] being denoted by
the bījas of space which are in the vidyā. //36//
Of these [five sounds], what stays in addition as [their] cause is made
of dhvani. [The phoneme HA] must be [understood as being] the
seed of those that carry the gunas and also as that which expresses
the gunas. //37// The fact that they have [respectively] the nature of
cause and effect shows their unity.
tasmād vyomagunaḥ sabdo vayvādīn vyāpyā samsthitaḥ /
vyomabījais tu vidyāsthair lakṣayecchabdapañcakam //36//
teṣām kāranarūpena sthitam dhvanimayam param /
bhaved gunavatām bījam gunanām api vācakam //37//
kāryakāranabhāvena tayor aikyam vivakṣayā /
The Mahāmāyās are the letters Ī of the three HRĪṂ of the srīvidyā, the
bindus being the three Ṃs.
These three gunas are those found in the tattvas of earth, water, and
fire. RA, to be used to meditate them, is the bīja of fire, since their essen-
tial part is fire. This implies the presence of form in these three tattvas.
According to the Dī: “The three gunas of form, which is the guna of
fire, having been [described as] denoted by the phonemes which are the
vācaka of fire, the guna of water is now described by the phonemes that are
the vācakas of that element.”
Taste, both subtle and gross, is evoked through the lunar bījas pres-
ent in the vidyā. In this world also one knows the association of rasa
and amṛta. //41//
vidyāsthaiṣ candrabījais tu sthūlaḥ sūkṣmo rasaḥ smṛtaḥ /
sambandho vidito loke rasasyāpi amṛtasya ca //41//
The lunar bījas are the letters SA of the three kuṭas of the srīvidyā, the letter
SA often being given the name candra (moon). Taste is the guna of water. It is
therefore in its natural gross form in the tattva of water, which is taken to be
pervading; in the tattva of earth, which is pervaded, it is subtle, the Dī explains.
It also explains (more comprehensibly) that according to the Purānas, the
76 the heart of the yogin Ī
amṛta appeared from the water of the ocean when it was churned by the gods
and the asuras. Hence the link between these two elements.
The guna of the earth is smell. Its letter is that which expresses
smell. The threefold nature [of this letter] is to the result of the link
existing between the three worlds, O Mahesvarī! //42//
vasundharāguno gandhas tallipir gandhavācikā /
bhuvanatrayasambandhāt tridhātvam tu mahesvari //42//
The triple krodhīsa are the three letters KA of the srīvidyā. They denote
the three sorts of conscious subjects (pramātṛ), which represent three dif-
ferent levels or modes of consciousness. They are, says Amṛtānanda, the
vijnānākalā
, who suffer only the ānavamalā , the innate impurity of the soul
), their minds being already purified and in essence like Śiva; then
(the anu
the pralayākala, bound souls who will be endlessly reborn to “burn” their kar-
man till the next pralaya; and the sakala, who are bound by all the fetters of
this world.17
Just as the ten srīkanṭ has are that which expresses the nonmani-
fested, O Goddess! so the eleventh remains in the form of breath, the
other one //44// is the puruṣa: being unique, he becomes multiple.
srīkanṭhadasakam tadvad avyaktasya hi vācakam /
prānarūpaḥ sthito devi tadvad ekādasaḥ paraḥ //44//
ekaḥ sann eva puruṣo bahudhā jāyate hi saḥ /
Encounter in the Mantra 77
The ten srīkanṭhas are the ten letters A of the twelve syllables that form
the srīvidyā (which are twelve if one excludes the three HRĪṂ). The non-
manifest (avyakta) which these the letters express is, says the Dī, the vital
principle, the jīva, of the human individual bound by the senses linked to
the inert, insentient (jaḍa), not illuminated by divine Consciousness. The
other one, linked to the two other A, is the puruṣa, the supreme soul, Śiva,
who is, in fact, unique but becomes multiple by his infinite appearances
and by being present in the vital breath of all living beings.
As the threads of a net are gathered in its initial thread, in the same
way the mantras are all found together in the vidyā. //47//
vāgurāmūlavalaye sūtrādyāḥ kavalīkṛtāḥ /
tathā mantrāḥ samastās ca viyāyām atra samsthitāḥ //47//
78 the heart of the yogin Ī
The Dī explains that the net alluded to here is a net for catching fish, the
threads of whose mesh are gathered at their “root” in a metal ring from which
they, as it were, issue forth. In the same way, the vaikari, manifested form of
the word, of all uttered mantras, and, of course, the srīvidyā when made use
of, is gathered initially in the supreme, parā, plane of the Word, vāc.
Then comes the so-called traditional meaning (sampradāyārtha), which
is transmitted through the (oral) teachings of the succession of spiritual
masters of the Śrīvidyā school (gurūpadesakramena). In this respect, this
artha does not bring anything new, as appears from its being expounded
in one half-sloka:
[The meaning] that one can attain through the succession of spiri-
tual masters is called the traditional meaning.
gurukramena samprāptaḥ sampradāyārtha īrithaḥ /
Namely:
I will now tell you the kaulika meaning: it is the unity of the cakra
and the deity, //51// the vidyā, the spiritual master, and the self.
What this [unity] consists of will be shown.
The four-sided lines [are born] from the letters LA. The two lotuses,
which are fire and moon and are accompanied by a triple circle, are
born from [the phonemes of ] energy, O Dear One! From the letters
numbering nine which form the three hṛllekhā //53// [when] joined
to three bindus is born the cakra with nine yonis, O Dear One!
The cakra that is in contact with the triple circle and which is
fire and energy //54// is born only from the triple bīja of space.
Accompanied by the triple subject, associated with the three
“intoxicatings,” will, knowledge, and activity, //55// is the throne of
Sadāsiva, O Goddess! constituted by the mahābindu, supreme. This
is why the nature of the cakra is that of the mantra.
kaulikam kathayiṣyāmi cakradevatayor api //51//
vidyāgurvātmanām aikyam tatprakāraḥ pradarsyate /
lakāraīscaturasrāni vṛttatritayasamyutam //52//
saroruhadvayam sāktair agniṣomātmakam priye
ḥṛllekhātrayasambhūtair akṣarair navasamkhyakaiḥ //53//
bindutrayayutair jātam navayonyātmakam priye /
manḍalatrayayuktam tu cakram saktyanalātmakam //54//
vyomabījatrayenaiva pramātṛtritayānvitam /
icchājñānakriyārūpamādanatrayasamyutam //55//
sadāsivāsanam devi mahābindumayam param /
ittham mantrātmakam cakram
different letters of the vidyā. The four-sided figure is the external square
enclosure of the cakra made of three lines—hence the plural (caturasrāni)
form used. The “energy phonemes” are the letters SA of the three kūṭas,
this being justified by a quotation from a Tantra: “Śiva is HA, Śakti is SA.”
As for the two lotuses, the outer one with sixteen petals is soma, a usual
designation of the moon, the number sixteen being a lunar number.19 The
letters numbering nine are the three letters H, R, Ī of each of the three
HRĪṂ (here called hṛllekhā, “the letter HRĪṂ”), the bindu joined to them
being the Ṃ of HRĪṂ.
We have seen the navayoni cakra in chapter 1. The cakra that is in con-
tact with the triple circle is the cakra of twelve triangles inside which are
the two other cakras of, respectively, fourteen and ten triangles, all three
being deemed to issue from the three bījas of space, that is, the three HA.
The throne of energy is the central triangle, the three “intoxicating” (or
maddening) phonemes being the letters KA deemed to be the phonetic
aspect of the subjects submitted to the powers of will, knowledge, and
activity.
But if the cakra is identical with the mantra, it is also, fundamentally,
an aspect of the Goddess. The YH, therefore, says:
The Dī refers here to stanza 55 of the first chapter, which says that the
cakra is “the cosmic body of the Goddesss all surrounded by the sparkling
waves of her multitudinous power.” This cosmic aspect of the Goddess
(which we will find again in the third chapter, beginning at sl. 9, where the
Ganesas, etc., are placed by nyāsa on the body of the worshipper) consists
of deities (Ganas, Yoginīs, Ḍākinīs, etc.), breaths, and aspects of the word,
shown as linked to different parts of the vidyā. The mantra brings together
all these inseparably divine and human realities.
That the Goddess could, while always supreme and unique, appear as
so many different epiphanies should not surprise us. The multiple aspects
of deities go back to the Veda; it gives an expression to the diversity of their
power. This multiplication, which implies the multiplication of sanctuar-
ies, concretizes (today and in the past) the omnipresence of a deity on the
Indian soil, sacred space being delimitated by their sanctuaries.
This totality is shown as follows:
82 the heart of the yogin Ī
The elements that constitute the human body (dhātu) number tra-
ditionally seven: skin, blood, flesh, fat, marrow, semen, bones. The Dī
quotes only six, omitting bones. Their number does not coincide with
that of the Yoginīs which are, says Amṛtānanda, Ḍākinī, Rākinī, Lākinī,
Kākinī, Śākinī, and Hākinī. These deities, generally collectively called
Ḍākinīs, are traditionally associated with the bodily elements. Here they
come together with the eight Yoginīs, which are, in fact, the eight Mothers
(Mātṛ or Mātṛkā), Brahmī, and so on, traditionally considered the regents
of the eight groups of phonemes of the Sanskrit alphabet.24 Together,
these Yoginīs, says the Dī, embody or stand for the totality of the cosmos.
It adds: “the Goddess plays in the form of these Yoginīs.”
Then follows another aspect taken up by the Goddess:
[The ten breaths,] prānā, apāna, samāna, vyāna, udāna, nāga, kūrma,
kṛkāra, devadatta, and dhanañjaya, along with the individual soul
and the supreme Self—it is through them that she assumes a zodia-
cal nature. //62–63a//
prānāpānau samānascodānavyānau tathā punaḥ /
nāgaḥ kūrmo ‘tha kṛkaro devadatto dhanañjayaḥ //62//
jīvātmaparamātmā cety etair rāsisvarūpinī /
This series of ten vital breaths (prāna ) is a current one. Together with
the individual soul, or vital principle (jīvātman), and the supreme soul,
paramātman, they number twelve, like the signs of the zodiac, which are the
same in India as in the West, from which they were borrowed by the Indians.
The next aspect is less evident:
84 the heart of the yogin Ī
The great vidyā made of supreme Word and of the other [three lev-
els of the Word], having as nature the triple group [of phonemes] A,
KA, THA, and the other ones, becomes mistress of the ganas, start-
ing with the third [of these groups]. //63b–64a//
akathāditripaṅktyātmā tārtīyādikramena sā //63//
ganeso ‘bhūn mahāvidyā parāvāgādivāṅmayī /
The Sanskrit alphabet, from A to HA, is the totality of the Word (vāc)
which—in the view of most Tantric traditions—is considered as existing
on four levels: parā, the supreme; pasyantī, the visionary; madhyamā, the
intermediate; and the plane of the gross, empirical speech, of discursive
thought, vaikharī.25 A here designates the sixteen vowels, the first of which
is A; KA stands for the sixteen consonants from KA to TA; THA is for the
sixteen letters from THA to SA. The A group is considered to be included
in the last kūṭa of the srīvidyā, the saktibīja; the KA group is in the middle
kūṭa, kāmarāja; and the THA group is in the first kūṭa, vāgbhava. The total-
ity of the alphabet is thus present in the whole srīvidyā.
When in the three kūtas [in the form] of bīja, bindu, and dhvani, she
takes on the nature of the planets. //64b//
[When made of her] syllables numbering fifteen: the three
hṛllekhas and the twelve other phonemes, her form is that of the
constellations. //65//
bījabindudhvanīnām ca trikūṭeṣu grahātmikā //64//
hṛllekhāttrayasambhūtais tithisamkhyais tathākṣaraiḥ /
anyair dvādasabhir varnair eṣā nakṣatrarūpinī //65//
Since there are three elements, bīja, bindu, and dhvani, in each of the
three kūṭas, the total is nine, which is the number of the grahas. Bīja, the
commentary explains, is the HRĪ of the three kūṭas, bindu being the Ṃ and
nāda the subtle phonic vibration that ends the HRĪṂ.
As for the nakṣatras, which number twenty-seven, this number is
obtained by counting first the fifteen phonemes of the srīvidyā (fifteen
being also the number of the lunar days, the tithis),26 then its twelve pho-
nemes without the three HRĪṂ. “Thus,” concludes the DĪ, “the vidyā in
the form of constellations being formed by fifteen and twelve phonemes,
we get twenty-seven in all.”
Encounter in the Mantra 85
The syllables of energy are the three HRĪṂ; what precedes them are
the three letters LA, the total of six being reached if one counts the HRĪṂ
as one syllable only. The aspect of energy of the Goddess is that of the six
Yoginīs, Ḍākinī, and so on, that we have already seen.
For the twelve signs of the zodiac, one counts the syllables of the vidyā
without the three HRĪṂ.
Mahesvarī [when] in the form of the cakra [has] in the same way a
cosmic aspect. //67a//
evam visvaprakārā ca cakrarūpā mahesvarī /
The srīcakra, along with the srividyā, is the Goddess in her cosmic activity.
All the forms we have just seen taken over by her as the vidyā—as mistress
of the ganas , and so on—she also assumes when in the form of the cakra.
The Dī tells which parts of the srīcakra are to be associated with the differ-
ent aspects (ganas , planets, constellations, etc.) quoted in stanzas 57–66:
[All the aspects just] described as in the body of the Goddess [are to be
found] in the same way in the body of the spiritual master, and, through
his grace, the disciple will also shine in this form. //67b–68a//
devyā dehe yathā prokto gurudehe tathaiva hi //67//
tatprasādāc ca siṣyo ‘pi tadrūpaḥ samprakāsate /
the human level the movement of the divine grace (anugraha), also called
“descent of the [divine] energy” (saktipāta).
This interpretation of the srīvidyā is the most secret one, says the Dī,
because thanks to it, the disciple may attain the supreme (para). It is, in
fact, a yogic practice.
The vidyā having taken on, in the mūlādhāra, the condition of the
vāgbhava, similar to lightning, //69b// her body being made of
fifty phonemes associated with thirty-eight kalās, in the form of
the kunḍalinī, pierces the three manḍalas. //70// Shining like ten
million flashes of lightning, shaped like a lotus fiber, she attaches
herself to the manḍala of the moon of the inner sky, her nature
being that of a flow of nectar //71// of which she pervades the whole
universe, her nature being constant bliss. The thought: “this energy
is my own self,” such is the secret meaning, O Mahesvarī! //72//
mūlādhāre taḍidrūpe vāgbhavākāratām gate //69//
aṣṭatrimsatkalāyuktapañcāsadvarnavigrahā /
vidyā kunḍalinīrūpā manḍalatrayabhedinī //70//
taḍitkoṭinibhaprakhyā bisatantunibhākṛtiḥ /
vyomendumanḍalāsaktā sudhāsrotaḥsvarūpinī //71//
sadā vyāptajagatkṛtsnā sadānandasvarūpinī /
eṣā svātmeti buddhis tu rahasyārtho mahesvari //72//
The term vāgbhava here does not designate the first kūṭa of the srīvidyā
but the condition (bhava) of the Word (vāc) whose fourfold division we
have seen above (sl. 63). The vidyā is thus identified with the totality and
the full power of the Word. This explains why her body (in the shape of the
kunḍalinī) is “made of fifty phonemes,” the Sanskrit alphabet being, as we
have seen, the totality of the Word.
Encounter in the Mantra 87
Going upward, from the mūlādhāra, in the body of the adept, the vidyā
as kunḍalinī pierces three manḍalas not otherwise identified by the YH
and its commentary, except (by the Dī) as being those of the fire, the sun,
and the moon, traditionally considered to have, respectively, ten, twelve,
and sixteen divisions called kalās, totaling thus thirty-eight. These kalās
are cosmic and divine entities with which are associated the fifty Sanskrit
phonemes; here, too, is the totality of the Word. The moon, called soma
(the sacred beverage of the Veda), is traditionally associated with the
amṛta, the nectar, which, when this center is pierced by the kunḍalinī,
flows over and fills up the universe and, evidently, the body and mind
of the adept, who is then identified with the divine sakti, saying, “This
energy is my own self.”
“The thought [buddhi] that ‘this kunḍalinī sakti made of consciousness
[cinmayī] is my own self’ [svātmeti], that is to say, the total fusion by iden-
tification [tadātmatayā samāvesaḥ] with this form [of power], such is the
sense of the secret meaning,” says the Dī, which also says that kunḍalinī,
having pierced the moon manḍala, enters the akula center.27
The experience described here is therefore both cosmic and bodily.
The Dī quotes a stanza from the Svacchandasamgraha which says that the
supreme sky (param vyoman) is placed on the head between the forehead
and the summit of the head (between the brumadhya or bindu and the
brahmarandhra).
Then comes the next meaning:
The meaning [relating to] the highest reality, I will tell you,
O Goddess.
It [consists in] uniting oneself with the indivisible, supreme, sub-
tle, imperceptible, with no concrete existence, the reality supreme,
above the inner sky, light and bliss, both transcending the universe
and identical with it. //73–74//
mahātattvārtha iti yat tac ca devi vadāmi te /
niṣkale parame sūkṣme nirlakṣye bhāvavarjite //73//
vyomātīte pare tattve prakāsānandavigrahe /
visvottīrne visvamaye tattve svātmaniyojanam //74//
“but this supreme reality is also identical with the universe [visvamaya]”;
it manifests itself through the infinite diversity of the world. Quoting the
Upaniṣadic saying tat tvam asi, “This thou art,”28 the Dī concludes: “Such
is the supreme truth. And the meaning relating to the highest reality is
to identify oneself totally with it, that is to say, to unite one’s self, whose
pure essential nature is awakened by the spiritual master, with the supreme
Śiva, giver of the supreme vidyā brimming with this supreme meaning.”
But how are we to know this nature of our self? The answer is:
Since luminosity is the state of things that are luminous and also
that of those that are dark, there is therefore a necessary and essen-
tial connection between the universe and the [highest reality]. //75//
tadā prakāsamānatvam tejasām tamasām api /
avinābhāvarūpatvam tasmād visvasya sarvataḥ //75//
The state of mind necessary to have this mystical experience of the high-
est reality is the complete nakedness, or void, of consciousness, without any
will to act or any doubt about what is to be done. Once this state is present,
the certainty flashes forth that “I am Śiva” (sivo ‘ham), says the commentary.
Will enjoy this, O Goddess! those who follow the practice of Kula
and who meditate on the feet of the Master, who take part zealously
in the meetings with the Yoginīs, who have received the divine unc-
tion, are free from the stain of doubt, their spirit ceaselessly joyful
90 the heart of the yogin Ī
and well versed in the secret meaning known through the uninter-
rupted succession [of masters]. //78b–80//
kaulācāraparair devi pādukābhāvanāparaiḥ //78//
yoginīmelanodyuktaiḥ prāptadivyābhiṣecanaiḥ /
saṅkākalaṅkavigataiḥ sadā muditamānasaiḥ //79//
pāramparyena vijñātararahasyārthavisaradaiḥ /
labhyate
“The kaulas,” says the Dī, “are those who know that kula is the body
and that it can have a very great use.”31
Concerning the meditation on the feet of the Master, the Dī quotes
the following stanza: “One is the shape of Śiva, luminous by himself
[prakāsa]. [One, too,] is the ‘being’ or essence [tanu] which is its aware-
ness [vimarsa]. The supreme, total fusion of these two aspects [of the
supreme deity], such is the imprint of the feet [of the Master]. It is
in essence the supreme Śiva.” The supreme godhead is, in the non-
dualist Śaiva traditions, both light (prakāsa) and free consciousness
(vimarsa), a reality that only those who are devoted to the feet of the
Master will enjoy.
The “meeting with the Yoginīs” (yoginīmelana) is a collective kula
ritual in which participants, by pair, male and female, under the guid-
ance of their guru, worship the deity, the ritual usually including the
sexual union of the participating couples. The Dī underlines the fes-
tive, joyful atmosphere of the rite, in which the adepts, fully instructed
according to the traditional teaching, free from doubt, enjoy the union
with the deity.
The infatuated adepts are those who, being without an initiated guru,
do not benefit from the teachings of the Tantras, do not know the mean-
ings expounded here, and therefore do not understand the full meaning
and import of the srīvidyā and of its constituting syllables: the rules of
utterance (uccāra) of the mantras, and so forth.
The rays of consciousness (cinmarīci), the Dī explains, are the Mothers of
Kula (kulamātaraḥ), the goddesses Brahmī, and so on, along with the deities
of the bodily elements (dhātudevatā)32, the Ḍākinīs. These divine rays destroy
the bodies of the bad adepts by causing a disequilibrium of these elements.
Thus, the knowledge that gives all this, which is attained through
the science of the phonemes of the vidyā, O Goddess! and is secret,
has been explained to you in six ways, O Durgī! because of my love
[ for you]. He who understands this becomes immediately lord of
the circle of heroes. //85//
evam etatpradam jñānam vidyārnāgamagocaram /
devi guhyam priyenaiva vyākhyātam durgi ṣaḍvidham /
sadyo yasya prabodhena vīracakresvaro bhavet //85//
The lord of the circle of heroes, says the Dī, is the supreme Śiva, which
means that the initiated adept who has obtained the knowledge of the six
meanings is identified with Śiva.
3
this chapter is also called samketa, since wherever male and female prin-
ciples or deities are present in couples during the pūjā, Śiva and Śakti can
be held to be present in conjunction: they meet and/or fulfill their promise
(samketa) to be there. The worship, too, although it is that of Tripurasundarī,
is aimed at the supreme godhead, which both includes and transcends the
masculine and the feminine. Since the chapter describes ritual practices,
the term samketa could also be translated as “practice,” which is one of the
meanings of this Sanskrit word.
This chapter is the longest. With 204 stanzas, it accounts for more than
half of the Yoginīhṛdaya. It does not describe precisely the visible aspect of
the Goddess, although she is to be visualized as clearly and precisely as
possible during the worship, which is performed on a srīcakra, without
any material icon, the deities to be worshipped being placed immaterially
by nyāsa, using their mantras, on the different parts of the cakra,1 where
they are to be visualized and imagined as present. The fact that the YH
consists of instructions given by Bhairava to Tripurasundarī may explain
why she is not described. The main reason, however, for the lack of prac-
tical informations is that the YH is not a mere ritual manual to be read
and used privately by any person. It is a revealed text to be transmitted by
word of mouth to a chosen disciple by a master who would give him all
necessary information for understanding the doctrine and performing the
sometimes very complicated prescribed ritual actions.
The pūjā is to be performed using a srīcakra diagram, usually drawn
ritually and according to precise rules, with colored powders, and adorned
as mentioned in stanzas 95b–97. But if this geometrical figure is the
necessary material basis of the worship of Tripurasundarī, the pūjā, its
94 t he hea rt of the yo ginī
performance appears (as is, in fact, the case in all Tantric ritual worship) to
consist more in evoking mental images and uttering (audibly or mentally)
mantras than in concrete visible actions. At some points, the officiating
adept is to concentrate intensely and/or follow the ascent of his kunḍalinī.
He is therefore intensely and completely implicated, immersed, in what
he is doing, The srīcakrapūjā is (or ought to be) a total—bodily, mental,
spiritual—divinizing experience. This aspect appears from the start, in
the first stanzas of this chapter, and is continuously underlined by the Dī.
Now, O Incomparable One! I will tell you the practice of the worship
whose mere knowledge causes the liberated in life to exult. //1//
Your worship, eternally present and manifest, is threefold, O Gaurī! It
is supreme, nonsupreme, and thirdly, supreme-nonsupreme. //2//
pūjāsamketam adhunā kathayāmi tavānaghe /
yasyaprabodhamātrena jīvanmuktaḥ pramodate //1//
tava nityoditā pūjā tribhir bhedair vyavasthitā /
parā cāpy apara gauri tṛtīyā ca parāparā //2//
The Sanskrit term used to characterize the ritual worship of the Goddess
is nityodita, which means eternally (nitya) appearing or arising (udita), being
eternally present. The term is often used by Jayaratha in his commentary
on the Tantrāloka as the characteristic of the divine Consciousness, which
is ever present, active, manifested. It is applied here to the pūjā because the
supreme deity is deemed to be ceaselessly worshipped in the heart of her
devotees, a worship made in the luminous center of nonduality (advaya
dhāmni), “in the grandeur of the inner void,” says Amṛtānanda. The non-
supreme worship is the ordinary ritual worship, which will be described in
this chapter. The supreme-nonsupreme one consists in “intense medita-
tion [bhāvanā], absorption in the absolute Consciousness, in nonduality
and in the nondualistic element present in the dualistic worship.”2
The main traits of these three types of worship are now shown:
The domain of the first [type of worship] is the activity of all [senses]
insofar as they remain in the condition of nonduality. //3a//
prathamādvaitabhāvasthā sarvaprasaragocarā /
toward the exterior or the interior, there is the state of Shiva. Since he is
omnipresent, where can [the mind] go to avoid [Him]?” There is no way to
evade the omnipresence of the supreme deity.
his heart, leaving therefore aside such discursive activity as the recitation
of mantras.
The adept must meditate (dhyānam kuryāt) as follows:
The actual, material worship is now described in the 156 stanzas that
follow:
The worship of oneself must be done with elements that are pleas-
ing to the senses. //8a//
indriyaprīnanair dravyair vihitasvātmapūjanaḥ /
The worship to be done is not of the self of the worshipper but of the
deity that is the very essence—the deity of one’s self (svātmadevatā)—of
the worshipper. The Dī quotes here a text that says: “To worship in a natu-
ral fashion the deity that is one’s own self by using perfumes etc. to which
the doors of the senses are opened, such is the great sacrifice of one who
knows.” And it adds: “as has been said, the highest sort of pūjā consists
in attaining a complete fusion [sāmarasīkarana] thanks to the great felicity
born from the experience of the sounds, etc., perceived by the ears and
the other senses of the worshipper.” The identification of the worshipper
with the deity being worshipped, which is the aim of the Tantric pūjā, is
considered in all Tantras as being more easily achieved when helped by
the beauty and charm of the ritual.
The description of the “nonsupreme” (apara) pūjā begins now, with the
preliminary rite of nyāsa, which is very complex, a large number of ele-
ments having to be ritually imposed on the body of the officiant in order to
purify and divinize it: identifying it with the mantra, the srīcakra, and the
deities abiding in it. Seventy-nine stanzas (8–87) are devoted to this rite.
Impositions (nyaˉsa)
Four series of nyāsas are to be performed: first, the “sixfold imposition”
(ṣoḍhānyāsa), sl. 8–40; second, the imposition of the srīcakra, sl. 41–68; third,
98 t he hea rt of the yo ginī
the imposition of the deities abiding in the srīcakra, sl. 69–79. Then come
four series of placings: the purification of the hands (karasuddhi), an impo-
sition of the srīvidyā, then another karasuddhi, and finally a group of impo-
sitions of the throne (āsana) and of several entities. Finally this is completed
(sl. 85–86) by a tritattvanyāsa on the whole body deemed to achieve the total
“cosmicization” and divinization of the officiating sādhaka.3
One must [first] perform the placing of mantras on the body start-
ing with the sixfold placing. //8//
nyāsam nirvartayed dehe ṣoḍhānyāsapuraḥsaram //8//
The first placing [must be done] with the Ganes as, the second one
with the planets, the third with the nakṣatras, the fourth with the
Yoginīs, //9// the fifth with the signs of the zodiac, and the sixth
with the pīṭhas. The sixfold nyāsa [now] told to you is said everywhere
to be invincible. //10// The one whose body is touched in this way
is worthy of being worshipped by all yogins. In the worlds there is
no [being, even his] father, mother, etc., that he should revere. //11//
He alone is to be venerated by all [ for] he is himself the supreme
Lord. If he were to bow in front of someone who has not received
the sixfold nyāsa, O Parvatī! //12// he would soon die and go to hell.
ganesaiḥ prathamo nyāso dvitīyas tu grahair mataḥ /
nakṣatraisca tṛtīyaḥ syād yoginibhis caturthakaḥ //9//
rāsibhiḥ pañcamo nyāsaḥ ṣaṣthaḥ pīṭhair nigadyate /
ṣoḍhānyāsas tvayam proktaḥ sarvatraivāparājitaḥ //10//
evam yo nyastagātras tu sa pūjyaḥ sarvayogibhiḥ /
nāsty asya pūjyo lokeṣupitṛmātṛmukho janaḥ //11//
sa eva pūjyaḥ sarveṣām sa svayam paramesvaraḥ /
ṣoḍhānyāsavihinam yam pranamed eṣa pārvati //12//
so ‘cirān mṛtyum āpnoti narakam ca prapadyate /
worship is a necessity, for it is only after having shed his human ordinary
condition and becoming divine that an adept is permitted to approach a
deity and to perform its ritual worship, the pūjā. As the saying goes, “One
should worship God [after] having become god” (devam bhutva devam
yajet). This is the paradox of the Tantric pūjā that it aims at the diviniza-
tion of an officiating person who, to be permitted to reach this goal, must
first be already divinized. The paradox—the ritual redundancy—is all the
greater since, as we shall see, the ṣodhānyāsa is followed by other imposi-
tions: those of the srīcakra and of the deities that abide in it.
That there could be fifty-one Ganesas should not surprise the reader.
Tantric deities tend to multiply: there are nine Durgās, sixteen Nityās,
eighteen (or fifty-one) Rudras, even six hundred forty million Yoginīs (sl.
193); the supreme deity manifests thus the omnipresence of its power.
Since there are fifty-one Ganesas, to be placed by nyāsa on the same places
as the phonemes of the mātṛkā, the latter must be made up of fifty-one let-
ters, including therefore the so-called Vedic ḷ, which is not usual.
Being Tantric, these Ganes as are accompanied by their consorts, fifty-one
saktis, enumerated in the Dī. In iconography, they are shown sitting on the
Ganes as’ left thighs, sometimes holding his erect liṅga. The adept, when
performing their nyāsa, is probably supposed to visualize these couples as
he utters or evokes mentally the mantra of each of these gods. The names
of the Ganes as and of their saktis are not exactly the same in all Tantras.
The nyāsa of other deities or entities is then described, starting with
the planets (graha):4
One must impose Sūrya below the heart accompanied by the vowels,
//21// the Producer of Nectar on the place of the bindu with the four
phonemes YA, etc.; on the eyes, the Son of the Earth presiding over
the group of the gutturals, O Dear One! //22// Then, on the heart,
one must place Venus, regent of the group of palatals; above the
heart one will impose Mercury, regent of the cerebrals. //23// On
the region of the throat, Bṛhaspati, who presides over the dentals, O
Dear One. On the navel, Saturn, master of the pavarga, O Mistress
of the Gods! //24// Then one must impose Rahu accompanied by
the four phonemes ŚA, etc., on the face, and Ketu accompanied by
the letter KṢA on the anus, O Mistress of the Gods! //25//
svaraistu sahitam sūryam hṛdayādhaḥ pravinyaset //21//
Encounter in the Worship 101
Then, on the forehead, the right and left eye, the two ears, the lobes
of the nose, the throat, the shoulders, //26// then on the elbows
and on the wrists, on the nipples and on the area of the navel, on
the hips and lastly //27// on the thighs and the knees, the ankles
and the feet [are to be placed the nakṣatras] Asvinī and the others
who shine like the blazing fire [destroyer] of time, their hands mak-
ing the gesture of granting of wishes and of reassurance //28//
and that of salutation and who are wearing all the ornaments. One
must impose them on those places, O Goddess honored by the
gods!5 //29//
lalāṭe dakṣanetre ca vāme karnadvaye punaḥ /
puṭayor nāsikāyās ca kanṭhe skandhadvaye punaḥ //26//
pascāt kūrparayugme ca manibandhadvaye tathā /
stanayor nābhidese ca kaṭibandhe tataḥ param //27//
uruyugme tathā jānvor jaṅghayos ca padadvaye /
jvalatkālānalaprakhyā varadābhayapānayaḥ //28//
natipānyo ‘svinīpūrvāḥ sarvābharanabhūṣitāḥ /
etās tu vinyased devi sthāneṣveṣu surārcite //29//
One must impose the deities Ḍā, etc., mistresses of the constituent
elements of the body, on the viṣuddha, heart, navel, svādhisthāna,
mūl[ādhāra], and ājñā [cakras]. //30// They are to be visualized
exactly through meditation on the feet and on the liṅga and the
102 t he hea rt of the yo ginī
belly, on the heart and on the root of the arms, associating them
with Amṛtā, etc., O Mistress of the gods! //31//
visuddhau hṛdaye nābhau svādhiṣṭhāne ca mūlake /
ājñāyām dhātunāthāsca nyastavyā ḍādidevatāḥ //30//
amṛtādiyutāḥ samyag dhyātavyās ca suresvari /
pāde liṅge ca kukṣau ca hṛdaye bāhumūlayoḥ //31//
Starting with the right foot and ending with the left foot, one must
impose the signs of the zodiac, Aries, etc., with the phonemes [of
the mātṛkā], O Parvatī! //32//
dakṣinam padam ārabhya vāmapādāvasānakam /
meṣādi rāsayo varnair nyastavyā saha pārvati //32//
For this nyāsa, the fifty phonemes of the Sanskrit alphabet are distributed in
twelve groups, beginning with the group of the vowels and ending with KṢA.
Finally to be placed on the body of the officiant are the fifty seats of
power (pīṭha) of the Goddess, that is, the fifty places on the Indian subcon-
tinent to which the pieces of the dismembered body of Śiva’s wife, Satī, fell
from his shoulders while he roamed, desperate, after her death when she
had jumped into the sacrificial fire of Dakṣa:7
Then, O Goddess, one must impose the pīṭhas on the places where
the mātṛkanyāsa [is made]. Their names are [now] given. Listen
carefully, O Dear One! //33//:
Encounter in the Worship 103
We have seen in chapter 1 (sl. 41–43) the four main pīthas of the Tripurā
tradition. Enumerated here are the fifty sākta ones, the list of which var-
ies according to different texts. The list given here is perhaps ancient, but
this is not certain. Some pīṭhas can be identified (Kāmarūpa, Nepal, and
Varanasi, for instance), others not. Attempts have been more or less con-
vincingly made at locating all of them geographically. They seem to spread
out all over India but not to include Kashmir.
104 t he hea rt of the yo ginī
The sixfold [nyāsa] having thus been done, the imposition of the
srīcakra is then to be performed. Listen, O Dear One! to the imposi-
tion of the cakra of the venerable Tripurasundarī //41// which has
never been told to anyone, purifies the body, and is supreme.
evam ṣodhā purā kṛtvā srīcakrancakrayāsam ācaret /
srīmattripurasundaryās cakranyāsam sṛnu priye //41//
yan na kascid ākhyātam tanusuddhikaram param /
The Dī here extols the nyāsa of the cakra of the supreme goddess
Tripurasundarī, who is “the supreme dynamism of consciousness
(paracitkalā), the object of supreme love (parapremāspada), her cakra being
made up of all the tattvas from Śiva down to the earth, which is the place
where she reveals herself. The process of this nyāsa is to be kept secret.
It purifies the body and is supreme.” This, says the Dī, is to say that “it
transforms the body made of the thirty-six tattvas by bringing it up to the
level of the supreme essence”; this is why this imposition is superior to
all others.
First, while saying “Praise to the first line of the square,” one must
make a pervasive imposition on the right side: on the back of the
shoulder, the extremity of the hand, the hip, and the toes and, on
the left side: on the toes, the hip, the extremity of the hand, and the
back of the shoulder //43// and also on the base and the back of the
head, O Beautiful One!
caturasrādyarekhāyai nama ity ādito nyaset //42//
dakṣāmsapṛṣṭhapānyagrasphikkapādāṅgulīsvathā /
vāmāṅghryanguliṣu sphikke pānyagre cāmsapṛṣṭhake //43//
sacūlīmūlapṛṣṭheṣu vyāpakatvena sundari /
case) trace on the body the lines of the srīcakra. A vyāpakanyāsa may also
be made with the two hands, which rub or stroke the body to pervade it
with the power of a mantra.
One may well wonder how a square structure with circles inside it
can, even in imagination, actually be placed on a human body. The idea,
however, is not so much to place a structure on the body of the adept as
to place there all the deities abiding in the srīcakra, thus pervading him
with the divine elements, which are in, and constitute, this diagrammatic
supremely energetic form of the supreme Goddess.
On the same ten locations, one must impose the ten Siddhis, Animā,
and the others.9 //44// Then, back from these, one is to impose [the
second line of the square, conceived] as stretching along the body,
with the mantra “Praise to the middle line of the square,” O Dear
One! as well as the energies Brahmānī, etc., on eight locations of
this line: on the big toes of the feet, on the right side, then on the
other side of the head, //46// on the left and right knees, then on
the outsides of the two shoulders.
What is to be imposed [next] must be placed with [the mantra]
“Praise be to the inside line of the square” //47// as stretching
along10 the body behind the points just described.
On ten points of this [line], one will impose the ten Mudrās. //48//
Eight of them must be imposed on the eight locations of Brahmanī,
etc., and the last two on the dvādasānta and on the big toe. //49//
atraiva sthānadasake animādyā dasa nyaset //44//
siddhīḥ tadantaṣ ca tanuvyāpakatvena sundari /
caturasramadhyarekhāyai nama ityapi vallabhe //45//
vinyaset tasyāḥ sthāneṣu brahmānyādyās tathāṣṭasu /
pāḍaṅguṣṭhadvaye parsve dakṣe mūrdhno ‘nyapārsvake //46//
vāmadakṣinajanvos ca bahiramsadvaye tathā /
nyastavyās caturasrāntyarekhāyai namā ityapi //47//
vinyased vyāpaktevena pūrvoktāntas ca vigrahe /
tasyāḥ sthāneṣu dasasu mudrānām dasakam nyaset //48//
brahmānyādyaṣṭhānāntas tāsām aṣṭau nyaset tataḥ /
siṣṭe dve dvādasānte ca pādāṅguṣṭhe ca vinyaset //49//
106 t he hea rt of the yo ginī
The Mudrās are the deity aspects of the ten mudrās we have seen in
chapter 1, sl. 56–71, which are hand gestures but are also forms of divine
power and deities.
The dvādasānta, the “end of twelve,” is the cakra considered to be
located over the head twelve finger-breadths above the brahmarandhra. It
is the highest of the cakras. The Svacchandasamgraha identifies it with the
sky of consciousness, the vyoman.11
Then is told the vyāpakanyāsa of the sixteen-petaled lotus:
Inside this [square], after having imposed the mantra “Praise to the
sixteen-petaled lotus,” one must impose on these petals Kāmākarṣinī
and the other [powers]. //50// The petals are considered as being,
on the right side, on the back of the ear, on the shoulder, the elbow,
the back of the hand, the thigh, the knee, the ankle, and the sole of
the foot, //51// and, on the left side, on the symmetrical [spots], but
starting from the sole of the left foot.
tadantaḥ ṣoḍasadalapadmāya nama ity api /
vinyasya taddale kāmākarīnyādyās ca vinyaset //50//
dalāni dakṣinasrotrapṛṣṭhamsam ca kūrparam /
karapṛṣṭham corujānugulphapādatalam tathā //51//
vāmapādadalādy evam etad evāṣṭakam matam /
Even for a reader able to follow the Sanskrit text, the two last stanzas
are not very clear. The commentary explains, therefore, that the constitu-
ent triangles of this cakra are to be mentally visualized (bhāvanīyāni). The
term kukṣi, which we translate as “trunk,” means usually the belly, but it is
explained by the commentary to mean “the part of the body which extends
from the thighs to the arms,” that is, the trunk. The upper portion of the
trunk is considered to be on the east side, the lower part on the west, the
left and right sides respectively on the south and the north. The “angles”
of the trunk would then be where the arms and the thighs begin. “Thus,”
the Dī concludes, “the root of the left arm will be in the northeastern angle
[īsa], the left groin will be in the northwest [vāyu], the right groin in the
southwest [nirṛti], and the root of the right arm in the southeastern13 angle.”
Having imposed inside that one [the mantra] “Praise to the origi-
nating cakra with eight [tri]angles,” one must impose on its angles
the eight energies Vasinī, etc. //63//
tadantar aṣṭakonādicakrāya nama ity api /
vinyaya tasya koneṣu vasinyādyaṣṭakam nyaset //63//
Encounter in the Worship 109
The chin, the throat, the heart, and the navel are considered as forming
the right side [of this cakra]; the manipūra, etc., being the foursome of
the left side, //64// the whole forming the [cakra] with eight [tri]angles.
cibukam kanṭhahṛdayanābhīnām caiva dakṣinam /
jñeyam pārsvacatuṣkam ca manipūrādi vāmakam //64//
catuṣṭayam ca pārsvānām etat konāṣṭakam punaḥ /
Then, having done the imposition with the mantra “Praise to the tri-
angle,” one must impose on the angles [of this triangle], in front, to the
right and to the left, //66// the Goddesses Kāmesvarī, etc., and, in the
middle, the Goddess.
trikonāya namas tathā /
vinyasya tasya koneṣu agradakṣottareṣu ca //66//
kāmesvarādidevīnām madhye devīm ca vinyaset /
The central triangle of the srīcakra being, as it were, its heart is, quite
naturally, to be imposed on the heart of the officiating adept—the heart
110 t he hea rt of the yo ginī
being, as is well known, the spiritual, mystical center of the human being.
The lines of this triangle (to be placed by a vvāpakanyāsa, whose efficacy
spreads along all of the outside lines) are to be imposed with the mantra
trikonāya namaḥ. To avoid any misunderstanding, the Dī explains that the
heart is “in the middle of his breast.” Three goddesses are to be imposed
there—Kāmesvarī, Vajresvarī, and Bhagamālinī—on the three points of
the triangle and, on its center, on the bindu (also called baindavacakra),
the Goddess. The weapons, it is explained, are those of Kāmesvara and
Kāmesvarī,16 two different deities that are the male and female aspect of
the Goddess; eight āyudhas are thus to be placed.
the YH now prescribes the imposition of the same deities in the reverse
order, from the Goddess to Animā. This is to be done as follows:
On the triangle of the head, one must impose, starting from the
east [the goddesses] Kāmesvarī, etc.
One must impose—on the right and on the left—the arrows on the
eyes, the two bows on the eyebrows, //70// the nooses on the ears,
the goads on the tip of the nose.
sirastrikone pūrvādi kāmesvaryādikā nyaset /
bānān netre bruvos cāpau karne pāsadvayam nyaset //70//
sṛnidvayam ca nāṣāgre dakṣināgram tu vinyaset /
The “triangle of the head” is probably the place of the fontanel. The Dī
describes it: “there is on the center of the head a triangular place, which is
easily seen, being very fragile, on small children.” The deities accompany-
ing Kāmesvarī are Vajresvarī and Bhagamālinī. The officiant is to imagine
on the top of his head a triangular place where he imposes the Goddess
surrounded by her three first āvaranadevatās.18 The “weapons” (āyudha)
to be imposed on the left and the right of this triangle are those held by
Kāmesvara (on the right) and Kāmesvarī (on the left).
Along a rosary placed on the head, one must impose the eight
Vāgdevatas. //71//
munḍamālākramenaiva nyased vāgdevatāṣṭakam //71//
The cakra of the bindu and the other ones are [the only elements
now] to be imposed, O Beautiful One! on the inside and outside
corners of the eye, then in front and in the back of the ear. //72//
In front of the tuft20 one must impose the half [of these deities], the
other half being imposed on the tuft behind the ear, in front of the
ear, and on the inner and outside corners of the eye. //73//
112 t he hea rt of the yo ginī
The deities of the retinue of the Goddess, surrounding her, are now to
be imposed on the body of the officiant:
The exact places on the body on which to impose all these deities
are explained in the commentary. For instance, “in front of the tuft” is
explained as the forehead. Since our readers are not expected to practice
this pūjā, we do not believe it is necessary to clarify the text.
The two next impositions are to be made on two cakras; they are to be
imposed by nyāsa on the parts of the body corresponding to the cakras. For
the svādhiṣṭhāna, the group of four deities is to be placed circularly on four
places on the lower part of the belly. As for the ten Mudrās to be imposed
on the mūlādhāra, they are, in fact, to be imposed there and (according to
the Dī) on the right and the left of the spine:
[The locations] above and below being excluded, //78// one will
impose the eight [energies, or Mothers] Brahmanī, etc., on the right
leg, this being done as [was described] previously. Then, begin-
ning by the left leg, //79// one must impose eight Siddhis, starting
from the left, on the same locations, and two others on the soles of
the feet.
ūrdhvādhovarjitam punaḥ //78//
brahmānyādyaṣṭakam dakṣajaṅghāyām tās tu pūrvavat
vāmajaṅghām samārabhya vāmādikramato ‘pi ca //79//
siddhyaṣṭakam nyaset teṣu dvayam pādatale nyaset
“Brahmanī, etc.,” are the eight Mothers (mātṛkā) who preside over the
eight groups of phonemes (varga) of the Sanskrit alphabet. They are called
Vāgdevatā, “Goddesses of the Word” (sl. 71), and Vāgdevīs (sl. 84).
The ten Siddhis, which are deities or Yoginīs and supernatural human
powers, have already been mentioned above (sl. 44).
The YH now concludes on the nature and role of nyāsa:
The imposition of the vidyā is that of the three bījas (or kūṭas) of the
srīvidyā, the vāgbhavabīja being imposed on the head, the kāmarājabīja on
the sexual organs, and the saktibīja on the heart.
The Dī does not identify the throne. The six aṅga are the six “limbs” of
Śiva: hrdaya (heart), siras (head), sikha (tuft), kavaca (cuirass), netra (eyes),
and astra (weapon), which are, in fact, not limbs of the body but attributes
or powers of the god (or of any other deity). The nyāsa of Śrīkanṭha is
an imposition of fifty Rudras, of which Śrīkanṭha is the first. The eight
Vāgdevīs, as we have seen, are the Mātṛkās, Kāmesvarī, and so on, mis-
tresses of the vargas of the Sanskrit alphabet.
The imposition of “the cakras of fire, etc.” is a complex procedure. First
to be imposed are the cakras of the three luminaries (dhāman), Fire, Moon,
and Sun; then the four main pīṭhas of the Śrīvidyā, Oḍḍiyāna, Kāmarūpa,
Jālandhara, and Pūrnagiri, with their regents, powers, and attendant god-
desses. The details of this process are given in the Dī.
Then a last imposition is to be made:
The three tattvas (tritattva) are Śiva, sakti, and nara (God, the energy,
and man), the three components of the cosmos, each being imposed
while uttering one of the three parts of the srīvidyā, the cosmic divine
totality being thus imposed on the adept before he begins the ritual of
the pūjā.
According to the Dī, the moon is the “half-kalā of HA without sec-
ond” (anuttara), that is, Ḥ, which is in the triangle at the center of the
thousand-petaled lotus placed at the base of the kunḍalinī, whereas the fire
is the letter S in the triangle at the center of the four-petaled lotus of the
mūlādhāra. (The mantra to be imposed is therefore SAUḤ, the bījamantrra
of Paṛā, the supreme goddess of the Trika.) From there, a flow of nectar
116 t he hea rt of the yo ginī
issues, resulting from the fusion of the amṛtakunḍalinī of moon and the
agnikunḍalinī of fire, one flowing downward and the other upward, assum-
ing the double (sexual) aspect of the union of yoni and liṅga.
This object, says the Dī, is liberation, not the possession of supernatu-
ral powers, since these are already possessed by the adept who is a sādhaka.
Other preliminary rites
Having imagined the throne [of the Goddess] as going up to the
thirty-sixth tattva, [the officiant] must offer a bali22 with a mantra to
the secret Yoginīs and to the other ones //90//
ṣaṭtrimsattattvaparyantam āsanam parikalpya ca /
guptādiyoginīnām ca mantrenātha balim dadet //90//
Encounter in the Worship 117
Since they are shared out among the [centers named] pinḍa, rūpa,
pada, and granthi, the [internal] obstacles [are destroyed] by the
imposition of the vidyā on the secret place,25 the heart, the face, and
the head, O Beautiful One! //91//
pinḍarūpapadagranthibhedanād vighnabhedanam /
guhyahṛnmukhamūrdhasu vidyānyāsena sundari //91//
Pinda, rūpa, pada, and granthi are places or elements of the structure of the
yogic body that are also bodily centers of focused awareness, normally tiered
along the suṣumnā. As such, they represent stages of (bodily) experience in
the ascending movement toward liberation. They are proper to the Kula tra-
ditions, notably the Kubjikāmata. The internal obstacles to be destroyed are
118 t he hea rt of the yo ginī
mental or sensual dispositions that tend to block the way toward liberation
and, in the present case, to prevent the officiant from reaching the state of
purity necessary for the inner worship he is now to perform.
How to destroy these obstacles ritually is now described:
He who knows the mantras, driving away the obstacles in the tem-
ple of the sacrifice, will expel the obstacles that are on the earth by a
kick with the heel, those in the atmosphere by clapping the hands,
//92// and with the astramantra and the casting of a glance those
that are in the sky.
yāgamandiragāmscaiva vighnān utsārya mantravit /
pārṣnighātena bhaumāmsca tālena ca nabhogatān //92//
astramantrena dṛṣṭyā ca divyān vighnān apohayet /
The Dī, true to its metaphysical interpretation of the YH, says that this
great fire is nothing other than the Supreme Consciousness flashing forth
everywhere. This fire, it adds, must be impassable so that none of the
obstacles resulting from dualistic thought may enter the consecrated area
of the sacrifice or the mind of the officiating adept who has mentally con-
structed this luminous image.
Mārtanḍa is a name of the sun god, Sūrya. The worship of the sun
(sūryapūjā) is the first item of the daily mandatory (nitya) ritual worship
(pūjā) of Śiva. The sun is generally considered golden but is also seen as
red, especially in the Āgamas or Tantras. When represented in human
form, he is often white with a red garment. Red is the color of the Goddess;
it is also the color of passion, attachment, and vimarsa, self-consciousness,
while prakāsa, light, is white, the color of Śiva. Insofar as Mārtanḍa mani-
fests the universe, he is on the side of vimarsa and redness.
The Seizers (Graha), who number nine, are, as we have seen before
(see chapter 2, sloka 58), the planets, but they are also demonic, dangerous
supernatural beings who “seize” their victims. The planets, too, are seizers
insofar as they “seize,” or influence, human beings. The “others” (ādi) are
the six “limbs” (aṅga) of Śiva, hṛdaya, siras, sikha, and so on,26 according
to the Dī; but ādi, in grahādi, can also be understood as “the sun being the
first (ādi)” (of the Seizers).
Arghya—there is no satisfactory translation of the term—is the spe-
cially prepared water offered as oblation to a deity.27
The sun worship having been performed (neither the YH nor the Dī
describes it), the worship of the Goddess can begin:
O Goddess! one must make appear in the right manner the king of
cakras [drawing it] with orpiment, agalloche, and kunkuma mixed
with lunar and igneous [substances] while reciting the mūla[mantra]
of the Yoginīs. //95–96a//
saumyāgneyayutair devi rocanāgurukunkumaiḥ //95//
mūlam uccārayan samyag bhāvayec cakrarājakam /
The rule that the cakra or the chalice used for the ritual worship of a
Tantric deity must never be empty of the prescribed offerings is a general
rule. In the case of Bhairava, the Tantrāloka says that if the chalice were
empty, the god, always furious and voracious, would immediately devour
the adept. More sedately, the Dī says that if the cakra were empty of these
offerings during the worship, the ritual would be fruitless.
[The sādhaka] must place the arghya between the srīcakra and him-
self on [a figure] of six angles inside a square, O Beloved of the gods!
//98// where, after having worshipped the six āsanas and having
honored successively inside the triangle the four pīṭhas Kā, Pū, Jā,
O, //99// he must sacrifice on the place of the arghya to the ten
kalās of Fire.
srīcakrasyātmanas caiva madhye tvarghyam pratiṣṭhayet /
caturasrāntarālasthakonaṣaṭke suresvari //98//
ṣaḍāsanāni sampūjya trikonasyāntare punaḥ /
pīṭhāni caturo devi kā pū jā o iti kramāt //99//
arcayitvā ‘rghyapāde tu vahner dasa kalā yajet /
Kā, Pū, Jā, and O are the initials of the names of the four main pīthas
of the Ṣrīvidyā tradition, Kāmarūpa, Pūrnagiri, Jālandhara, and Oḍyāna,
as we have already seen in chapter 1, (slokas 41–43).
The kalās are energies associated with a deity and formed (or symbol-
ized) by letters of the Sanskrit alphabet. Fire as a deity (Agni) has ten kalās
associated with the last letters, from YA to KṢA.29
The sādhaka is to worship a (mental) image of the sun god in the center
of the chalice by invoking its image in his heart while uttering its mantra and
worshipping its twelve kalās, associating each with one of twelve letters of the
Sanskrit alphabet from KA to THA and from BHA to ḌA, while uttering their
names, this being done with an offering of perfumed water. The sixteen kalās
of the moon are worshipped in the same way, with the sixteen first letters of
the alphabet, from A to visarga,30 and sprinkling of clarified butter associated
with “another substance,” which, according to the Dī, is wine (madya).31
It is also the mantra form of the beautiful god Navātma, the consort of
the crooked goddess Kubjikā, the main deity of the Tripurā tradition of
the Kula. We translate the verb bhāvayet as “meditate intensely,” which
implies a mental concentration so intense as to create in the mind of the
adept a precise image of the deity. Anandabhairava is a form of the god
Bhairava. The mantra ending with vauṣaṭ is the Navātmamantra to which
is added ānandabhairavāya vauṣaṭ.32
The best of sādhakas must also prepare carefully, in the same way,
the special arghya. //103//
Having worshipped the sandals of the [succession of ] masters, he
must then offer this arghya to Bhairava. Being impelled by the lat-
ter’s order, he must offer it to the succession of masters. //104//
tathaivārghyam viseṣena sādhayet sādhakottamaḥ //103//
gurupādālim āpūjya bhairavāya dadet punaḥ /
tadājñāpreritam tacca gurupaṅktau nivedayet //104//
The sandals or footprints (pādukā) of the gurus are those of all the
masters of the tradition of Tripurā, from Śiva to one’s own guru. These
pādukas are metaphysically the imprint, the trace of the presence of the
supreme deity in this world; to worship them is therefore to worship
the deity as present in this world. The gurupūjā is a mandatory element
of the first part of the Tantric pūjā.
In this tradition, the succession of the gurus is deemed to go through
three stages, called flows (ogha). First, the divine (divya) flow, starting with
Śiva followed by four masters, one for each of the four cosmic cycles, the
yugas from Kṛtayuga to Kaliyuga; then the flow of perfect or accomplished
masters (siddhaugha); and finally, the human ones (mānavaugha), the
succession of the masters of this world, going from the first revelation of
the doctrine to our days. The Dī tells how to worship them: the arghya is
to be elevated three times up to his head by the officiant, then offered to
Bhairava, who, as the Master, is in a triangle in the center of the “forest of
the great lotus,” which, as we have seen (sl. 3–5), is on the brahmarandhra.
Having collected what remains of it, one must perform [with it] an
oblation in the fire of desire where the whole universe is burning
while reciting the mūlavidyā and the [ formula of worship of ] the
sandals of the Master. //105//
Encounter in the Worship 123
The ladle srùc is one of the two ladles used since Vedic times for offer-
ing the ritual oblation in the fire, the homa. This ladle, in the present
case, is not a material object. It is the “transmental” (unmanī), the highest
plane of consciousness.33 It is on this level that the oblation takes place;
124 t he hea rt of the yo ginī
it consists of pouring (in spirit) all the aspects of the cosmic manifesta-
tion in the central, both human and divine, void of consciousness. This
is why a “spontaneous” (that is, uncaused) bliss arises in the officiating
adept. The Dī says: “Having poured again and again the full oblation (both
human and divine) of clarified butter, which in reality is the total fusion
of the objectivity and the I-ness (ahāntā)34 born from the rubbing of the
aranis of the mantra, [one reaches] the supreme fulgurating bliss. Such is
the internal oblation.”
According to a passage of the Dī (which also quotes stanza 72 of the
Vijñānabhairava), the oblation may be made of amṛta and may even include
an alcoholic substance—a possibility the Dī mentions again when, com-
menting the next half-sloka, it says that a wise man is somebody who, because
he drinks alcohol, keeps his mind concentrated in a single intent. From this
concentration (dhāranā ), meditation (dhyāna) is born: “without concentra-
tion, the worship is fruitless.” Thus, having offered to the Masters, Śiva, and
so forth, alcohol transformed into nectar (amṛta) and having poured it in
offering into the fire of the self, the spirit of the adept will become perfectly
stable, and he will experience the supreme, blazing bliss. The practice is
mental, spiritual, rather than actually performed with an alcoholic beverage.
Thus, as stated in the next half-sloka:
The wise [adept] must then perform the worship of the srīcakra, the
form that the expansion of his consciousness takes as it spreads
out. //108//
svaprathāprasarākāram srīcakram pūjayet sudhiḥ //108//
The srīcakra can be said to be the form taken by the adept’s con-
sciousness as it spreads out, because in the nonduality of consciousness
(samvidadvaya) of Kashmir Shaivism, there is no difference between
human consciousness and the deity’s absolute consciousness. To quote
the Dī: “What shines (i.e., appears) as the srīcakra is nothing else than the
cosmic expansion of the godhead who is his (the adept’s) consciousness,
an expansion formed by the fourfold antahkarana, the inevolute (avyakta),
the mahant, and the ahamkāra, along with the subtle elements (tanmātra),
the ten senses (indriya), their ten activities, their objects, the puryaṣṭaka,
and the expansion [which goes down] to the gross elements (dhātu) and
[ forms] the sixteen ‘evolutes’ (vikāra).”35
Now comes the description of the srīcakra pūjā proper, slokas 109–168.
Encounter in the Worship 125
The Dī explains that the ritual worship of the first group of deities is to
be performed “on the frame of the door” of the outer square section of the
srīcakra. The Master of the Field, Kṣetresa or Ksetrapāla, is the god Baṭuka,
an aspect of Bhairava; Dutī is his consort. The goddesses headed by Svastikā,
worshipped on the external part of the door, number five; they are “singing
goddesses” (gāyikā), deemed to delight Tripurasundarī with their songs.
Then the line of masters, which abides, threefold, in the inner tri-
angle is also [to be worshipped].
tatas cāntastrikone ‘pi gurupaṅktim tridhā sthitam /
The “Forest of the Great Lotus,” as we have seen (sl. 5), is the akula
lotus of one thousand petals on the summit of the suṣumnā. It is there-
fore on a spot of his own yogic body that the adept is to mentally perform
this worship. The ritual process of the pūjā appears here—as it will do
again later—as a total process, both bodily and mental. The Goddess is
seen in this lotus leaning against Bhairava, on whose left thigh she is
sitting.
As for the “cause” (kārana)37 that fills her with joy, it is an alcoholic bev-
erage, as is appropriate in a Tantric ritual. This, says the Dī, when drunk
by the Goddess, becomes nectar and fills her body with joy, her body being
henceforth pure, supreme, luminous bliss.
The offerings of “food, etc.,” are the usual ritual offerings of perfume,
food, lights, incense, and flowers, each corresponding to one of the five
constitutive gross elements of the cosmos and of the body: earth, water,
fire, air, and space, elements of which the Goddess is also constituted inso-
far as she is identical with the cosmos.
The Dī expatiates at length on the metaphysical symbolic interpreta-
tion of these offerings; as interesting as they are, these developments are
too long and complex to be reported here.
Then, on the triangle, [one must worship] the reflected forms of her
flashing forth, //112// the Nityās made of all the tithis, their aspects
being those suitable for optional rites.
trikone tatsphurattāyāḥ pratibimbākṛtīḥ punaḥ //112//
tattattithimayīr nityāḥ kāmyakarmānurūpinīḥ /
The skin is one of the seven constituent elements of the organic body
which are therefore gross (sthūla), a character shared by the so-called
manifest Yoginīs, who, appropriately, abide (and are worshipped) in the
outer square part of the srīcakra (also named bhūgṛha, “underground
room”), a part that can be said to support the world, since it is the sec-
tion of the diagram that is metaphysically on the level of the manifested
universe. It is also the plane of vaikharī, the lowest, gross level of the
Word (vāc).
[There, too,] abide the eight siddhis Animā and the others, O great
Goddess! They are deep red in color; their hands make the gesture
of propitiation and protection. //115// They hold the great fabulous
gem and thus give the fruit one desires.
animādyā mahādevi siddhayo ‘ṣṭau vyavasthitāḥ /
tās tu raktatarā varnair varābhayakarās tathā //115//
dhṛtacintāmahāratnā manīṣitaphalapradāḥ /
We have already seen the siddhis (sl. 44). The “great fabulous gem” is
the cintāmani (or mahācintamani) supposed to fulfill all desires of its pos-
sessor. It is mentioned in many Sanskrit works.
There also one must worship, in order, Brāhmī, etc., O Dear One.
//116//
Brahmānī, yellow in color and adorned with four faces, her hands
in the varadā and abhaya mudrās, holds a jug and a rosary, radiant.
//117//
Māhesvarī, white in color, having three eyes and holding in her
hands the trident, the skull, the antelope, and the axe, O Dear One!
//118//
128 t he hea rt of the yo ginī
All these goddesses, being feminine aspects of male gods, carry the
attributes and bear the colors of these gods, Brāhmanī having four faces
Encounter in the Worship 129
They hold the noose and the goad; they are red and clothed in red.
//129// The siddhi of he who enjoys [them] is lightness, made of
the purification of the breaths. Tripuresī, mistress of the [srī]cakra,
must be worshipped with all the ritual services. //130//
pāsāṅkusadharā hyetā raktā raktāmbarāvṛtāḥ //129//
prānasuddhimayī siddhir laghimā bhoktur ātmanaḥ /
tripuresī ca cakresī pūjyā sarvopacāraiḥ //130//
plane of consciousness that grasps the objects of the senses whose savor
is enjoyed by the supreme subject, Śiva, who, as the Dī says, is therefore
called the “knower of the field” (kṣetrajña) of perception.
The expression “planes of pinḍa, etc.,” refers to the conception of the
subtle body as including four ascending planes called pinḍa, pada, rūpa,
and rūpātīta, planes also conceived of as tiered along the suṣumnā; the
highest of these, rūpātīta, is on the consciousness level of turīya, where
one attains liberation.42
To say that the nature (rūpa) of Paramesvarī is the supernatural power
of growing at will is to say that she bestows that siddhi.
The last stanza underlines the fact that the expansion of the energy of
will (icchāsakti) realized in the ascent of the kunḍalinī is the effective ele-
ment of this worship of the Yoginīs present in this cakra. These are said to
be “received through traditional transmission,” not because they are more
received than the other ones by the tradition transmitted by the gurus but
because they are called Sampradāyayoginīs, “traditional Yoginīs.”45
These Yoginīs are now described:
the perceiving person and what he perceives—man and the world he per-
ceives—are “purified,” (mentally) deified, understood sub specie aeternitatis.
Worship in the fifth (ten-angled) cakra, Sarvārthasādhaka, is as follows:
[The energy of the Goddess in the fifth cakra] takes on the nature
of the eternal nādas abiding in the nine apertures, //142// along
with a general and common aspect while being made of distinct
sounds. [She is manifested] by ten phonemes, shadows of the mov-
able and immovable objects of knowledge. //143// They are the
Kulakaulikāyoginīs who bestow all the powers or perfections.
sadātanānām nādānām navarandhrasthitāṭmanām //142//
mahāsāmānyarūpena vyāvṛttadhvanirūpinī /
asthtirasthiravedyānām chāyārūpair dasārnakaiḥ //143//
kulakaulikayoginyaḥ sarvasiddhipradāyikāḥ /
The “expansion of the mantras,” according to the Dī, means that they
help the officiant to realize that the true nature of his self is the same as that
of the “absolute I” of Śiva (sivāhambhāvabhāvanā). Because such a mystical
realization takes place in this cakra, it is called Sarvārthasādhaka, “fulfiller
of all wishes,” the highest of which is, of course, the wish for union with
Śiva, which is precisely being fulfilled in this cakra (says the Dī).
Tripurāsrī means “prosperity of the three cities,” that is, of the three
worlds—of the universe, in other words. The purification of the mantras,
it is explained, results from the prolongation of their utterance (uccāra)—
in the case of OṂ, HRĪṂ, etc.—from the final Ṃ to the transmental
(unmanā) plane, where the utterance disappears in the utter silence of
the Absolute. If the adept is able to ascend to such a supreme level, he
acquires the supernatural power to subjugate all beings (īsitva).
Worship in the sixth (ten-angled) cakra, Sarvarakṣākara, is as follows:
The divine energy, kunḍalinī, facing first upward, reaches the supreme;
then, facing downward, coiling back in the mūlādhāra, she manifests the
universe through the phonemes KA, and so on, the consonants. This she
does by the will of Kula, the deity, as identical with the cosmos (or, as the
Dī says, holding in herself the thirty-six tattvas, together with the pho-
nemes).47 These are manifested by the ten Nigarbha (“interior”) Yoginīs
whose names begin always with Sarva, abiding as they do in the cakra
Sarvarakṣākara (“causing total protection”).
In this cakra, the officiant, is supposed to be absorbed in his own nature
or essence (svarūpāvesa), thinking, “I am the supreme Śiva.” “Through
this absorption,” says the Dī, “the deity shines without duality in the sixth
cakra, which produces in the worshipper a total absorption in Śiva,” while
the cakra protects him from everything that could hinder his spiritual
search.
The energy of the srīvidyā, says the Dī, is “expressed,” that is, man-
ifested, by her phonemes. It is in reality the power of the all-powerful
Supreme Consciousness. The siddhi given here is therefore quite naturally
prākāmya, irresistibility. The adept who acquires it can transform himself
or act freely everywhere, like Śiva.
Now comes the worship in the seventh, eight-triangled cakra,
Sarvarogahara, destroyer of all illnesses, with all the mental constructions
that go with it:
The worship in this case consists, for the officiating adept, of mak-
ing his kunḍalinī go up from the “root-granthi,” the mūlādhāra, that
is, to the heart cakra, the cakras (or granthis) between these two points
being “opened,” awakened, by the conjunction (samghaṭta)—which
consists, in fact, of their immobilization—of the prāna and apāna vital
breaths. These two breaths stop in the central void of the heart, which
is where the subtle transmigrating body (the puryaṣṭaka) is generally
supposed to stay. Therefore, there arises in the adept a subtle, “void”
state of mind.
The Dī expresses this as follows: “meditating on [the kunḍalinī] as a
snake whose brightness is made to palpitate by the syllable HUṂ, one
Encounter in the Worship 139
makes it go upward together with the ascent of the breath and the thought.
Thus, the kunḍalinī rises up from the mūlādhāra. As an expert master
says: ‘then one must meditate in the lotus of the heart the blazing power
of consciousness,’ the adept’s consciousness, blazing in his heart, being
the self which is consciousness itself (cidātman).”
This mental process also has a phonetic aspect, the Yoginīs to be wor-
shipped there being associated with the sixteen “vowels,” from A to visarga
(also called here kalās) associated with the groups (varga) of consonants,
KA, CA, and so on, these syllables being what brings about the presence
of the secret—Gupta—Yoginīs who are to be worshipped. Their subtlety,
says the Dī, explains why they are in the Sarvarogahara cakra where the
fire of cosmic destruction is deemed to be present, its fire being able to
destroy the “illness” (roga) of the samsāra, “impermanent, stained, and
impure.”
The deities in this cakra are, by their nature, nearer to the Goddess
than the Yoginīs we saw previously. They are more important ones.
The three energies are the three basic energies of Śiva: will, knowl-
edge, and action (icchā, jnāna, kriyā). Consciousness, says the Dī, is
the Supreme Consciousness named Ambikā, the Mother; her splendor
(dhāman) is made of light rays (kirana) whose expansion (prasara) is
the cosmic vibration (spanda) produced by the three regents of the cos-
mos identified here with the three energy goddesses Vāmā, Jyeṣṭhā, and
Raudrī. The four regents of the ages of the world (the yuganāthas) are
also there.
All these entities form the first circle of deities surrounding
the Goddess. They are said to be forms of the fire of destruction
(samvartāgni), for when one approaches the Goddess, the world tends
to disappear. The power they bestow is fullness, because it is the com-
plete absorption (samāvesa) in the supreme Śiva. It is also nonfull-
ness, because it includes the totality of the cosmic manifestation. The
Siddhi present here, having these two aspects, gives liberation in life
(jīvanmukti).
The pīṭhas are the four sacred seats of the Goddess, the ritual and spiri-
tual (more or less mythical) centers of this tradition. They are Kāmarūpa,
Pūrnagiri, Jālandhara, and Oḍḍīyāna, as we have already seen.48 Kāmesvarī
is the first of a group of four goddesses; the three others are Vajresvarī,
Encounter in the Worship 141
Bhagamālinī, and Tripurasundarī. Only the first three are in this cakra,
Tripurasundarī residing in the next, central, cakra.
We are to understand here that the arrows are associated with the man-
tras of the dhātus, the constituent elements of the body, which are formed
by the second vowel, Ā, of the Sanskrit alphabet and by one of five con-
sonants and ending with Ṃ. These consonants are the four semivowels,
YA for the skin, RA for the blood, LA for the flesh, VA for fat, and “what
follows bone and marrow,” which is SA, for semen, which is designated
in this way because, in the lists of the dhātus, semen (sukra) usually fol-
lows bone and marrow. The mantras of the five arrows to be used in the
142 t he hea rt of the yo ginī
worship to invoke them are (as given in the Dī): YĀṂ, RĀṂ, LĀṂ, VĀṂ,
and SĀṂ.
[The Mistress of this cakra is] Tripurāmbikā, who generates the three
cities Vāmā, etc., //161// These [deities], O Lovely-faced Woman, are
to be worshipped with all the ritual offerings and services. [They
bestow] the supernatural power of unlimited will because their
nature is that of supreme freedom. //162//
vāmādīnām purānām tu jananī tripurāmbikā //161//
parasvātantryarūpatvād icchāsiddhir mahesvari /
etāḥ sarvopacārena pūjayet tu varānane //162//
if one adds to the fifteen tithis or syllables of the srīvidyā the ṣrīvidya as a
whole, taken as a unit, one has 15 + 1 = 16. The mūlavidyā worshipped in
this central triangle is thus seen as made up of her separate syllables plus
their ensemble, thus being sixteenfold.
The Goddess is to be worshipped also in the whole srīcakra, since she
pervades it entirely.
The worship in the nine cakras of the srīcakra ends with another ritual
worship:
Nityaklinnā is placed on the left side of the central triangle between two
other goddesses, Kāmesvarī and Bhagamālinī. The other goddesses of the
inner retinue of Tripurasundarī (meant by “etc.”) are thirteen Nityās.50 They
are to be worshipped either in the central triangle or on the sixteen-petaled
lotus, meant here by “the intermediate space of the square.”
The use of so-called optional rites (kāmyakarmani), that is, rites under-
taken to attain a desired object, is normal in the present Tantric context,
since the worship of all these deities gives siddhis, which are desired
(kāmya) by the adept. The Dī describes these rites as consisting of “flowers,
visualizing meditation [dhyāna], syllables, etc., adapted to such optional
rites as subjugation, etc.” The next stanza is more explicit:
Japa
The japa is the mandatory penultimate act of all pūjās (normally,
but not here, followed by an offering in the sacrificial fire, a homa).
It consists of reciting a more or less large number of times the
root mantra, the mūlamantra, of the deity being worshipped. This
is, however, not the case here, for this japa is, in fact, a long and
complex meditative and yogic practice in which the enunciation
(uccāra) of the srīvidyā, associated with the ascent of the kunḍalinī,
is accompanied by mental visualizations of elements of the srīvidyā
imagined (and, to a certain extent, experienced) as taking place in
the yogic body of the adept together with the ascent of kunḍalinī.
We have described its general pattern above in the introduction.
Here we will follow, with the help of the Dī, the details of the
process as described (or alluded to) in stanzas 169b–189a. (See
table 3.1.)
Then, having done the añjali with flowers, he must practice japa
with a composed and steady mind. //169a//
puṣpajlalim tataḥ kṛtvā japam kuryāt samāhitaḥ /
In these [kūṭas] are the phonemes prāna, agni, and māyā, followed by
the kalās: bindu, ardhacandra, rodhinī, nāda, nādānta, sakti, accom-
panied by vyāpikā, samanā, and unmanā, who are in the dvādasānta,
O Dear One. //171// Then, for [the kūṭa] whose nature is the root
kunḍalinī, and for the middle one, turned [the first] toward emana-
tion, [the second] toward the resorption of the cosmos, O Mahesvarī!
//172// The conjunction [goes on] rising higher and higher only as
the subtle nāda. In the modified third [kūṭa], O Goddess, the twelfth
kalā [is enunciated]. //173//
teṣu prānāgnimāyāṛnakalābindvārdhacandrakāḥ //170//
rodhinīnādanādāntāḥ saktivyāpikayānvitā /
samanā conmanā ceti dvādasānte sthitā priye //171//
mūlakunḍalinīrūpe madhyame ca tataḥ punaḥ /
sṛṣṭyunmukhe ca visvasya sthitirūpe mahesvari //172//
kevalam nādarūpena uttarottarayojanam /
sabalākārake devi tṛtīye dvādasī kalā //173//
Now the adept is to imagine that in the mūlādhāra lies the first part,
or kūṭa, of the ṣrīvidyā, HA SA KA LA HRĪṂ. Then, in the heart cakra,
is the second kūṭa, HA SA KA HA LA HRĪṂ; and in the bhrūmadhyā is
the third kūṭā, SA KA LA HRĪṂ. The enunciation of these three HRĪṂ,
like that of all bījas ending with Ṃ (bindu), is deemed (as said in sl. 170) to
be prolonged by a subtle phonic vibration, the nāda, which goes through
eight ever subtler phonic stages, the so-called kalāṣ, named ardhacandra,
rodhinī, nāda, nādānta, sakti, vyāpinī, samanā, and umanā, with the last,
“transmental,” kalā, which finally dissolves in the silence of the Absolute.
This being so, the japa consists, for the officiant, of the mental enun-
ciation (uccāra) of the three kūṭas of the srividyā, enunciating first their
letters, from SA or HA to the bindu, Ṃ, then prolonging the uccāra of Ṃ by
the eight kalās, from ardhacandra to samanā, this subtle vibration ascend-
ing for the first kūṭa from mūlādhāra to the heart, for the second kūṭa from
the heart to the bhrūmadhya, and for the third kūṭa from bhrūmadhya to
the dvādasānta, where it reaches its ultimate form, unmanā, the “trans-
mental.” This it does, however, together with the unmanās of the two first
HRĪṂ, with which it intermingles (this is why it is called “modified” in
ṣl. 173b). There the phonic vibration unites with and disappears in the
Absolute. The kalās are said by the YH to number twelve, because one is
to add to the eight subtle ones, ardhacandra to unmanā, the four elements
that constitute HRĪṂ: H R Ī + bindu.
This japa is thus not a recitation but a purely mental mantric utterance
(mantroccāra), conceived by the adept as carrying upward the three parts
of the srīvidyā, through the cakras of his yogic body united with the con-
stitutive parts of the srīcakra, with the kunḍalinī and with his mind, to the
highest level of sound vibration, where it merges in Mahātripurasundarī,
supreme Consciousness. It is a complex, both visual and phonic-mental,
process. It is a mental process, we note, that also has a cosmic dimen-
sion, since, as it unfolds from distinct syllables to unmanā, it includes,
with the three kūṭas, the whole cosmic process, from emanation to
resorption, a process parallel to, isomorphic with, the phonic one, which
goes from distinct sound to the silence of the Absolute and, implicitly,
from ordinary waking awareness (jāgrat) to the supreme nondualistic
turyātīta state of mind. This japa, therefore, if effectively carried out,
requires an extremely intense and difficult mental/spiritual exercise in
creative imagination.
This, however, is only the first part of the japa; three other japas are
now prescribed.
Encounter in the Worship 149
One must perform the japa mentally while meditating on the six-
fold emptiness, O Goddess, the five conditions of the mind, and the
seven equalizations. //174//
sūnyaṣaṭkam tathā devi hyavasthāpañcakam punaḥ /
viṣuvam saptarūpam ca bhāvayan manasā japet //174//
Dividing into groups of three [the kalās of the uccāra] from agni
to the dvādasānta, O Fair-Faced Woman! one will give birth to the
threefold emptiness, each [of the emptinesses] being in the interval
between each [of the groups of three], O Dear One! //175// In the
supreme abode, beyond the threefold emptiness, one is to meditate
on the great emptiness.
agnyādidvādasānteṣu trīmstrīn tyaktvā varānane /
sūnyatrayam vijānīyād ekaikāntaraḥ priye //175//
sūnyatrayāt pare sthāne mahāsūnyam vibhāvayet /
The two categories of faculties are the five organs or faculties of apper-
ception (jñānendriya or buddhīndriya), sight, hearing, smell, taste, and
touch, and the five senses of action (karmendriya) corresponding to the
functions of speaking, holding, walking, excreting, and copulating. These
two categories correspond to two groups of tattvas in the classification of
the Sāmkhya, categories that are active in the waking state. A meditative
realization, an inner experience of the plane of consciousness correspond-
ing to these sense experiences or activities is probably what the adept is
supposed to have in this part of the japa.
The meditative realization of the great wakefulness is to take place “in
the fire” (vahnau), which is to say, the Dī explains, “in the letter RA present
on the tip of the third bīja,”51 that is, in the R of the HRĪṂ of the third kūṭa
of the srīvidyā—something we may find difficult to visualize but which is
important, since there is no japa without (at least a part of) a mantra.
Since there are five ascending conditions of the mind, the meditative
process of the japa goes on as follows:
ego (ahamkāra), and the intellect (buddhi). These are “revealed by māyā in
the region of the heart,” which is, says the Dī, by the letter Ī53 of HRĪṂ to
be felt and meditated as present in the region of the heart, which is the
“region of dream” (svapnasya sthānam).
Suṣupti is the state of deep sleep, where no dream appears. All mental
activities stop there, because the movements of the internal organ, the
antaḥkarana, of which one was conscious in the previous, dream state, have
now disappeared. In this state, one is intensely conscious (parāmṛsyate)
only of one’s self (svātma) and of happiness (sukha), says the Dī.
As for the japa to be done here, it would consist of meditating on the syl-
lables of the central kūṭa of the srīvidyā, the saktibīja, taking them in reverse
order, LA KA SA, these phonemes being meditated, visualized as being “on
the bindu placed on the hṛllekhā (on the Ṃ of the HRĪṂ, that is) which is
in the bhrūmadhyacakra”—the HRĪṂ would thus be imagined as placed
there, between the eyebrows. This part of the japa, like the others, is a yogic
practice based on the structure of the mental image of the yogic body.
Turya, the fourth condition of the mind, is above the three normal states
of consciousness, being considered their cause. It is not merely peaceful
but dynamic. In its bhāvanā, says the Dī, there appears an intense aware-
ness (parāmarsa) of the phonic vibration, the nāda, of the srīvidyā on the
three levels of the uccāra following bindu: ardhacandra (the “half-circle”),
rodhinī, and nādānta, these three kalās being considered as together “on
152 t he hea rt of the yo ginī
the apex of the third bīja.” What the adept is to realize there, we are told, is
the inciting (kalana) nature, the dynamism, of the nāda, which causes the
apparition of a pure consciousness of the self.54
The viṣuva named prāna is the union of breath, the self, and the
mind. //181//
yogaḥ prānātmamanasām viṣuvam prānasamjñakam //181//
Knowing that what assumes the form of the self is dissolved in the
nāda which rises from the [mūl]ādhāra, conjoining and disjoining
Encounter in the Worship 153
“What assumes the form of the self” is the divine Consciousness. This
Consciousness, assuming the form of the consciousness of the adept, is
to be imagined as dissolved in the phonic vibration, the nāda, which rises
from the mūlādhāra up to the brahmarandhra, a movement during which it
is associated with the three parts of the srīvidyā, first taken separately, then
taken together, and, in this case, considered as rising from the anāhata,
the cakra of the heart, to the highest cakra. This is done, says the Dī, “enun-
ciating up to the heart the nāda present on the apex of the vāgbhava (the
third kūṭa) which is in the mūlādhāra, and dissolving there. The spiritual
experience the adept has by one-pointed attention (anusamdhāna) is that
the real nature of his self is divine; such is the mantraviṣuva.”
The phoneme (varna), says the Dī, is the kāmakalā akṣara—the letter
Ī—present on the apex of the three kūṭas, the letter Ī, that is, of the three
HRĪṂ of the srīvidyā. This phoneme is to pierce the twelve granthis, the
“knots,” namely the six cakras, from mūlādhāra to brahmarandhra and six
intermediary knots, tiered along the suṣumnā nāḍī. This ascending move-
ment is associated with the equally ascending subtle phonic vibration,
the nāda, of the three HRĪṂ, as we have seen in the first japa. ; It is, in
fact, practically the same mental yogic practice, with the same spiritual
effect.
māyā and kalā, cetanā, ardhacandra, rodhinī, nāda and nādānta dis-
solved in sakti. //185//
nādayogaḥ prasāntam tu prasāntendriyagocaram //184//
vahnim māyām kalām caiva cetanām ardhacandrakam /
rodhinīnādanādāntān saktau līnān vibhāvayet //185//
“The fire is the letter RA, māyā is Ī, and kalā is the half-kalā following SA
placed in the middle of this letter [Ī] which has the shape of a line.58 Cetanā is
the bindu which is the inner impulsion of consciousness [caitanya]. As for ard-
hacandra, rodhinī, etc., they are to be meditated on, being dissolved in sakti, as
previously described,”59 says the Dī. This is, it adds, because the energy here
is the energy of the officiant who thus feels appeased as he evokes mentally
this ascent of the phonic kalās of HRĪṂ along the way of the kunḍ alinī.
The viṣuva named sakti is above her. [It consists of ] applying one’s
thought to the nāda. Still above this is the kālaviṣuva, which extends
up to unmanā, O Mahesvarī! //186// The perception of the nāda
[lasts] muni, candra, eight and ten tuṭis.
viṣuvam saktisamjñam tu tadūrdhvam nādacintanam /
tadūrdhvam kālaviṣuvam unmanāntam mahesvari //186//
municandrāṣṭadasabhis tuṭibhir nādavedanam
nāda during the length of time described above as counted in tuṭis, this
being experienced on the level of unmanā—an experience of a purely tran-
scendent state of consciousness, the summit of which is reached in the
last, supreme viṣuva:
This ultimate stage, says the Dī, transcends the sound and move-
ment that existed in the five vacuities and in the six preceding viṣuvas. Its
beauty is “the beauty of the place of rest [visrānti] of the universe,” which
is the Absolute. It both includes and transcends all forms of bliss. It is the
supreme level of the deity that is the cause and origin of all that exists and
holds it in herself: it is the supreme Goddess as mistress and place of rest
(visrānti) of the world, for, as we may say, all is in God.
The YH concludes the passage on the japas as follows:
Who applies thus his mind during the times [prescribed for] japa,
O Pārvati! //188// will rapidly obtain all the supernatural powers
thanks to your favor.
This being done, he must offer the japa to the Goddess in her left
hand. //189//
evam cintayamānasya japakāleṣu pārvati //188//
siddhayaḥ sakalās tūrnam siddhyanti tvatprasādataḥ /
evam kṛtvā japam devyā vāmahaste nivedayet //189//
The last rites of the pūjā are now to be performed; first, the ritual liba-
tion, tarpana:
With the joined thumb and ring finger, he must satiate the deities
of the cakra.
anāmāṅguṣṭhayogena tarpayec cakradevatāḥ /
The joined thumb and ring finger symbolize the union of Śiva (thumb)
and Śakti (ring finger). The offering is to be done to all the deities of the
cakra. How it is done, and with what consecrated water, is not said. The Dī
gives a metaphysical interpretation of this rite
The oblation to the Goddess follows:
[But] you alone it is, Enchantress of the Worlds, who are playing
under the guise of these [deities]!
tvam eva tāsām rūpena krīḍase visvamohinī //194//
As a consequence of this, says the Dī, when one worships all these
deities who are but fragments of the Goddess, it is in reality the supreme
Goddess who is worshipped.
The YH repeats the rule already given in the first chapter that only
adepts initiated by a guru of the sect and following its rules of behavior are
permitted to study and try to follow its doctrine and practices. The efforts
of the uninitiated are necessarily fruitless.
The forms taken by the expanding flow of the Goddess are the deities
that surround her (the āvaranadevatā), whose forms, the Dī says, are born
from her and who therefore are to be considered as mere forms taken by
her: “They are figures born from the playful shining forth [vilāsa] of the
energy of free consciousness [vimarsasakti] which are to be seen and medi-
tated as being none other than you.”
The offerings of alcohol and pieces of meat are “changed into some-
thing else,” since they are believed to be transformed into ambrosia by the
ritual of offering. The Dī quotes here a saying: “Wine is Śiva, meat is Śakti;
bliss is said to be liberation.”
You, Goddess who takes on the form you desire, are to be perceived
under the aspect of the spiritual master. //197// Having made an
offering to the master who is no other than yourself, [the adept]
must unite with himself what remains of it.
tvām icchāvigrahām devīm gururūpām vibhāvayet //197//
tvanmayasya guroḥ seṣam nivedyātmani yojayet /
other than yourself,” who has your nature [tvadrūpa], one must have
offered “cause (= wine); then the sādhaka will unite with himself
this offering: what remains, that is, of what he first offered to the
deity and to the master. Which is to say that the sādhaka, insofar as
he has absorbed this remain, will be united, fused [samarasī bhavati]
with the one and the other.
O Great Goddess! the bali is to be offered, using “cause,” to myself
who am the Guardian of the Field and to Baṭuka who is the self of
the Yoginīs. //198b–199a//
yoginīnām mahādevi baṭukāyātmarūpine //198//
kṣetrānām pataye mahyam balim kurvīta hetunā /
The rite of bali is one of the last parts of the pūjā. It is given here a
metaphysical dimension underscored in the Dī, which says that the inner
nature of Baṭuka is the vibration (spanda) of the supreme bliss, which is
the self of the Yoginīs.
As for Kṣetrapāla, the “Guardian of the (sacrificial) Field,” the “field,”
it says, is the body. It is, therefore, in the mind (manasi) to the guardian
of the body and in reality to Bhairava that the bali is given. The Dī con-
cludes: “It is by appeasing the movement of the prāna and apāna breaths
and by annihilating the threefold62 differentiation, and with the thought ‘I
am Śiva,’ that one offers the inner bali.”
Divinized by the pūjā, the sādhaka may henceforth act freely:
arising from the pleasure of eating and drinking, one is to fuse mentally
with the perfection of this joy; one will then identify with the supreme
bliss.”
The YH concludes the pūjāsamketa, saying:
This divine and excellent threefold practice has been told to you.
//200//
It is to be kept carefully hidden, as one does one’s secret parts,
O Dear One! Neither to a frivolous being nor to one who merely
desires knowledge is it to be revealed, O Perfect One. //201// One
must not, in contradiction to the rules, entrust it to unbelievers,
O Mahesvarī!
etat te kathitam divyam samketatrayam uttamam //200//
gopanīyam prayatnena svaguhyam iva suvrate /
cumbake jñānalubdhe ca na prakāsyam tvayānaghe //201//
anyāyena na dātavyam nāstikānām mahesvari /
I am thus ordered by You who are the form taken by my own will,
O Mistress! //202//
evam tvayāham ājñapto madicchārūpayā prabho //202//
Bhairava, the supreme God, a form of Śiva, appears here as both domi-
nant, since the Goddess is the form taken by his will, and subordinated,
since he is ordered by the Goddess to question her. We may see this as
expressing the contradiction between the metaphysical principle that the
supreme transcending reality is the male Śiva and the fact that theologi-
cally, the Goddess, Śakti, is the supreme deity. She is supreme, but Śiva is
metaphysically above her. We must not forget that the Tantras were com-
posed by men.
Who will give [this teaching] contrary to the rules will surely perish.
Who understands [this] practice will become dear to the Yoginīs.
//203//
Receptacle of the fruits of all desires, he will obtain all the fruits he
wishes for.
Encounter in the Worship 161
What is visible everywhere, O Goddess, how can the sage not turn
his thought toward it? //204//
yato ‘pi dṛsyate devi katham vidvān na cintayet //204//
in t roduc t ion
1. There is also a very important, and still very active, Buddhist Tantric domain,
sharing many traits with Hindu Tantra but very different in practice and
notions.
2. The world is traditionally considered as threefold: sky, air, and earth. This is an
ancient Indian notion. There are also other threefold cosmic divisions.
3. Or rather, in the present case, mūlavidyā, since the goddess is feminine. A vidyā
is a feminine mantra—the mantra, that is, of a female deity. Mantra/vidyā and
deity are, in fact, identical.
4. For the reader who might be surprised by the shift in Sanskrit terms from i to
ai (Śiva to Śaiva, Tripura to Traipura), let us explain that in Sanskrit, the adjecti-
val form of a verbal or nominal root is made by adding an a, hence tri + a = trai.
5. Though very often called “Mother,” the Hindu goddess in her various forms
and names, is not a “mother-goddess.” She has no children (or, at any rate, does
not give birth to them normally). Tripurasundarī has Bhairava as a consort but
is not married to him.
6. There are ardhanārī, half-female, half-male images of this divine pair.
7. On this group of deities, see David Kinsley, Tantric Visions of the Divine: The
Ten Mahāvidyās (Berkeley: University of California Press, 1997).
8. This observance consisted for the practitioner in wandering while carrying a
skull-topped staff and an alms bowl fashioned of a human cranium.
9. The best description of the āmnāya system and, more generally, of the Śaiva
traditions is that of Alexis Sanderson, “Śaivism and the Tantric Traditions,” in
Stewart Sutherland et al., eds, The World’s Religions (London: Routledge, 1981),
pp. 606–704.
10. On the pīṭhas, see note 22 of chapter 1 below.
164 Notes
11. This tradition has been studied by Douglas R. Brooks, notably in Auspicious
Wisdom: The Texts and Traditions of Śrīvidyā, Śākta Tantrism in South India
(Albany: SUNY Press, 1992).
12. There is Brooks’s study quoted above and also his The Secret of the Three Cities.
An Introduction to Hindu Śākta Tantrism (Chicago: University of Chicago Press,
1990). Though informative, these two books do not cover the vast area of texts
of the Tripurā tradition of the dakṣināmnāya.
13. Edited and translated by Arthur Avalon in the Tantrik Texts, first published in
1922 (reprint Madras: Ganesh & Co., 1953).
14. The Subhagodaya and the Subhagodayavāsanā of Śivānanda or the
Jñānadīpavimarsinī of Vidyānanda, for instance.
15. This was done by Pdt. V. V. Dvivedi in the introduction (in Hindi) of his edi-
tion of the YH. The hypothesis does not lack probability. Abhinavagupta
mentions central India (madhyadesa) as the seat of all the Śaiva treatises
(niḥseṣasāstrasadanam). This remains to be proved.
16. The Pratyabhijñā (the “Recognition”), one of the philosophical systems of
Kashmirian nondualist shaivism, was propounded first by Somānanda (c.
900–950), then by his disciple Utpaladeva, whose work was commented on
and expanded by Abhinavagupta. It is one of the most remarkable Indian philo-
sophical systems. Its main contention is that liberation is gained by the recog-
nition (pratyabhijñā) of the identity of the human self (ātman) and the supreme
Lord, Śiva. The “transpersonal” self thus realized contains the totality of subjec-
tive and objective phenomena in a nondualistic synthesis where all distinctions
disappear in the fullness of the Absolute. A concise and clear presentation of
the Pratyabhijñā was made by Kṣemarāja in the Pratyabhijñāhrdaya. It is trans-
lated into English by Jaideva Singh, Pratyabhijñāhṛdayam, Sanskrit text with
English translation and notes (Delhi: Motilal Banarsidass, 1963).
17. It has not been translated into English. Bhāskararāya wrote a short and use-
ful treatise on the srīvidyā, the Varivasyārahasya. It was edited with an English
translation in the Adyar Library Series, no. 28 (1948). I translated Amṛtānanda’s
Dīpikā together with the YH in Le coeur de la Yoginī: Yoginīhṛdaya avec le com-
mentaire Dīpikā d’Amṛtānanda (Paris: Collège de France, 1994)
18. A typical, though extreme, case of this is Pānini’s Sanskrit grammar, the
Aṣṭādhyāy, which is entirely cryptic. Its first sutra is: vṛddhirādaic . . .
19. On these two forms, see below.
20. Other Śaiva traditions have a goddess as their main deity, such as the Kubjikā
tradition or the Krama, with Kālī. The Śaiva nondualist Kashmirian system of
the Trika has three supreme goddesses: Parā, Parāparā, and Aparā. We may
underscore here the fact that with very few exceptions, the Tantric traditions
whose main deity is a goddess nevertheless hold the male divine form of the
deity, usually Śiva/Bhairava, as metaphysically higher. Tantras, we must not
forget, were composed by male brahmins; their extolling of the goddess or of
Notes 165
c h a p t er 1
1. There are innumerable instances both in the past and in the present of the nar-
row relationship between economics and religion in India. The large Hindu
temples are very rich, and some rites are very costly, so much so that temple
priests today are sometimes not fully initiated because they cannot afford the
financial cost of a dīkṣā.
2. The Dī glosses samketa by several words, among which is samaya, which means
not only agreement but also a conventional rule or practice or an observance.
3. A triangle apex downward is the usual symbol of the yoni, the feminine sexual
organ, which is also called janmasthāna, the place of birth.
4. On these notions, see the commentary below on sl. 40.
5. The text has ātmanā, a dual form, meaning two ātmans. But the Dī interprets
this as referring to the “four ātmans,” four aspects of the Absolute Self, a notion
found in some Upaniṣads (see, for instance, the Ātmopaniṣad). These ātmans
are: ātman, the Absolute, the Brahman; antarātman, the inner self who enjoys
the world; parāmātman, the supreme Self, the level of the subtle living creature
(ṣūkṣmajīva); and jñānātman, which is the Brahman as nonseparate from the
living being (jīvābhinna).
6. There is no sanskrit term for religion, a notion that is foreign to traditional
India. For Hindus, the dharma regulates the social and what we would call the
religious aspect of their life.
7. Their names are given in chapter 2, sl. 3–5.
8. Pramā or pramāna means, in fact, measure: the subject “measures” the world,
which is the work of māyā, a word whose root is MĀ, to measure.
9. Citkalā could be more precisely translated as a limiting dynamism, for kalā, in
shaivism, is a limiting form of energy or power to act, a dividing or parceling
energy.
10. The Sanskrit saktyādi could also be understood as “the first (ādi), which is sakti”
(this is how Bhāskarāya understands it). There are, in any case, not ten but nine
letters between YA and KSA; the exact meaning of this passage is therefore
uncertain.
11. The forty-nine phonemes of the Sanskrit alphabet are, in their traditional order
(the varnasamāmnāya ): sixteen “vowels,” from A to the aspirate visarga; then
twenty-five consonants, in five groups (varga) of five, classified according to
their places of articulation, from the throat to the lips (guttural, palatal, cerebral,
dental, labial), ordered in each group according to their phonetic characteristics
(voiced, voiceless, aspirate, nasal); then four “semivowels,” YA, RA, LA, VA;
then three sibilants; and finally, the aspirate HA, to which is added the con-
sonantal group KṢA, so as to have fifty letters. The reader will note that the
Sanskrit alphabet is not in a complete phonetic disorder, as is our own, but
168 Notes
is shown (for more than two thousand years) in a logical and phonologically
grounded order, an order that European linguists discovered only about two
hundred years ago.
12. The name krodhīsa is given to KA because, in the ritual placing (nyāsa) on the
body of the fifty Rudras (called srīkanṭhādinyāsa), which is done together with
the fifty letters of the alphabet, the Rudra Krodhīsa is to be placed with KA.
13. Those are twelve tattvas corresponding to the mind and the senses of human
beings.
14. On the kāmakalā, see note 34 in the introduction, above. We shall come back to
the subject later (chapter 2, sl. 21). For a theoretical and well-informed study of
the subject, see David G. White, “Transformations of the Art of Love: Kāmakalā
Practice in Hindu Tantric and Kaula Traditions,” History of Religions 38
(November 1998): 172–198, or his book, Kiss of the Yoginī: “Tantric Sex” in Its
South Asian Contexts (Chicago:University of Chicago Press, 2003).
15. A mora (mātra) is a prosodic instant. It is defined in traditional Indian phonet-
ics as the length of time required to pronounce a short vowel.
16. To associate a particular visual aspect to the infinitely subtle planes of pho-
nic energy of the kalās may seem surprising. These are, however, traditional
notions. They are shown on the table of the japa of the srīvidyā at the end of
the Adyar edition and English translation of Bhāskararāya’s Varivasyāprakāsa
(Adyar, 1948).
17. The term thus translated (in fact, mistranslated) is vapus, which means shape,
appearance, or body but not an ordinary body—a beautiful one, the body or
apparition of a deity. It evokes, too, the essence of something, notably when
it is contemplated in deep meditation (bḥavanā)or in mystical absorption
(samāvesa).
18. The term used is aṅkusa, which means hook or curb and also oblique. The
meaning here is “oblique,” referring to the left, oblique line of the triangle.
19. There is no satisfactory translation of the term vaikharī, which evokes the
notion of spreading out (∙vi) and is generally understood as evoking the
external, concrete, perceptible dispersion of articulate speech, as opposed to
the subtle concentration, and of the preceding stages of the word. In Indian
thought, the less concrete, the briefest, the inaudible, is always the better or the
best; the manifest, the concrete, the audible, is considered the lowest.
20. The complex and interesting process of apparition or spreading out of the
Word, from parā to vaikharī, both as a cosmic process and as the process of
apparition of speech and consciousness in humans, was described notably in
Abhinavagupta’s Parātrīṣikāvivarana and in the third chapter of his great Tantric
work, the Tantrāloka. There is no easily readable English translation of the first
work and none of the second. The subject was studied and described by A.
Padoux in Vāc: The Concept of the Word in Selected Hindu Tantras (Albany: SUNY
Press, 1990; Delhi, 1992). The theory of the levels of vāc (without parā) was
Notes 169
srīvidyā is also sometimes described in this way: its three parts taken separately,
then taken as a whole, which is sometimes called turīyavidyā, the fourth vidyā.
28. The theory of the avasthās (also called sthāna) goes back to the early Upaniṣads,
notably the Maitri, where the fourth is described as acittam cittamadhyastham
acintyam, a thoughtless unthinkable present in thought: it is a condition of
pure consciousness (caitanyamātravṛtti), says the Dī. Jagrat is the waking state;
svapna, which more specifically means dream, is the state of sleep, whereas
suṣupti is deep, dreamless sleep. The state «“above the fourth” (turiyātīta, a
more recent notion) is described in the Dī as a transcendent state (atītarūpam)
of consciousness of the Self. It is the «“unsurpassed” (anuttara), the absolute,
«“light of all lights” (to quote the Mundaka Upaniṣad II.2,10), which, though
transcendent, is present as their self (ātman) in all living creatures.
29. The Pratyabhijñāhṛdaya, by Kṣemarāja (11th c.), a disciple of Abhinavagupta,
is a short philosophical treatise describing the main traits of the Pratyabhijñā
system. It has been translated into English by Jaideva Singh (Delhi, 1963); see
introduction, note 16, above. It is not a difficult text and is well worth read-
ing. The Dī on sl. 50 is rich and interesting. It is unfortunately too long to be
translated here.
30. The term we translate by triangular is sṛṅgāṭa, which is the nut of the water
chestnut, the which is triangular in shape. Śṛṅgāṭa is often used to mean a
triangle or something triangular or threefold.
31. As mentioned in the introduction above, Kāmesvarī (with Kāmesvara) can,
along with Tripurasundarī (with Bhairava), be considered the chief deities of
the dakṣināmnāya. The coincidence of two, male and female, figures under-
lines the twofold though nondual nature of the supreme deity. This character is
sometimes iconographically shown in images of Kāmasvara and Kāmesvarī as
one bisexual ardhanari (half-female) figure—see, for instance, Ajit Mookerjee,
Kunḍalinī (London: Thames & Hudson, 1982), plate X).
32. The energies are four when a supreme one, the Peaceful, sāntā,, or Ambikā, the
Mother, is added to the basic three.
33. The expression we translate as “embodied as the srīcakra” is srīcakravapuṣā,
“having the srīcakra as body”(vapuḥ). This last word means form, figure, beauty,
beautiful appearance, or a form one discovers in meditation, rather than a con-
crete body. It is therefore sometimes translated as essence, cosmic, beautiful
form or presence. The srīcakra is in effect viewed as a cosmic embodiment of
the Goddess, not as a concrete body or form.
34. In the nondualist Śaiva systems—the Trika or Pratyabhijñā, especially—the
supreme godhead is described as being inseparably light (conscious light) and
reflective awareness (vimarsa), prakāsa being masculine, Śiva, and vimarsa
feminine, Śakti. Vimarsa (a term found in the Dī but not in the YH) desig-
nates the consciousness or awareness one has of what is being perceived or
experienced, contributing in this respect to the autonomy and total freedom of
Notes 171
consciousness. This is why the supreme deity is free and active, not unmovable
as in the Vedānta; this is one of the points on which Vedānta and Tantra differ.
35. The Goddess, says the Dī, transforms herself really into the world, as milk
becomes curd. This point is also one of the main differences between the
Tantric views and those of the Vedānta.
36. This sort of interpretation, called nirukta, goes back to Vedic times. It is some-
times falsely called etymology and then criticized as fanciful, but it is not an
etymology. It is an imaginative way to enlarge the semantic field, the aura of
meanings, of a word by associating it with other verbal roots, as shown here.
37. These actions are avahāna, inviting the deity to come; sthāpana, fixing it in the
icon; samnidhāna; and, finally, samnirodhāna, detaining it there.
38. We write Mudrā when referring to the goddesses so-called and mudrā when
referring to the notion or to the hand gesture, it being understood that they are
perceived by the YH and the Dī as being simultaneously both deity and gesture.
39. Kṣobha—which may be translated as effervescence—is, among Trika authors
such as Abhinavagupta, the state of consciousness in which the cosmic man-
ifestation appears, perturbing by its diversity the original quiescence of the
Absolute. This role of kṣobha is also found in other traditions, such as the
Viṣnupurāna, I.2.29–31.
40. Such doors here are symbolical, since one does not enter a srīcakra. But when
a cakra or yantra drawn on the ground is large, as is the case in various rituals,
the officiant can actually enter or leave it using these doors.
41. In the third chapter (sl. 127), these kalās or “vowels” are called vāyu, or winds,
that is, vital forces, prānas.
42. See chapter 3, sl. 126–128.
43. On kṣobha, see note 39, above.
44. The number of cakras varies according to traditions. In the Tripurā tradition,
they number nine, corresponding to the nine divisions of the srīcakra. There
are also secondary centers (adhāra, sūnya, vyoman, bindu, etc.), the number and
places of which in the imaginal yogic body vary also according to traditions.
45. On the āyudhas of deities, see chapter 3, commentary on sl. 159, and n. 15.
46. Khe is the locative form of kha: “in kha.”
47. Bhūtraya: not because there are three earths but because the outer part of the
cakra, called bhūgṛha, “house of the earth,” is encircled by three lines.
c h a p t er 2
1. This, we may note, is a case in which mantra and deity are indistinguishable.
2. A vyāpakanyāsa, a diffusive or spreading placing of a mantra on the body, is
normally made with the two hands over the whole body or on a whole part of
it, the power thus placed being deemed to pervade the whole region thus sub-
mitted to the power of the mantra. In the present case, the mūlavidyā would
172 Notes
pervade the whole body of the adept with the power of the Goddess. Although
it is mantric, this practice is therefore entirely mental. For the performer, how-
ever, it is a total—both mental and bodily—experience.
3. These nine centers of the yogic body with their presiding deities are enumer-
ated in sl. 25–27a of chapter 1; see above.
4. On the term uddhāra, “extraction” of the letters of a mantra, see above, note 11.
5. Samghaṭṭa means coming together and also rubbing, interacting. It there-
fore has a sexual connotation, hence its use to denote the union of Śiva
and Śakti.
6. “Indra, thanks to his magical powers [māyābhiḥ], takes on diverse forms”
(Ṛgveda, VI.47.18). See also the Bṛhadāranyaka Upaniṣad II.5.19.
7. On the planes of the Word (vāc), from parā to vaikharī, see our commentary
above on chapter 1, sl. 36–40.
8. Amṛtānanda says, in fact, “the fourth mantra,” the totality of the srividyā being
taken as a fourth element made up of the three kūṭas: 3 + 1 = 4.
9. Visarga means emission. In the phonematic emanation system of the nondual-
ist Śaiva traditions, visarga, as the last “vowel,” preceding the consonants in the
traditional order of the Sanskrit alphabet, is deemed to “emit” them.
10. Sun, Moon, and Fire (Sūrya, Soma, and Agni) are the three astral luminaries
(dhāman, dhamatraya) of the Śaiva traditions. They are usually conceived as
three concentric discs visualized on top of one another. Their symbolic mean-
ings or correspondences are often mentioned. They are homologized with vari-
ous powers: the three gunas, yogic nāḍīs, etc. Dhāman, a locus of light or glory,
is the place where a deity or power is present, manifesting itself luminously.
The indologist Jan Gonda defined it as “a holder or container of numinous
potency.”
11. On the theory and symbolic meaning of the kāmakalā, the reader is referred to
Punyānandanātha’s Kāmakalāvilāsa, edited, translated, and with commentary
by Arthur Avalon, a study first published in 1922. This diagram was especially
studied by David G. White in Kiss of the Yoginī: “Tantric Sex” in Its South Asian
Contexts (Chicago: University of Chicago Press, 2003).
12. Bhāva has, in fact, many meanings: it may mean natural, simple, but also con-
jectural or meditative, etc. Since it is to be attained by meditating intensely
(bhāvayan), “a meaning attained by meditation” could perhaps be a likely ren-
dering of the term.
13. See Arthur Avalon’s edition and English translation of this work, published in
the Tantrik Texts series (Madras: Ganesh & Co., 1953 ).
14. The YH takes over the notion, expounded notably by Abhinavagupta, that there is a
thirty-seventh tattva, called parasiva, which is “emptier than empty” (sunyātisūnya)
and represents Śiva as identical with and inseparable from the universe. Still
higher, there is, for Abhinavagupta, a thirty-eighth tattva, which is unlimited and
is taught mainly for meditation (see Tantrāloka beginning at 11.22).
Notes 173
15. On the intense identifying form of meditation called bhāvanā, see note 27 of the
Introduction, above.
16. The cosmology of the YH is, as in all Tantric texts, that of the Sāmkhya, for which
the constituting elements of the cosmos are the twenty-five tattvas, “realities,”
going from puruṣa, the Lord, to the earth (pṛthivī), to which are added, above
puruṣa, from five to eleven other tattvas corresponding to higher planes of the
godhead. The subtle elements (tanmātra) are, in descending order, sound, contact,
form, taste, and smell; the gross ones (bhūta) are ether, air, fire, water, and earth.
17. Pralayākalā is to be understood as “without kalā, etc., thanks to the prayala”; they
are subjects, that is, who will survive the next pralaya (the end of the cosmos)
because they have not burned away all their karma. The vijnānakalas are “with-
out kalā [and other fetters] thanks to their discriminative knowledge.” The sakalā,
“associated with [the tattva] kalā,” which is the lowest of the kañcukas (the cuirasses
which imprison the soul), are submitted to all possible fetters and limitation. The
YH and its commentary mention here three pramātṛ only, although there is, in all
Śaiva systems, a hierarchy of seven pramātṛ (the term is variously translated as sub-
ject, conscious or experiencing subject, or experiencer, no translation being very
satisfactory) going from Śiva, the highest, to the sakala, The three quoted here are
the three lowest ones. The other, higher ones are, after Śiva, the Mantramahesvaras,
Great Lords of the Mantras, the Mantresvaras, Lords of Mantras, and the Mantras.
18. Nigarbha: Bhāskararāya, in his commentary (Setubandha, p. 155), explains this
rather unusual term, saying that nigarbha is as if entirely in a womb (nitaram
garbhe), thus completely secret (rahasyottama). Jayaratha, in another text, says
that it is an inner (āntaratayā) experience of the pure Self (even if it is differen-
tiated into master, disciple, etc.).
19. The moon has fifteen “sections” (kalā) or digits (tithi) for its half-month but six-
teen if one counts the āmāvasya, the night of the new moon; see note 26 below.
20. The term ganeṣatva is to be taken as “the state of mistress [īsatva] of the troup
[gana]” of deities, not as “having the nature of Ganesas.” These deities are to
be placed by nyāsa on the body of the officiant of the pūjā which we will see in
chapter 3, sl.14–21.
21. See note 9, above.
22. The nine grahas are: Sun, Moon, Venus, Mercury, Mars, Jupiter, and Saturn, to
which are added Rāhu and Ketu, heavenly bodies that are favorable or danger-
ous. The Grahas, “Seizers,” are also a category of demons that “seize” human
beings, especially women and children. Their worship, the grahapūjā, aims at
pacifying them, stopping their dangerous action.
23. The nakṣatras are the lunar mansions, the constellations through which the
moon passes. They are both divisions of the ecliptic and goddesses. Like the
Grahas, they have influences, either bad or good, on humans.
24. These are the sixteen vowels; the five groups of consonants; the four semivow-
els YA, RA, LA, and VA; the sibilants ŚA, ṢA, SA); and ḤA.
174 Notes
25. The theory of the levels of the Word was first propounded by the
grammarian-philosopher Bhartṛhari (5th c.), for whom there were only three
levels. Later on, Tantric authors, notably Abhinavagupta, added a fourth (or,
rather, a first) transcendent, supreme, parā level, considered the basis of the
three others, those through which the word first appears in consciousness,
then becomes subtly formulated, then is fully manifested as speech, these
three stages being also the stages of the manifestation of the cosmos. On the
subject, see A. Padoux, Vāc: The Concept of the Word in Selected Hindu Tantras
(Albany: SUNY Press, 1990; Delhi, 1992), pp. 166–222.
26. The lunar month has thirty days, called tithi. It is also considered to be divided
(for the half-month) into sixteen kalās, the fifteen days, plus the so-called
amākalā, which is the amāvasya, the night of the new moon during which
sun and moon are supposed to be together; this kalā is deemed invisible and
immortal. The division of the supreme reality into sixteen goes back to ancient,
even to Vedic, times; see the Bṛhadāranyaka Upaniṣad, I.5, 14–15, on the divi-
sion of Prajāpâti into sixteen parts.
27. As we have seen in the first chapter (1.25), there are in this system two lotuses
with a thousand petals, one at the base, the other at the summit of the course
of the kunḍalinī.
28. Chāndogya Upaniṣad 6.8, 7.
29. The term pratīti is often used in the Dī in the sense of an intuitive nondiscursive
comprehension of the reality. It is defined notably as pramātṛvisrānti, that is,
repose, meditative contemplation, spiritual absorption in the supremely con-
scious. The Goddess is here defined as such insofar as she must be understood
by the adept in this way, in her cosmic glory, through a mystical experience.
30. On the kalās of HRĪṂ, see chapter 1, the commentary on stanzas 25–35, above.
31. Mahāprayojanam, that is to say, a very high use, a very prominent goal: the
realization of the highest meaning, liberation, the union with Śiva. See also the
commentary on stanza 5, Chapter 1, above.
32. On the Ḍākinīs and the bodily elements, see the commentary on stanzas 60
and 61, above.
c h a p t er 3
1. We have already seen nyāsas in chapters 1 and 2. It consists of the ritual placing
(or imposition) of mantras on the body or on some support. It is done by uttering
(and/or evoking mentally) a mantra while placing it where needed with a partic-
ular hand gesture, a mudrā. The effect of the placing is sometimes conceived of
as extending pervasively on a whole part of the body; this is called a vyāpakanyāsa
(usually done with both hands; see chapter 2, note 2). Such is the case here for
the lines of the square that form the outer limit of the srīcakra. For a thorough
overview of the subject of nyāsa as expounded in Sanskrit texts, see A. Padoux,
Tantric Mantras (London and New York: Routledge, 2011), pp. 54–80.
Notes 175
a bow (dhanus), and arrows (bāna). Āyudhas are also deities and are then shown
in human form, each carrying one of the weapons. They are then part of the
deity’s retinue (āvaranadevatā).
16. These deities are often shown in “half-woman” (ardhanarī) form, both male
and female, the male aspect forming the right half of the image, the female the
left half.
17. Her mantra, the srīvidyā, is similarly the mūlamantra of this tradition.
18. The āvaranadevatā, “surrounding deities,” are those forming the retinue of a
main deity. They are usually disposed around her or him in concentric cir-
cles—a “mandalic” pattern, as one often says.
19. The number and the names of the Mātṛkās vary according to traditions and
texts, the first being often Brahmī/Brahmanī. They are enumerated and
described in sl.116–123 for their worship.
20. The Dī explains: “that is to say, on the forehead.”
21. On the absolute as inseparably Light and Act of Consciousness,
(prakāsavimarsamaya), see the Introduction.
22. A bali is a ritual offering to a deity, notably, in a Śaiva context, to Yoginī, or to
Baṭuka, and Kṣetrapāla, both often seen as forms of Bhairava. It may consist of
food, various beverages, or ingredients. It sometimes includes an animal sacrifice.
23. The term “ray” (marīci), or “ray of consciousness” (cinmarīci), is used for the
Yoginīs and also for the sense organs, which underlines the luminous and con-
scious character of these deities with which the sense organs are sometimes
identified.
24. AU is the central part of SAUḤ, the bījamantra of Parā, the supreme goddess
of the Trika.
25. The secret place (guhya) is “the place between the anus and the male organ”
(the perineum), says the Dī. By face (mukha), one is to understand the forehead.
26. The six aṅgas are, in fact, not the limbs (which is the usual meaning of aṅga) of
a deity but attributes, perfections, or powers of a deity. They number six: hṛdaya
(heart), siras (head), sikhā (tuft), kavaca or varman (cuirass), astra (weapon), and
netra (eye). They play a role in ritual, being imposed (nyāsa) by their mantras.
27. Arghya usually consists of water specially prepared, mixed with various sub-
stances, and accompanied by a mantra. One traditionally distinguishes between
ordinary or common arghya (sāmānārghya) and special arghya (viseṣārghya).
The latter is used for particular deities or specific rites. In Tantric rites, arghya
may include blood, different bodily fluids or excretions, or other “transgres-
sive” elements. Arghya is one of the ritual “services” (upacāra) presented to a
deity during worship. Here the arghya prescribed is the common one.
28. We have not found any information on these deities.
29. The composite phoneme KṢA is, as we have seen, often added to the forty-nine
letters (ending with the aspirate HA) in order to have fifty letters. The so-called
Vedic Ḷ is sometimes also added in order to have fifty-one letters.
Notes 177
30. The sequences of Sanskrit letters given here are not arbitrary; they follow the
traditional grammatical order (the varnasamāmnāya) of the Sanskrit alphabet.
31. The term madya may refer to different alcoholic beverages, but when several dif-
ferent terms are used, madya tends to designate wine (made with grape juice).
32. Vauṣaṭ is one of the exclamations, the jātis, added at the end of a mantra to adapt
it to different uses. Jātis are of Vedic origin. They are six in number: namaḥ,
svāhā, vauṣaṭ, hūm, vaṣaṭ, and phaṭ.
33. See YH 1.34.
34. In the Pratyabhijnā system, the ahantā is the I-ness, the conscious perceiving
subject, the state of being “I,” as opposed to all that constitutes the objectivity,
the objective world, the “this-ness” (idantā).
35. This rather obscure list of elements includes all the “realities” (tattva), or
principles, constituting the cosmic manifestation. Each of them is consid-
ered here as corresponding to a section of the srīcakra: the fourfold inner
organ corresponds to the central triangle; avyakta, ahamkāra, and the five
tanmātra to the eight-triangle cakra; and so forth, down to the sixteen “evo-
lutes” (buddhi, ahamkāra, the senses, and the elements) corresponding to the
sixteen-petaled lotus.
36. We write “sacrifice” because the Sanskrit verb used here (for metrical reasons)
is yajet. It refers, however, to the usual Tantric pūjā.
37. Many different terms are used for ritual alcoholic beverages, the most usual
being hetu and kārana, which both mean “cause.”
38. There are sixteen when one adds to the fifteen lunar days the amāvasya, the
night when sun and moon are deemed to coincide and which is invisible.
These days are also called kalas, “portions.” As for the srīvidyā, it numbers
sixteen syllables when the vidyā as a whole is added to its fifteen constitutive
letters. Sixteen is a lunar number. It is also the number of divisions of Prajāpati
or of the Puruṣa, since the Veda.
39. A general rule in Tantric worship is that the aspect of the deity to be wor-
shipped (usually to be visualized) is to be adapted to the aim of the ritual: a
fearful form, for a “cruel” (krura) rite, a peaceful one for an appeasing one, and
so forth, the shape, clothes, ornaments, color, etc., of the deity being different
in each case.
40. The term matuluṅga is variously translated as “wild lemon” or (in the
Monier-Williams Sanskrit-English dictionary) as “horn-apple.”
41. In the traditional Sanskrit grammar, the “vowels” (svara) are considered male
and active, as seeds (bīja), whereas the consonants (vyañjana) are deemed to be
feminine and inactive by themselves; they are yonis (wombs). In the traditional
Indian view, the role of the womb is passive, as a mere receptacle of the male
seed. (We put “vowels” in quotes because the sixteen svaras include two diph-
thongs and two accessory signs—bindu and anusvara—which are not gram-
matically vowels.)
178 Notes
60. The so-called pañcamakāra is a modern notion. Older texts mention as Tantric
offerings only wine, meat, and sex (madya, māmsa, mithuna), a triad, inciden-
tally, already mentioned in Manu’s Laws as involving no fault (na doṣaḥ).
61. Naimittika rites are obligatory; they must be performed, but not every day, only
on particular occasions or at particular times of the year, such as the parvans,
or in special cases, such as initiation (dīkṣā), rites of installation (pratiṣṭha) etc.,
and, of course, on the occasions mentioned here.
62. The traditional triad of knower, known, and knowledge, which is taken to refer
to the totality of the world.
63. In Tantric texts, the category of mumukṣu includes women and children.
This page intentionally left blank
Glossary
Sanskrit terms whose meanings are customarily well known (Brahman, liṅga, māyā,
mudrā, śakti, for instance) are not included here. All terms are listed in the index.
āyudha: “weapon”; the name for the different instruments or objects a deity holds
in his or her hands.
bali: offering to a deity or to ancestors.
bhāvanā: intense creative and identifying meditation.
bhukti: mundane or supramundane joys or rewards.
bhūta: gross elements, the five lowest tattvas.
bīja bījamantra: seed, seed mantra; always monosyllabic.
bindu: dot, drop.
brahmarandhra: the opening of Brahmā, the thousand-petaled lotus on the top of
the head.
cakreśvarī: the mistress (the presiding deity) of a cakra.
cit: consciousness.
citta: mind.
dakṣina: right, the right side of a figure; a category of Tantras as opposed to
Tantras “of the left,” vāma, those of the right being seen as more staid than
those of the left.
darśana: view, viewpoint; the main philosophical systems of Hinduism notably
described and classified from the point of view of Śaṅkara’s Vedānta in
Mādhava’s Sarvadarśanasam . graha.
dhāman: “splendor”; luminary, place of light, of which there are three cosmic
ones: Sun (sūrya), Moon (candra), and Fire (agni), often mentioned in ritual;
also forms of power present in the yogic body.
dhātu: constituent element of the body, traditionally seven in number—lymph,
blood, flesh, bone, fat, marrow, and semen.
dhvani: general term for sounds of all kinds; sometimes a subtle form of sound.
dhyāna: meditation, visualization.
dhyānaśloka: stanza of visualization of a deity or mantra.
dīkṣā: initiation in a particular Tantric tradition; not to be confused with the
upanayana, the initiation of boys of the three higher varṇas (Brahmin, Kṣatrya,
Vaiśya).
dvādaśānta: the cakra twelve finger’s breadths above the head, the highest point
reached by the ascending kuṇḍalinī.
granthi: “knot”; a name for the cakras of the yogic body.
guṇa: quality, property, notably the three qualities that pervade all the tattvas—
sattva, rajas, and tamas.
hṛd hṛdaya: the heart, especially as a mystical center; name of a cakra.
icchā (icchāśakti): will, the power of will, of the deity; the highest of Śiva’s three
basic powers.
jāgrat: waking, one of the five avasthas.
japa: ritual recitation of a mantra.
jīvanmukta: liberated in this life; jīvanmukti is the state of liberation in this life.
jñāna: knowledge, gnosis.
Glossary 183
jñānaśakti: the power of knowledge, the second of the three powers through
which Śiva manifests the cosmos.
kalā: limited power to act; usually the first evolute of māyā; kalās are phonic
subdivisions of mantras, notably of the subtle uccāra of bījamantras ending
with M.. .
kāmakalā: a ritual diagram symbolizing the sexual union of Śiva and Śakti.
kapāla: skull (worn by a yogi); kāpālika is a skull-bearing ascetic.
karaśuddhi: purification of the hands (before a ritual action).
kaula, kaulika: “of the Kaula” ensemble of traditions.
kha: inner void (like the central void for the axis of a wheel).
khecara: moving in space or the void; khecarī is she who moves in space or the
void; a class of Yoginīs; also a very high spiritual state where one moves freely
in the space of pure (divine) Consciousness.
kriyāśakti: energy or power of action, the third (after icchā and jñāna) power of
Śiva when manifesting the cosmos.
kṣobha, kṣobhana: agitation, effervescence, perturbation; a creative divine (or
human) state of agitation, appearing also in creative imagination, sensual
pleasure, or aesthetic enjoyment.
kula: family or clan; a name first used for the clans of Yoginīs; also the name
of the main nondualist Śaiva ensemble of traditions, divided into four
“transmissions” (āmnāya); in these traditions, also used for the highest—but
not transcendent—divine plane; also used for the human body seen as a
microcosm.
kulācāra, kaulācāra: the correct behavior according to the Kaula.
kuṇḍalinī: “she who is coiled”; the divine śakti as present in the yogic body and
active in the cosmos.
līlā: the divine cosmic “play.”
mātṛ mātṛkā: mother; name used for the eight Mothers, Brāhmī, etc.; also used for
the phonemes of the alphabet, seen as aspects of vāc when they are placed on
the body by nyāsa, for instance.
mūlādhāra (cakra): “the root support”; the bodily cakra on the level of the perineum
where the kuṇḍalinī lies coiled
mūlamantra: root mantra, the main mantra of a male deity or power.
mūlavidyā: root mantra of a female deity or power.
nāda: subtle phonic vibration.
nāḍi: channel of the yogic body of which there are seventy-two thousand in the
human body.
nirīkṣaṇa: rite of gazing, this gaze being considered as powerful; the gaze of the
guru saves, for it is charged with the grace of God (anugraha).
pīt.ha: seats or places of power of the Goddess; there are four main pīt.has
considered as the sources of the Śrīvidyā doctrine—Kāmarūpa, Pūrṇagiri,
Jālandhara, Oḍḍiyāna.
184 Glossary
With only a few exceptions, this bibliography is limited to works in English and
excludes works meant for a limited scholarly readership.
TEXTS
STUDIES
sādhaka, 41, 59, 116, 122, 159, 161 sūryapūjā, 18, 119
sakala, sakalaniṣkala, 35, 76 suṣumnā, 36, 50–51, 61, 96, 126
śakti, 26–27, 35, 148, 152 suṣupti, 21, 43, 151
śaktipāta, 53, 85 svādhisthāna, 36–37, 112
śaktitattva, 77 svapna, 21, 43, 150
samāna, 35, 83, 148, 152 svayambhuliṅga, 41–42
samāveśa, 4
saṃghaṭṭa, 15, 133, 138 tanmātra, 31, 82, 124
saṃhāra, 55, 69 tarpana, 18
saṃhārakrameṇa, 33 tattva, 13, 33, 72–75, 82, 115, 150
saṃketa, 24, 54, 93 tithi, 84, 126, 143
saṃkoca, 44, 77 triangles, in the śrīcakra, 26–32
saṃnidhi, saṃnidhāna, 47 Tripurā, 3–4, 6–9
saṃpradāya artha, 15, 63, 69–78 Tripurāsundarī, 3, 104, 125, 142
saṃvit, 13 turya, 21, 43, 151–152
saṃvitti, 32 turyātīta, 21, 43, 152
śāntā, 34, 39
śānti, śāntyātīta, 33 uccāra, 14, 21, 136, 148–149
sarvarahasya artha, 16 uddhāra, 15, 63
secrecy, in Tantric traditions, 25, 110, unmanā, unmani, 14, 35–36, 123, 136
160 in the japa of the śrīvidyā, 148–149,
Setubandha, 8–9, 23 152–155
siddhi, 20, 24, 89, 127, 134, 138–139, upacāra, 18
143–144, 161 uttarāmnāya, 4
śivatattva, 77
śmaśāna, 4 vāc, vak, 14, 66, 84
ṣoḍhānyāsa, 19, 97–104 vāgbhava, 86, 95–96, 131
spanda, 130, 140 vaikharī, 29, 39, 63, 127
sphuraṇa/tta, 13 vāmā, 39, 49
śrīcakra, 9, 14, 26–57, 125, 144 Vāmakeśvara, Vāmakeśvarīmata, Tantra
śrīcakrapūjā, 19–21, 94, 125–145, 156 (VM), 4, 6–9, 24
śrīkaṇṭha, 76 varṇa, 66, 153
śrīvidyā, 3, 6, 14–15, 58–92 vidyā, 15–16, 33, 59–60, 80–92
sṛṣṭi, 55, 69 vighnabheda, 18
sṛṣṭya, 26 vijṇānākalā, 76
sthiti, 49, 55 vimarśa, 27, 44, 66, 71, 90, 119
subtle body, 10 vīra, 59
śuddhavidyā tattva, 77, 139 visarga, 31, 49, 66–67, 132
śūṇya, 25, 50, 148 viṣa, 69
śūnyākāra, 28 viṣeśārghya, 18
śūnyaṣaṭkam, 21 viṣu, 36
Index 191