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Nabhi Vidya - Part 2

Friday, September 08, 2023
 Nabhi Vidya!!!! नाभि विद्या

Nabhi Vidya Dhyāna Shloka:

पिक रुरु बल यग्ु मं कम्बख

ु ा त्रिम्बकाभा । बल रुरु पिक यग्ु मं राजविद्या स्तनाभा ॥

नप
ृ ति यग
ु मातक
ृ ा नाथ बाला परीता । परयव
ु ति समेता पातु मां नाभि विद्या ॥

pika ruru bala yugmaṃ kambukhā trimbakābhā । bala ruru pika yugmaṃ rājavidyā

stanābhā ॥

nṛpati yuga mātṛkā nātha bālā parītā । parayuvati sametā pātu māṃ nābhi vidyā ॥

Decoding the dhyāna sloka:

We can consider the Kaṭapayādi number count for this. With reference to this code the

following will be the sequence of numbers in this dhyāna. Leaving out the vowels,
‘प’(pa) & ‘क’(ka) will be 1, ‘र’(ra) is 2, ‘ब’(ba) & ‘ल’(la) will be 3. Translated numerals will

be 1-1-2-2-3-3.

‘क’(ka) is 1; ‘ब’(ba) is 3; ‘ख’(kha) is 2 ‘त्रि’(tri) is 2; translated numerals will be 1-3-2-2-3-1.

The third is the reverse of the first hence it will be 3-3-2-2-1-1.

Here ‘1’ will refer to the vāgbhava kūṭa with vāg bīja, ‘2’ to kāmarāja kūṭa with kāmarāja

bīja and ‘3’ to the śakti kūṭa with śakti bīja, there is a śrī bīja in the end, thus we find

laghu ṣodaśī mantra in this vidyā. While repeating the first kūṭa will not have its hṛllekhā.

यग्ु म (yugma) will refer to the vidyā kādi and hādi.

Kādi = ऐं कएईलह्रीं क्लीं हसकहलह्रीं सौः सकलह्रींश्रीं [aiṃ kaeīlahrīṃ klīṃ hasakahalahrīṃ sauḥ

sakalahrīṃśrīṃ]

Hādi = ऐं हसकलह्रीं क्लीं हसकहलह्रीं सौः सकलह्रींश्रीं [aiṃ hasakalahrīṃ klīṃ hasakahalahrīṃ

sauḥ sakalahrīṃśrīṃ]

‘भ’(bha) will refer to the number 4 and यग्ु म (yugma) – double of this – will be eight,

which is achieved by यग्ु म (yugma) doubling of hṛllekhā. i.e., repeating the hṛllekhā at
the end of each kūṭa. Thus, a total of (eight in each section-with three sections)

twenty-four mantras are elucidated. This is called Pūrvāṅga vidyā!

राज (Rāja) and नप

ृ ति (nṛpati) both refer to kings, who traditionally are sixteen in number,

thus pointing to the ṣodaśī mantra. ‘Stana’ means breast, which are two in number.

Thus, both variances of this mantra – Ṣodaśī and Parā ṣodaśī are referred. ‘Yuga’ in the

second half, will refer as above, to both these vidyās – kādi and hādi in the same

sequence to the ṣodaśī mantra as well. ’Yugma’ also will refer to the repetition of

hṛllekhā at the end of each kūṭa. Thus, three types in ṣodaśī – the kādi, hādi and a

combination of both. The same in Parā ṣodaśī structure will be another three. This along

with the doubling of hṛllekhā at the end of each kūṭa will beget twelve. Thus, total

number of combinations will be thirty-six.

Ṣodaśī = śrīṃ hrīṃ klīṃ aiṃ sauḥ oṃ hrīṃ śrīṃ (ka/ha) sauḥ aiṃ klīṃ hrīṃ śrīṃ [ श्रीं ह्रीं

क्लीं ऐं सौः ॐ ह्रीं श्रीं (क/ह) सौः ऐं क्लीं ह्रीं श्रीं ]

Parā ṣodaśī = śrīṃ sauḥ klīṃ aiṃ hrīṃ oṃ hrīṃ śrīṃ (ka/ha) hrīṃ aiṃ klīṃ sauḥ śrīṃ [ श्रीं

सौः क्लीं ऐं ह्रीं ॐ ह्रीं श्रीं (क/ह) ह्रीं ऐं क्लीं सौः श्रीं ]

The last four mantras are explicit. Their individual dhyāna slokas are also given.
In the uttarabhāga (epilogue), we find an instruction to chant as much as possible of the

kādi and hādi vidyās (yadā śakti japet). The clue to the “as much as possible (yadā

śakti)”, can be seen in the uttara bhāga of Lalitā sahasranāma- yadā śakti japet vidyām

sahasram triśatam śatameva vā’ [यदा शक्ति जपेत ् विद्याम ् सहस्रम ् त्रिशतम ् शतमेव वा]–do

japā as much as possible- a thousand, three hundred or at least a hundred. This is to be

inferred here. The phala śruti (effect) of this chant once, is equal to one lakh japa of

Pañcadaśi vidyā, which is a bestower of both bhoga and mokṣa and will in totality,

bestows the true knowledge of the Self, which is unshakeable!

Further revelations by Śrī Yogāmba Sameta Śrī Ātmānandanātha (Shri Ramesh

Kutticad Guruji) are as follows –

There were many hidden code messages in the nābhividyā pārāyaṇa which were

revealed on constant practice, is shared here. Foremost ṣadadhvās are recognized:

The mātṛkā akṣarā said will correspond to varṇādhvā, the different kūṭa combinations

will show the padādhvā and combinations of all these padās are seen in greatest

mantra ṣodaśī, revealing mantrādhvā.

The laghu ṣodaśī, mahā ṣodaśī, and Parā ṣodaśī mantras will make us see kalādhvā,

the thirty-six mantras are equivalent to thirty-six tattvas (as seen in the pūrva bhaga),

tattvādhvā. The mātṛkākṣarā will show this created prapañca and hence we see

bhuvanādhvā.
Another way of looking at this: The first thirty-six mantras will correspond to tattvādhvā,

the basic building blocks of this universe, thirty seventh mantra (mātrkākṣarā) will show

emergence of this created world – the gross universe by pañcīkaraṇa, thirty-eight is

appearance of Śrī guru to a sādhaka, thirty ninth is his mantra upadeśa of Bālā, the root

mantra in Śrī Vidyopāsanā and fortieth is experience of highest level of bliss in

consciousness as indicated by Parā. The last of yadā śakti japet will now mean

immersion in sahaja sthiti of a realized sādhaka.

Some more hidden treasures:

a. The first twenty-four mantras are having the saubhāgya kādi/hādi ṣodaśī and the
kādi /hādi pūrti vidyās inter mixed.
b. The hidden hṛllekhā bījas in the first twenty-four will number seventy-two, number
of raśmi’s in viśuddhi cakra, which corresponds to akāśa tattvā, since ākāśa is
not ‘seen’, these hṛllekhā are hidden.
c. There are twelve more hidden hṛllekhā in the nṛpati vidyā bringing the total of
hidden to eighty-four, the number corresponding to variety in creation, the myriad
of creatures created. Since we cannot see all the created species, this number is
hidden.
d. The total number of Parā bīja ‘sauḥ’ in the chanting is 136, which can be
equated to total of last two cakras–viśuddhi and āgynā (72 +64= 136). This again
represents soma khaṇda of Pañcadaśi which as a syllable is śakti bīja.
e. Number of occurrences of the vāg bīja ‘aim’ is 180, the half year time of a lunar
calendar; represents both dakṣiṇāyana and uttarāyana.
f. In the verbal meaning of Pancadasi mantra, first kūṭa is meant to be a prayer to
remove ignorance of duality, second as a prayer for emergence of knowledge of
the world as śivaśakti-maya and third kūṭa as a prayer for constant remembrance
and experience of this bhāva. In this context if we review all the twenty-four
Pūrvāṅga vidyā mantras, we find that central prayer for emergence of knowledge
is a constant, while the removal of māyā is predominant in first eight mantras,
removal of dual knowledge (ignorance of the true nature) and continual
 remembrance of knowledge (true nature) being intermixed in the next eight; the
predominance of realization in experience, is in the third set of eight mantras.
The same is the case in the Rāja and Nṛpati vidyās too. Thus, we find thirty-six,
the number of tattvas being a ground for the realization of this knowledge. These
being subtle, next comes the gross reality in the form of mātṛkā akṣarā, they
represent the sound, which in turn points to the ākāsha tattva and then by
pañcīkaraṇa, the formation of this ‘seen’ gross universe. In this universe the
emergence of grace of the divine in the form of Śrī Guru, is the next mantra. His
condensed upadeśa is the Bālā mantra. The realization of the upadeśa of the
highest bliss is the ‘Parā’. After realization the normal sahaja sthiti is the vidyā
dvaya’s yadā śakti japa. Thus, we find a sadhana path in this nābhi vidyā.

Lastly, the Śrī Vidyā Pañcadaśākṣarī and its meaning is boundless. A few known

descriptions of the bījas are shared here.

Letter Significance Section Description

S. Let Secti
no ter on
.
 'ka' means Brahma, Vāgbhava-kūṭa
the creator. The bīja represents the power of
1 ka 'ka' is the root of Vāgb speech, is indicative of
kāma bīja 'klīṁ' (क्लीं). hava- Śrī Lalitā devi's face.
'ka' also bestows kūṭa Vākbhava kūṭa is also
peace and prosperity known as Agni khaṇḍa
to the sādhaka. It also and indicates jñāna śakti
represents the of Lalitā devi. The first
supreme bliss or the four bīja-s give peace,
śiva-śakti-aikya in the prosperity, prevention of
Sahasrāra cakra. The misfortunes,
letter 'ka' is the first of auspiciousness and a
the consonants in the status like Indra. This
Sanskrit alphabet, means victory to sādhaka
just as 'a' is the first of in every step he puts
the vowels in the forward. (Indra
Sanskrit alphabet. 'a' represents victory over all
represents the evils, internal and
unmanifested external and His weapon
universe or Brahman, vajra destroys all the evil
while 'ka' represents influences affecting the
the manifested devotee). The unlocking
Brahman or Śiva and of the Jālandhara bandha
Śakti, who sets and Rudra granthi is
everything in motion signified. The
and represents the pronunciation of
entire creation. Vākbhava kūṭa should
commence from
Mūlādhāra chakra and
end at Anāhata chakra,
 contemplating the entire
kūṭa as fire, awakened
through the power of
speech. In short, 'ka' is
'e' means Sarasvatī desire, 'e' is intention, 'ī' is
the goddess of jñāna motivation, 'la' is
2 e and is also a fulfillment and 'hrīṃ' is
dimunitive form of śakti of light and
Vāgbīja 'aiṁ' and is realization.
therefore a container
of all sounds within
itself and a source of
their manifestation.
The bīja 'e' also
prevents misfortune
to the sādhaka or
devotee. It also
represents the
Viśvayoni or Creation
itself! It is
Kulakuṇḍalini present
in the Mūlādhāra
root/base cakra.

'ī' means Lakṣmī. ī

bestows wealth and
3 ī all good things to
sādhaka. 'Ī' also
represents Īśāna
śaktī, covering all
aspects of iccha,
jñāna and kriyā,
which means wishes,
 knowledge and action
respectively. It is the
root of the Kāmakalā
bīja 'īṃ', indicating
the union of Śiva and
Śaktī or the coming
together of the static
and dynamic aspects
of the
SuperConsciousness.
It is located in the
anāhata cakra.

'la' means Indra. The

bīja 'la' gives victory
4 la to the sādhaka. The
location is the center
of the forehead.
 'hrīṃ' means the
merger of Śiva and
5 hrī Śaktī. 'hrīṁ' is made
ṁ up of twelve letters.
"H + r + ī + m" and a
bindu. Bindu is a dot
on the letter 'm' (ṁ).
But this is not just a
dot. This dot
comprises of
ardhacandra, rodhinī,
nāda, nādānta, śakti,
vyāpikā, samanā and
uṇmanī. Beginning
from bindu and
including these eight,
is nāda (total nine).
This nāda comprises
of two V-s one above
the other (each V has
two lines and two V-s
together have four
lines) and four dots
each at the open
ends of V and one dot
on the top these four
dots. This is the
combination of bīja
hrīṁ. We can
visualize the hrīṃ
bīja, as the first three
components 'h', 'r', ' ī '
on the left eye, right
eye and the center of
the forehead - third
 eye or ājñā cakra.
The bindu and nāda
as the left and right
nostrils.

'ha' indicates the sun The Kāmarāja kūṭa

or the solar energy or corresponds to area from
6 ha light. It is the root of Kāma the neck region to the
the Śiva bīja 'hūm̐'. Its rāja hips of Śrī Lalitā. This
presence is in the kūṭa kūṭa is to be
ūrdhva, adha and contemplated from
madhya bindus above Anāhata cakra to Ājñā
the Sahasrāra cakra, cakra in the form of
representing the three brightness that is
states of the void or equivalent to millions of
śūnya. The three suns. This kūṭa is also
states are a called Sūrya khaṇḍa and
heightened state of forms the second act of
awareness or Brahman viz. the
consciousness, the sustenance. Since it is
second is a dreaming associated with
state and the third is sustenance, desire is
a dreamless state. attached to this kūṭa. In
short, 'ha' is solar energy,
'sa' is lunar energy, 'ka' is
desire, 'ha' is prāṇa, 'la' is
fulfillment, ‘hrīṃ' is śakti
of light and realization.

'sa' refers to the lunar

energy, Lord Viṣṇu
 and the air element.
Its presence is in the
7 sa center of the face.

'ka' refers to Kāma or

desire. Its presence is
8 ka felt in the naval area.

'ha' indicates the sun

or the solar energy or
9 ha light. It also refers to
Ākāśa or ether. It is
indicative of the life
sustaining breath or
prāṇa.
10 la 'la' is indicative of
fulfillment. Its
location is fixed in the
sahasrāra cakra.

'hrīṁ' is the Māyā

bīja. It's indicative of
11 hrī brightness equivalent
ṁ of a million suns.

'sa' refers to the lunar This kūṭa is to be

energy or the mind. meditated upon the
12 sa Location is the Śakti portion between hip and
Maṇipūra cakra. kūṭa the feet of Śrī Lalitā. This
kūṭa is to be
contemplated from ājñā
cakra to the middle of the
forehead - Lalāṭamadhye
in the form of brightness
that is equivalent to
millions of moons. This
kūṭa is also called candra
khaṇḍa and forms the
 third act of Brahman viz.
the dissolution. Since it is
13 ka 'Ka' refers to desire. associated with
Its presence is in the dissolution, liberation is
Svādhiṣṭhāna cakra. associated with this kūṭa.
In short, 'sa' is lunar
energy as mind, 'ka' is
desire, 'la' is fulfillment
and 'hrīṃ' is śakti of light
and realization.

The Śakra bīja 'la'

refers to dissolution in
14 la this context. Its
presence is in the
reproductive organs.

'hrīṁ' is the Māyā

bīja. It represents
15 hrī light and realization.
ṁ The complete
blessings of Śakti.
1. Viniyogaḥ (विनियोगः) -

om̐ asya śrī nābhividyā ṣoḍaśākṣarī tripurasundarī brahmavidyā mantrarāja

mahāmantrasya ।

śrī ānandabhairava ṛṣiḥ ।

amṛta virāṭ gāyatrī chandaḥ ।

śrīvidyā rājarājeśvarī mahātripurasundarī devatā ।

om̐ aim̐ hrīm̐ śrīm̐ aim̐ klīm̐ sauḥ aim̐ aim̐ kaeīla kaeīla hrīm̐ sauḥ klīm̐ aim̐ śrīm̐

hrīm̐ aim̐ om̐ bījam̐ ।

om̐ aim̐ hrīm̐ śrīm̐ aim̐ klīm̐ sauḥ klīm̐ klīm̐ hasakahala hasakahala hrīm̐ sauḥ klīm̐

aim̐ śrīm̐ hrīm̐ aim̐ om̐ śaktiḥ ।

om̐ aim̐ hrīm̐ śrīm̐ aim̐ klīm̐ sauḥ sauḥ sauḥ sakala sakala hrīm̐ śrīm̐ śrīm̐ sauḥ

klīm̐ aim̐ śrīm̐ hrīm̐ aim̐ om̐ kīlakam̐ ।

śrīvidyā rājarājeśvarī mahātripurasundarī prasādasiddhyarthe jape viniyogaḥ॥

ॐ अस्य श्री नाभिविद्या षोडशाक्षरी त्रिपरु सन्

ु दरी ब्रह्मविद्या मन्त्रराज महामन्त्रस्य ।

श्री आनन्दभैरव ऋषिः ।

अमत
ृ विराट् गायत्री छन्दः ।

श्रीविद्या राजराजेश्वरी महात्रिपरु सन्

ु दरी दे वता ।

ॐ ऐँ ह्रीँ श्रीँ ऐँ क्लीँ सौः ऐँ ऐँ कएईल कएईल ह्रीँ सौः क्लीँ ऐँ श्रीँ ह्रीँ ऐँ ॐ बीजँ ।

ॐ ऐँ ह्रीँ श्रीँ ऐँ क्लीँ सौः क्लीँ क्लीँ हसकहल हसकहल ह्रीँ सौः क्लीँ ऐँ श्रीँ ह्रीँ ऐँ ॐ शक्तिः ।

ॐ ऐँ ह्रीँ श्रीँ ऐँ क्लीँ सौः सौः सौः सकल सकल ह्रीँ श्रीँ श्रीँ सौः क्लीँ ऐँ श्रीँ ह्रीँ ऐँ ॐ कीलकँ ।

श्रीविद्या राजराजेश्वरी महात्रिपरु सन्

ु दरी प्रसादसिद्ध्यर्थे जपे विनियोगः॥

Meaning:- This prayer/mantra japa is to invoke Śrī Nābhividyā Ṣoḍaśākṣarī

Tripurasundarī and perform Her Brahmavidyā Mantrarāja Mahāmantra japa to obtain

Her complete grace in all aspects. The sage (ṛṣiḥ) is Śrī Ānandabhairava, the meter

(chandas) for the mantra is Amṛta Virāṭ Gāyatrī and the deity(devatā) is Śrīvidyā

Rājarājeśvarī Mahātripurasundarī. The seed (bījaṃ) is om̐ aim̐ hrīm̐ śrīm̐ aim̐ klīm̐ sauḥ

aim̐ aim̐ kaeīla kaeīla hrīm̐ sauḥ klīm̐ aim̐ śrīm̐ hrīm̐ aim̐ om̐, the power or śakti is om̐ aim̐

hrīm̐ śrīm̐ aim̐ klīm̐ sauḥ klīm̐ klīm̐ hasakahala hasakahala hrīm̐ sauḥ klīm̐ aim̐ śrīm̐ hrīm̐

aim̐ om̐. The key (kīlaka) to unlock the mantra is om̐ aim̐ hrīm̐ śrīm̐ aim̐ klīm̐ sauḥ sauḥ

sauḥ sakala sakala hrīm̐ śrīm̐ śrīm̐ sauḥ klīm̐ aim̐ śrīm̐ hrīm̐ aim̐ om̐.

2. Ṛṣyādi nyāsaḥ ( ऋष्यादि न्यासः ) :-

IAST Devanāgari Procedure

S.no.

śrī ānandabhairava ṛṣaye श्री आनन्दभैरव ऋषये Open the right palm and
namaḥ śirasi नमः शिरसि touch the top of the
1 forehead with the ring
and thumb fingers joined
at the top.
2 amṛtā virāṭ gāyatrī अमतृ ा विराट् गायत्री Now touch the lips of the
chandase namaḥ mukhe छन्दसे नमः मख ु े mouth with the above
mudrā.

śrīvidyā rājarājeśvarī श्रीविद्या राजराजेश्वरी Touch the heart with the

mahātripurasundarī महात्रिपरु सन्
ु दरी दे वतायै right palm.
3 devatāyai namaḥ hṛdi नमः हृदि

om̐ aim̐ hrīm̐ śrīm̐ aim̐ ॐ ऐँ ह्रीँ श्रीँ ऐँ क्लीँ सौः ऐँ Touch the genitalia with
klīm̐ sauḥ aim̐ aim̐ kaeīla ऐँ कएईल कएईल ह्रीँ the right ring finger and
4 kaeīla hrīm̐ sauḥ klīm̐ aim̐ thumb joined together.
śrīm̐ hrīm̐ aim̐ om̐ bījāya सौः क्लीँ ऐँ श्रीँ ह्रीँ ऐँ ॐ
namaḥ guhye बीजाय नमः गह् ु ये

om̐ aim̐ hrīm̐ śrīm̐ aim̐ ॐ ऐँ ह्रीँ श्रीँ ऐँ क्लीँ सौः Touch the feet with the
klīm̐ sauḥ klīm̐ klīm̐ क्लीँ क्लीँ हसकहल right ring finger and
5 hasakahala hasakahala हसकहल ह्रीँ thumb joined together.
hrīm̐
सौः क्लीँ ऐँ श्रीँ ह्रीँ ऐँ ॐ

शक्तये नमः पादयोः

sauḥ klīm̐ aim̐ śrīm̐ hrīm̐

aim̐ om̐
 śaktaye namaḥ pādayoḥ

om̐ aim̐ hrīm̐ śrīm̐ aim̐ ॐ ऐँ ह्रीँ श्रीँ ऐँ क्लीँ सौः Touch the navel area with
klīm̐ sauḥ sauḥ sauḥ सौः सौः सकल सकल ह्रीँ the right ring finger and
6 sakala sakala hrīm̐ śrīm̐ श्रीँ श्रीँ thumb joined together.
śrīm̐ sauḥ klīm̐ aim̐ śrīm̐
hrīm̐ aim̐ om̐ kīlakāya सौः क्लीँ ऐँ श्रीँ ह्रीँ ऐँ ॐ
namaḥ nābhau कीलकाय नमः नाभौ

śrīvidyā rājarājeśvarī श्रीविद्या राजराजेश्वरी Run both the palms all

mahātripurasundarī महात्रिपरु सन्
ु दरी over the body.
7 prasādasiddhyarthe jape प्रसादसिद्ध्यर्थे जपे
viniyogāya namaḥ विनियोगाय नमः
sarvāṅge सर्वाङ्गे

iti ṛṣyādi nyāsaḥ इति ऋष्यादि न्यासः

3. Kādi Sva Anuloma Karanyāsaḥ (कादि स्व अनल

ु ोम करन्यासः) :-
 IAST Procedure
Devanāgari
S.no.

om̐ aim̐ hrīm̐ śrīm̐ aim̐ klīm̐ Use both the index fingers
sauḥ aim̐ aim̐ kaeīla kaeīla ॐ ऐँ ह्रीँ श्रीँ ऐँ क्लीँ सौः and run them on both the
1 hrīm̐ sauḥ klīm̐ aim̐ śrīm̐ ऐँ ऐँ कएईल कएईल ह्रीँ thumbs.
hrīm̐ aim̐ om̐ सौः क्लीँ ऐँ श्रीँ ह्रीँ ऐँ ॐ
aṅguṣṭhābhyāṃ namaḥ अङ्गुष्ठाभ्यां नमः

om̐ aim̐ hrīm̐ śrīm̐ aim̐ klīm̐ Use both the thumbs and
sauḥ klīm̐ klīm̐ ॐ ऐँ ह्रीँ श्रीँ ऐँ क्लीँ सौः run them on both the
2 hasakahala hasakahala क्लीँ क्लीँ हसकहल index fingers.
hrīm̐ sauḥ klīm̐ aim̐ śrīm̐ हसकहल ह्रीँ
hrīm̐ aim̐ om̐ tarjanībhyāṃ
namaḥ सौः क्लीँ ऐँ श्रीँ
ह्रीँ ऐँ ॐ

तर्जनीभ्यां
नमः

om̐ aim̐ hrīm̐ śrīm̐ aim̐ klīm̐ Use both the thumbs on
sauḥ sauḥ sauḥ the middle fingers.
 sakala sakala hrīm̐ śrīm̐
śrīm̐ sauḥ klīm̐ aim̐ śrīm̐
3 hrīm̐ aim̐ om̐ ॐ ऐँ ह्रीँ श्रीँ ऐँ क्लीँ सौः
madhyamābhyāṃ namaḥ सौः सौः सकल सकल
ह्रीँ श्रीँ श्रीँ

सौः क्लीँ ऐँ श्रीँ

ह्रीँ ऐँ ॐ

मध्यमाभ्यां
नमः

om̐ aim̐ hrīm̐ śrīm̐ aim̐ klīm̐ Use both the thumbs on
sauḥ aim̐ aim̐ kaeīla kaeīla ॐ ऐँ ह्रीँ श्रीँ ऐँ क्लीँ सौः the ring fingers.
4 hrīm̐ ऐँ ऐँ कएईल कएईल ह्रीँ

सौः क्लीँ ऐँ श्रीँ

ह्रीँ ऐँ ॐ अनामिकाभ्यां
नमः
sauḥ klīm̐ aim̐ śrīm̐ hrīm̐
aim̐ om̐ anāmikābhyāṃ
namaḥ

om̐ aim̐ hrīm̐ śrīm̐ aim̐ klīm̐ Use both the thumbs on
sauḥ klīm̐ klīm̐ ॐ ऐँ ह्रीँ श्रीँ ऐँ क्लीँ सौः the little fingers.
5 hasakahala hasakahala क्लीँ क्लीँ हसकहल
hrīm̐ sauḥ klīm̐ aim̐ śrīm̐ हसकहल ह्रीँ
hrīm̐ aim̐ om̐
kaniṣṭhikābhyāṃ namaḥ सौः क्लीँ ऐँ श्रीँ
ह्रीँ ऐँ ॐ
कनिष्ठिकाभ्यां नमः
 om̐ aim̐ hrīm̐ śrīm̐ aim̐ klīm̐ Open both the palms; run
sauḥ sauḥ sauḥ ॐ ऐँ ह्रीँ श्रीँ ऐँ क्लीँ सौः the opened palms of the
6 sakala sakala hrīm̐ śrīm̐ सौः सौः सकल सकल right hand on the front
śrīm̐ sauḥ klīm̐ aim̐ śrīm̐ ह्रीँ श्रीँ श्रीँ and back sides of the left
hrīm̐ aim̐ om̐ palm and repeat the same
karatalakarapṛṣṭhābhyāṃ सौः क्लीँ ऐँ श्रीँ for the other palm.
namaḥ ह्रीँ ऐँ ॐ
करतलकरपष्ृ ठाभ्यां
नमः

iti kara nyāsaḥ

इति कर न्यासः
7

4. Kādi Sva Anuloma Aṅganyāsaḥ (कादि स्व अनल

ु ोम अङ्गन्यासः) :-

IAST Procedure
Devanāgari
S.no.
 om̐ aim̐ hrīm̐ śrīm̐ aim̐ Open index, middle and ring fingers
klīm̐ sauḥ aim̐ aim̐ ॐ ऐँ ह्रीँ श्रीँ ऐँ of the right hand and place them on
1 kaeīla kaeīla hrīm̐ क्लीँ सौः ऐँ ऐँ the heart chakra.
कएईल कएईल
ह्रीँ

सौः क्लीँ
sauḥ klīm̐ aim̐ śrīm̐ ऐँ श्रीँ ह्रीँ ऐँ ॐ
hrīm̐ aim̐ om̐
हृदयाय
नमः

hṛdayāya namaḥ

om̐ aim̐ hrīm̐ śrīm̐ aim̐ Open middle and ring fingers of the
klīm̐ sauḥ klīm̐ klīm̐ ॐ ऐँ ह्रीँ श्रीँ ऐँ right hand and touch the top of the
2 hasakahala क्लीँ सौः क्लीँ forehead.
hasakahala hrīm̐ sauḥ क्लीँ हसकहल
klīm̐ aim̐ śrīm̐ hrīm̐ aim̐ हसकहल ह्रीँ
om̐ śirase svāhā
सौः क्लीँ
ऐँ श्रीँ ह्रीँ ऐँ ॐ

शिरसे
स्वाहा
 om̐ aim̐ hrīm̐ śrīm̐ aim̐ Open the right thumb and touch the
klīm̐ sauḥ sauḥ ॐ ऐँ ह्रीँ श्रीँ ऐँ back of the head. This is the point
3 sauḥ sakala sakala क्लीँ सौः सौः where the tuft of hair, is kept.
hrīm̐ śrīm̐ śrīm̐ sauḥ सौः सकल
klīm̐ aim̐ śrīm̐ hrīm̐ aim̐ सकल ह्रीँ श्रीँ श्रीँ
om̐ śikhāyai vaṣaṭ
सौः क्लीँ
ऐँ श्रीँ ह्रीँ ऐँ ॐ

शिखायै
वषट्

om̐ aim̐ hrīm̐ śrīm̐ aim̐ Cross both the hands and run the
klīm̐ sauḥ aim̐ aim̐ ॐ ऐँ ह्रीँ श्रीँ ऐँ fully opened palms from shoulders to
4 kaeīla kaeīla hrīm̐ क्लीँ सौः ऐँ ऐँ finger tips.
कएईल कएईल
ह्रीँ

सौः क्लीँ
̐ ̐
sauḥ klīm aim śrīm ̐ ऐँ श्रीँ ह्रीँ ऐँ ॐ
hrīm̐ aim̐ om̐ kavacāya कवचाय हुँ
hum̐

om̐ aim̐ hrīm̐ śrīm̐ aim̐ Touch the eyes with the right index
klīm̐ sauḥ klīm̐ klīm̐ ॐ ऐँ ह्रीँ श्रीँ ऐँ and ring fingers, with the middle
5 hasakahala क्लीँ सौः क्लीँ finger touching the ājñā cakra.
hasakahala hrīm̐ sauḥ क्लीँ हसकहल
klīm̐ aim̐ śrīm̐ hrīm̐ aim̐ हसकहल ह्रीँ
 om̐ netratrayāya सौः क्लीँ
vauṣaṭ ऐँ श्रीँ ह्रीँ ऐँ ॐ
नेत्रत्रयाय वौषट्

om̐ aim̐ hrīm̐ śrīm̐ aim̐ Open up the left palm and strike it
klīm̐ sauḥ sauḥ ॐ ऐँ ह्रीँ श्रीँ ऐँ three times with index and middle
6 sauḥ sakala sakala क्लीँ सौः सौः fingers of the right hand.
hrīm̐ śrīm̐ śrīm̐ sauḥ सौः सकल
klīm̐ aim̐ śrīm̐ hrīm̐ aim̐ सकल ह्रीँ श्रीँ श्रीँ
om̐ astrāya phaṭ सौः क्लीँ ऐँ श्रीँ
ह्रीँ ऐँ ॐ अस्त्राय
फट्

iti ṣaḍaṅga nyāsaḥ

इति षडङ्ग
7 न्यासः

5. Kādi Ṣoḍaśī Karanyāsaḥ (कादि षोडशी करन्यासः) :-

IAST Procedure
Devanāgari
S.no.
 śrīm̐ hrīm̐ klīm̐ aim̐ sauḥ Use both the index fingers
aṅguṣṭhābhyāṃ namaḥ श्रीँ ह्रीँ क्लीँ ऐँ सौः and run them on both the
1 अङ्गुष्ठाभ्यां नमः thumbs.

om̐ hrīm̐ śrīm̐ tarjanībhyāṃ Use both the thumbs and

namaḥ ॐ ह्रीँ श्रीँ तर्जनीभ्यां run them on both the
2 नमः index fingers.

aim̐ kaeīla hrīm̐ Use both the thumbs on

madhyamābhyāṃ namaḥ ऐँ कएईल ह्रीँ the middle fingers.
3 मध्यमाभ्यां नमः

klīm̐ hasakahala hrīm̐ Use both the thumbs on

anāmikābhyāṃ namaḥ क्लीँ हसकहल ह्रीँ the ring fingers.
4 अनामिकाभ्यां नमः
 sauḥ sakala hrīm̐ śrīm̐ Use both the thumbs on
kaniṣṭhikābhyāṃ namaḥ सौः सकल ह्रीँ श्रीँ the little fingers.
5 कनिष्ठिकाभ्यां नमः

sauḥ aim̐ klīm̐ hrīm̐ śrīm̐ Open both the palms; run
karatalakarapṛṣṭhābhyāṃ सौः ऐँ क्लीँ ह्रीँ श्रीँ the opened palms of the
6 namaḥ करतलकरपष्ृ ठाभ्यां right hand on the front
नमः and back sides of the left
palm and repeat the same
for the other palm.

iti kara nyāsaḥ

इति कर न्यासः
7

6. Kādi Ṣoḍaśī Aṅganyāsaḥ (कादि षोडशी अङ्गन्यासः) :-

 IAST Procedure
Devanāgari
S.no.

śrīm̐ hrīm̐ klīm̐ aim̐ Open index, middle and ring fingers
sauḥ श्रीँ ह्रीँ क्लीँ ऐँ of the right hand and place them on
1 सौः हृदयाय the heart chakra.
नमः

hṛdayāya namaḥ

om̐ hrīm̐ śrīm̐ śirase Open middle and ring fingers of the
svāhā ॐ ह्रीँ श्रीँ शिरसे right hand and touch the top of the
2 स्वाहा forehead.

aim̐ kaeīla hrīm̐ Open the right thumb and touch the
śikhāyai vaṣaṭ ऐँ कएईल ह्रीँ back of the head. This is the point
3 शिखायै वषट् where the tuft of hair, is kept.
 klīm̐ hasakahala hrīm̐ Cross both the hands and run the
kavacāya hum̐ क्लीँ हसकहल fully opened palms from shoulders to
4 ह्रीँ कवचाय हुँ finger tips.

sauḥ sakala hrīm̐ śrīm̐ Touch the eyes with the right index
netratrayāya vauṣaṭ सौः सकल ह्रीँ श्रीँ and ring fingers, with the middle
5 नेत्रत्रयाय वौषट् finger touching the ājñā cakra.

sauḥ aim̐ klīm̐ hrīm̐ Open up the left palm and strike it
śrīm̐ astrāya phaṭ सौः ऐँ क्लीँ ह्रीँ three times with index and middle
6 श्रीँ अस्त्राय फट् fingers of the right hand.

iti ṣaḍaṅga nyāsaḥ

इति षडङ्ग
7 न्यासः
bhūr-bhuva-ssuvarom-iti digbandhaḥ ॥

भर्भु
ू वस्सव
ु रोमिति दिग्बन्धः॥

7. Dhyānaṃ (ध्यानं) -

japākusumabhāsurāṃ trinayanāṃ trikoṇatraya trayāntara nivāsinīṃ

tripurasundarī sendukāṃ ।

karāṃ bujacatuṣṭayāṃ madhuracāpa pāśāṅkuśa prasūnaśaraśobhinī

lalitaveṣabhūṣāṃ bhaje ॥

bālārka-maṇḍalā-bhāsāṃ caturbāhuṃ trilocanāṃ ।

pāśāṅkuśadhanurbāṇa dhārayantīṃ śivāṃ bhaje ॥

iti sundarī dhyānaṃ ॥

जपाकुसम
ु भासरु ां त्रिनयनां त्रिकोणत्रय त्रयान्तर निवासिनीं त्रिपरु सन्
ु दरी सेन्दक
ु ां ।

करां बज
ु चतष्ु टयां मधरु चाप पाशाङ्कुश प्रसन
ू शरशोभिनी ललितवेषभष
ू ां भजे ॥ बालार्क मण्डलाभासां
चतर्बा
ु हुं त्रिलोचनां ।

पाशाङ्कुशधनर्बा
ु ण धारयन्तीं शिवां भजे ॥

इति सन्
ु दरी ध्यानं ॥

Salutations to the Divine Mother Tripurasundarī who is radiant like the flowers of a red

china rose and is three-eyed. She is the constituent of all triads and resides in the

center of a triangle. She is associated with the digits of the moon. In Her four lotus like

arms, She hold a sugarcane bow, five arrows and the pāśa (rope) and aṅkuśa (elephant

goad) weapons. Her complexion is likened to the rising run at dawn and She is verily

Śakti Herself.

cāpaṃ cekṣumayaṃ prasūnaviśikhān pāśāṅkuśaṃ pustakaṃ

māṇikyāṣasṛjavaraṃ maṇīmayīṃ vīṇāṃ sarojadvayaṃ ।

pāṇibhyāṃ varadā abhayaṃ ca dadhatīṃ brahmādisevyāṃ parāṃ sindūrāruṇa

vigrahāṃ bhagavatīṃ tāṃ ṣoḍaśīm āśraye ॥

iti ṣoḍaśī dhyānaṃ ॥

चापं चेक्षुमयं प्रसन
ू विशिखान ् पाशाङ्कुशं पस्
ु तकं

माणिक्याषसज
ृ वरं मणीमयीं वीणां सरोजद्वयं ।

पाणिभ्यां वरदा अभयं च दधतीं ब्रह्मादिसेव्यां परां सिन्दरू ारुण विग्रहां भगवतीं तां षोडशीम ् आश्रये ॥

इति षोडशी ध्यानं ॥

Salutations to the One who has twelve (or ten) arms, holds (1) a bow made of

sugarcane, (2) arrows made of kadamba flowers, (3) a noose, (4) a hook, (5) a book, (6)

a rosary made of rubies, displays (7) abhaya (removal of fear) and (8) varada (giving

boons) mudras. She closely holds a vīṇa (a musical instrument) with two arms (9 and

10) and lotus flowers in two arms (11 and 12) [She is playing the Vīṇa with Her lotus like

hands] one on each side. She is worshipped by Brahmā and other gods and

goddesses. She is red in complexion. I surrender unto this Supreme Goddess.

tārkṣyārūḍha harihṛt sarojake bhāti yā paramacitsvarūpiṇī ।

padmayugma maṇi pātra dhāriṇī bhāsatāṃ hṛdi sadā mamāṃ bikā ॥

iti parāṣoḍaśī dhyānaṃ ॥

तार्क्ष्यारूढ हरिहृत ् सरोजके भाति या परमचित्स्वरूपिणी ।

पद्मयग्ु म मणि पात्र धारिणी भासतां हृदि सदा ममां बिका ॥

इति पराषोडशी ध्यानं ॥

Salutations and praise be to the Divine Mother Parāṣoḍaśī, who is seated next to Lord

Hari (Lord Viṣṇu) mounted on the eagle nosed celestial bird vehicle Garuḍa. She

resembles a fully blossomed lotus and is radiating divine splendor upon the entire

multi-dimensional multi-verse and they together constitute the super-consciousness.

Parāṣoḍaśī is the dynamic super-consciousness and Lord Viṣṇu is the static

super-consciousness. They are the same as Śakti and Śiva. She adored as

Mahālakṣmi, is holding two lotuses symbolizing the evolution of the individual

consciousness to become one with the super-consciousness and also signifying the

duality, that separates the consciousness as individual and super-consciousness. She is

also holding a vessel full of jewels, signifying all the wealth that constitutes the entire

Creation, as well as the seeds of Creation that spawn into the living and the non-living.

May She exist in our heart along with Her consort at all times and liberate us from the

cycle of life and death.

piṃka ruru bala yugmaṃ kambukhā trimbakābhā ।

bala ruru pika yugmaṃ rājavidyā stanābhā ॥

nṛpati yuga mātṛkā nātha bālā parītā ।

parayuvati sametā pātu māṃ nābhi vidyā ॥

iti nābhirvidyā dhyānaṃ ॥

पिंक रुरु बल यग्ु मं कम्बख

ु ा त्रिम्बकाभा ।

बल रुरु पिक यग्ु मं राजविद्या स्तनाभा ॥

नप
ृ ति यग
ु मातक
ृ ा नाथ बाला परीता ।

परयव
ु ति समेता पातु मां नाभि विद्या ॥

इति नाभिर्विद्या ध्यानं ॥

This dhyāna śloka is encoded with the Kaṭapāyādi numeric coding scheme used for

deriving the various combinations of the 36 mantras of the nābhi vidya. More

information related to the sequencing and combining of the Kādi & Hādi Ṣoḍaśī mantras

can be understood from the Ekāvali book by Śrī Yogāmba sameta Śrī Ātmānandanātha

(Shri Ramesh Kutticad). The same information is also published on the

Purnanandalahari.org website and Shri Sreenivas Rao’s blogs. The prologue section

above also has the same information.

The dhyāna śloka adds 4 more mantras to complete the set of 40 mantras constituting

the sacred nābhi vidya. (Shri Tripuraghna has provided an additional Śrī

Saubhāgyavidyā Pañcadaśākṣarī of both the Kādi & Hādi traditions for our benefit).

cit-pustak-ākṣa-mālā sudhā-kalaśa saṃyutāṃ ।

pāyāt mātṛkā devī muktāphala vibhūṣitāṃ ॥

iti mātṛkā dhyānaṃ ॥

चित्पस्
ु तकाक्षमाला सध
ु ाकलश संयत
ु ां ।

पायात ् मातक
ृ ा दे वी मक्
ु ताफल विभषि
ू तां ॥

इति मातक
ृ ा ध्यानं ॥

Salutations to the Divine Mother Mātṛkā devī Sarasvatī who holds a pile of books

containing all knowledge, an akṣa-mālā consisting of all the mātṛkā alphabets

representing all the vibrations and frequencies of sound, a kalaśa jar containing the

ecstatic sudhā/amṛta and adorned with glittering pearls all over Her body.

prasannavadanāṃ bhojaṃ varābhayakarānvitaṃ ।

candra-koṭi-pratīkaśaṃ cintayāmi guruttamaṃ ॥

iti śrīguru dhyānaṃ ॥

प्रसन्नवदनां भोजं वराभयकरान्वितं ।

चन्द्रकोटिप्रतीकशं चिन्तयामि गुरुत्तमं ॥

इति श्रीगुरु ध्यानं ॥

Salutations and prayers to the exalted Śrīguru, who wears a cheerful smile and is

always content. S/He displays the Vara and Abhaya mudras to grant all our wishes and

removes all fears and doubts. S/He is resplendent with the light of the sun and the

warmth of the moon granting us good health, wealth and mental peace.

aim̐kārāṅkita-garbhit-ānala-śikhāṃ sauḥ klīm̐ kalāṃ bibhratīm ।

sauvarṇāmbuja-madhyagāṃ varadharāṃ dharādharāṅgojjvalām ॥

vande sāṅkuśa-pāśa-pustaka-dharāṃ sragbhāsitodyotkarām ।

tāṃ bālātripurāṃ padatraya-tanuṃ ṣaṭcakra-sañcāriṇīm ॥

mālā sṛṇi pustaka pāśa hastāṃ bālāṃ bikā śrīlalitākumārīṃ ।

kumārakāmeśvara kelīlolāṃ namāmi gaurī nava varṣa deśīṃ ॥

iti bālā dhyānaṃ ॥

ऐँ काराङ्कितगर्भितानलशिखां सौः क्लीँ कलां बिभ्रतीम ् ।

सौवर्णाम्बज
ु मध्यगां वरधरां धराधराङ्गोज्ज्वलाम ् ॥

वन्दे साङ्कुशपाशपस्
ु तकधरां स्रग्भासितोद्योत्कराम ् ।

तां बालात्रिपरु ां पदत्रयतनंु षट्चक्रसञ्चारिणीम ् ॥

माला सणि
ृ पस्
ु तक पाश हस्तां बालां बिका श्रीललिताकुमारीं ।

कुमारकामेश्वर केलीलोलां नमामि गौरी नव वर्ष दे शीं ॥

इति बाला ध्यानं ॥

Salutations to the Divine Mother Bālā who encompasses all the triads and represents

the origin of all knowledge (aim̐), passion (klīm̐) and consciousness (sauḥ). She is

seated on a golden lotus and displays the wish granting Vara and the fear allaying

Abhaya mudras and is verily the Supreme Divine Mother who shines forth blazingly,

within all the triads!

Salutations to the Divine Mother Bālā, who holds the elephant goad (aṅkuśa), the rope

(pāśa) and a book. She shines forth brilliantly and constitutes the triads represented by
Her three bījas. She traverses the six cakras, starting from the root mūlādhārā to the

third-eye ājñā, awakening them to their full potential!

akalaṅka śaśāṅkābhā trayakṣā candrakalāvatī ।

mudrā pusta lasadbāhu pātu māṃ paramā kalā ॥

iti parā dhyānaṃ ॥

अकलङ्क शशाङ्काभा त्रयक्षा चन्द्रकलावती ।

मद्र
ु ा पस्
ु त लसद्बाहु पातु मां परमा कला ॥

इति परा ध्यानं ॥

Salutations to the Divine Mother who is spotless, adorned with a crescent moon on Her

forehead, three-eyed and complete with all the phases of the moon contained within

Her. She bears a stalk of grain and a book in Her arms representing nourishment and

knowledge. She is the Supreme Divine Mother who is the Super-consciousness.

Glorious Tripuraghna further adds the following description in praise of the Divine

Mother Śrī Lalitāmbikā.

“I always meditate on the Supreme Queen Śrī Lalitāmbikā. She is the cause of all triads

and is herself dimensionless, appearing as a compact, self-effulgent red dot

(Bindunāda) in the middle of Śrī Cakra. There is the excellent bed of Lalitāmbikā. The

four Pādas on the sofa are in the forms of Brahmā, Viṣṇu, Rudra and Īśvara. They keep

their eyes closed in meditation on Śrī. Resting on the sofa upholstery is Lord Sadāśiva.

He has the radiance of a pomegranate flower in full bloom and is continually effulgent.

The 36 Tattvas form the shining staircase in the east of the sofa, ending with the

upholstery. The steps are made of Cintāmaṇi stones. On the sofa is the upholstery

made of swan down and feathers. There are bright pillows, both for the feet and for the

head. The sofa is decorated with sixty-four golden vases filled with rose-colored water.

The sheet draped over him was made of saffron cloth, pure and soft with the luster of

ruby. It is in him that the primordial Lord Mahākāmeśvara perpetually abides. He sits

facing east. He is endowed with sympathy and mercy. He is very handsome in his

romantically adorable dress. He is perpetually young. He has the brilliance of the disk of

the rising sun. He has three eyes and four hands. He is adorned with necklaces,

bracelets, crown, bracelets and other ornaments. An exquisite smile spreads across her

cheeks like moonlight. So you stand there alert and vigilant. Goddess Lalitāmbikā is

sitting on his lap. She is red like innumerable suns rising at the same time. She is proud

of her eternal youth. It has the luster of a sparkling ruby stone. The splendor of her nails

is like the reddish rays of the sun in the twilight. She has redness on the soles of her

feet. Anklets and other ornaments on her feet make an enchanting tinkling sound. The

sound of her bracelets is very charming. Her legs subdue the pride of the excellent

quiver of arrows of the God of Love Kāmadeva. She has a full body, extremely attractive
and embellished by a very fine and soft red silk fabric. She is effulgent with

well-developed thighs, hips and buttocks. She sparkles with a gem-studded belt. Her

navel is effulgent like a great whirlpool and the three folds that extend below it look like

rivers of light and brilliance. She wears several pearl necklaces dangling back and forth

over her breasts. Her thin waist seems to be cracking due to the weight of her full

breasts. Her hands are as soft as the bright petals of a lotus flower. All four of her hands

are embellished with a series of bangles and bracelets. She holds a sugar cane bow,

five flowering arrows, lasso and goad. Her fingers have beautiful rings and her beautiful

neck is very pretty. Her face is round and glossy like a mirror, with a beautifully curved

chin. Her lips are red in color. She appears to be radiating moonlight through her teeth.

It shines with many pearl-studded ornaments. Her eyes are big and charming. On her

forehead as charming as the crescent moon, the forelocks are carefully arranged. Her

ears are adorned with different types of ornaments and ruby earrings. The betel leaf

preparation she chews is always scented with camphor and musk. Her face is as sweet

and charming as the moon in autumn. Her beautiful crown is well decorated with the

fine Cintāmaṇi stone pieces. She is resplendent with her third eye on her forehead

gleaming like a gem-studded mark of Tilaka. Her braids are black and thick like dense

darkness. She glows with the saffron mark applied in the middle of her head like a line.

The crescent moon shines in her crown. Her eyes dart back and forth from

drunkenness. She is beautified with all romantic and exciting love ornaments and

makeup. She is the Mother of the Whole World. It increases bliss perpetually. She is the

origin of Brahmā, Viṣṇu, Rudra, Īśvara and Sadāśiva. She charms everyone with the

flow of sympathy that exudes from a benign sidelong glance. Thus, the Divine Mother
Lalitāmbikā, the destroyer of sin, appears resplendent. Devotees know that the benefit

of worshiping other deities is the opportunity to worship her. Therefore, the benefit of her

worship is the opportunity to worship her. How is it possible then to describe the

Goddess Lalitā adequately? Even over the course of millions of years, a fraction of it

cannot be described. It has a form beyond the reach of speech. How can words gain

access to it? She is that ultimate reality from which words, together with the mind,

retreat without reaching her. What is the use of the profusion of expressions? Listen to

this fact. This is not being spoken out of partiality, love, or delusion. Even if all the

speakers are as eloquent as Bṛhaspati, it is impossible to adequately describe a

thousandth part of the brightness of a lotus toenail of Śrīdevī. All activities will be in vain

in the matter of praising her. Her exalted greatness and happiness are far beyond our

comprehension. Thus, to kill Bhaṇḍa, the great Daitya, Lalitāmbikā manifested from

Cidagni (fire of knowledge and awareness). She exterminated all the Dānavas.

Presiding over Śrīnagara which was built by celestial craftsmen and artificers, she

protects the Universe continuously. I surrender to this Supreme Goddess.”

8. Pañcapūjā ( पञ्चपज
ू ा ) :-

IAST Procedure
Devanāgari
S.no.
 lam̐ - pṛthivyātmikāyai Hold the lower tip of the
gandhaṁ samarpayāmi लँ - पथि
ृ व्यात्मिकायै bottom phalange of the
1 गन्धं समर्पयामि little fingers of both hands
with the upper tip of the
thumbs, with the back of
the hand facing us.

ham̐ - ākāśātmikāyai Hold the lower tip of the

puṣpaiḥ pūjayāmi हँ - आकाशात्मिकायै bottom phalange of the
2 पष्ु पैः पज
ू यामि thumbs of both hands with
the upper tip/nails of the
index fingers, with the
back of the hand facing
us.

yam̐ - vāyvātmikāyai Hold the lower tip of the

dhūpamāghrāpayāmi यँ - वाय्वात्मिकायै bottom phalange of the
3 धपू माघ्रापयामि index fingers of both
hands with the upper tip of
 the thumbs, with the back
of the hand facing us.

ram̐ - agnyātmikāyai dīpaṁ Hold the lower tip of the

darśayāmi रँ - अग्न्यात्मिकायै bottom phalange of the
4 दीपं दर्शयामि middle fingers of both
hands with the upper tip of
the thumbs, with the back
of the hand facing us.

vam̐ - amṛtātmikāyai Hold the lower tip of the

amṛtaṁ mahānaivedyaṁ वँ - अमत ृ ात्मिकायै bottom phalange of the
5 nivedayāmi अमत ृ ं महानैवेद्यं ring fingers of both hands
निवेदयामि with the upper tip of the
thumbs, with the back of
the hand facing us.
 sam̐ - sarvātmikāyai Hold the fingers of each
sarvopacāra pūjām सँ - सर्वात्मिकायै palm in a folded manner
6 samarpayāmi सर्वोपचार पज ू ाम ् with the tips of each
समर्पयामि fingers of both hands
touching each other and
the thumbs facing the
heart, in a Namaste
position.

iti pañcapūjā
इति पञ्चपज
ू ा

9. Japamālā mantraṃ ( जपमाला मन्त्रं ) :-

Recite the below mantra once, to pray to the japa māla and invoke the blessings for a

fruitful japa.

om̐ māṃ māle mahāmāye sarvamantra svarūpiṇi ।

 caturvarga stvayinyasta stasmānye siddhidā bhava ॥

ॐ मां माले महामाये सर्वमन्त्र स्वरूपिणि ।

चतर्व
ु र्ग स्त्वयिन्यस्त स्तस्मान्ये सिद्धिदा भव ॥

10. guru mantra ( गरु

ु मन्त्र ) :-

Recite the following guru mantra once, to seek the blessings of all gurus and the Guru.

om̐ hrīm̐ siddhaguro prasīda hrīm̐ om̐

ॐ ह्रीं सिद्धगरु ो प्रसीद ह्रीं ॐ

...to be

continu

ed

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(6) Comments

● Богдан
September 08, 2023 10:09 PM

Thanks for sharing such valuable and rare knowledge, keep it up. Thanks to everyone
who made the publication of Nabhi Vidya possible.

Reply

● Rohit
September 08, 2023 11:09 PM

Extremely and eternally great full to everyone involved (directly or indirectly) for sharing
this treasure trove of hidden knowledge. Words can not adequately describe our good
fortune through Divine grace of the Godess and Gurus - humble and heartfelt
obeisances.

Reply

● Богдан
September 09, 2023 01:09 PM

Can you correct a small mistake: the word - स्तनाभा in Nabhi Vidya Dhyana Shloka is
transliterated as stanābh, but it should be stanābhā.
 Reply

Replies

● Krishna
September 11, 2023 12:09 AM

The correction is now in place. Thank you for letting us know.

Reply

● Nesh
September 10, 2023 07:09 PM

Is there a time of day best suited for nābhi vidyā practice? Are there any dietary
advisements or other tributary life style things which might enhance the efficacy or speed
of results of this practice?

Reply

Replies
 ● Krishna
September 11, 2023 12:09 AM

Those who are initiated into Śrīvidyā Pañcadaśākṣarī and above, may upon their guru's
advice undertake the recitation of the nābhi vidyā. Best time would be very early in the
morning when the mind is free. Any other time that works best, may also be considered.

Reply

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(12) Sri Vidya Articles (9) Mahalakshmi and Kamala Mantras, Stotrams (28) Kundalini Articles
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Mahavidya (21) Self-Recognition (1) Guru - Articles (17) Yoga Vasishtha (4) Guruji speaks (15)
Will You Come Back Guruji (30) Festivals (12) Durga Saptashati and Durga Devi Mantras (16)
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