Sixty four Upacaaraas meditation

In the r Kramah of the rvidyaa pooja we offer sixty four upacaaraas to the invoked deity, r Lalithambikaa. hese services are the most important, central pooja to the main deity invoked and they have to done with utmost care and involvement !sraddhaa". #ixty four is two power six, i.e. two multiplied six times. $ere two will point to the #hiva akti couple !mithuna" and six to the five elements and mind. his number six will also point to the six pathways !shadhvaa", thus the identity of them with the universe and the #hiva akti can also be envisa%ed from this number. &lso sixty four is ei%ht times ei%ht. 'i%ht is number denotin% stability, the number of electrons in the outer orbit of an atom will tend to loose or %ain electrons to reach this number, further if an atom has this number of electrons in the outer orbit, it will be chemically so stable that it is inactive in any reactions. his ei%ht times ei%ht will point to a most stable position, that(s envisa%ed by the rishis for as aspirant who does these services in both the bahya and aantara pooja. )e find in our daily ritual manuals a basic panca upacaaraaa * five services, more elaborate shodasha upacaraa * sixteen services, as seen in all kalpa pooja and the most elaborate catusshashti upacaaraas+ the sixty four services. ,-pa( means near and ,caraa( means move, thus keepin% one awareness on the invoked deity in meant. .urther these services are to be done as if to a human form. #ince the invoked deity is none other than the atma svaroopaa, these services have a meanin% for the deity and the aspirant. /n constant practice of these upacaraas, some thou%hts on the inner meanin% and hidden messa%es of these services were revealed and are shared. #ome basic ideas in this discussion0 he .orm of the deity is identical to the pancadasi mantra. he .ace is va%bhava, middle portion is madhyama, kamaraja and lower portion is the akti kuta of the pancadasi. 1evi is in the form of bliss+ sacchidanada roopa.

The First Upacaraa service is paadyam washing of the feet of the invoked Devis feet with water. he feet are indicative of a path and 1evi(s feet are indicative of the specific path * he r vidya. hey are two, indicative of the outer and inner service paths, the internal and external rituals methodolo%y. Literally to wash indicates some stain or dirt. $ere the dirt is the supposed inconsistency of the two paths said earlier, while we %enerally find the internal methodolo%ist believin% themselves as superior to the external rituality. In an e2ual parlance they are only contemporary of each other3 one cannot be without the other. %reatness in any path is this service he feet form a part of the lower body which is identical to the third akti kuta of pancadasi mantra. his part will point to the sustained awareness of the knowled%e that this prapanca is sivasakthyaatmaka in experiential terms. he dirt here a%ain will be the doubts on the sustenance of this awareness. hus removal of this doubt is this service he body of the deity * Lalitha is the form of bliss. &%ain the dirt is the naama roopa prapanca vasana which is adherin% to the universal, all pervasive shiva tattva, which is blissful. outlook is this service The second is aabharana avapropanam removal of all ornaments from the body of Devi. he meditated form before invocation, in the mind, will be with all ornaments and will be invoked in the pooja idol+ bimba. 4emoval of all these ornaments is the service here. /rnaments are said to be padaadhva, one of the six paths !adhvaas". #ince 1evi(s body is the pancadasi mantra, ornaments adorin% this body which will point to multitudes of various padas or other mantras which are initiated as a pre+re2uisite for this sadhana. 5ow the sadhana has culminated to that level, wherein focusin% on the m-la mantra is the only condition, parasuraama says ,sadaa vidyaa anusamhatih(. hus removal of ornaments will point to the constant remembrance of only the r vidya mantra. The next is s gandhi tailaabhyangam anointing the body of the Devi with scented oil. &nointin% of oil on the body will have two effects, one is to remove the dirt which is or%anic in nature, and is not easily removed by %ross physical washin% and the second is a cool refreshin% effect on the body. hus now we can infer the removal of finer doubts and hence a fresh sur%e of vi%or in the sadhana is this service ,taila( mean oil, as per secret code katapayaadi will reveal the number thirty six., which is indicative of the thirty six tattvaas which make this visible universe. hus removal of the notion of the nama roopa in the prapanca and viewin% with an sacchidaananda hus removin% the notion of

he syllables in the mantra are separated into consonants and vowels to %et thirty seven syllables. In 6aramaananda antra correspondence of these syllables with pancadasi is explained. he 6ara #iva state is represented by ,'(. 6rthvi, %andha, %hrana + three ,L( 3aapa, rasa, jihvaa * three ,k( 3 ejah, rupa, cakshu *three ,r( 3 7ayu, sparsa, tvak+three ,m(3 aakaasa, sabda, srotra+ three ,nada(3 7ak paani paada paayu uapastha *five ,h(3 8aya, kalaa, avidyaa, raa%a, kaala, niyati, prakruti, ahamkaara, bhuddhi, manah *ten ,a(3 #adaasiva. Isvaraa, suddavidyaa, purusha * four ,I(3 #iva and akti *two,s( 4eali9ation of the above is the anointin% of oil on the 1evi(s body. &%ain the body of 1evi is sacchidaananda+ bliss and pervasiveness of this bliss in all the thirty six tattvaas is the service envisa%ed here. The next is ma!!ana salaa praveshanam entering the bath room. he 1evi after bein% anointed will come down from the cakra raja and reach the wash room in the south east corner. he purpose of wash room is to remove all subtle dirt in the body and %ive a clean feelin%. &s said the dirt are the doubts in the mind and chan%es in practices seen by the aspirant in various linea%es. his can be eliminated only by a throu%h study of this siddhaanta and a deep understandin%. o reali9e this we need the company of learned men. hus a study with like minded people is the wash room meant here. :onsiderin% further upacaraas there are three mandapaas+ rooms where 1evi enters for different services. hese can be e2uated to the three kutaas of pancadasi. he above first room point to the first kutaa of pancadasi, the removal of the dvaita bhaava, which in a way is washin% off malaas. The next is ma!!ana sala mani peetopavesanam alighting a !eweled seat in the washroom. #eat is a personification of the mind of the aspirant. hus establishin% the m-la mantra with the tattvaas in the mind is the reali9ation of this upacaraa. $ere ,mani( * jewel is a code of the sadhana of five ,8(. hus to establish the tattvaa with the m-la mantra in the mind with a constant practice as per the ;uru(s ritual manual * pooja paddhati + is hinted in a veiled manner. The next is divya snaaneevodvartanam application of high " ality lathering material to the Devis body. o wash off the dirt, this lather is used, the idea is trailin% from the above upacaraa, which points to the sadhana and immersion of the tattva vicaara, this is the effect of the same tattva vicaara, the removal of doubts and confusion in the sadhana line

The next is shnodaka snaanam bathing with warm water. )ater is the residence of all devataas+ ,apo vaa idam sarvam..sarvaa devataa aapa(. .ire is called suchi+ clean it cleans and never be polluted. :ombinin% these two elements will result in the warm water. hus an unpolluted+ pure divinity is envisa%ed here. he bath will remove the dirt and brin% freshness and vi%or to the body. hus washin% off., utmost removal of all doubts and confusion, and brin%in% in peacefulness in the sadhana is the reali9ation of this service. $ere the usa%e of the first ,8( * 8adhya to tran2uil the mind and absorb the tattva vicaraa is the finer aspect of this upacaraa. The next is kanaka kalasha cy ta sakala teerthabhishekam bathing with waters of sacred rivers# places po red from golden pot. )ater of sacred places < rivers always hold a spiritual power, because of connection with holy sa%es and divine bein%s, is believed to cleanse a person of even unknown sins. $ere the subtle stains called mayika and karmika malaa are envisa%ed. ;old always represents the divine and its splendor, and pot will point to a form, the most divine form envisa%ed by a sadhaka is r ;uru. hus the blessin%s of r ;uru throu%h the a%eless parampara on to the mantra and ener%i9in% the same for a successful sadhana are the service here. In short the aktipath throu%h the mantra is visuali9ed here. The next is dha ta vastra parimar!!anam$ sage of a dry towel to remove moist re sticking on to the body$ i.e to dry. 1ryin% will mean removal of water drops adherin% to the body. &s seen above the use of the first ,8( was washin% with water, now a hi%her sta%e is envisa%ed, that without the five (8(, the awareness has to sustain. his is pointed in this service. 7astra as per katapayaadi will point to the number twenty four. his is the aatma tattvaa which will cleanse the sth-la sariraa * %ross body, and the anavamalaa. hus a shodhana * cleansin% of the anava malaa is envisa%ed in this service The next is ar na d koola paridhanam$offering red soft garments :lothes are used to hide the nakedness of humans. & person clothed is also a symbol of culture. #oft clothes represent hi%h 2uality, richness and superior texture. 4ed is a symbol of indiscriminatin% Love. hus offerin% of clothes to the deity will represent civili9ed thou%hts with utmost Love for all humanity. 4eferrin% to the mantra, Lower %arments will now point to ponderin% on the messa%e of awareness and richness of the idea said in the third kuta of pancadasi+ complete awareness at all times.

he idea of red as said in =havanopanishat is the unity of nirupaadika samvideva kamaeshvarah * the attribute less =rahman, sacchidananapoorna lalitha * =lissful nature chitta. . and antakarana catushtaya sadhaka+ the sadhaka with mind !manas", intellect !bhuddi", e%o !ahamkara" and hus clothin% the sacchidanana form will now point to the reali9in% of this in the The next is ar na k chottareeyam$offering red pper garment %blo se& . he breasts of woman + 1evi are likened to the universe, like the universe they are not fully seen by all in totality except the husband, )e can only see limitedly, we know there are places in this world, take example of this earth we know about south &merica, but we cant see it, similarly the breasts of a woman are seen partially. $ence this is an alle%ory. akin% the same idea for red and %arment from the above, ponderin% on the nature of universe with unlimited Love and scrutiny will be this service. The next is aalepa madapa praveshanam$ entering into the dressing room for perf me application he earlier washroom was identified as con%re%ation of like minded people, which was to remove doubts. his is the same idea of con%re%ation with like minded people to study texts and %et %ood appreciation of the vasanaas and their nature. his second mandapaa will now point to the second k-taa of pancadasi, the rise of undivided siva akti mithuna knowled%e, is akin to the study and assimilation of the knowled%e. The next is aalepa madapa mani peetopaveshanam$ alighting a !eweled seat in the above room. &s said earlier, fixin% on the mind in such a situation is the service indicated here, same idea of ,mani( the sadhana with the five ,8( is hinted here. his will now be more subtle. The next is candanaagar k mk masank mrgamada karpoora kastoori gorocanaaadi divya gandha sarvaangeena vilepanam$ anointing of fine perf med sandal paste with wood resin' saffron' edible camphor' m sk' cows bile and other fragrance he various perfumes mentioned are the multitudes of texts available with us, this is an alle%ory. #andal tree takes years to %row and this will indicate older texts+ like the tantra raja, kalpasutra vamakeshvara, wood resin will point to the commentaries of the texts by various %uru(s and sadhakas, saffron and edible camphor will hint at the kaula texts like kularnava, kastoori to a%amas like mr%endra , %orocana will be the di%est of all a%amas like the rvidyarnava as well as pooja paddhatis, the suffix aadi+ like wise will encompass all other a%ama texts , their commentaries and philosophical < mantra di%est available to the sadhaka. moola mantra with respect to these texts is the service here. hus study of the practical day to day life

The next is keshabharasya kalaagar dhoopam$ drying the hair with incense smoke of black eagle wood resin. he deity(s form has the shadhavaa in it, the hair is the bhuvanaadhvaa. here are three, fourteen and two hundred and twenty four bhuvanaa from the 7edic to a%ama texts. & throu%h understandin% of this needed for an aspirant, since the cakra and body is a replica of the universe this study in necessary, as seen from above service on perfumes, resin is likened to a commentary. hus a throu%h study of the bhuvaanadhvaa usin% the commentaries is the messa%e in this service. The next is mallika malati !ati campasoka sata patra pooga k dmali p nnaga kalhara m khya sarav rt k s sma malaa$ adorning a garland made of !asmine' campa' asoka' betel n t b ds' p nnaga' bl e lot s and flowers of all seasons .lowers are symbol of space, since they form and expand from a bud3 here the expansion is likened to the space. he different seasons point to the time, thus a time space+continuum is envisa%ed in this service. he whole visible experiential universe is said to be the body of the paradevataa and also is identified with the r cakra as below0 Loka #atya apah >anah 8aha #vah =huva =huh &tala 7itala #utala 4asatala alatala 8ahatala 6atala Part of body =rahmarandhra mastaka+head lalata+ forehead bhrumadhya+ mid eyebrow kantha+ neck $rdaya * heart kukshi+ stomach nabhi+ navel kati+ hip svadhistana * %enital area m-ladhara janu * knee jan%ha * calf muscle pada * feet rcakra =indu rikona astakona antar dasara bahir dasara caturdasara first circle asta dala second circle shodsa dala vrtta traya third bhupura second bhupura first bhupura

The next is bh shna madapa praveshanam$ entering into the dressing room for wearing ornaments he dressin% room identified as con%re%ation of like minded people, which was to remove doubts with study. his is the same idea of con%re%ation with like minded people to study texts and %et %ood appreciation of the vasanas and their nature. he third mandapa will now surely mean the third kuta of pancadasi, the continual experiential knowled%e. hey are similar the ornaments worn, have da99lin% luster and are precious. The next is bh shana madapa mani peetopaveshanam$ alighting a !eweled seat in the above room. &s said earlier, fixin% on the mind in such a situation is the service indicated here, same idea of ,mani( the sadhana with the five ,8( is hinted here. his will now be more subtle with textual study and introspection From here we find a list of ornaments being adorned to the Devi one by one and each is treated as an upacaaraa. There are twenty five ornaments, four weapons and a pair of sandal offered to the Devi at the end. Thus Thirty services from now will focus on the decoration of Devi The word dharaNa will also mean to realize the import of the said te t in totality. Thus realization of the te t in totality with the panacadasi will be these services. !ll these services have a third "uta #sa"alahrim idea in it is the continual e periences of the bliss and the divine manifestation of the universe. $imultaneously we can also see from the %alitha sahasranama &%$N' on these ornamental details. !s seen in the second upacaaraa the ornaments were different mantras as a pre(re)uisite for *r+ ,idya upasana, now we are seeing the same as mantras adoring the devi. (. )avmani mak tam* 5ava means new, mani means jewels or %ems, makutam is the crown. :rown is worn over the head, which is the place of sahasrara+ the thousand petal lotus. ;ems have luster, an inner luminance. hus the experience of the bliss in the sahasrara, which is the inner bliss, alle%orically said as inner luminance, ever new in each second is the service here. L#5+,kuruvinda manisreni kanat kotreera mandita(+ kuruvinda mani is red in color and kotreera is the tiara like crown. he mantra envisa%es is the ;uru paduka+ 5ava will point to the vidyavatara navanatha %uravah +. ,handra sakalam* he crescent of moon of the crown. :handra is the mind * ,shakala( is an hidden form of the third kuta+ sakalahrim, which denotes the continual experience without any %ap, thus we are ama9ed to see that this service is immersion in bliss always. he L#5 dhyana sloka says+,manikya mauli sphurat taraa naayaka shekharaam(+ the crescent on the ruby crown.

his will point to the most secret shodaskshari bija * the lakshmi bija, veiled reference from :handra as :handra sahodari. -. .eemante sindooram* #eemanta is the partition of hair in the fore head, #induram is the red * crimson colored powder worn there by the ladies whose husband is alive. he seema or the border and anta is end, the last alphabet is ,h(, which is the seen universe+ the outward visar%a. #indoora is red in color which is the identity of the attribute+less =rahman, with an attribute called bliss and with the four or%ans if the individual co%nition. hus a continual experience of the divine and its bliss is said here. he mantra is surely the pancadasakrai mantra, the redness by sindooram points in that direction. /. Tilaka ratnam* he mark on the fore head with %em. (tilaka( seen by katapayadi code is ?@A, the total rasmis of the third khanada * visuddhi and a%yna, which the third kuta of pancadasi. hereby enforcement of the identity with bliss and the universe and the individual is the luminance pointed by the ratna+ jewel. L#5+ mukha candra kanakaabha mr%anaabhi visheshaka(+ he blemish in the moon is e2uated to the mark on the fore head of 1evi. $ere moon also hints at the third kuta *,sakalahrim(. he ratna * jewel will point to the third eye and thus the pancaaksharaa of Lord #hiva+ the tryambaka. 0. 1aalan!anam* &pplication of collrium on the eyes, this application to humans will clear any dirt and help to have a clear vision. Kaala accordin% to katapayaadi will point to number thirty one, the maaya tattvaa. hus understandin% the maayaa tattva will clear the vision, out look and finally lead to experiential knowled%e+ the import of ,sakalahrim( #urely the ,blackness( will lead us to ,kaalika( 2. pali y galam* he adorin% ornaments on the ear upper part. .lower shaped ornaments or kadamba tree flowers on the top of the ears. 6aali also accordin% to katapayaadi will mean thirty one, the mayatattva said above, earlier it was vision3 here it is the hearin%, and understandin% of the tattva leadin% to the experience L#5+,kadamba manjariklipta karan poora manohara( ears are said here, hence the shrutidharani vidyaa. 3. 4anik ndala y galam* 'ar rin%s. L#5 + atanka yu%aleebhoota tapanodupa mandalaa. he universe seen by us consists of mainly the sun ind ay time and moon in the ni%ht. hey are the ear rin%s. /ne is the prakasa aspect and the other is the vimarsha aspect. hey are on the ears which are *akasha tattva * in turn the sabda tattva in other words, the learnin% aspect. behind this service. he sun and moon are seen here thus all the nava%raha mantras are seen hus knowled%e of identifyin% the seen universe with the m-la mantra and its experience is the idea 5. )asabharanam* 5ose rin%. 5ose represents the %andha tattva+ in turn the prthvi tattva * the %ross or in other words the created and visible universe. L#5+ ,taraakaanti tiraskarai naasabharana bhasura(. he evenin% star is e2uated to the nose rin%. his is one more celestial he

object which has a reflected %low, other than moon. his reflected li%ht is the vimarsaha and thus the third kuta(s experience of the bliss for ever in the seen universe is envisa%ed. he earth element said by nose+ %andha will point to the varaha , dharani mantras, the evenin% star+ shukra+ also meanin% pro%eny, will point to the #antana %opala.+ in short all the vaishnava mantras 6. adhara yavakam* lip %loss. L#5+ ,5ava vidruma bimba r nyakkari radanachadaaa.+ he splendor and redness of fresh coral or the bimba fruits fails in comparison with the lips. he lips help in the production of sound which communicates ideas throu%h hearin% < listenin%. hus they can be e2uated to the 7edas * called shruti * heard sound. he redness as seen above is the one ness of the attribute+ less =rahman, with ananda and the individual aspirant. hus the 7edic identity of the awareness of the uni2ue identity said above is this service. he lips are indicative speech and lo%ic ar%uments and hence directly the va%vadini and nakuli mantras are envisa%ed. &! small outcome of the above services are that they focus on the gyana indriyas, the s"in &tva"' in the sindoora and tila"a, the ear &srotra' in pali and mani"undala yugala, the eye &ca"shus' in the "aa"aln-ana , the nose &ghrana' in the nasabharana, the lips # suggestive of tongue & -ihva' in the adhara yava"a. Thus the gyana # "nowledge of the undifferentiated universe self and Devi # the "auli"artha is emphasized' (7. prathama bh shanam* he main auspicious ornament, the man%alya+ thaali. his si%nifies that the wearer of this symbol is married. his symboli9es the primordial pair + shiva akti mithuna bhava. Identifyin% the pratama !initial" spanda !movement" *ekai vaaham , bhahusyaam prayayayeti + with the m-la mantra ! =haskara raya identifies this movement as the ten ,a( kaaras in the m-la mantra, ,a( is shiva vacaka * the auspicious" experiential knowled%e and its synthesis is the service done. L#5 + ,Kamesha bhaddha man%alya sutra shobita kandara(. he saubha%ya devata * #vayamvara kalyanai mantra is directly seen. ((. 1anaka cintakam* he %olden necklace * a ti%ht fittin% ornament. ;old, the noble metal will point to the %uru and the %uru mandala. :intaka is the necklace, a %uru parampara . Like the necklace which is close to the body, that too near the neck, which will symboli9e the vaikari vaak, the expressed sound as mantras and mantra upadesha, they are close to the m-la mantra svarupa 6aradevata in the bindu of rcakra . hus an identity of these %urus with 8-la mantra and amba and the self * the kaulikaartha is envisa%ed here. L#5 + 4atna %raiveya cintaaka lola mukta phalanvitaa. he three types of necklaces are said here, %raiveya, cintaka, lola. hey can be taken as divya, siddha and manava %urunathas, %raiveyaka close to the neck, the divyas are always in r na%ara, cintaka * a loose+fittin% one which will dwell on the body and some times may not dwell, like the siddhas who dwell both in rna%ara and in this world, and finally most loose * dan%lin% from the neck, ,lola( they are on this earth field and are held by the amba, the he vimarsa aspect *

manau%has. he %olden necklace will show the ;oddess of wealth * r 8ahalakshmi and her mantra. (+. padakam* he 6endant. 6adaka accordin% to katapayadi sankhya will mean ?B?, the number of deities in the khad%amala. hus the identity of cakra with all attendant deities with the m-la mantra * panacadasi is envisa%ed in this upacaaraa. * animadyabhir mayookhaih .. bhavaaneem. he khad%amala is a mantra itself. (-. 4aha padakam* & bi%%er pendant. he ,8aha( in the front will point to ,ma( as aananda in the upastha tattva and ,ha( is a%ni roopa shiva tattva, $ence takin% the above padaka number+ ?B?, will now point to the siva sakthi muthuna mala, the identity of these devatas with the paradevata and the m-la mantra pancadasi is this service. he 8ithuna khad%amala is a mantra too. (/. 4 katavali* #trands of pearls. his is trailin% from the above upacaaraas. he strand of the above will mean the fifteen types of khad%amala chanted as per the Lalitha parishishta tantra. $ere the pearls will point to :handra and thus the waxin% and wanin% of the moon is envisa%ed. :hantin% the above khad%almala alon% with the thiti+ lunar phases, and identifyin% them with pancadasi is this upacaaraa. (0. 8kavali* & strand of twenty seven bi% pearls. $ere pearls point to :handra and the mind, thus offerin% this necklace will mean that the mind is continually en%a%ed in the m-la mantra+ parasurama kalpa sutra says+ ,sadaa vidyaa anusamhatih(. &s a trailer from the above this will point to the suvarna kusuma pushpanjali, wherein the kadi vidya %uru parampara alon% with the sva%uru parampara will be present. &! corollary from the above two upacaaraas( .earls are white in color, indicative of satva guNa, and pancadasi is sacchidananda svaroopa, hence the ananda in the satvic state is the essence of the above two upacaaraas'. (2. channaveeram* #ari pin. :hanna will mean hidden, veera will point to a position, hence the hidden positionin% of the %arments are meant by this service. he #ari pins are used for this effect. &s seen above the %arments were red in color, indicative of the unity of the attribute less with bliss !an attribute" and the individual. Keepin% them in position by hidden will mean the kaula sadhana, these %arments are coverin% the body * the m-la mantra pancadasi, hence the kaula sadhana to re affirm the idea said and to brin% an experiential knowled%e is this service. he hidden mantras in the anuttaramnaaya * the shodasha m-la vidya are referred here (3. key ray gala cat shtayam* .our pairs of /rnament of the upper arm shaped, like serpent+ the armlet. & pair of upper armlet made of %old. ;old is the precious and rare metal, thus pointin% to r ;uru, & pair will be the %uru dampati. &rm explicitly points to the or%an of work+

karmendrya. .our will now show the maha vakyas initiated by the %uru dampati. .( pra%yanam brahma , aham brahmasmi, tattvamasi, ayamaatma brahma(. hus as awareness of the maha vaykya(s meanin% as said by the %uru in work with remembrance of the m-la mantra is this service. L#5+ kanakaan%ada keyura kamaneeya bhujaanvitaa (5. valayavali* =an%les. ,va la ya( as per katapayadi is ?@C, total is ei%ht. he puryashtaka jiva is seen, and also the experiential universe is visuali9ed. here are two hundred and twenty four such experiential universes as per Kashmir shaivism, thus the word aavali * in a line, which means a collection of those bhuvanas. 4eco%ni9in% that they are a part of the m-la mantra is this service. he =huvaneshvari mantra, ;ayatri mantra with the three vyahrudis is seen here. (6. oormikavali* 4in%s on fin%ers. he fin%ers are the real executors of the work. he %olden rin%s are envisa%ed as the %race of %urunatha. hus the finer aspect of the %race in the end work of all acts is the service done here. L#5+ Karan%uli nakhotpanna narayana dasaakrtih(+ the ten avatar mantras of r 8aha 7ishnu are seen here +7. kanchi daama* & broad %olden ornament as waist band+ /dyanam+ ,kaanchi( is split as ,ka( and ,aanchi( meanin% the creator brahma and the fire sacrifice done by him to %et the creative power. he mid portion of the woman holds womb and ovaries + which has the creative power and nourishes the new born in its %rowth. ,daama( means a %arland, a respectful si%n, thus respectin% the mother hood in all livin% bein%s is this service. he waist is the mid point of the body, where the second kuta ends ,kati paryanta(, and third kuta starts ,katyadhobha%a(. hrllekha bija at this juncture, the sound representation of the creative force is visuali9ed here. L#5 +ratna kinkinikaa ramya rashanaa daama bhushitaa. he tiny bells are in the beautifully adorned waist band. $ere the sound bein% the first element(s * space+ aspect is said in tune with the above idea. +(. kati s tra* & rope like ornament on the waist. #utra means ,sucana( * %ivin% ideas in a %ist, rather a pointer. Kati is the startin% of the akti kuta which is a constant reminder of the blissful state, hence the onus is on the pointer and this service reminds us that the %oal is the everlastin% blissful state. he concise pointers like parasurama kalpa sutra are seen here. ++. sa bhagya abharana* #pecial auspicious ornament worn at the waist. his decoration is meant for coverin% the %enitals. hus the most auspicious act in the third kuta said by the ,below the waist( * katyadhobha%a+ is continual remembrance of the bliss in all actions. he trian%ular shaped alphabet !like the female %enital" denoted the 6ara #hiva state as seen in the anointin% of oil service3 thus, this ornament will point to the manifestation of the universe. his service is remindin% us that same. he mantra here is ,=ha%amalini(+ he second nitya 1evi. he

+-. pada kataka* &nklets * thick ones filled with pearls < %ems. &nklets make sound when the person moves. $ence the primordial sound element and its first expansion as the 7edas are inferred. he 7edas have strict procedures and pronunciations3 this is si%nified d by the hardness of this anklet. Identifyin% that all 7edas and 7edic procedures are in turn with the third kuta of panacasdasi+ the continual experience of the bliss is this service +/. ratna noop ra* &nklets of %ems. his is a loose fittin% one made of red %ems. he redness and slack will point to the tantra * esp. redness to the rvidya, wherein the mental modifications are stressed !=havanas"3 the slack to the more freedom in procedures. hus identifyin% that all the tantric procedures are in tune with the third kuta of pancadasi wherein the continual experience is stressed. L#5 + sinjanamani majeera madita r padambujaa +0. padaank liyaka* rin%s on the toes. he feet points to the way and the %olden rin%s already was envisa%ed as the %race of %uru, thus the %race of the %uru in leadin% in both the ways are this service. he pooja paddati mantras are seen here. It is apt that after the two above services which are depicted as 7eda and tantra, here the personali9ed ;uru Kripa and the pooja paddhati is seen. L#5+ ,nakha deedhiti sajjanna namajjana tamo%unaa(. ?. 8ka kare pasham* & coral noose !rope" on one hand, L#5 + ra%a svaproopa pashadhyaa. he attraction or desire personified is the noose. #ince the first creation itself is desired, all livin% bein%s have this desire inherently. $ence the re color and a stone material * coral, is the form of hardness and the deepness this idea has in all 4eco%ni9in% that all desires are due to the divine(s will and command is this service. he 6ratyan%a devata ashvaroodha ridin% the horse aparajita has emer%ed from this weapon. L#5 + &shvaroodaha sdhistaitaashva koti koti bhiraavrtaa ,pasha( accordin% to katapayadi will mean D?, the matruka alphabets. #ince all creation is from sound this primordial aspect of desire is also shown thus. E. anya kare ank sham* & silver %oad in the other, L#5 * krodhaa kaaraamkusho jvalaa. he repulsive force or hatred, the opposite if the above said is seen here, since all the creation is paired, this pair also exist. his will cause the expansion of the universe due to the diversity this aspect will cause. #ilver is shukra the pro%ency or expansion into multifold. he devi * #ampatkari ridin% the elephant ranakolahala has emer%ed from this weapon. L#5 * ,#ampatkari samaaroodha sindhura vraja sevitaa( &The above two weapons have a control effect, the noose will tie a person a goad will control a big elephant. Thus "aulopanishat says( sarvendryanaam nayanam prdhanam( to controlled lead of the senses is the foremost approach. '

@. itara kare p nsdreksh capam* he red variety of su%ar cane in the next hand. #u%ar cane has lot of fiber and juice, it is a type of bi%%er %rass hence will bend and adjust to the wind not break down in stormy weather. 'ach di%it len%th of the su%arcane when planted will brin% forth more su%arcane. hese ideas are identical to the mind, It has lot of essence as well as %arba%e, will adjust to the situations and will not breakdown, will have lots of inherent potential for new ideas and visions. hus offerin% the mind to the pancadasi svaroopa paradevata is this service. L#5 + .mano roopekshu kodanda. ,:apa( per katapayadi will point to sixteen, the shodasi and its blissful experience. hus reco%ni9in% the bliss of the mind in the hi%hest level of identity is this service. r 4aja8atan%i 1evi ridin% the %eya cakra emer%ed from this weapon L#5 * ,%eya cakra ratha rooda mantrini parisevitaa(. C. apara kare p shpa bhanam* .lowery arrow+ man%o, red lotus, white lotus , red lily and white lily in the other hand. .lowers are si%nifyin% the expansion of the universe, lotus and lily will show the day and ni%ht, white i.e. the time, the colors white will comprise of all colors, red is the love, man%o flower to the sprin% season. m-la mantra is the service is envisa%ed here hus the whole time+space continuum experienced as the universe is visuali9ed. his is no way different from the L#5 + panca tanmaatra sayakaa. ,ba( and ,na( are three and five respectively as per katapayadi code, the three will point to the three worlds+ bhur, bhuvah and svah and five to the five elements. r 8aha varahi 1evi ridin% the kiri cakra emer%ed from this weapon. L#5 * ,kiri cakra ratharooda danatha puraskrtaa(. &Tantra says # iccha *a"ti mayam pasham an"usham gyana roopinam, "riya *a"ti mayi bana dhanushi( the noose represent the divine will, goad to the divine "nowledge and bow with arrows to the divine deeds.' .reeman manikya pad ke* 4uby studded sandals. ,6aduka(,s etymolo%y is ,paalanaat+ that which sustains, ,durita kshalanaat(+ cleanin% the discomfort or sadness. he redness as said above will show the identity of the attribute+less parabrahmana with bliss as an attribute and the aspirant with his four or%ans for co%nition. hus the discomfort is removed and ,r( the hi%hest bliss is experienced. he katpayadi of ,6aduaka( will be ?B?. his will now show the ?BF mithunas in the six adhara cakras and the final pair at the sahasrana+ ,tesham api upari tava paadaambuja yu%am(+ above all these is your divine feet. 4eali9ation of this is the service here. .va samaana veshabhih aavarana devatabhih saha maha cakradhirohanam** &li%htin% the rcakra raja chariot alon% with attendant deities who are also attired like her. -sin% the above

sandals walkin% up the nine tiered chariot called rcakra. he sandals indicate the %uru and his directions, understandin% the identity of the m-la mantra and the rcakra is the service envisa%ed here. In the r vidya mantra, the three ,ka( and ,I( are identified with bindu, the trikona and astakona are identified with three ,hrim( 3 the two dasa kona and the caturdasara are identified with two ,ha( and ,'(3 the asta and shodasa dala are identified with two ,sa( and the bhupura with two ,la(. &nother way of lookin% at this is, without repetition, the fifteen syllable r vidya mantra reduces to nine syllables which are identified with the nine enclosures of r cakra. r cakra =indu rikona &stakona &ntar dasara =ahir dasara :atur dasara &stadala #hodasa dala =hupura mantra =indu 5ada ka ra ' I ha sa la

1ameshvaranga paryankopaveshanam* =ein% seated on the lap of Kameshvara. Kameshavra is the attribute+less, un2ualified =rahman, 1evi is the same =rahman with an attribute called aananda. 4eco%ni9in% that like inseparableness of the dye and cloth, the un2ualified =rahman is identical to the blissful state is this service. 9mrtaasava cashakam* /fferin% a drink *ambrosia * filled cup. :up here is indicative of the body and amrta is deathless state, on reali9ation of the above identity the same identity is extended to the aspirant, that reali9ation is this service. aacamaneeyam* )ater taken ritually for purification. Is there a necessary for purification of 1eviG his ritual is seen for aspirants. &camana will also serve as a reminder, thus the reminder of the above state of unity is this acamana to 1evi.

1arpoora veetikaam* offerin% a betel pan for chewin%. he royalty si%n is chewin% the betel pan, the word ,raaja( denotes this state, ,4aaja( per katapayadi is sixteen, the shodasi, and the continual experience of the above blissfulness is this service. 9anandaollasa vilasa haasam* $earty lau%hter. he expression of the blissful state is by a

hearty lau%hter. ,haasa( has in it the ,hamsa( the breath personified. hus identifyin% the breath with the m-la mantra in a continual blissful state is this service. 4angalaaraartikam* )avin% of li%hted lamps in front. 8an%ala is auspicious. &arati is array of lamps of li%ht that are waved. his service is to be done with the kneelin% position. 5ow, we can be deli%hted to see that this awareness has encompassed the world+ su%%ested by the kneelin% down for the feel+world, li%hts for the visible universe. he expansion of the above idea to a universal level is this service. he lamps can be five, seven or nine in number. he five lamps are the five elements, the seven lamps are the seven adhara cakras and the nine lamps are the nine steps beyond a%yna to reach the sahasrara. ,hatram* offerin% bi% royal white umbrella. he umbrella is held over the head, white in color si%nifies the satva %una, hus we are ama9ed to see the r ;uru who is pure satva and above the mantra, protectin% it for the aspirants sadhana. he #va %uru paduka is the mantra here ,aamaram* fannin% with a pair of fly whiskers made of deer hair. he word caamara is split as ,ca( and ,amara( + translated as with eternal bein%s. .rom the above service the eternal bein%s with the %uru is his parampara, thus the whole linea%e of %uru is envisa%ed as makin% comfort to the mantra for its sadhana by the aspirant. he parama %uru and parameshti %uru paduka mantra is envisa%ed here. darpanam* offerin% a mirror. he tantra advocates a theory called bimba+ pratibimba vada, the refection principle. his is said very elaborately by the Kashmir shavisim. hus reali9ation that the bimba of the adi shiva , which is the akti is identical to the m-la mantra is the service done here taala vrntam* fannin% with palm leaf hand fans. ,taala( per katapayaadi will point to number thirty six. hus the m-la mantra is fanned * literally cooled3 which means is made comfortable, with the thirty six tattvas by identifyin% their unity.

&The below five are the main services to be done without any substitute, till now any short fall in then services can be reconciled by offering the samanya arghya or pushpa"shataas. These are so important that even during the -apa sadhana they have to be mentally offered to visualized devatas. They do represent the five natural elements' gandham* offerin% sandal paste or perfumes. he smell is the attribute of the element earth,

which is %ross in nature. $ence the %rossest of all, which can be easily envisa%ed, is offered and the identity with the m-la mantra and para devata is envisa%ed. $ere we can visuali9e a yellow colored devata offerin% the best of all perfumes to amba and mer%in% in her nostrils. p shpam* offerin% flowers he flowers as already seen will point to the subtlest of all elements , the space. 5ow we %o to the other end of the elements in the universe, which is neither felt nor seen. /nly could be envisa%ed. )e can visuali9e a white crystal colored devata !white is a combination of all visible ran%e" offerin% the best flowers to paradevata and mer%in% in her ears. he attribute of the subtle space is sound, which is heard3 hence the aakaasha devata mer%es into it. dhUpa* offerin% incense smoke . he element air is the next subtlest one, where we can have a ,feel( of it. he visibility of the air in dense fumes is clear. hus the incense smoke will mean the offerin% or identification of this element with the m-la mantra or para devata. )e can visuali9e a %rey colored devata offerin% the incense smoke at the navel and mer%in% into it. 5avel is the source of all nadis, subtle channels of the body, throu%h which the vayus !air" travels. 6re+birth the fetus ,breathes( throu%h the navel. $ence this service is done at the navel. &fter the service the holder !stand" of incense burner is to be kept on the ri%ht side of the deity(s altar. he ri%ht side of the deity is the male+ #hiva aspect. element(s attribute be kept on his side. deepam* offerin% li%hts. he element which has a form is the fire. he attribute of fire is also warmth and %low. here for another word for fire is ,divya(. )e can visuali9e a red color devata offerin% the lamps at the eye level of the deity and mer%in% into it. 'ye has the co%nition of form and thus this service is done there. &fter this service the holder !stand" of the lamp is to be kept on the left side of the deity(s altar. he li%ht alos points to the vimarsha aspect, deliberation of knowled%e. hus the placement on the left side of the deity+ the akti+ is most appropriate. hus it is apt that the experiential most subtle

naivedya* offerin% food. he fodd has all the essence, it is the aspect called rasa. he water+ li2uid is the element envisa%ed here. )e can visuali9e a white devata offerin% food and mer%in% into the ton%ue of the deity. he food offerin%s are to be kept in front of the deity, if space doesn(t permit, then the cooked food on the left side and uncooked on the ri%ht side of 1evi. on%ue will represent te idea of taste another aspect of rasa and hence this service is done so. This completes the sixty fo r pacaaraa poo!a. he below said are for completeness of the above ritual.

)ava m dra pradarshaya* #how the nine %estures !mudras". 8udam raati dadaati * the one aspect which will experience < %ive bliss is called mudraa. he nine enclosures of the r :akra are opened by these %estures for the aspirant to reach hi%her level of bliss. r 1evi bein% the totality of all the attendant deities in the cakra * animaadyaabhih may-kaih..( nava means new also, thus the constant experience of bliss as ever new is this service as in ,abhinava kulasundareem(+ the trisati dhyana. Deveem tris santarpya* offerin% tarpana to 1evi hrice. $ere tarpna is only envisa%ed, so ,m-lam(+ r Lalitaam tarpayaami namah * is the mantra. =havanopanishat says , bhavanaa vishayaanaam abheda bhaavanam tarpanam( * undifferentiated knowled%e of all action is the act of tarpana. hus the whole catusshashti upacara pooja is a contemplation of the identity of the nir%una, sacchidaananda =rahman and antakarana catushtaya sadhaka.

The Suagndhi tailabhyangam

As revealed in the internalization process of the 64 upacara pooja, the service of sugandhi tailabhyangam the anointing with perfumed oil of Devi Lalitha is the real research of the identity of the thirty si tattva and the moola mantra !panca dasi"# $his idea was further confirmed by the tantras li%e nitya shodasi%arnava and paramananda tantra# $he following is the identity got from paramanada tantra& L(3) 'rthvi!(6" +andha !(," +hrana !*," K(3) Apa!()" rasa !(-" jihva !*-" r(3) agni!(4" roopa !*." ca%shu !,." m(3) vaayu !((" sparsha!*/" tva% !,/" nada(3) a%asha !(*" sabda !*0" srotra !,0"

H (5) 1a% !**" 'aani !*(" 'aada !*4" 'aayu !*)" 5pasthaa !*6"

I (4) 2adashiva !(" 3svara !4" 2huddhavidyaa!)" 'urusha !,*"

a (10) maya !6" %alaa !0" vidyaa!/" raga !." %aala !,-" 6iyati!,," 'ra%ruti !,(" Aham%aara !,4" 7huddhi !,)" 8anas !,6"

s (2) siva !," 4a%ti !*"

E (1) 'arashiva

996ote& $he number in the parentheses of tattvas is in the order from prthvi to siva tattva, $he alphabets in heading are brea%up of panca dasi mantra and corresponding number in those parentheses correspond to the number of occurrences of those syllable in the mantra

A fill up of the tattvas from the higher order !siva tattva" to the lowest !prthvi tattva", since grace li%e water flows from above to below, corresponding to the order as said in the mantra was tried resulting in& :;a < 3 L;a = ; r ; 3 ; m ; nada =;a 2;a :;a =;a L;a = ; r ; 3 ; m ; nada 2;a :;a L;a = ; r ; 3 ; m ; nada jihva ; maya 'arashiva 2adashiva ghrana ; %alaa va% ; ca%shu ; 3shvara ; tva% ; srotra paani ; vidyaa siva ; raaga rasa ; %aala paada ; niyati gandha ; pra%ruti paayu ; roopa ; shuddhavidya ; sparsha ; sabda 4a%ti ; aham%aara apa; bhuddhi prthvi ; manas upastha ; agni ; purusha ; vaayu ; a%aasa

$he first :uta called as vagbhava is mainly regarded as removal of the duality in this seen universe, this is in tune with the tattva distribution# $he first tattvas seen are the jihva and maaya the gyanendriya of e pression of inherent > recorded thoughts and the duality cause being at the start is wonderful# $he grace of the Lord as 'arashiva thru the 2adashiva !in Lalitha sahsra nama we find the order as sadasivaa anugrahadaa" in the ne t two bijas is most appropriate# $he ne t ghrana and %alaa? the vasanaas and the various states of e istence are graced by the @sadaashivaA# Besulting in the last bija ? va% ; ca%shu ; 3shvara ; tva% ; srotra# $his can be seen as the dee%sha %arma wherein the grace is manifested as va% !srotra" dee%sha, ca%shu dee%sha, sparsha !tva%" dee%sha, by the 32hvara who is the +5B5 himself# $he second :uta called %amaraja is the emergence of the practical %nowledge by the sadhana# $his is also in tune as seen above# $he paani and vidya can be seen as the action with %nowledge, 2hiva and raga will now denote the love for the shiva tattva and its continual e perience, rasa and %aala will show the e perience of all levels of aananda in the course of time !sadahana time line", paada and niyati will show the tenets of restrictions of this path, gandha and par%ruti will show the grossness of the manifested universe implying the panca ma%ara sadhana and the last bija paayu ; roopa ; shuddhavidya ; sparsha ; sabda? payu to the rejection of the other thoughts !again a %armendriya action based", shuddha vidya to the @realA unified %nowledge in all the seen !roopa" , felt !sparsha" and heard ! sabda"#

$he last 4a%ti %uta is the continual e perience of the above blossomed %nowledge , the first bija itself shows the identity with 4a%ti and ahma%ara the universal sense of e istence, the second is apa and bhuddhi which show the fluidity of the %nowledge to accommodate all the e perience as bliss through grace, the prthvi and manas to the stability of the mind in this e perience and the last bija upastha ; agni ; purusha ; vaayu ; a%aasa# $he upastha to bliss , purusha to the sadha%a and the three main elements a%asha, vaayau and agni to the manifested universe wherein the sadha%a is e ternally e periencing this bliss#