There are four dhyana verses (descriptive verses for visualisation) of Lalitāmbikā in Lalitā Sahasranāma. The first one starting with sindūrāruṇa-vigrahāṃ probably is the one composed by the eight Vāc Devi-s. The second one beginning with aruṇām karuṇā-tarangitākṣīm is said to have been composed by Dattatreya (Dattareya is considered to be a God who is an incarnation of the Divine Trinity Brahma, Viṣṇu and Śiva. Datta means given, granted or presented. Datta is called so because the divine trinity have born themselves in the form of a son to the sage couple Atri and Anasuya and his parentage forms the second part of his name Atreya). The fourth sakumkuma-vilepanām has been composed by Ādi Śaṃkarācārya. No information is available about the origin of the third verse beginning with dhyāyet padmāsanasthām. In all the dhyāna verses there is unanimity about Her red complexion, which resembles the sun at dawn. Lalitāmbikā is a sculptured beauty. More than Her complexion or beauty, Her qualities are paramount. She is the universal mother, which is emphasized by the fact that Her Sahasranāma begins by addressing Her as Śrī Mātā, which means universal mother. She is seated on a throne and Goddesses Lakṣmī and Sarasvatī standing on each side of the throne fans Her. She is also called parā bhaṭṭārikā meaning the queen of queens. She is also known as parā Śaktī, Parameśvarī and Rājārajeśvarī. She is the consort of Paramaśiva. Rudra is different from Paramaśiva. She is worshiped in the form of Śrī Vidyā and Daśa Mahā Vidyā. Both the forms of worship consist of many secrets that are to be learnt from a learned Guru. The latter form of worship consists of tantric rituals. But they are extremely powerful and desired results are imminent.
In the Supreme form, Śiva and Śaktī are called Mahā Kāmeśvara and Mahā Kāmeśvarī. They are the Ultimate and the Absolute. In the absolute form, She is called prakāśa vimarśa mahā māyā svarūpini. Both of them in this absolute form have four hands and hold the same weapons - pāśa, aṅkuśa, bow made of sugar cane and arrow made of flowers. Both of them have moon in their crowns. Mahā Kāmeśvara is pure, transparent and colourless form. He is seated on a throne, with left leg folded and his right foot placed on the ground. She, the red complexioned beauty incarnate, radiating with smile that is filled with joy and grace, ever ready to help Her devotees, walking towards Mahā Kāmeśvara with full of bashfulness. His pure, transparent and colourless form gradually turns red with every step She puts forward towards Him. Even swans, praised for their agile walk are ashamed of themselves on noticing the way She walks towards Him. Mahā Kāmeśvara beams with loving smile on seeing Her. She sits on His left thigh with Her right leg folded and left foot placed on a golden vessel filled with rubies. The moment She placed Her left foot on this vessel, the red colour of the rubies reflects everywhere. When She sits on His lap, His form also turns red. Both of them are radiating and when gods and goddesses look at them, they mistake the bright red radiation emanating from them as sun. This divine couple always stays united and that is why in this Sahasranāma, the penultimate nāma is called śivaśaktī aikya rūpiṇī. This nāma complies with the above description. This form is called the Absolute form. It is presumed that there is nothing beyond this Śivaśaktī aikya or the Absolute form.
But this Sahasranāma ends with Lalitāmbikā. Does this mean that Her Lalitāmbikā form is superior toŚivaśaktī aikya form? The answer would be a firm Yes. Otherwise, Vāc Devi-s would not have placed this nāma as the last one. They could have made this as the penultimate and Śivaśaktī aikya rūpiṇī as the last. They did not do so. In the body of the Sahasranāma there are nāma-s saying Pañca pretā sanāsīnā and Pañcabrahma svarūpiṇī. The first one means that she sits on Brahma, Viṣṇu, Śiva, Mahādeva and Sadāśiva. The deeper and impressed meaning of this nāma will be discussed later. Brahma, the creator; Viṣṇu, the sustainer;Śiva, the destroyer; Mahādeva and Sadāśiva are the two forms of Śiva one removing the illusion and another providing knowledge and blessings. When Lalitāmbikā is sitting on them, Her power becomes undescriptive by human comprehension. She is the ultimate. She is everything. She is you and She is me. She can give us whatever we pray for. She can be approached like our own mother. Everyone is Her child. Let us bow before Her Absolute form in right earnest. Rest, she will take care. In the higher form of learning, Śiva is known as subject and Śaktī is known as object. Śiva is quiet and does nothing and Śaktī is the performer and is calledprakṛti or māyā. Śiva is like Ātman within us and Śaktī is like our body and mind, always active to performkarma-s or acts. Lalitā Sahasranāma’s dhyana verses give huge and valuable inputs about Her gross appearance. When we meditate on Her, we can meditate on this form.