Nabhi Vidya!!!! नाभि विद्या

Nabhi Vidya Dhyāna Shloka:

पिक रुरु बल युग्मं कम्बुखा त्रिम्बकाभा । बल रुरु पिक युग्मं राजविद्या स्तनाभा ॥

नृपति युग मातृका नाथ बाला परीता । परयुवति 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.  युग्म (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 युग्म (yugma)  – double of this – will be eight, which is achieved  by युग्म (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 नृपति (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 जपेत् विद्याम् सहस्रम् त्रिशतम् 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:

1. The first twenty-four mantras are having the saubhāgya kādi/hādi ṣodaśī and the kādi /hādi pūrti vidyās inter mixed.

2. 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.
3. 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.
4.  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.
5. Number of occurrences of the vāg bīja ‘aim’ is 180, the half year time of a lunar calendar; represents both dakṣiṇāyana and uttarāyana.
6. 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.

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 त्रिपुरसुन्दरी ब्रह्मविद्या मन्त्रराज महामन्त्रस्य ।

श्री आनन्दभैरव ऋषिः ।

अमृत विराट् गायत्री छन्दः ।

श्रीविद्या राजराजेश्वरी महात्रिपुरसुन्दरी देवता ।

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 महात्रिपुरसुन्दरी 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 ) :-

3. Kādi Sva Anuloma Karanyāsaḥ (कादि स्व अनुलोम करन्यासः) :-

4. Kādi Sva Anuloma Aṅganyāsaḥ (कादि स्व अनुलोम अङ्गन्यासः) :-

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

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

bhūr-bhuva-ssuvarom-iti digbandhaḥ ॥

भूर्भुवस्सुवरोमिति 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 ॥

जपाकुसुमभासुरां त्रिनयनां त्रिकोणत्रय त्रयान्तर निवासिनीं त्रिपुरसुन्दरी सेन्दुकां ।
करां बुजचतुष्टयां मधुरचाप पाशाङ्कुश प्रसूनशरशोभिनी ललितवेषभूषां भजे ॥ बालार्कमण्डलाभासां चतुर्बाहुं त्रिलोचनां ।
पाशाङ्कुशधनुर्बाण धारयन्तीं शिवां भजे ॥
इति सुन्दरी 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 प्रसूनविशिखान् पाशाङ्कुशं पुस्तकं
माणिक्याषसृजवरं मणीमयीं वीणां सरोजद्वयं ।
पाणिभ्यां वरदा अभयं च दधतीं ब्रह्मादिसेव्यां परां सिन्दूरारुण विग्रहां भगवतीं तां षोडशीम् 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 हरिहृत् सरोजके भाति या परमचित्स्वरूपिणी ।
पद्मयुग्म 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 युग्मं कम्बुखा त्रिम्बकाभा ।
बल रुरु पिक युग्मं राजविद्या स्तनाभा ॥
नृपति युग मातृका नाथ बाला परीता ।
परयुवति 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 ॥

चित्पुस्तकाक्षमाला सुधाकलश संयुतां ।
पायात् मातृका देवी मुक्ताफल विभूषितां ॥
इति मातृका 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 ॥

ऐँकाराङ्कितगर्भितानलशिखां सौः क्लीँ कलां बिभ्रतीम् ।
सौवर्णाम्बुजमध्यगां वरधरां धराधराङ्गोज्ज्वलाम् ॥
वन्दे साङ्कुशपाशपुस्तकधरां स्रग्भासितोद्योत्कराम् ।
तां बालात्रिपुरां पदत्रयतनुं षट्चक्रसञ्चारिणीम् ॥
माला सृणि पुस्तक पाश हस्तां बालां बिका श्रीललिताकुमारीं ।
कुमारकामेश्वर केलीलोलां नमामि गौरी नव वर्ष देशीं ॥
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 ।
मुद्रा पुस्त 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 ( पञ्चपूजा ) :-

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 ।

 चतुर्वर्ग स्त्वयिन्यस्त स्तस्मान्ये सिद्धिदा भव ॥

10. guru mantra ( गुरु 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 सिद्धगुरो प्रसीद ह्रीं ॐ

...to be continued