Namaste Raman. I will talk about kādi later. The Triśati is based on the kādividyā itself, each name beginning with the letters of the vidyā in the order they appear. In the prologue to the Sahasranāma, Hayagrīva says that of the vidyā, kādi is supreme: "The Śrīvidyā is the first of all mantras, and of it the Kādi form is the first and the best." However, that does not necessarily mean that they are restricted to kādi. Initiation into some form of the Pañcadaśī at least is implied for the recitation of the latter in the viniyoga: śrīmadvāgbhavakūṭeti bījam, madhyakūṭeti śaktiḥ, śaktikūṭeti kīlakam. Hayagrīva says to Agastya after the Sahasranāma: "You should not impart this hymn to one who is not initiated into the Śrīvidyā, nor to one who is not a devotee. Just as the Śrīvidyā is to be kept secret, so also, O Muni, this Sahasranāma should be kept concealed from the eyes of the uninitiated. This holy hymn ought not to be promulgated among those whose nature resembles that of beasts. If a person so loses his wits so as to impart this to one who is not initiated into the Śrīvidyā, the Yoginīs curse him and it is a source of great loss to him." Again, he says initiation into the Śrīvidyā is necessary, but does not specify any particular form thereof.

Sir,what is the process of getting initiated by you?

Thank you, Dylan! Please provide an explanation of the manifold traditional interpretations of the Kādi Pañcadaśī as well. Furthermore, is the practice of chanting the Lalitā Sahasranāma and Lalitā Triśati confined to Kādi Vidyā, or is it also integral to Hādi Vidyā?

In nabhi Vidya,Saubhaagya Vidya Panchadashi Mantra, is ending with Shreem but In the website - for Saubhaagya Panchadashi mantra japa page, shreem beeja is missing. Is there any variation or is it typo error in the mantra japa section.

For the sake of everyone's benefit, I will explain the various traditional meanings of the Pañcadaśī. What follows is the exposition of the hādividyā (HA SA KA LA HRĪṀ HA SA HA KA LA HRĪṀ SA KA LA HRĪṀ), although kādividyā is not especially different regarding these meanings. I will probably write another comment later on explaining where the latter differs from what is said here. Everything in this exposition follows what is taught in the Yoginīhṛdaya Tantra. If anyone wants clarification on anything said here feel free to ask. 1. Bhāvārtha: The Śrīvidyā is the union of Śiva and Śakti. In that respect, it is simultaneously the result of and the embodiment of that union of Śiva and Śakti; consciousness and bliss, transcendence and immanence, word and meaning, subject and object, etc. Continuing that theme, the Yoginīhṛdaya says that this union is also embodied by the Yoginīs and Vīras. The Yoginīs in this case refer to the three śaktis: icchā, jñāna, kriyā. The Vīras are Brahmā, Viṣṇu, and Rudra. Embodying the various triads, each of these pairs corresponds to each of the three kūṭas of the Śrīvidyā. The idea here is that the union of Śiva and Śakti, the supreme reality, is recapitulated at every level of existence. The Yoginīhṛdaya says: "Thus constituted, delighting in the utmost bliss, the Goddess, whose nature is vibration, of innate beauty, once known, is to be freely worshipped." The Śrīvidyā is thus the reflective awareness of the supreme reality of the form of the union of Śiva and Śakti which manifests as the totality of all things. 2. Saṁpradāyārtha: This artha concerns the emergence of the supreme reality as the universe. The letters HA, KA, RA, SA, and LA which constitute the vidyā (excluding the 'Ī's and 'Ṁ's of the hṛllekhās) represent space, wind, fire, water and earth, respectively, of which the universe is composed. Together, these five elements have fifteen guṇas. In other words, each element pervades each of the ones below it, which creates fifteen guṇas total. These are also the fifteen Nityākalā Devīs. Moreover, if the vowels and consonants are divided (i.e. HA, for example, is divided into H and A), we get eleven letters in the first kūṭa, thirteen in the second, and nine in the third, totalling 33. When the anusvāras at the end of each of the three hṛllekhās are added, we get 36. These are the 36 tattvas. The entire vidyā as a whole, as the Goddess, is the "37th tattva", which is not a distinct tattva per se, but rather represents the simultaneously transcendent and immanent nature of the supreme reality. There are six HAs in the vidyā, the first five embodying the space element which pervades the others, along with its subtle nature as the resonance of consciousness which is the sixth. There are three RAs, embodying the guṇas pervaded by fire: earth, water, and fire itself. There are three SAs, the water element which pervades earth. The third is the 'subtle' form, which is to say, from the perspective of earth it is that which pervades it and so is subtle. There are three LAs, which represent the earth element as constituting the three worlds. There are three KAs, which represent the three states of bound subjectivity: vijñānākalā, pralayākala, and sakala. All of these elements are to be viewed as originating from Mahāmāyā and the supreme reality, represented by the letters Ī and Ṁ, respectively. The sense of all this is explained: "In any object one can say that there is śakti. This is the Goddess, the universal sovereign. And any object is the Supreme Lord." 3. Nigarbhārtha: Śiva, the supreme reality, is the Self of the guru and the sādhaka. Thus, the Śrīvidyā embodies the unitary nature of these three. 4. Kaulikārtha: To begin this one, it is necessary to cite the opening verse of the Nityāṣoḍaśikārṇava: "I bow to the Goddess who consists of Mantra, who is the letters of the alphabet, who takes the form of the gaṇapatis, the planets, the lunar mansions, the Yoginīs, and the constellations, and who is the embodiment of the pīṭhas." The nine planets in this case are the three guṇas, three powers (icchā, jñāna, kriyā), and three luminaries (moon, sun, fire). The lunar mansions are the five jñānendriyas and their objects, five karmendriyas and their objects, the four constituents of the antaḥkaraṇa: manas, ahaṁkāra, buddhi, citta, prakṛti, guṇatattva, and puruṣa. The Yoginīs preside over the dhātus: skin, blood, muscle, fat, marrow, semen, plasma, and bone. The constellations of the zodiac consist of the ten prāṇas plus the individual and supreme selves. The gaṇas are the phonemes. There is also an alternative explanation for these. HRĪṀ can be divided into three parts: the first three letters, the bindu, and the inaudible resonances that follow. As each HRĪṀ is thus split into three parts and there are three of them, these are the nine planets. The lunar mansions are the fifteen syllables of the vidyā plus the twelve parts of the hṛllekhās (taken as a whole, not all three). Each hṛllekhā plus the LAs that proceed each one are the Yoginīs. The twelve signs of the zodiac are the twelve syllables that remain when each hṛllekhā is excluded from the vidyā. The sense of all this is explained: "All the aspects just described as in the body of the Goddess are to be found in the same way in the body of the spiritual master, and, through his grace, the disciple will also shine in this form." 5. Sarvarahasyārtha: The first kūṭa should be meditated upon in the mūlādhāra. This is the maṇḍala of fire, the first three āvaraṇas (saṁhārakrama) of the Śrīcakra. Ascending along the central channel as the resonance of the vāgbhavakūṭa, the kāmarājakūṭa is to be meditated upon in the heart. This is the maṇḍala of the sun, the second set of āvaraṇas. Its resonance rising, the śaktikūṭa is to be meditated upon in the brow center. It is the maṇḍala of the moon, the last set of three āvaraṇas. The resonance of the śaktikūṭa reaching the dvādaśānta, "...She pervades the whole universe, Her nature being constant bliss. The thought: 'this energy is my own Self,' such is the secret meaning." 6. Mahātattvārtha: I think it is best to just quote directly from the Yoginīhṛdaya here: " It consists in uniting oneself with the indivisible, supreme, subtle, imperceptible, with no concrete existence, the reality supreme, above the inner sky, light and bliss, both transcending the universe and identical with it. Since luminosity is the state of things that are luminous and also that of those that are dark, there is therefore a necessary and essential connection between the universe and the highest reality. The highest reality shines, O Flame of the essence of the divine play! The secret meaning, the attainment of which is preceded by the stability of the spirit that appears when all volition and all doubt are banished, is completely hidden. It gives immediate certainty. It is seen in the ocean of the high knowledge. There, no doubt survives, O Pārvatī! Giver of divine powers, it is present in the three kūṭas composing the seat pīṭha of the vidyā. Will enjoy this, O Goddess, those who follow the practice of Kula and who meditate on the feet of the Master, who take part zealously in the meetings with the Yoginīs, who have received the divine unction, are free from the stain of doubt, their spirit ceaselessly joyful and well versed in the secret meaning known through the uninterrupted succession of masters."

Namaste Dylan. My question concerns the Śrī Vidyā mantra that Tīvra brought to light and that Lord Śiva is said to have practiced. With your profound expertise in Tantra, could you please clarify what the Tantras say about the mantra—ha sa ka la hrīm̐ ha sa ka ha la hrīm̐ sa ka la hrīm̐ ha sa ka la ha sa ka ha la sa ka la hrīm̐—and, in particular, its viniyoga and dhyāna? Thank you very much!

Truly incredible information. Endless thanks to Tivra ji and this website.

Namaste tivra sir , you have a great wisdom. I wanted to know if these mantras can change your destiny that astrologers say can’t be changed. Do these mantras hold the power to create your life the way you want to? Also what if you don’t have a guru , what to do in that case. Thanks for reading my question.

Questions for Tivra Ji: 1. is hadi inside out and is kadi outside in? It seems as if hadi tries to mature the soul from within while kadi forcibly brings all elements within the domain of the soul, is that a proper understanding? 2. it seems that hadi is at level 12f and kadi is lower (12a) doesn’t this mean hadi is more powerful than kadi? 3. Also if hadi represents UG and is at the same level, does mastering the hadi panchadasi give one all the siddhis of ucchista ganapati sadhana ? 4. Once one masters tripura bhairavi mantra and then moves to hadi panchadasi at 12f, do they have permission to practice the sadi vidya mantra of Nadi at level 13? 5. what is in between level 13 and level 16? 6. What is the guhya shodashi mantra? It seems to be the additional bijas of hrim and srim added to the hadi mantra. Is it at the same level as the hadi? 7. When reciting the hadi mantra I feel an intense throbbing in the middle of the head, where the pineal gland or bindu must be. Is this what is meant to happen?

Namaste Yasuo. I assume you are referring to the trikoṇa at the center of the Śrīcakra. To understand how those deities and states fit together, you have to start with the bindu. As a small point in the center, it represents the essential nature of the supreme reality. It is more accurately comparable to a singularity, a "space" with no volume. In other words, it is the unlocalized light of consciousness from which all things proceed and into which they are withdrawn, and within which and as which this takes place. The bindu is simultaneously the center and the entire maṇḍala. Though it manifests as the totality of all things in every moment, it never falls from its essential nature. Its power, which is its reflective awareness and thus from which it is never separated and is in fact identical, is Kaulikīśakti, though most know Her better as Kuṇḍalinī. Intent on manifestation, She becomes the matrix of all energies from which all things are composed. Thus, in a way, the entire maṇḍala is reducible to just the central triangle. The significance of the triangular shape is multifaceted as it embodies all triads. One of the reasons it is called Kuṇḍalinī, the 'coiled/crooked power', is because it assumes the crooked shape of the triangle. Its three and a half coils are the three sides plus the center which, as it is the ground and nature of the three, is not technically one among them and so is only half. The entirety of manifestation is situated within Her. Mahākāmeśvarī, Mahāvajreśvarī, and Mahābhagamālinī embody all these triads. To explain, as the emission of the Supreme Lord in the form of all things, Kuṇḍalinī is the reflective awareness of the supreme reality which contemplates itself as all things. The trikoṇa, the matrix of all the energies, is thus the "mouth" which reveals the teachings. The teaching or transmission is the flow of consciousness which generates and embodies all things. The four sacred seats which constitute this transmission are, in one analysis, the four states of waking, dreaming, deep sleep and turya. The exact correspondences differ depending on the source. According to Śivānanda, Mahākāmeśvarī is Kāmarūpa at the apex of the triangle. Mahāvajreśvarī is Jālandhara in the right corner. Mahābhagamālinī is Pūrṇagiri in the left corner. As to which state of awareness corresponds to which, Amṛtānanda understands Pūrṇagiri to be dreaming and Jālandhara to be deep sleep, whereas in Śivānanda's analysis they should be reversed. But in any case, Kāmarūpa is waking and Oḍḍiyāna in the center is turya. It should be noted that in many sources these states are referred to with different names than one might be used to. They are, in order, piṇḍa, pada, rūpa and rūpātīta.