Kao što smo ranije videli horoskop ili kundali se sastoji od dvanaest kuća. Rekli smo da đotiš sledi sistem jednakih kuća, što znači da svaka kuća sadrži u sebi trideset stepeni zodijaka. Dvanaest kuća po tome čini pun krug, odnosno 360⁰ (12 x 30 = 360).

Ovih dvanaest kuća se dele na nekoliko načina.

Prva podela :

1. kendra
2. kona

Kendra kuće su prva, četvrta, sedma i deseta kuća. One se smatraju stubovima koje su potpora svakog horoskopa. One su kao oslonac našeg života. Sve planete koje se nađu u ovim kućama sarađuju međusobno da održe život stabilnim ili nestabilnim u slučaju loših planeta. Kao četiri noge stola sve četiri kuće su od izuzetnog značaja. Upravo zbog ovog razloga, svaka planeta u kendra kući dobija na snazi. Prva kuća predstavlja naše rođenje, četvrta kuća našu majku i detinjstvo, sedma kuća našeg partnera i želje, a deseta kuća našu karijeru, status i posao, karmu (akciju) koju obavljamo. I među ovim kendra kućama postoji razlika u snazi. Pa je tako deseta kuća najjača kendra, sedma je druga po snazi, pa četvrta i onda lagna (prva kuća).

Kona kuće su trigonske kuće i to su peta i deveta kuća, a pored njih se i prva kuća smatra konom. One su korenske kuće i pored kendri su jako bitne jer planete koje se u njima nađu, međusobno dele istu sudbinu. Deveta kuća je najvažnija kuća u horoskopu, ona predstavlja našeg oca, onog koji nam je dao život, kao i sve naše pretke (pitrise), sudbinsku sreću i sl. Prva kuća je peta (dete) od devete (otac),  i logično vidimo sled, po kojem smo mi (ascendent) dete našeg oca. Peta kuća predstavlja decu i budućnost. Ona je peta (dete) od prve (ascendent, osoba) i predstavlja našu budućnost, odnosno decu, učenike.

Druga podela:

1. kendra
2. panafara i
3. apoklima

Šematski prikaz bhava/kuća

Kada posmatramo Šukra čakru ili desni način crtanja horoskopa, ascendent je uvek na fiksnom mestu, a broj pokazuje koji se znak uzdigao u vreme rođenja. U gornjem primeru broj je dvanaest što govori da je osoba rođena u vreme kada se na istočnom horizontu uzdigao znak riba (12. znak).

Kendra kuće su fiksne takođe, kao i ascendent u ovom načinu crtanja horoskopa, a znaci se menjaju. Ovde je to:

Ovo je podela zodijaka na kendra kuće. Od svake kuće možemo izračunati kendra kuće. Pa tako, ako kažemo kendre od osme kuće to su osma, jedanaesta, druga i peta kuća. Dakle brojimo svaku četvrtu kuću od kuće koju posmatramo. Međutim po ovoj podeli se kendra kućama smatraju prva, četvrta, sedma i deseta i one su najjače. Posle njih po snazi idu panafara kuće. To su kendre od druge kuće, odnosno druga, peta, osma i jedanaesta kuća. Najslabije su apoklima kuće i to su treća, šesta, deveta i dvanaesta kuća. Od svih njih uvek je najjača deseta pa unazad datim redom. Na primer ako posmatramo apoklima kuće uvek je dvanaesta najjača, budući da je deseta po redu, a najslabija je treća.

Posle ovih osnovnih podela, kuće dalje delimo na upačaja ili razvojne kuće.

Treća podela:

1. treća
2. šesta
3. deseta i
4. jedanaesta

Kao što i sam naziv ovih kuća kaže one su razvojne kuće. Šta to znači? To nam govori da su to kuće razvoja, kuće na koje mi sami možemo uticati. Svaka planeta koja se nađe u ovim kućama može da se razvija, na nju svesno možemo da utičemo kako bi ona dala mnogo više rezultata na svim aspektima horoskopa koje ona predstavlja. Ako na nešto možemo svesno uticati to nam govori da tu imamo mnogo slobodne volje. Planete koje se nađu u trećoj i šestoj kuće će dati svoje rezultate posle mnogo uloženog truda, dok će one koje su u desetoj i jedanaestoj kuće dati svoje rezulate mnogo brže, jer se one nalaze u vidljivoj polovini zodijaka i njihovi rezultati su vidljivi brzo u životu osobe.

Kada osoba ima mnogo planeta u upačajama, pogotovu u trećoj i šestoj kući ona svesno može svojim radom i trudom da podigne mnogo aspekata u svom životu. Mi kažemo da je tada osobi 50% efekata dato, a da se za ostalih pedeset posto osoba mora boriti. Ako se u trećoj i šestoj kući nalaze loše planete, malefici osoba će težiti da se izbori, ako su beenfici ona će to radije prepuštati i težiti da reši stvari mirnim putem. Treća i šesta kuća između ostalog predstavljaju borbu, snagu kao i oružje koje osoba koristi. Pa tako Mars predstavlja noževe, sečiva, dok Jupiter predstavlja brojanicu ili malu. Na osnovu logičkog razmišljanja možemo videti koja planeta će se boriti, a koja neće i na koji način će to raditi.

Sledeća bitna podela je na dustan kuće.

Četvrta podela:

1. treća
2. šesta
3. osma
4. dvanaesta

Dustani su loše kuće. Svaka dustan kuća ima određena značenja koja su sama po sebi teška. Planete koje se u njima nađu nose određenu težinu i prirodno benefične planete u njima generalno nisu dobro smeštene, dok su prirodni malefici (Mars, Saturn, Rahu i Ketu) tu dobri.

Vidimo da je treća kuća i upačaja, razvojna kuća i dustan. Za nju kažemo da je blagi dustan, odnosno da nije jako teška i loša. Ona je kuća snage (parakrama), seksualnog odnosa, borbe. Prirodni malefici će gledati na suprotnu kuću odavde, a to je deveta koja se tiče sudbinske sreće, dharme, prirodne religioznosti i vodećih principa osobe i zbog svoje prirode on (Mars) će pokazati takođe osobu koja nosi sečivo/oštricu i sledi svoje principe, darmu, ali je pitanje da li će to biti iz napada ili iz odbrane. Saturn budući veoma spora planeta, takođe će gledati devetu kuću i sudbinska sreća se podiže sporo, vremenom i radom. Treća kuća je osma od osme (koja se tiče dugovečnosti) i na taj način je bitna jer će pokazati okolnosti i mesto smrti (ovo se posmatra od Aruda lagne što je za sada napredan koncept i biće kasnije objašnjen). Na ovaj način treba logično da povežemo osobine planeta i donesemo zaključke.

Šesta kuća kao dustan pokazuje neprijatelje, mentalnu napetost, argumentativnost, povrede. Malefične planete ovde daje dobre rezultate. Sunce će dati osobi sreću, dobro fizičko telo, uspeh u borbama, galantnost i ako je on tu sa benefičnim planetama ili ga one aspektuju rezultati će biti dobri. Ako je upliv loših planeta velik biće obrnuto (neprijateljstva sa ocem (Sunce) ili bolesti i sl). Ako je velik broj malefičnih planeta tu, šesta kuća dobija mnogo na snazi i uzdižu se moćni i opasni neprijatelji. Kada se benefici nađu ovde oni slabe značenja kuća kojima vladaju. Primer je Venara i ljudi koji su predstavljeni znacima bikom i vagom će patiti, a sama osoba može imati problem sa zdravljem sve do braka.

Osma kuća je veoma jak dustan, mesto velikih transformacija, bolnih promena, mesto odakle dolaze problemi kojima ne vidimo uzrok, a kao efekti naše loše sudbinske sreće. Ona je mesto okultnog i onostranog. Benefici ovde nikako nisu dobro postavljeni, pogotovo Jupiter jer se tada on nalazi u dvanaestoj kući (gubici) od devete (sudbinska sreća, religioznost, ispravnost) i on tu formira posebnu planetarnu kombinaciju koja se naziva Asura joga, osoba ne veruje u Boga, religiju. Za celokupnu sliku duhovnosti posmatramo i ostale parametre. Saturn kao veoma malefična planeta je bolje smešten, daje dug život ali i bolesti. Pravac znaka u kojem se nalazi vladar osme kuće je jako loš za osobu i svakako ga treba izbegavati. Osma kuća predstavlja dugovečnost i mora se posmatrati u ove svrhe.

Dvanaesta kuća je sledeći dustan. Ona je najudaljenija od sopstva, nas samih. Kao dustan ona predstavlja bolnice i sve zatvorene institucije, imunitet osobe, njen san. Pored ovoga ona je i kuća mokše ili duhovnog oslobođenja i shodno tome napuštanja tela (kraj fizičke egzistencije). Takođe pokazuje tajne, tiče se kazni, loših navika, tajnih neprijatelja, troškova. Planete koje se ovde nalaze će težiti da umanje efekte kuća kojima vladaju. Posebno je loše smešteno Sunce, kao i Venera.

Potom imamo podelu na maraka kuće.

Peta podela:

1. druga i
2. sedma kuća

Osma kuća se tiče dugovečnosti, kao i osma od osme, tj. treća kuća. Dvanaesta kuća od bilo koje kuće je gubitak, ono čega se odričemo ili gubimo kroz život. U ovom slučaju bismo videli da je gubitak dugovečnosti u dvanaestoj od osme i treće kuće, odnosno u 2. i 7. kući. To je razlog zašto se ove kuće nazivaju marakama ili kućama koje su jako loše za dugovečnost. Planeta koja se nađe u drugoj ili sedmoj kući se naziva maraka, a planeta koja vlada njima je marakeš. Takođe i planeta koja je u vezi sa vladarima ovih kuća je loša. Sve ove planete teže da oštete zdravlje i dugovečnost osobe i zato se u tim periodima savetuju određene remedijalne mere sa ciljem da osoba izbegne ovakve probleme.

Postoje još neke podele kuća ali je za ovaj nivo znanja ovo dovoljno. U sledećem članku ćemo početi sa kombinovanjem osobina kako biste mogli dobiti sliku vašeg horoskopa, tj. života.

Svaka kuća ima svoj  naziv koji pokazuje i jedno od značenja kuće. U tabeli možemo videti nazive:

Tabela 1.1 Nazivi i značenja kuća

Postoji mnogo značenja kuća ili bhava i ovde ćemo nabrojati samo neke. Videćete i na koji način možete lako samo doći do pojedinih osobina samim brojanjem kuća od neke kuće. Postoje i drugi načini koje ćete vremenom usvojiti i lako koristiti.

Prva kuća

Prva kuća se naziva tanu ili glava. Ona predstavlja fizičko telo, inteligenciju, izgled, snagu i energiju. Pojedini mudraci kao što je Satjačarja, dodaju da prva kuća označava slavu i reputaciju, uspeh i status (budući da je Sunce označitelj za nju, a istovremeno je i u najvišem dostojanstvu u znaku ovna što je u prirodnom Kal Purušu/zodijaku, prva kuća). Svaka planeta na ascendentu će obojiti i doprineti osobinama osobe, što u kombiciji sa znakom koji je u njoj daje bližu sliku osobe. Pri analizi ličnosti moramo uzeti u obzir i vladara ascendenta, njegovu poziciju, kao i uticaj svih ostalih planeta.

Druga kuća

Druga kuća predstavlja porodicu, keš i materijalno bogatstvo. Ona predstavlja moral, hranu, jelo i piće i naše održavanje uopšte. Svaka kuća brojano od bilo koje kuće u horoskopu će nam pokazati održavanje date kuće. Ako je ona pod veoma lošim aspektima ili se tu nalaze loše planete (prirodni malefici kao što su Saturn, Mars, Rahi ili Ketu) održavanje je loše i oni teže da to još više uskrate. Ona takođe predstavlja oči, odnosno desno oko kod muškaraca i levo oko kod žena. Na sociološkom planu ova kuća predstavlja našu primarnu i sekundarnu porodicu, kao i drugi brak budući da je osma (dugovečnost) od sedme kuće (prvi brak). Na fiziološkom planu ona predstavlja lice i grlo.

Treća kuća

Treća kuća predstavlja našu snagu, parakramu. Ona pokazuje da li se osoba bori ili ne. Malefici u trećoj kući su dobri za borbu, dok benefici (dobre planete) slede put nenasilja ili ahimse. Kao što ćemo videti u narednom članku  ona je razvojna kuća i na sve planete koje se tu  nalaze možemo svesno uticati , odnosno razvijatu u životu sve što one predstavljaju. Ona predstavlja biznis našeg oca (budući sedma od devete). Ova kuća na sociološkom planu  predstavlja našu mlađu braću i sestre. Na fiziološkom planu su to ruke i predeo ramena  i taj gornji deo grudnog koša.

Četvrta kuća

Osnovno značenje četvrte kuće je dom, komfor i majka. Pored ovoga ona ima mnoga značenja kao što su sreća, kvaliteti srca osobe, vozila, nepokretna imovina, lečenje, ranjivo mesto za oca (budući osma od devete) i njegova dugovečnost, karijera i posao partnera (deseta od sedme kuće) itd. Budući da predstavlja kvalitete srca ova kuća igra veliku ulogu u ocrtavanju ličnosti i malefične planete će to težiti da umanje. Benefici ili dobre planete će težiti da povećaju sve dobre stvari  ove kuće, da daju dobar odnos sa majkom i dobro srce. Kao što smo videli ona na sociološkom planu predstavlja majku, a na fiziološkom srce.

Peta kuća

Peta kuća pre svega predstavlja decu i budućnost. Deca su naš plod i kao takva predstavljaju produženje naše loze. Na sociološkom planu ona još predstavlja i učenike i sve ljude koje mi na neki način podučavamo (podređeni i sl.). Ova kuća predstavlja i molitve, mantre, kao i svo znanje. Ako se u njoj nađu malefične/loše planete one mogu u potpunosti da zamagle viziju budućnosti osobe te usled toga osoba nema jasnu sliku svog puta i usmerenost, da daju probleme sa pamćenjem (Sa), a takođe i strahove, konfuzije. Dobre planete su ovde odlično smeštene i težiće da daju najbolje od njenih značenja. Na sociološkom planu ona predstavlja i očevog oca budući da je deveta (otac) od devete (naš otac). Na fiziološkom planu ona predstavlja stomak.

Šesta kuća

Pored treće kuće i šesta kuća se naziva Upačaja ili razvojna kuća. Dakle, sva značenja planeta koje su ovde se mogu podići ulaganjem napora i radom. Ovo je kuća službe i rada. U njoj se nalaze naši neprijatelji. Ovo je kuća koja predstavlja grehe i grešne radnje koje svesno činimo  stvarajući na taj način lošu sudbinsku sreću zbog čega moramo iskusiti patnju kroz bolesti ili slične probleme. Benefične planete nisu ovde dobro smeštene, dok malefici generalno jesu budući da oni daju osobi snagu da se bori. Takođe predstavlja i polje očevog posla, jer je deseta (karijera, posao) od devete (otac). Na sociološkom planu ona još predstavlja majčinu rodbinu, posebno ujake i tetke, jer je to treća kuća (braća i sestre) od četvrte (majka). Na fiziološkom planu ona predstalja donji abdomen.

Sedma kuća

Sedma kuća predstavlja naše želje, privatni posao, biznis kao i sve partnerske odnose, kako lične tako i poslovne partnere. Ovo je potpuno suprotna kuća od ascendenta i kao takva predstavlja vrata (Dvara) ili izlaz iz ovog života. Sedma kuća i ascendent se zajedno nazivaju Satja pita ili mesta, kuće istine jer je istina da smo došli na ovaj svet, kao i da ćemo ga neminovno napustiti. Kada se vladar ascendenta nađe u njoj to nam govori da je osoba konstantno okrenuta drugima i da će uvek pre učiniti nešto za druge, otići da se druži ili slično, nego što će se okrenuti sebi samoj. Na sociološkom planu, pored partnera ona predstavlja i majčinu majku jer je četvrta (majka) od četvrte kuće (naša majka), kao i očevu stariju braću i sestre jer je jedanaesta (starija braća i sestre) od devete (otac).  Na fiziološkom planu ona predstavlja urogenitalni trakt.

Osma kuća

Osma kuća se naziva randra ili ranjivo mesto. Ovo je kuća jakih i teških transformacija. Mnogi ljudi teže ka promeni i transformaciji, međutim kada do toga dođe često se uplaše i ustuknu. Ovo je prva kuća promene stanja svesti, kada preko nje pređemo onda smo se promenili i spremni smo za dalji razvoj. Ona predstavlja i dugove, kako finansijske (budući da druga kuća od bilo koje predstavlja novac ovo je druga od sedme (drugi ljudi i tako pokazuje novac drugih)) tako i sudbinske dugove koje moramo vratiti, da li partnerima, da li nekom drugom. Ona daje nevidljive prepreke, odnosno probleme koji ne moraju neminovno nastati u ovom životu. Ona pokazuje sve stvari ispod zemlje, kao što su nafta, različiti hemijski elementi ispod zemlje i sl. Na fiziološkom planu ona predstavlja organ za izlučivanje.

Deveta kuća

Ovo je najbitnija kuća u horoskopu budući da donosi sudbinsku sreću, pokazuje naše pretke. Dobro duhovno nasleđe je najbitnija stvar u našem životu jer je ono proizvod blagoslova naših predaka, učitelja i sl. Vedski spisi kažu „Dharma Pitru, Matru Sukha“ odnosno „Darma ili ispravna aktivnost, sreća se dobija blagoslovom oca i predaka, a sukha ili sreća blagoslovom majke“. Dobar odnos sa precimo je preduslov za sudbinsku sreću. Malefične planete u devetoj kući su pokazatelj neke loše sudbine, posebno se ovo odnosi na Rahua ili severni mesečev čvor, jer se on uvek suprotstavlja Jupiteru i Suncu koji su označitelji za devetu kuću. To je kao da je lopov (Rh) u hramu (deveta kuća). Ovo ne mora biti uvek loše, ukoliko je Rahu posebna planeta u horoskopu. Rahu je onaj koji sumnja u ispravnu vrednost i Boga i stoga je to loše za život osobe. Dobre planete će dati dobru sudbinsku sreću i podršku predaka, nadređenih i oca. Na fiziološkom planu ova kuća predstavlja butine.

Deseta kuća

Ovo je kuća karme ili akcije, rada, karijere, posla, statusa. Iz nje vidimo kakva je akcija osobe. Ona je takođe Upačaja, razvojna kuća ali tu planete daju svoje efekte odmah. Sve planete koje su tu su odmah vidljive u životu osobe i opisaće kakva je aktivnost i na koji način osoba obavlja stvari. Ovo je jako bitna kuća jer kao i što naša poslovica kaže „Kako sejemo tako ćemo žnjeti“, odnosno kakve su nam akcije takav će biti i njihov plod. Jedna od najboljih kombinacija u horoskopu je veza vladara devete i desete kuće jer su onda dharma i karma osobe u skladu, odnosno osoba  ima ispravnu aktivnost. Ona pored ovoga predstavlja i očev novac jer je druga (nivac) od devete (otac). Na fiziološkom aspektu ona predstavlja kolena.

Jedanaesta kuća

Jedanaesta kuća predstavlja ostvarenje naših želja jer je to peta (plod) od sedme (želje). Osoba može imati mnogo želja što je sedma kuća, ali da te želje nikada ne budu ostvarene što će pokazati jedanaesta kuća. Kao i deseta kuća i ona je Upačaja, i na isti način će sve plantete u njoj pokazati svoje rezultate odmah u životu osobe. na sociološkom planu ona predstavlja našu stariju braću i sestre, stričeve i tetke sa očeve strane (treća od devete). Na fiziološkom planu ona predstavlja članke na nogama.

Dvanaesta kuća

Ova kuća se još naziva i vjaja jer predstavlja gubitke. Tu se nalaze bolnice i sve zatvorene institucije. Pored ovoga ona predstavlja i inostranstvo, daleke zemlje i daleka putovanja budući da je najudaljenija kuća od ascendenta. Takođe predstavlja mokšu ili oslobođenje iz ciklusa rođenja i smrti. Na sociološkom planu ona predstavlja majčinog oca i očevu majku. Na fiziološkom planu ona predstavlja stopala.

Primer:

U tabeli ćemo videti pozicije svih planeta u gore navedenom horoskopu. Ovaj primer je dat u dva tipa crtanja čarta. Levi je Guru čakra, a desni Šukra čakra. Zbog lakšeg snalaženja pratićemo Šukra čakru.

Tabela 1.2 Pozicije planeta u horoskopu

Pojam raši (znak) je nastao od dve reči Ra i Ši. Ra znači Rahu, a Ši znači Šiki ili Ketu, oni koji su odgovorni za rođenje. Dakle, ono što je stvoreno od Rahua i Ketua. Ako umremo nema više rašija, a kada smo živi potrebni su nam rašiji jer imamo želje, mi želimo da budemo neko, da nešto naučimo, da volimo nekoga…sve je to raši kao i sve što ima veze sa ovim svetom. Znakovi su povezani sa ovim zemaljskim nivoom, od rođenja do smrti, od Rahua do Ketua.

Drugo značenje je kvantitet vremena, novca ili bilo čega što je merljivo. I kada kažemo ascendent govorimo o kvantitetu života, koliko života je u osobi. Kada govorimo o drugoj kući koliko ima novca, o trećoj, koliko ima seksualnosti…Sve je količina, kvantitet.

Znakovi, sanskritski nazivi i brojevi koji se na njih odnose su dati u tabeli

Svaki znak ili raši ima svoje osobenosti i one se koriste u najrazličite svrhe. Postoji nekoliko podela i ovde ću navesti neke od njih. To su:

• Prema pokretnosti :

Pokretni – ovan, rak, vaga i jarac (1,4,7,10)

Fiksne – bik, lav, škorpija i vodolija (2,5,8,11)

Dvojne – blizanci, devica, strelac i ribe (3,6,9,12)

• Prema polnosti:

Muške – ovan, blizanci, lav, vaga, strelac i vodolija

Ženske – bik, rak, devica, škorpija, jarac i ribe

• Prema elementu (tatvi) koji predstavljaju:

Vatreni – ovan, lav i strelac

Zemljani – bik, devica, jarac

Vazdušni – blizanci, vaga i vodolija

Vodeni – rak, škorpija i ribe

• Prema snazi koju imaju tokom 24h (korisno za započinjanje putovanja ili sl.):

Oni koji su snažni danju – lav, devica, vaga, škorpija, vodolija i ribe

Oni koji su snažni noću – ovan, bik, blizanci, rak, strelac i jarac

Osobine znakova u vedskoj astrologiji

Ovan – meš

Ovan ili meš je prvi znak u Zodijaku. On je energičan, hrabar, sposoban, brzo reaguje pogotovo na izazove, impulsivan, brzo donosi odluke, ambiciozan, pouzdan, samostalan, iz greške može doći do problema, ima naklonost dominaciji nad drugima budući da je Sunce u najvišem dostojanstvu u ovom znaku. Kada se ovaj znak uzdigne na ascendentu on daje da osoba ima trouglasto lice, snažne udove, srednju visinu, dug vrat, crvenkasti ten (ten se određuje po poziciji Meseca u Navamsi – jedna od najvažnijih podelnih karata), može imati neki beleg na licu ili glavi.

Bik – vrišaba

Bik ili vrišabha je lep, elegantan (njime vlada Venera), najizdržljiviji znak, veoma praktičan pogotovo u proceni ljudi, sklon lepoj i dobroj hrani (prirodna druga kuća, vladar Venera), ponekad hladan, harmoničan, okrenut sticanju novca i njegovom čuvanju, često tvrdoglav. Kada se uzdigne na ascendentu on daje da osoba ima niže telo, jako i čvrsto, sitne oči, puno lice, široke nozdrve i usta, široka ramena, tanje i kraće ruke.

Blizanci – mituna

Blizanci su intelektualni (vladar je Merkur), veoma fleksibilni, imaju sklonost ka pisanju (prirodna treća kuća), aktivan um, racionalan um, tečan govor, neodlučnost, veoma su zanimljivi, vole mesta zabave, promenljivi, imaju manjak samopouzdanja, nervozni, previše brige što su negativne osobine. Kada se nađu na ascendentu mogu dati osobi visoko, uspravno telo, tamniji ten, nervozu, tamnu kosu i brze oči, tanke i duge ruke, rupicu na bradi, mladolikost.

Rak – kark

Rak je pre svega emotivan, osećajan (vladar je Mesec), poseduje ljubav ka domu i kući, veoma brižan i nežan kao majka. Budući da je to znak kojim vlada Mesec i koji je pun vode (odgovorna za prenos emocija) on je mnogo bolji kada je na ascendentu u ženskom horoskopu. Takve osobe Vas nikada neće ostaviti gladnima, poseduju prirodne kvalitete majčinstva. Poseduju fantastičnu moć imaginacije. Ako se nađe na ascendentu podariće osobi okruglo lice, svetao ten, mali ili ravan nos i male oči.

Lav – simha

Znak lava donosi čast, veličinu, velikodušnost kao Sunce koje uvek i redovno izlazi i hrani celu planetu, ponos, samopouzdanje (kralj u planetarnom kabinetu), ambiciju, liderstvo, dobre menadžerske sposobnosti, zaštitnički stav, veoma veseo i druželjubiv, težnja ka luksuzu, opasnost pak leži u preterivanju. Kada se uzdigne na ascendentu on daje jako četvrtasto telo, uspravno držanje, jaka široka ramena,  svetlo, braonkasto ovalno lice, dostojanstveno i kraljevstko držanje.

Devica – kanja

Tiha, pomalo rezervisana, prijemčiva, ponekad teška da se razume, ove osobe imaju veoma dobre mentalne sposobnosti, dobri su analitičari, često kritikuju. Studioznost i praktičnost su zagarantovani. Device su metodične, često toliko analiziraju situacije i stvari da „od drveta ne vide šumu“, poslušni su i dobri pratioci, često veoma argumentativni (prirodna šesta kuća u horoskopu). Na ascendentu će dati sredjnu telesnu strukturu, jake butine, taman ten i rumenilo, dug nos.

Vaga – tula

Ljubazna, nežna, prijatna, društvena (Venera je vladar), aktivna (prirodna sedma kuća kada smo sa drugima, daleko od sebe), svesna lepih stvari, lepote. Ćudljiva i promenljiva, neodlučna (vazdušni znak), raspoloženje u mnogome diktira odnos prema stvarima. Brak, društvo i partnerski odnosi su na neki način kamen temeljac za uspeh u životu. Kada se uzdigne na ascendentu daje osobi dražesno, lepo telo, može biti više, okruglo dopadljivo lice, ravnu, meku kosu, svetlo crvenkasti ten, velike izražene oči.

Škorpija – vrišćika

Snažna, jake volje, hrabra (Mars je vladar), koga voli voli koga ne voli nevoli, dobar borac, često guta stvari u sebe (Ketu je suvladar), jako dobra intuicija, jako strastvena, podnošenje i strpljenje, dostojanstvo, izdržljivost. Negativna strana je kriticizam i bes. Često tajanstveni, mistični, sa prirodnom težnjom ka okultnom. Na ascendentu daje osobi telo srednje veličine, snažno i robusno, široko lice, tamnu i kovdžavu kosu, taman ten, tamne i male oči, osobeni korak.

Strelac – dhanu

Otvoren, iskren, širokih shvatanja, okrenut istini i ispravnosti u životu (Jupiter je vladar), velikodušan, dostojanstven i ljubazan, samovoljan i nezavisan, veselog duha, sklonost ka vežbanju i sportu, povremeno vatreni povremeno smireni i u balansu, dobrog ponašanja, radoznao um, urođena religioznost i želja za učenjem i samorazvojem. Daje dobro građeno telo, široka ramena, ovalno lice sa viskoim čelom, bistre oči, izražen nos, svetlu put.

Jarac – makara

Uporan, sposobnost da se mnogo i teško radi (deseta kuća u prirodnom zodijaku), odgovoran, strpljiv, taktičan, ponekad melanholičan, manjka mu veselosti i radosti (Saturn je vladar), on ne veruje u proviđenja već za sve traži naučno pojašnjenje. On je veoma praktičan, jake volje i ambicije, generalno je poštovan zbog rada, jak je i loš je neprijatelj. Kada se nađe na ascendentu on daje osobi ili visoko ili nisko telo, usko lice, vitko mršavo telo, dugu isturenu bradu, uzak vrat, tamnu kosu, slaba kolena (Sunce vlada kostima, a Saturn je najudaljeniji od njega i ima najmanje svetla. Oni su veliki neprijatelji i Saturn će težiti da ošteti kosti. Kolena jer je u pitanju deseta kuća koja predstavlja taj deo tela).

Vodolija – kumbha

Jake volje, sa snažnim mišljenjem, dobrim mentalnim sposobnostima, naučnički tip osobe, sklonost proučavanja drugih ljudi, njihovog načina razmišljanaj i funkcionisanja, tihi ali radosni, imaju dobro pamćenje, dobri su prijatelji, imaju naklonost ka okultnom, misterioznom  i istraživanju. Ovaj znak daje osobi srednju visinu, čvrsto telo koje nije zauvek snažno, lep, čist ten i bademaste oči.

Ribe – mina

Saosećajne i prijateljske, ribe su vek darežljive, uvek spremne na žrtvovanje zarad drugih. Društvene i često kao da ne hodaju po ovoj planeti, ponekad teško da se uklope u sve norme postojanja. Prirodno poseduje veliku sklonost ka umetnosti i zamišljanju što im uveliko može pomoći pri pisanju. Često poseduju stav „lako ćemo“, dobronamerne prema svima, dobre prirode. Ribe su ponosne i ceremonijalne, veoma osećajne i nežne. Na ascendentu će dati nisku osobu do srednje visine, okruglasta ramena, veliko lice sa vodenim, pospanim očima. Svetlu, bledu ka pepeljastoj puti.

Za potpuni procenu karaktera, osobina i izgleda osobe nije dovoljno znati samo znak koji se uzdigao na ascendentu u vreme nečijeg rođenja. Đotiš sledi i sistem podelnih karata (Vargi). Kaže se da ne možemo napraviti niti jedan korak u analizi ako ne poznajemo sistem podelnih karata. Konkretno na ovom stepenu učenja možemo posmatrati osobine znakova i polako ih usvajatai, a kasnije kada se dotaknemo podelnih karata ove informacije možemo lako upotrebiti da vidimo kakvo je fizičko telo osobe. Za sada je moj savet da usvajate informacije i razmišljate o nekim drugim osobinama koje bi bile moguće, a ima ih veoma mnogo. Po negde u tekstu je data smernica na koji način dolazimo do njih. Probajte da sami izvučete još neke zaključke. Svaka pozicija planeta u natalnoj karti će težiti da modifikuje ove osobine budući da su planete kao ljudi, dok znakovi predstavljaju kvantitet i okolnosti u kojima se nalazimo.

Brihat Parašara Hora Šastra, poglavlje 3.1

Ovo je jedan stih ili šloka iz monumentalnog dela Mudraca Parašare. Ovo je vodeće delo iz oblasti đotiša i jedan od prvih klasika koji svaki aspirant treba da pročita.

Postoje mnoge razlike između planeta (graha) i sazvežđa (nakšatri). Sa astronomskog aspekta, sazvežđa su mnogo udaljenija, dok planete pripadaju Sunčevom sistemu, planete se kreću dok su sazvežđa fiksna (iako se i ona kreću ali mi ih posmatramo kao fiksne). Sazvežđa generalno svetlucaju, planete ne svetlucaju.

Zodijak

Zemlja i ostale planete rotiraju oko Sunca određenom putanjom koja se na ziva Ekliptika. Sa obe strane Ekliptike postoji zamišljeni pojas širine 9 stepeni u okviru kojeg rotiraju sve planete.   Ovaj pojas od 18 stepeni se naziva Zodijak.

Zodijak ima 360 stepeni. Kada ga podelimo sa dvanaest sunčevih znakova dobijamo da je njihova vrednost jednaka 30 stepeni. Ako ga podelimo sa 27 sazvežđa ili nakšatri dobijamo da je njihova vrednost jednaka 13 stepeni i 20 minuta. Znacima upravlja Sunce, dok sazvežđima upravlja Mesec. U đotišu se zodijak naziva Bha Čakra.

Ascendent

Ovo je najbitniji faktor u horoskopu koji predstavlja tačku u Zodijaku koja se uzdiže na istočnom horizontu u vreme rođenja osobe. Tokom 24h prođe svih dvanaest znakova.  Budući da je Zemlja jajolikog oblika trajanje znakova je različite dužine. Ulazak Sunca u znakove predstavlja početak novog meseca, kojih ima dvanaest. U suštini realna slika je ta da se sve planete kreću oko Sunca, i ako posmatramo sa severne nebeske hemisfere sve planete se kreću oko Sunca u obrnutom smeru od smera kazaljke na satu. Njihova projekcija gledano sa Zemlje izgleda kao da se Sunce kreće po Zodijaku, ulazeći konstanto u naredni stepen nekog znaka.

Nava graha – devet planeta

Đotiš koristi sanskritske nazive kako za planete tako i za ostale termine. Planeta se naziva graha, znak raši, a sazvežđe nakšatra.

Termin graha je nastao od reči grahana što znači ščepati, staviti pod svoj uticaj. Tradicionalni spisi nam daju objašnjenej da se Bog inkarnirao u obliku devet planeta kako bi ljudima isporučio efekte njihove dobre i loše karme (sudbine). Posmatra se sedam planeta od Sunca do Saturna i dve senovovite planete (Rahu i Ketu). Svi oni imaju status graha.

PLANETARNI KABINET

Planetarni kabinet je veoma dobar i jednostavan prikaz planeta, njihovih vladavina i uloga.

Sedam planeta od Sunca do Saturna vladaju sa dvanaest znakova, pri čemu znakovi škorpije i vodolije imaju dvojnu vladavinu.

Sunce

Sunce je kralj u planetarnom kabinetu. Predstavlja karijeru, status, menadžment i dobru organizaciju, top političare. Takođe sve državne institucije, vlada, upravljanje su predstavljeni njime. Na sociološkom planu Sunce je otac, svi nadređeni kao što su šefovi. On je muški princip,  vladar svih dana u nedelji kao i svih znakova.  U đotišu se Sunce smatra vrhovnom dušom i u našim životima on predstavlja naše sopstvo i ego.  Sa drugog aspekta on je svetlo, znanje.  Ono daje ritam prirodi, smenu dana i noći, a takođe daje osobi osećaj za muziku i ritam.

Mesec

Mesec je u planetarnom kabinetu kraljica. Ona je veoma bitna u svakom kraljevstvu, jer je ona ta koja stoji rame uz rame sa kraljem. Ona ne emituje svoje sopstveno svetlo, ali  reflektuje svetlo Sunca. Ona predstavlja popularnost i podršku masa, javnosti. Dok Sunce predstavlja upravljačke elemente, ona predstavlja birkratiju u društvu.  Mesec je potpuni ženski princip majčinstva i emocija. Ona je vladar sazvežđa i lunarnih dana. Ona predstavlja um ili manas osobe koji reflektuje svetlost

Sunca (naše duše). Na sociološkom planu ona je majka kao i sve majčinske figure u našim životima. Ona predstavlja  brigu, negu, lečenje. Daje osećaj i ljubav ka poeziji.

Merkur

Merkur je sin  Meseca i shodno tome on je princ u kraljevstvu. Budući da je princ, on je dete koje se igra i uči. Njegova vladavina je odmah sa strana vladavine Sunca (lav) i Meseca (rak). On vlada znakom blizanaca i device. Kao i svako dete on je veseo, razdragan i uči primerom. Iz ovoga izvodimo osobine kao što su komunikacija, telefoniju, internet…Na sociološkom planu Merkur predstavlja prijatelje, poznanike i rođake. On predstavlja naš intelekt, učenje i razvoj.

Venera

Venera je u planetarnom kabinetu jedan od dva ministra. Ona je vešta u spoljašnjim stvarima, odlično poznaje sistem vrednosti i savetuje kraljicu. Ona je diplomata i predstavlja sve vrste pregovora sa ciljem uspostavljanja balansa i mira, kao i sve ministre. Pored Meseca, ona je takođe ženski princip, ali dok je Mesec majka, Venera je žena, zavodnica koja tek ulaskom u brak i rođenjem dece dobija principe Meseca, majke. Ona predstavlja u muškom horoskopu partnerku, ženu. Pored ovoga, Venera je jedan od Gurua ili učitelja budući da poseduje znanje o besmrtnosti, a po tradiciji ona je učitelj demona. Ona je ta koja uzdiže pale duše i uči ih pravom putu.

Mars

Mars je u planetarnom kabinetu vrhovni vojskovođa. Njegova glavna uloga jeste da zaštiti kralja. Mars nikada ne napada iz želje za ratovanjem već iz potrebe da odbrani kralja, Sopstvo, nas same. Dok Sunce i Mesec vladaju sa po jednim znakom, Mars i ostale planete vladaju sa po dva znaka. On vlada ovnom i škorpijom. On je kraljeva desna ruka i uvek je tu da obavi posao za njega. On predstavlja inicijativu, pokretljivost, akciju i energiju. Na sociološkom planu Mars perdstavlja mlađu braću i sestre.

Jupiter

Jupiter je takođe ministar u kraljevstvu. On savetuje kralja i odgovoran je da njegove akcije budu uvek ispravne i mudre. Na sociološkom planu on predstavlja decu, sudije, učitelje, mudrace i sve one koji nam daju znanje, kao i  sve savetodavce. On se stara za prenošenje znanja, predstavlja mudrost i ispravnost. Smatra se najboljom planetom jer on donosi efekte dobre sudbine u život osobe, dobre zasluge. On je tu da uspostavi prave vrednosi i istinu.

Saturn

Saturn u kraljevstvu predstavlja poslugu. On je planeta koja je najudaljenija od kralja, Sunca. Shodno tome ima najmanje svetla, najudaljeniji je od sopstva. Saturn je tu jer mora biti tu, kao što sluge rade jer to moraju da rade, tako i Saturn u život donosi teške poslove, lošu sudbinu, bolesti i prepreke. Njegove lekcije su uvek teške i bolne, pune tuge. Sluge se brinu da kraljevstvo bude čisto i uredno i na isti način Saturn donoseći loše efekte sudbine u život teži da nas kroz njih pročisti i dovede našu dušu na put ka svetlu i prosvetljenju. Na ociološkom planu predstavlja radnike, obične ljude, stare i bolesne.

Rahu i Ketu

Po mitološkoj priči Rahu i Ketu su bili telo jednog demona. Prilikom bućkanja okeana na kojem su učestvovali bogovi i polubogovi prikrao se demon koji je iskoristio svoje sposobnosti i lukavstvo sa ciljem da ukrade nešto nektara besmrtnosti koji bi mu omogućio večni život. Niko od prisutnih nije primetio uljeza osim svetlećih tela Sunca i Meseca koji su ovo prijavili Višnuu. Višnu je istog momenta došao, bacio svoj disk i njime presekao demona na dva dela. Međutim, u tom trenutku je demon popio malo nektara. Disk je prepolovio demona na dva dela. Prvi deo koji ima samo glavu je Rahu, dok je drugi deo koji ima telo Ketu. Ovaj nektar je podario Rahuu ogromnu inteligenciju. Budući bez tela, Rahu konstanto teži da ga dostigne i stoga predtavlja konstanto rađanje i nemir, kretanje ka materijalnom aspektu života i ostvarenju bezbroj ideja. Sa druge strane, Ketu koji ima samo telo, nema oči i nema ni želja. On ne vidi te stalno ponire u sebe i to je razlog zašto predstavlja molitvu, meditaciju, duhovnjake i oslobođenje.

Rahu je severni mesečev čvor dok je Ketu južni. Budući da oni nemaju materijalnu egzistenciju i telo, nemaju ni zasebno mesto u planetarnom kabinetu. Rahu je suvladar znaka vodolije, dok je Ketu suvladar znaka škorpije, oni predstavlja planetarnu vojsku. Rahu je tajna služba koja osvaja nova područja, izlazi van granica, špijunira, a Ketu je vojska koja brani nacionalnu teritoriju.

Rahu je potpuno suprotan Jupiteru i konstanto teži da ga sruši, uprlja. Svu ispravnost, religioznost i istinu koju Jupiter podučava, Rahu teži da sruši. On se uvek oponira pravim vrednostima i učiteljima. On ima status planete i kao i Ketu ima karmičku ulogu u našim životima. On uvek daje ogroman šok, izneverenost i ekstreme.

Ketu je suprotan Rahuu, i iako je karmička, on je jedina planeta koja daje duhovno oslobođenje ili mokšu. Nijedna druga planeta nije u mogućnosti da nam to podari. On predstavlja duhovnjake i monahe, ljude koji su se odrekli bukvalno svega i posvetili se potpunoj potrazi za Bogom, ali i ljude koji su po nekom osnovu izopšteni iz društva. Budući da su u davna vremena to nekada bili stranci, oba čvora predstavljaju strane civilizacije i kulture.

Vede su najstariji pisani spisi na Zemlji. Tvrdi se da su one u pisanom obliku stare gotovo pet hiljada godina i da su zapisane sa dolaskom Kali juge (doba neznanja). Pre  zapisivanja Vede su se prenosile sa kolena na koleno, sa učitelja na učenika usmenim putem. Nisu se zapisivale jer ljudi nisu gubili pamćenje. Dolaskom Kali juge Mahariši Veda Vjasa ih je podelio i zapisao. Današnje četiri Vede koje poznajemo su Rig Veda, Jađur Veda, Atharva Veda i Sama Veda. Svaka od njih se bavi određenim pojedinostima. Ovo su četiri glavne Vede koje se pobliže objašnjavaju Vedangama kojih ima ukupno šest uključujući i đotiš, odnosno vedsku astrologiju koja je poznata među širom publikom i kao indijska astrologija.  Đotiš predstavlja oči Veda i u svom najvišem nivou omogućava da vidimo Istinu.

Sama reč potiče od dve reči: đoti – što znači svetlo i Iša – što znači Bog. Dakle, đotiš je znanje koje nam daje svetlost, odnosno znanje o Bogu. Svrha đotiša je da nam pomogne da premostimo svakodnevne brige i probleme, nemaštinu i bolesti, ali i da zadržimo talase sreće, ispunjenosti i prosvetljenja koji  su prisutni u našim životima.

Razlika između indijske i zapadne astrologije

Vedska astrologija uzima u obzir astronomsku činjenicu precesije solarnog sistema oko tačke koja se zove “Nabhi” ili pupak gde sistem precesira “kao da ide unazad” brzinom od oko 50’23″  sekunde na godišnjem nivou. Ovo znači da se svake godine umanjuje vrednost za gore spomenuti vremenski period. Neki takođe zaokružuju ovu vrednost na 50″  ili 54″ na godišnjem nivou, a sve u zavisnosti da li se uzima period od 26 ili 24 hiljade godina koje su potrebne da se precesijom zatvori krug od 360 stepeni. Posle ovoliko hiljada godina sa ovom vrednošću precesije će se doći opet na početnu tačku. Precesija je u stvari matematička korekcija vremena i danas je najtačnija tzv. Lahirijeva ajanamšaPored ovoga bitno je znati da Đotiš sledi sistem jednakih kuća, što znači da je jedna kuća jednaka jednom znaku, odnosno vrednosti od 30 stepeni. Šta to znači? Ako je neka planeta u npr. petoj kući, ona mora biti i u okviru znaka koji se nalazi u petoj kući. Dakle, ako je u petoj kući znak device, ona ne može biti u petoj kući, a u nekom drugom znaku osim device.

Kao i zapadna astrologija, đotiš uzima u obzir dvanaest znakova (od ovna do riba), dvanaest kuća koja pokrivaju sva životna područja i devet planeta. Od ovih devet planeta posmatra sedam planete Sunčevog sistema (od Sunca do Saturna) kao i Severni i Južni Mesečev čvor. Dakle, ne posmatra planete koje su van Saturnove putanje (Pluton, Neptun i Uran).

Sistemi crtanja horoskopa

Postoje tri sistema crtanja horoskopa. Sva tri su rasprostanjena u različitim delovima Indije. U zavisnosti od snage pojedinih planeta (Sunca, Jupitera ili Venere) u individualnom horoskopu, osoba se odluči za korišćenje jednog od načina. Međutim, svako bi trebao biti verziran u sva tri načina u cilju lakšeg praćenja konferencija i sl.

Prvi sistem je Surja čakra. Surja je naziv za Sunce, a čakra znači krug. U našoj tradiciji koja potiče iz Istočne Indije (Puri, Orisa) ovo je primarna čakra budući da je na ovim područjima najzastupljenija.  Takođe, Surja predstavlja vatru, svetlo i odgovoran je za znanje o đotišu.

Primer:

Kod Surja čakre znaci su uvek fiksni i nisu upisani u crtež. Ono što se menja je ascendent koji je upisan sa Asc ili sa dve kose crte. Ovde u primeru brojevi su ubeleženi samo da bi prikazali redosled rašija (znakova),ali se ni oni inače ne upisuju.  Vidimo da je ascendent u znaku br. 4 – što je znak raka. To je ujedno i prva kuća, a ostale idu redosledom kako je prikazano brojevima na crtežu. Dakle druga kuća će biti znak lava, treća znak device itd.Drugi način crtanja je Guru čakra. Guru je naziv za planetu Jupiter. U slučaju da je u Vašem horoskopu Jupiter veoma jak, verovatno ćete preferirati korišćenje ovog načina. Ova čakra je najzastupljenija u Južnoj Indiji.

Primer:

Ono što je osobeno ovom načinu crtanje jeste da su znaci uvek fiksni, a kuće se menjaju promenom ascendenta. Tako u gornjem primeru vidimo da je ascendent u ribama – raspored znakova je uvek isti kao što je to nacrtano, s tim da oni nisu upisani u čart kao ovde na crtežu; ono što je obeleženo jeste ascendent i to sa Asc ili sa dve kose crte. Brojevi predstavljaju redosled znakova od ovna (jedan) pa sve do riba (dvanaest).

Treći način crtanja horoskopa je Šukra čakra. Šukra je naziv za planetu Veneru. U slučaju da kod Vas dominira Venera u horoskopu, verovatno ćete preferirati ovaj način. On se naziva još i dijamant horoskop u skladu sa svojim izgledom i time što među dragim kamenjem Venera predstavlja dijamant. Ovaj sistem je najzastupljeniji na Severu Indije.

Primer:

Kod ovog načina crtanja ascendent je fiksan, a znaci se smenjuju. Dakle, na gore navedenom primeru vidimo da je na ascendentu upisan broj pet. Brojevi označavaju znakove i na osnovu broja koji je upisan na ascendentu  mi znamo koji znak se uzdigao na istoku u vreme rođenja osobe. Dakle prva kuća ili ascendent je uvek fiksan, a ono što se menja jesu znaci.

U današnje vreme postoje veoma pouzdani programi koje koristimo pri radu. Moja preporuka je Jagannath Hora program koji možete besplatno skinuti sa interneta preko site-a www.jatavedas.com. Kada ga pokrenete postoje određena podešavanja koja su neophodna te se možete javiti na listu parashara-sjc preko yahoo.groups.

Treći način crtanja horoskopa je Šukra čakra. Šukra je naziv za planetu Veneru. U slučaju da kod Vas dominira Venera u horoskopu, verovatno ćete preferirati ovaj način. On se naziva još i dijamant horoskop u skladu sa svojim izgledom i time što među dragim kamenjem Venera predstavlja dijamant. Ovaj sistem je najzastupljeniji na Severu Indije.Ono što je osobeno ovom načinu crtanje jeste da su znaci uvek fiksni, a kuće se menjaju promenom ascendenta. Tako u gornjem primeru vidimo da je ascendent u ribama – raspored znakova je uvek isti kao što je to nacrtano, s tim da oni nisu upisani u čart kao ovde na crtežu; ono što je obeleženo jeste ascendent i to sa Asc ili sa dve kose crte. Brojevi predstavljaju redosled znakova od ovna (jedan) pa sve do riba (dvanaest).

Astrologie – Die Philosophie

Eine Reise von tausend Meilen muß mit einem einzigen Schritt begonnen werden. – Lao-tzu 1.1 Die Schöpfung Die Schöpfung des Universums ist ein populäres Thema in den Philosophien, so auch in der Vedischen Astrologie. Parasara.Der gesamte Körper Narayanas wird in vier Teile unterteilt, nämlich (1) Param-Brahma, (2)Maha-Vishnu, (3) Sada-Shiva und (4) Vasudeva. Diese Teile können nicht wirklich vom ganzen getrennt werden, da sie von reinem Nektar durchdrungen sind und die Namen hier nur dem besseren Verständnis helfen sollen. So wird Narayana mit SriDiese drei Teile sind voller Nektar und nicht wahrnehmbar. Der vierte Teil Narayanas ist Vasudeva. Dieses Viertel wird weiter in zwei Teile geteilt – ein Teil der wahrnehmbar ist (mit drei Shakti, Sri-Shakti, Bhu-Shakti & Nila-Shakti und drei Guna’s vermischend) und der andere Teil, der nicht wahrnehmbar ist (mit zwei Shakti’s: Sri-Shakti &Bhu-Shakti).

1.2 Die Erweiterung Vasudeva’s Der wahrnehmbare Teil Vasudevas ist Karanodakasayi-Vishnu oder der vorrangige Erschaffer und die erste Absicht der Schöpfung kann man an der Evolution der sechzehn Prinzipien der materiellen HandlungDie dreifache Unterteilung wird auf der nächsten Ebene durch die Erweiterung seines wahrnehmbaren Teils Vasudevas mit dem Motiv fortgeführt, in jedes Universum einzugehen. Vasudeva nimmt die Form Garbhodakasayi Vishnus an, indem er in der Hälfte des Universums liegt, die mit dem Wasser Seines Schweißes von den Schmerzen der vielen Geburten gefüllt ist. Vasudeva (Garbhodakasayi Vishnu) mit Neela Shakti (Tamas) entwickelt sich zu Shankarshana; mit Bhu Shakti erweitert Er sich in Pradyumna (Rajas) und mit Sri Shakti entwickelt Er sich zu Aniruddha (Satwa Guna) Figur 1: Narayana & Creation - Teile, die Amrita (reinen Nektar) besitzen und die nicht wahrnehmbar sind (7/8 Teil Narayanas - 1/8 Teil, der wahrnehmbar ist und am Prozeß der Schöpfung teilhat Die Erweiterungen des Sankarshana (Neela Shakti – Tamas) entwickelt sich weiter in das Maha Tatwa (die ursprünglichen fünf Abschnitte der körperlichen Existenz) während jene des Pradyumna (Bhu Shakti – Rajas) sich in das Ahamkara (individuelle Ego) und Aniruddha (Sri Shakti – Satwa) entwickelt sich in den Demiurge Brahma (Ahamkara murti). Dies wird als Lotosstengel wahrgenommen (wie eine Nabelschnur) die aus dem Nabel des Garbhodakasayi Vishnu (als Anirudhha) herauswächst. Dieser Stengel gipfelt in einem tausendblättrigen Lotos (wie dem  Sahasrara Chakra – tausendblättriger Chakra im Schädel) auf dem Brahma residiert. Dieser Stengel wird den drei Lokas (Ebenen der Existenz) oder den vierzehn Lokas, abhängig vom Kontext, gleichgesetzt. Solche brillianten Bilder helfen, die vielen Mißkonzepte zu klären. Zum Beispiel gibt es da die niemals endende Debatte über die korrekte Zeit der Geburt – ob es (a) die Garbha pravesha oder das Herauskommen aus dem Uterus ist, (b) Nadi sodhana – das Schneiden des Umbilicus oder (c) Prathama rodana – das erste Schreien? Wenn wir dieses Bild von Brahma auf der Nabelschnur Garbhodakasayi Vishnus als symbolische Geburt akzeptieren, dann ist es die Zeit des Schneidens der Nabelschnur, die als korrekter Geburtsmoment gilt. Figur 2: Karanodakasayi-Vishnu Ahamkara, der aus der vorherrschenden Rajas geboren wird, entwickelt sich in drei Teile, die den Gunas zugrundeliegen. Eine eher satwische Erweiterung (geboren aus Satwa oder Tugend) ist jene in Deva, die rajasische Erweiterung (geboren aus Rajas oder Leidenschaft) ist die der Indriya’s {fünf Gyanendriya oder Sinne, die sich auf Wissen (1) Geruch, (2) Geschmack, (3) Sehen (4) Hören und (5) Berühren oder Fühlen beziehen und fünf Karmendriya oder fünf grundlegende Handlungen (1) Sprechen, (2) Fassen, (3) Gehen, (4) Sich entleeren/reinigen und (5) Vermeeren}; und die tamasische Erweiterung (geboren aus Tamas oder Unwissenheit) ist jene in Pancha Bhoota (fünf Zustände der körperlichen Existenz) namens (1) Agni – Feuer/energetisch (2) Prithvi – Erde/solid (3) Jala – Wasser/flüssig (4) Vayu – Wind/gasförmig und (5) Akash – Äther/Vacuum. Das Dhi (die Höchste Intelligenz Vasudevas) geht in den Prozess der Schöpfung durch das Ahamkara ein und neben der Schöpfung des Tanmatra {der fünf subtilen Elemente – (1) Energie – Agni (2) Solid – Prithvi (3) Flüssigkeit – Jala (4) Gas – Vayu und (5) Akash – Vacuum im körperlichen Sinne, aber als ätherische Substanz im metaphysischen Sinne} und die Indriyas wie genannt, erschafft auch den Mana (den Geist oder das Bewußtsein). All diese Schöpfungen sind ‘aktiv’, da sie mit ihrer individuellen Shakti erscheinen. Tatsächlich wurde das Ahamkara selbst vom Rajas Pradyumnas erschaffen und deshalb werden ihre Schöpfungen auch solche Wesensarten hervorrufen, wie das Beisammensein zum Erschaffen aktiver Elemente und Körper, die vornehmlich rajasisch sind. Auf diese Weise werden alle Kreaturen und Lebewesen vom Ahamkara erschaffen. Figur 3: Garbhodakasayi Vishnu Im Vishnu Purana werden diese Behauptungen bestätigt und es wird noch zugefügt, daß der ‘Paramatma’ der ‘Purusha’ ist und das Er ‘Kaala’ oder die Zeit ist (der Kontrollierende der sechzehn Gesetze der materiellen Handlungen). So entwickelte sich das Konzept des Kaala Purusha (der Personifizierung der Zeit als ein Aspekt Gottes) und der Bha-Chakra (des Zodiaks) als die himmlische Uhr, die nicht nur den Kaala Purusha repräsentiert, sondern auch die Qualität der Zeit andeutet. Kshirodakasayi Vishnu oder der Paramatma erweitert sich von Vasudeva/Garbhodakasayi Vishnu in den Körper Brahmas (durch die satwische Inkarnation Aniruddha) und danach geht er in die Körper aller Lebewesen ein, um in ihrem Herzen (LotusIn der Sankhya Shastra gibt es eine ähnliche Behauptung (wie es von Sri Krishna in der Srimad Bhagavat Gita und Kapila Muni, einer Inkarnation Visnus im Srimad Bhagavatam gelehrt wird), was die Erweiterung Garbhodakasayi Vishnus anbelangt. Diese Lehre ist grundlegend verschieden von dem fundamentalen Atheismus der Sankhya Shastra, die in der Sankhya Karika des Isvarakrishna gegeben wird, die von Kapila stammt. Kapila Muni, der legendäre Gründer dieses Systems der PhilosophieDie Erweiterung Vasudevas basiert auf den fünfundzwanzig Prinzipien (Tatwa). Das erste Prinzip ist [1] der Purusha oder Vasudeva, der grundlegende Erschaffer, der über die [2]Prakriti (Shakti – personifiziert als Mutter Natur) blickt, während er auf dem Karana Sagar (dem Ozean der Ursachen) liegt. Der Purusha hat drei FormenAuf der ersten Ebene produziert das Ausatmen von Karanodakasayi Vishnu unzählige Universen, die als Same beginnen und sich erweitern, während sie über dem Ozean der Ursachen treiben. Auf der zweiten Ebene geht Garbhodakasayi Vishnu in jedes dieser Universen ein und beeinflußt Prakriti in ihren drei bestandteiligen Eigenschaften, genannt Gunas, um neben anderem [3]Intelligenz (Dhi oder buddhi genannt Maha ‘der Große’) zu erzeugen. Von der Intelligenz entsteht [4]Ahamkara (Selbstbewußtsein).Ahamkara beeinflußt Neela Shakti in der Erscheinungsweise der Tamas um den Tanmatra zu erzeugen (die fünf Formen der materiellen Existenz in der Teilchenform). Der Tanmatra oder die Teilchenformen der körperlichen Existenz sind [5] Akash - Vacuum oder Äther, je nach dem Kontext [6] Vayu – Gas, [7] Jala – Flüssigkeit, [8] Prithvi – Festigkeit und [9] Agni – Energie. Die fünf Formen der groben physischen Materie genannt Maha Bhoota wurden durch diese molekularen Formen erschaffen. Sie sind auch als molekulare Formen benannt (wie sie nicht von ihren bestandteiligen Molekülen verschieden sind): [10] Akash - Vacuum oder Äther, [11] Vayu – Gas, [12] Jala – Flüssigkeit, [13] Prithvi – Festigkeit und [14] Agni – Energie. Ahamkara beeinflußt Bhu Shakti in der Erscheinungsweise der Rajas, um die fünf Sinnesorgane, genannt Gyanendriyas, zu erzeugen – [15] Hören, [16] Berühren, [17] Sehen, [18] Geschmack und, [19] Geruch und die fünf Organe der Tätigkeit, genannt Karmendriya – [20] Sprechen, [21] Fassen, [22] Gehen, [23] Vermeerung und, [24] Entleerung. Jeder dieser Organe und Sinne entspricht einem jeweiligen Tanmatra /Maha Bhoota. Das endgültige Produkt des Ahamkara ist der Mana (Geist), der die verschiedenen Gyanendriyas und Karmendriyas beeinflußt und von dem Tanmatra und Maha Bhoota beeinflußt wird, d.h. der Geist ist die Verbindung zwischen den Sinnen und Organen, die sich in ständiger Wechselwirkung mit den molekularen und groben materiellen Formen befinden.

1.3 Shakti Shakti wird als das grundlegende Feld der Evolution angesehen und in diesem Sinne ist sie als weibliche Persönlichkeit aufgebaut, jedoch als Stärke oder Energietyp angesehen. Narayana, der Höchste Herr hat zwei Arten von Energien. Dies sind die höhere spirituelle Energie und die niedere materielle Energie, die sich manifestiert. Die spirituelle Energie wird weiter als innere und marginale Energie klassifiziert. Sie werden Antaranga Shakti (innere spirituelle Energie) Tathastha Shakti (marginale spirituelle Energie) und Bahiranga Shakti (externe materielle Energie) genannt. So wie das Licht seine Intensität verliert, wenn es weiter von der Lampe (Lichtquelle, Birne) weggeht, so wird auch die Antaranga Shakti als konzentrierte Ausstrahlung angesehen, die im Herrn weilt und Para Shakti genannt wird, da sie nur auf der Para-Ebene existiert. Tathastha Shakti ist wie das Licht außerhalb der Lampe (Glassform der Birne) und ist auch spirituell im Sinne, daß sie nicht dazu dient, andere Objekte sichtbar zu machen. Das Licht was außerhalb der Birne existiert, hilft uns, Objekte zu sehen, die von ihrer Oberfläche reflektieren und auf gleiche Weise ist die Bahiranga Shakti die ursprüngliche Ausstrahlung, das Feld oder die Kraft, die in dem Vorgang der Schöpfung teilhat. Die Antaranga Shakti (innere spirituelle Energie) hat drei Merkmale. Eine ist die Hladini Shakti und ist wie die Neela Shakti oder die Freudenkraft und dieses innere Viertel des Höchsten Herrn entspricht Sadashiva. Das andere Merkmal wird Sandhini Shakti genannt, welches wie Sri Shakti oder die existentielle Kraft ist und dieses Viertel des Höchsten Herrn ist Maha Vishnu. Das dritte Merkmal der spirituellen Energie wird Samvit Shakti genannt und ist wie Bhu Shakti oder erkennende Kraft und sein Viertel des Höchsten Herrn ist Param Brahma. Siehe Figure-1 wo dies schematisch als drei komplette Viertel in dem nicht wahrnehmbaren Teil dargestellt ist. Im Padma Purana werden sie Tri-Pada – Vibhuti (drei Viertel) genannt und es werden ausführliche Details angeführt. Es wird hinzugefügt, das sich die materielle Manifestation im Eka-Pada-Vibhuti (ein Viertel) befindet. Die Tathastha Shakti befindet sich im viertel Viertel als Rand oder Treffpunk zwischen der inneren Antaranga Shakti und der externen Bahiranga Shakti. Wie oben erwähnt ist dies auch spirituelle Energie und Parasara sagt, daß sie zwei Merkmale hat – Sri Shakti und Bhu Shakti. Narayana ist in Seiner Wechselwirkung mit der Tathastha Shakti als Vasudeva bekannt und wird als eine Hälfte des vierten Viertels in dem schematischen Diagramm (Figur – 1) repräsentiert. Dieser Teil ist auch nicht wahrnehmbar. Vasudeva in Seinen vielzähligen Erweiterungen als Kshirodakasayi Vishnu ist der Paramatma (universale Seele oder makrokosmische Erweiterung). Der Name Kshirodakasayi ‘Vishnu’ beinhaltet den Yoga (die Verbindung) von Vasudeva und Sri Shakti und deutet die Wahrnehmung des Paramatma als reine Satwa Guna an. Dies wird als reines weißes Licht wahrgenommen, wie es mit dem Wort KshirodakasayiDie externe Bahiranga Shakti befindet sich in der anderen Hälfte des vierten Viertels und hat Yoga mit Vasudeva als Sri, Bhu und Neela Shakti für den Vorgang der Schöpfung.Während Sri Jiva Gosvami die zwanzig Shaktis im Bhagavat Sandarbha auflistet, spricht Parasara über vierzig Shaktis in zwei Gruppen von jeweils zwanzig als die Kräfte der spirituellen Energie. Dies wird in einem anderem Buch unter dem Thema Vimsamsa weiter erläutert werden.

1.4 Deva Die meisten Gelehrten mißinterpretieren das Wort ‘Deva’ als ‘Gott’. In Wirklichkeit gibt es 33 Devas mit ungefähr 330 Millionen Formen. Das Wort kommt aus der Wurzel Divu die zehn Bedeutungen1. Krida – sportlich 2. Vijigisha – Eroberung 3. Vyavahar – Beschäftigung/Tätigkeit 4. Dyuti – intellektuelle Inspiration oder Brillianz 5. Stuti – Lobpreisung 6. Moda – Freude 7. Mada – Erheiterung, Trunkenheit 8. Swapna – Traum 9. Kanti – Glanz 10. Gati – Richtung, Bewegung Diese Worte definieren den Zweck eines Deva. Jaimini definiert Deva oder Devata in Bezug zum Devata Karakatranslating deva as God is conceptually incorrect. This view is further confirmed withoutan iota of doubt in the Aitereya Brahmana 25 sowie im Sathapatha BrahmanaSathapatha Brahmana 14.16:Katame te trayastrimshat iti ashtou vasavah; ekadasa Rudra, dwadasa-Adityah ta ekatrimshat; Indraschaiva Prajapatischa trayatrimshaviti. (Wir) sprechen über die dreiunddreißig (Devas) von denen acht Vasus, elf Rudras und zwölf Adityas sich zu einunddreißig vereinen. Indra und Prajapati mit einbezogen bringen die Nummer auf dreiunddreißig.

1.4.1 Asta Vasava (Acht Vasu’s) Sathapatha Brahmana 14.16: Katame Vasava iti. Agnischa prithivi cha vayusch-antarikshamchaadityascha dyouscha chandramascha nakshatrani chaite Vasava aeteshu hidam sarve vasu hitam aete hidam sarve vasayante taddyudidam sarve vasayante tasmad Vasava iti. Im Sathapatha Brahmana wird eine Liste von acht Vasus gegeben: (1) Agni (2) Prithvi (3) Vayu (4) Antariksha (5) Aditya (6) Dyou (7) Chandrama und (8) Nakshetra. Zuerst mag es ein wenig widersprüchlich erscheinen, da Aditya auch getrennt erwähnt wurde, doch hier bezieht sich der Name auf die Sonne, Chandra bezieht sich auf den Mond, Nakshetra sind die Mondhäuser oder Konstellationen und die übrigen fünf repräsentieren die Ebenen der materiellen Existenz. Diese acht formen die ursprüngliche Quelle der Erleuchtung des Selbst. Sie repräsentieren die grundlegenden Variablen, welche jede Schöpfung und dessen ursprüngliche Quelle der Erleuchtung in den zehn Methoden, die oben definiert wurden als Zweck des Deva. Im Vishnu Purana wird dies in der Definition der Vasus deutlicher: Q1) Apa – Jala Tatwa oder Flüssigkeit 11. Dhara – Prithvi Tatwa oder Festigkeit 12. Anila – Vayu Tatwa oder Gas 13. Anala – Agni Tatwa oder Energie 14. Dhruva – der Polarstern, repräsentiert a. Akash Tatwa – der Himmel oder Vacuum und b. die Beständigkeit des Zodiak, d.h. die Relevanz des Ayanamsa 15. Soma – der Mond 16. Pratyusha – die wiederkehrende Dämmerung, repräsentiert a. Die Sonne – die Tag und Nacht hervorruft, d.h. die Quelle des Lichtes hinter der Dämmerung, b. Lagna – Der Aszendent oder Punkt am östlichen Horizont, der das Selbst repräsentiert und der Dämmerung gleichgestellt wird. 17. Prabhasa – prachtvolle Lichter der Sterne, die in 27/28 Nakshetras (Konstellationen) gruppiert werden. Diese Liste ist das erste Prinzip des Jyotish, in der alle Körper, die alle Wesen erschaffen und sie durch verschiedene Aktivitäten führen, definiert werden. Dies beinhaltet (a) die Sonne, (b) den Mond, (c) die Konstellationen genannt Nakshetras und (d) der Pancha Tatwa oder (die Führung/Richtung von) den fünf Ebenen der Existenz aller Materie und Energie. So formen die Himmelskörper (Sonne & Mond), die fünf Planeten Mars, Merkur, Jupiter, Venus & Saturn [welche die fünf Ebenen der Energie beherrschen (Agni), Festigkeit (Prithvi), Äther (Akash), Flüssigkeit (Jala) und Gas (Vayu) entsprechend] und die 27 (oder 28) Mondhäuser, genannt Nakshetra, das erste Prinzip. Die Geburt schließt die Schöpfung mit ein und dies ist das satvische Prinzip der Erhaltung des Geborenen oder erschaffenen Wesens. 1.4.2 Ekadasa Rudra Sathapatha Brahmana 14.16: Katame Rudra iti. Dasheme purushe praanaa atmaikadashah te yadasmat martyaacchreeradtkramanti atha rodanti tad yad rodayanti tasmad Rudra iti.

Die elf Rudras

Diese elf Rudras (einschließlich Maheswara) sind verantwortlich für die Vernichtung von allem, was erschaffen wurde und sie formen das zweite Prinzip im Jyotish. Auf der ersten Ebene findet die Zerstörung des physischen Körpers durch das ‚Weggehen‘ irgendeines der zehn Rudras statt. Danach wird der Atma (die Seele) vom Mana (Geist) durch Maheswara (Shiva) dem elften Rudra getrennt. Die zwei Knotenpunkte des Mondes Rahu & Ketu sind die Zerstörer. Rahu ist verantwortlich für die Zerstörung der Himmelskörper und Zeichen (Dwadasa Aditya). Ketu zerstört die materielle Schöpfung, die durch das Pancha Tatwa (im Jyotish die fünf Planeten Mars, Merkur, Jupiter, Venus und Saturn) und den Nakshetra repräsentiert werden. Der Rudra kann als bindende Kraft in jedem erschaffenen Wesen, sowohl lebend als auch nicht-lebend, angesehen werden. Sie symbolisieren die Stärke Gottes und sind auch die Stärke des erschaffenen Wesens, da ihr Weggehen in einer Schwäche des Körpers resultiert und so zerstört wird. 1.4.3 Dwadasa Aditya Sathapatha Brahmana 14.16: Katame Aditya iti. Dwadasamasah samvatsarasya Aeta Adityah aete hidam sarvamadadaanayanti taddwididam sarvamadadaana yanti tasmaditya iti. Dwadasa bedeutet zwölf und Masa bedeutet Monat – so sind die Dwadasa (zwölf) Adityas die zwölf Monate, die durch die zwölf Zeichen im Zodiak repräsentiert werden. Der Monat wird im Jyotisch auf verschiedene Weise definiert und diese besondere Referenz weist auf die Bewegung während der Periode zwischen zwei aufeinanderfolgende Konjuktionen mit dem Mond hin. Dies ist der synodische Monat und er dauert ungefähr 29,5 Tage und wird meist einfach mit 30 Tagen gerechnet. Da die durchschnittliche geozentrische Bewegung der Sonne während 30 Tagen 30 Grad entspricht, wird so der Saura Masa (solare Monat) definiert, welcher das dritte Prinzip des Jyotish darstellt. Zwölf solcher 30-Grad-Bewegungen resultieren darin, daß die Sonne auf ihre ursprüngliche Position zurückkehrt und dies definiert das Samvatsara oder ‚solare Jahr‘. So ist das dritte Prinzip des Jyotish jenes der Zeit und des Raumes, welches durch die Dwadasa Aditya (zwölf Zeichen des Zodiaks mit der Sonne als ihrem Herrscher) definiert wird. Der solare Monat und das solare Jahr sind die Grundlagen der Vedischen Astrologie und weitere Unterteilungen der Zeit werden von der solaren Bewegung bestimmt. Das Wort Samvatsara bedeutet ‚Jahr‘, im besonderen ‚solares Jahr‘, da es sich auf den Dwadasa Aditya bezieht. Dieses Wissen ist von großer Bedeutung bei der Bestimmung der Perioden des Einflusses von Planeten, genannt ‚dasas‘. Oft bleiben Astrologen in Mißkonzepten stecken, wenn es darum geht, das solare oder lunare Jahr oder sogar andere verschieden definierte Zeitperioden zu benutzen. Dies weist auf ein Mangel an Würdigung dieses Prinzipes der Beziehung von Raum und Zeit hin, wie es durch den Dwadasa Aditya definiert wird. Sie werden Adityas genannt, da sie die Verteiler von Nahrung und allen Materialien sind, die für die Schöpfung und Erhaltung (Dana) sowie die Inspiration, Erheiterung, Trunkenheit, sexuellen Vitalität (Mada) nötig sind. Die Adityas sind die Geber und alles kommt von ihnen. So repräsentieren die zwölf Zeichen alle materiellen Formen der Schöpfung. 1.4.4 Indra & Prajapati Sathapatha Brahmana 14.16: Katama Indrah katamah prjapatiriti. stanayitnurevendro yagyah prajapatiriti. Katama eko deva iti sa Brahma tyadityachakshate. Stanayitnu bedeutet Donner oder Blitze und bezieht sich auf elektrische Impulde, die vom Gehirn benutzt werden, um die Sinne zu kontrollieren. Deshalb ist Indra der Halbgott, der die Sinne und die Arbeit des Gehirns, sowie die Intelligenz der gesamten Schöpfung kontrolliert. Yagyam ist die Verehrung oder die Lobpreisung Prajapatis, des Stammesvaters. Dies ist das vierte Prinzip des Jyotish und wird Lagna oder Aszendent genannt, der den Sitz des Prajapatis, oder Stammesvaters und ‚Würdenträger‘ repräsentier. Indra sitzt auf dem Tron des Zodiak, der durch den Punkt am mittleren Himmel gekennzeichnet ist. Dies ist das Gebiet des zehnten Hauses, gezählt von der Lagna oder vom Zeichen des Aszendenten. Der Zodiak wird an irgendeinem Zeitpunkt durch die Linie des Horizontes in zwei Hälften geteilt. Da die Erde vom Westen zum Osten rotiert, scheinen die Planeten und anderen Sterne von einem festgelegten Punkt einer Beobachtungsstelle auf der Erde in die entgegengesetzte Richtung zu rotieren. Die Sonne geht am Morgen im Osten auf, steigt zum mittleren Himmel (zur Mitte der Himmelskugel) am Mittag und steigt dann am westlichen Horizont wieder ab. Der Lagna ist der Punkt am östlichen Horizont, der gerade in den Himmel steigt und verdeutlicht wird, durch die sichtbare Hälfte des Zodiak und damit dem Sonnenaufgang gleichkommt. Dies wird Aszendent genannt. In ähnlicher Weise ist der Punkt am westlichen Horizont, der hinabsteigt und dabei ist unter den Horizont zu gehen als Deszendent bekannt. Der Zodiak wird in zwei Hälften geteilt, die Drusya (sichtbar) und Adrusya (unsichtbar) genannt werden, indem der Horizont eine Linie im Himmel bildet zwischen der sichtbaren Hälfte und des Teils unter dem Horizont, der unsichtbaren Hälfte. Der Drusya Rasi oder die Zodiak-Zeichen (vollständige oder Teile) in der sichtbaren Hälfte werden Himmel oder loka genannt, während die Adrusya Rasi oder Zodiak-Zeichen (vollständig oder Teile) in der unsichtbaren Hälfte Hölle oder Tala genannt werden. Es gibt zwei Forderungen, die auf (1) materieller oder körperlicher Existenz und (2) auf spiritueller Existenz basieren, um diese Himmel und Hölle zu beschreiben.

DIE DREI MATERIELLEN WELTEN

Das physische Universum kann in drei Teile klassifiziert werden: Bhu loka (Erde), Bhuva loka (Firmament oder Sonnensystem, welches die nava graha beinhaltet) und Swarga loka (Himmel, der die festen Sterne beinhaltet, welche die Residenz der Halbgötter sind). Der geozentrische Zodiak (Bhu loka als Zentrum), der auf Bhuva loka limitiert ist, wird Vishnu chakra genannt (Zodiak, in dem das Wetter und andere Phänomene der Atmosphere erfahren werden). Der geozentrische Zodiak basiert auf festen Sternen im Himmel, die Narayana chakra (Sidereal Zodiac) genannt werden. Diese Bezeichnungen finden besondere Bedeutung im Vishnu Purana. Der tugendhafte Hinud rezitierte das Gebet “Om Bhur-bhuva-svah” jeden Morgen für Segnungen dieser materiellen Schöpfung als Vorwort zum Gayatri mantra.

DIE VIERZEHN SPIRITUELLEN WELTEN

Es gibt also sieben Himmel und sieben Höllen. Die Himmel werden lokai. Sichtbarer Teil der Lagna (Aszendent Zeichen/Haus) welcher aufgegangen ist, d.h. vom Beginn des Zeichens bis zum Längengrad des Aszendenten namens Satya loka, der durch den tausendblättrigen Lotos symbolisiert wird, auf dem Prajapati (eine Form Brahmas) residiert. Dies ist der Sitz des Schöpfers und er wird von seiner ganzen Schöpfung lobgepriesen. Es zeigt Ruhm als eine Folge der Lobpreisung und Gesundheit und Stärke.ii. Sichtbarer Teil des siebten Hauses/Zeichens, welches untergeht, oder in die unsichtbare Hälfte verschwindet, d.h. von dem Längengrad des Deszendenten bis zum Ende des Zeichens namens Bhu loka (die erdische Späre). Es zeigt den Tod und Wiedergeburt, da dies auch der Mrityu loka oder der Ort ist ‚an dem es Tod gibt‘. iii. Das zehnte Haus/Zeichen (mit dem mittleren Himmel als Tron Intras) names Svah oder Swarga loka. iv. Die übrigen Zeichen/Häuser in dem sichtbaren Teil (8., 9., 11. & 12.) sind die Bhuva, Maha Gyanah und Tapah loka. So sind die sieben Himmel Bhu, Bhuva, Svah, Maha, Janah, Tapah & Satya lokadie Deities der Planeten Mars, Sonne, Venus, Merkur, Mond, Saturn und Jupiter beherrschen diese loka. Die sieben Höllen sind die sieben Zeichen im unsichtbaren Teil des Zodiaks namens Atala, Bitala, Sutala, Talatala, Rasatala, Mahatala und Patala. Es gibt sieben Narka (die niedrigsten Höllen der Bestrafung) unter diesen sieben Tala und alle befinden sich am nadir, d.h. an dem Punkt genau gegenüber dem mittleren Himmel im vierten Haus. Der spirituelle Hindu rezitiert den Mantra “Om Bhur- Om Bhuva – Om svah – Om Maha – Om Gyana – Om Tapah – Om Satyam” täglich als Vorspann zum Gayatri Mantra, um die höchsten Himmel anzustreben. Deshalb wird in jedem Chart das siebte Haus für Tod und Wiedergeburt untersucht. Wenn der Tod während der Periode des Planeten im siebten Haus oder seines Herrschers eintritt, dann wird mit Sicherheit eine Wiedergeburt stattfinden. Der Ort der Wiedergeburt kann von dem Planeten /Zeichen im siebten Haus erahnt werden. Wenn sich Mars im siebten Haus befindet, dann wird die Wiedergeburt auf einer Insel wie Sri Lanka stattfinden. Andere Anzeichen können in Standardtexten nachgelesen werden. Aus diesem Grund empfiehlt Parasara auch den Mritunjaya Mantra mit seinen Gebeten für Befreiung (Loslösung von dem Kreislauf von Geburt und Tod) während solcher Perioden von Planeten, die mit dem siebten Haus verbunden sind. Das 12. Haus oder der Teil direkt vor der Lagna ist der Satya Loka, der höchste spirituelle Punkt und darüber befindet sich das spirituelle Reich ohne Wiederkehr. Durch das konstante Wiederholen von Om Tat Sat und durch das Leben eines ehrlichen Lebens, erreicht der Verehrende Satya Loka und die höchsten Himmel darüber, von denen es keine Rückkehr nach Mrityu loka gibt.Abschließend kann man sagen, daß die 33 Devas das grundlegende Paradigma des Jyotish darstellen und das sie auch basierend auf ihrer Beweglichkeit unterteilt werden können. Diese Unterteilungen beziehen ein: c. Die unbeweglichen oder stationären Sterne der Gruppe der 27 (oder 28) Nakshetra, d. Den Raum und die Zeitunterteilungen von der Gruppe der Rasi oder Dwadasa Aditya und e. Die Planeten (1) Sonne & (2) Mond, die Pancha Tatwa Beherrscher (3) Mars, (4) Merkur, (5) Jupiter, (6) Venus & (7) Saturn und jene, die Rudra repräsentieren (8)Rahu & (9)Ketu formen die dritte Gruppe der beweglichen Körper names Graha. Da sie von der Anzahl her neun sind, werden sie Nava Graha genannt. Wir werden die Definition ‚Planeten‘ benutzen, um diese neun beweglichen Körper zu benennen. Die Sonne ist nicht bewegliche innerhalb des Sonnensystems, doch von einem geozentrischen Blickpunkt, d.h. wenn man annimmt, die Erde sei stationär, wird diese Bewegung als Bewegung der Sonne angesehen.

1.5 Pancha Tatwa Die fünf grundlegenden Formen der Existenz aller Materie und Energie, welche die physikalische Manifestation der Tamas ist, werden Pancha Tatwa (wörtl. Fünf Elemente) genannt. Diese fünf Formen der Existenz sind Agni (Energie), Prithvi (Festigkeit), Jala (Flüssigkeit), Vayu (Gas) und Akash (Vacuum). So muß jeder oder jede körperliche Manifestation in diesem Universum aus einer oder mehrerer dieser fünf grundlegenden Formen der körperlichen Existenz bestehen. Dies ist ein gut bekanntes Prinzip der Physik und diese Formen der Existenz sind gegenseitig wandelbar, d.h. Materie und Energie können sich von einer Form zur anderen ändern oder die Tatwa ändern sich die ganze Zeit von einem zum anderen. Benzin ist eigentlich eine flüssige Substanz (Jala Tatwa), dann wird es im Motor eines Autos entzündet und in Energie (Agni Tatwa) umgewandelt, welche das Auto antreibt. Der Mensch nimmt feste Nahrung (Prithvi Tatwa) zu sich, sowie verschiedene Flüssigkeiten (Jala Tatwa), welche dann in verschiedenen Ebenen verdaut und notwendige Elemente in das Blut extrahiert werden, besonders Glukose (das Benzin des menschlichen Körpers). Zur Entzündung ist Sauerstoff nötig und dieser wird aus der Luft (Vayu Tatwa) gewonnen, die wir einatmen. Sauerstoff wird auch im Blut aufgelöst, welches wie die Maschine im Auto ist, wo die Glukose und der Sauerstoff sich treffen und entzünden, um Energie (Agni Tatwa) zu geben, damit die Muskeln arbeiten können. Die Pancha Tatwa sind nicht Devas in ihrer körperlichen Manifestation, sondern die Fähigkeit, den Lebensvorgang durch die verschiedenen Formen und Manifestationen und zu leiten ist der Deva. Wasser zum Beispiel ist Jala Tatwa und eigentlich ist es ein physikalisches Element (Bhoota), welches aus Tamas kommt. Jedoch das Wissen, das Wasser den Durst löschen kann ist Deva. Dieser Unterschied zwischen dem physikalischen Element selbst und dem Körper des Wissens, der mit ihm verbunden ist, sollte als Unterschied zwischen Bhoota und Deva verstanden werden. Im menschlichen Körper ist weder die Nahrung noch die Flüssigkeiten, die eingenommen werden, noch die Luft die wir atmen, noch die Entzündung und die Energie, die entsteht Deva. Sie sind einfach Tatwa, oder die Elemente, die nach den Naturgesetzen arbeiten.

1.6 Guna Guna ist der Zustand eines Körpers (oder Elementes, welches aus den grundlegenden Formen der Existenz zusammengesetzt ist). Es ist ein Maß des Energielevels, sowie auch die Natur der Bewegung. Wenn sich die Bewegung im Gleichgewicht befindet, kann sie ohne Widerstand für unendliche Zeit weitergehen, wie die Rotation der Planeten um die Sonne, die sich schon seit Zeitaltern bewegen. Solche Körper besitzen Satwa Guna, oder die Eigenschaft der Tugend in gutem Maß, was zu einer perfekten Bewegung für eine lange Zeit führt. Aus diesem Grund lehrt Parasara, daß die Planeten die Tugend besitzen, um Dasvataras (zehn Formen Vishnus – der Erhalter, die Verkörperung der Tugend) repräsentieren zu können. Andere tendieren dazu, mit überschüssiger Energie zu beschleunigen und dann zu verlangsamen, wenn der Energielevel sinkt, bis sie zum Stillstand kommen. Der Vorgang der ungeraden Bewegung wird Rajas Guna genannt und ist ein Zeichen des Lebens (Brahma – Schöpfer). Der Punkt an dem der Körper zum Stillstand kommt oder keine Bewegung hat wird Tamas guna genannt und ist ein Zustand, der mit dem Tod gleichgesetzt wird (Shiva – Zerstörer). Von einem heliozentrischen Blickpunkt besitzen die Planeten Satwa Guna, doch diese Situation ändert sich von einem geozentrischen Blickpunkt, von dem wir die Planeten sehen, wie sie beschleunigen, sich verlangsamen und zu einem Stillstand kommen. Diese Bewegungen wurden studiert und verschiedene mentale Attribute wurden ihnen zugeschrieben. Zum Beispiel ist ein Planet, der sich beschleunigt und sich sehr schnell bewegt, in Bheeta avastha d.h. er ist beängstigt und läuft davon.

1.7 Göttliche Inkarnationen Von dem oben erwähnten wird klar, daß jeder Aspekt dieses manifestierten Universums ein Teil Vishnus ist und deshalb ist jedes Wesen eine Inkarnation Gottes. Es gibt zahlreiche Inkarnationen Vishnus, wie in der Bhagavat GitaEmpfohlene Schriften:1. Brihat Parasara Hora Shastra Buch 1 & 2 2. Satapatha Brahmana 3. Srimad Bhagavatam 2

Grundlegende Unterteilungen Wir dürfen nicht vergessen, das es die Hindus waren, die das entdeckten, was als die Präzession der Equinoxes bekannt ist und in ihrer Berechnung finden solche Ereignisse alle 25,827 Jahre statt. Unsere moderne Wissenschaft konnte dies, nach der Arbeit von hunderten von Jahren, nur als richtig bestätigen. Count Viscount Cheiro

2.1 Raum und Zeit Raum und Zeit sind wie endlose Ringe ohne Anfang und Ende. Die Definition des Beginns einer linearen Zeitlinie oder dem Startpunkt des Universums war die ärgerliche Frage vieler Denker und dieser Gedanke führt den Geist zu einer Definition Gottes als nicht wahrnehmbar. Die großen vedischen Denker personifizierten Gott als Kalapurusha

2.2 Rasi & Nakshatra Die Unterteilung des Zodiak in zwölf Zeichen und siebenundzwanzig (oder achtundzwanzig) Nakshatras ist die grundlegende Unterteilung im Paradigma der vedischen Astrologie. Ab und zu wird sogar ein neuer Planet entdeckt und dann steigen Zweifel in den Köpfen der Gelehrten auf über die weiterführende Gültigkeit der zwölf Zeichen des Zodiaks. Um diese Zweifel zu klären ist es notwendig, die Grundlage der ersten Unterteilung names Rasi zu verstehen. Der Zodiak der 12 Zeichen und 27 Konstellationen wurde durch eine sorgfältige Beobachtung der Bewegung der Sonne und des Mondes im geozentrischen Modell des Universums gemacht.

2.2.1 Rasi – die zwölf Sonnenzeichen. Die relative Bewegung zwischen der Sonne und dem Mond zeigt, daß der Synodische Monat (von Neumond bis Neumond oder Vollmond bis Vollmond) 29D 12H 44M 3S = 29.53059D beträgt. Aufgerundet zur nächst höheren ganzen Zahl haben wir 30 Tage, während derer die durchschnittliche Sonnenbewegung 30 Grad beträgt. Wenn wir schließlich den Bhachakra von 360 Grad durch 30 teilen, bekommen wir 12 Zeichen, oder die zwölf Sonnenzeichen, da die Sonne(Krebs), Simha (Löwe), Kanya (Jungfrau), Tula (Waage), Vrischika (Skorpion), Dhanus(Schütze), Makara (Steinbock), Kumbha (Wassermann) und Meena (Fische). Figur 4: Der Zodiak der Sonnenzeichen Sonnen-Chakra           Venus – Diamant                   Jupiter –Quadrat Ostindien                    Nord- & Westindien               Süd- & Südwestindien Figur 5: Hora (Aho-Ratra) A Widder B Stier C Zwillinge D Krebs E Löwe F Jungfrau G Waage H Skorpion I Schütze J Steinbock K Wassermann L Fische Q Sun R Moon U Mars S Mercury V Jupiter T Venus W Saturn < Rahu > Ketu

2.2.2 Hora (basierend auf der Ekliptik) Diese Methode der Unterteilung des Zodiak in zwei Hälften basiert auf dem Abstand der Sonne von der Erde. Der Zodiak wird entlang einer gedachten Linie, die durch Null Grad Löwe und Null Grad Wassermann führt, in zwei Hälften geteilt. Die Hälfte oder Hora kommt von dem Wort Aho-RatraFigur 6: Ayana A Widder B Stier C Zwillinge D Krebs E Löwe F Jungfrau G Waage H Skorpion I Schütze J Steinbock K Wassermann L Fische Q Sun R Moon U Mars S Mercury V Jupiter T Venus W Saturn Rahu Ketu 2.2.3 Hora – (basierend auf der Sonnenwende)

Postoje četiri Vede i šest Vedangi (Anga – ud, pa tako ovde obeležava šest udova Veda koje nam pomažu u njihovom razumevanju. To su: Šikša, Čandas, Vjakaran, nirukta, Đotiša, Kalpa) od kojih je jedna Đotiš. On na površinskom nivou predstavlja Hindu sistem Astrologije, jednu od šest vedangi i najstariju školu astrologije koja ima svoje jedinstveno poreklo. Reč Đotiš dolazi iz korena Đoti – svetlo i Iša – od Išana, Bog. Dakle kako nam samo ime kaže doslovno značenje reči jeste svetlost Boga ili o Bogu…Svetlo nam je neophodno da bismo videli, jer slep čovek ne vidi kuda ide. Dakle svetlo je to koje nam daje gati, pravac, koje predstavlja agni tatvu – kvalitet vatre, energije neophodne za vid i znanje. Jer tek kada vidimo mi znamo u kom pravcu se krećemo. Soba u kojoj je upaljeno svetlo, više nije samo mračni prostor. Đotiš nam daje znanje o prošlosti, sadašnjosti i budućnosti i shodno tome mogućnost da vidimo i spoznamo ova tri aspekta našeg postojanja. Istovetno sa ovim, kada upalimo unutrašnje svetlo – đoti, mi vidimo kuda idemo, vidimo koji je naš istinski pravac. Jedno od naziva jeste i Oči Veda.

Kako doći do toga?

Đotiš nam po svojoj prirodi pruža mogućnost remedijalnih mera. Pod njima se podrazumevaju, mantre, jantre, molitve…pomoću kojih smo u stanju da detektovani problem iz čarta rešimo. Budući da se Maha Višnu manifestovao u obliku Nava graha (Nava – devet, graha – planeta i to su : Surja, Čandra, Mangal, Bud, Guru, Šukra, Šani, Rahu i Ketu) kako bi ljudima isporučio efekte njihove dobre i loše karme, svako u svom životu  nosi neku određenu  problematiku koja mu stvara prepreke i probleme. Kao što je već rečeno, đotiš je ta tehnika, to sredstvo koje će nam pružiti svetlo kako bismo osvetlili naš život i krenuli putem razvoja, a sve sa ciljem očišćenja loše karme i krajnjeg osobođenja.

Lalita Mahatripurasundari

Lalita’s Suksmarupa
The Goddess’s Subtle Form (Mantra)

The bija (seed) mantra of Lalita is the sound hrim. When the sound hrim is not included in the srividya mantra, but used rather as a mantra of its own accord, it is used as a representation for the devi Bhuvanesvari, the goddess of the Earth. When used within the srividya mantra (see below), hrim takes on a radically different meaning. The r sound is the waking state of an individual. The i sound itself is a vast sound, said to be responsible for the creation of the entire universe! How, then, can one summarize the sound or its maning? Impossible! On another level, however, this i sound represents the dream state of sleep. Following the progression of the representations of the sounds regarding states of counsciousness, the m sound represents the deep sleep state. Thus, the mantra hrim represents the three states of cousciousness.

Below is (one of the) commonly accepted srividya mantras:

ka e i la hrim
ha sa ka ha la hrim
sa ka la hrim

This is the kadi vidya mantra divided into its three commonly referred-to components. The first line is the vagbhavakuta (peak of the nature of speech), the second is the kamarajakuta (peak of the king of desire), and the last is the saktikuta (peak of the power). The symbolism buried within the mantra is as deep as the Devi herself. Each of these kutas is considered to be the subtle form of one of the three sounds of the cosmic, all-pervading sound AUM. Each of the kutas has its own associated siddhi, or power, granted to a strong devotee and one who practices japa, or repetition, or srividya: the vagbhavakuta, as the name indicates, confers mastery of speech; the kamarajakuta grants its user tejas (splendor) like that of the all-powerful Indra; the saktikuta has the associated siddhi of attracting the three worlds, i.e., all of creation feels the blissful nature and pull of one who has mastered the saktikuta.

Here is Lalita’s mantra in AIF. Take a listen!

Lalita: The Sri Vidya (“Auspicious Wisdom”) Tradition

Lalita: Mythology

The gods rejoice in Lalita’s success and worship her. Pleased, Lalita agrees to destroy Bhanda. She also agrees to bless all of those worshiping her with progeny, fame, and virtue, among other things. As the city is being attacked by Bhanda, Lalita and Siva are married, forming a strong allied army. At the same time, Lalita proclaims her independence while honoring her independence.

Years go by and Lalita leaves her husband to lead the army against Bhanda. She is supported by strong women who work together to create unique weapons, particularly the noose and goad (which Lalita’s icon often hold) in order to be successful. Bhanda doe not regard an army of women as a serious threat, and laughs that Lalita is as soft and delicate as the flowers for which he is named.

To Bhanda’s dismay and the gods’ delight, Lalita’s army is very powerful. One after another, Bhanda’s generals are defeated. Lalita creates new gods to fight as the battle rages on, including Lord Ganesa, created out of her laugh. Ganesa destroys many armies and Bhanda’s brother. As a reward, Lalita grants him the right to be worshipped before all other gods. The battle rages on, all of Bhanda’s family is killed, and finally he tries to save himself by creating powerful missiles to destroy Lalita. She is too powerful for him and sends Durga after him. Finally, it is a showdown between Bhanda and Lalita. Lalita kills him using the kamesvara missile, which has an incredibly bright splendor. The deity’s praise Lalita for her courage and success. She agrees to bring back the god of Love and reunites him with his grateful wife Rati.

This myth shows how Lalita is the two forms of human nature simultaneously. She is able to be devoted to her husband Siva, but to maintain the independence she needs to lead her army to war. She is fierce in her battles, but her most powerful weapons and warriors are created from her laugh and jubilance. Lalita shows people the way to deal with problems in their everyday lives. Her being is not an example for those who intend to lead an isolated life. Lalita shows how to live in balance, for people with numerous responsibilities. She demonstrates that it is possible to honor the family and other responsibilities, without disappointing anyone.

Lalita’s Sthularupa
The Goddess’s Physical Form

Lalita: Sri Cakra: Lalita’s Transcendent Form

When Lalita, or Sakti, consciously manifests herself as the universe, the sricakra emerges. The sricakra represents the process by which the originally unified absolute takes on the dual nature of Siva and Sakti, thus creating the manifest world. Lalita is the reflection of Siva’s absolute form, manifesting herself in the following three modes: 1) willful self-emanation (icchasakti), 2) cognitive self-recognition (jnansakti), and 3) the creative act (kriyasakti).

The sricakra shares the triadic nature of the goddess Lalita Tripurasundari, the same nature of manifest reality. (Look to Lalita’s Yoga and Esoteric nature for more of a discussion on her triadic nature.) Inherent in the bindu of the sricakra is the three-fold nature of the universe and the three capacities of Sakti (desire, knowledge, and activity). Thus, the bindu’s initial projection is that of the trikona, the inverted triangle symbolizing the womb of the universe. The Sri Vidya’s 16-syllable mantra, divided into three kutas, is identified with the trikona. The sixteenth syllable of the mantra is identical with the bindu point.

The sricakra functions on three levels for the Sri Vidya initiate (a prerequisite for the access to Lalita’s transcendent nature). The levels are: 1) a visual map of the divine essence of creation. 2) the access to divine power for those who are initiated into the esoteric knowledge regarding its use, and 3) the actual presence of Lalita (just like the mantra), calling for worship, admiration, and fear; it has the ability to transform one’s relation with the sacred.

In the Sri Vidya tradition, the sricakra is the source of all yantras; it is the model of the universe. Sakti worship (of Lalita, in the case of Sri Vidya) is emphasized because, while Siva and Sakti are ultimately one and the same, the Sakta tradition recognizes Sakti as the causality of creation. Since Siva is static consciousness, he is inert without Sakti’s creative force, that which is necessary in order to transform the static consciousness into the manifest world. Here, Sakti is superior because she contains the material and efficient causal powers necessary for the creation of the universe.

Lalita: Yoga and Esoteric Meaning

Lalita: Bibliography

Brooks, Douglas Renfrew. The Secret of the Three Cities. London: University of Chicago Press, 1990.

Dikshitar, V.R. Ramachandra. The Lalita Cult. Delhi: Motilal Banarsidass Publishers, 1991.

Saraswati, Swami Satyananda. Shree Maa: The Guru and the Goddess. USA: Devi Mandir Publications, 1995.

“O Goddess, who removes the suffering of Your supplicants, be gracious!
Be gracious, O Mother of the whole world!
Be gracious, O Queen of the universe; Safeguard the universe!
You, O Goddess, are Queen of all that is movable and unmovable!

You alone has become the support of the world,
Because You do subsist in the form of Earth!

By You, who exists in the form of water, all this universe is filled,

O You inviolable in Your valor; You are the Gem of the universe,
You are Illusion sublime! All this world has been bewitched, O Goddess;

You indeed when attained,
Are the cause of the final emancipation from existence on Earth! . . .
O Goddess, be gracious!
Protect us wholly from fear of our foes perpetually,
As You have at this very time saved us promptly by the slaughter of the demons!

And You bring quickly to rest the sins of all the worlds,
And the great calamities which have sprung, from the maturing of portents!

To us who are prostrate be You gracious,
O Goddess, who takes away affliction from the universe!

O You worthy of praise from the dwellers of the three worlds,
Bestow Your boons on this world!
Markendeya Purana, Candi Mahatmya 10

Lalita Tripurasundari, the Red Goddess

Dear One, Tripura is the ultimate, primordial Shakti, the light of manifestation. She, the pile of letters of the alphabet, gave birth to the three worlds. At dissolution, She is the abode of all tattvas, still remaining Herself – Vamakeshvaratantra

What is Shri Vidya and what relationship does it have to the goddess Lalita and to her yantra, the Shri Yantra? Vidya means knowledge, specifically female knowledge, or the goddess, and in this context relates to her aspect called Shri, Lalita or Tripurasundari whose magical diagram is called the Shri Yantra. She is a red flower, so her diagram is a flower too.

The tantrik tradition views its symbols as having a gross aspect, a subtle aspect, and a supreme aspect. In terms of Lalita, the gross form is the image of the goddess with her four arms and so forth, the subtle form is as yantra, and the supreme form is her mantra, all three being the goddess in different aspects. Behind the sometimes colourful symbolism is deep wisdom coupled with practical methods for realising oneself.

Lalita loves puja. This term is usually translated as worship. However, this is misleading, as it introduces a duality into a process intended to bring the practitioner (sadhaka or sadhvika) to a non-dual position. There can be various pujas including daily rites, those performed at the four twilights, rites done for specific objects, optional rites done on festival days, or on otherwise auspicious days such as lunar eclipses or the entrance of the sun into a sidereal constellation, rites in assemblies or groups, and rites accomplished with a partner. Subhagodaya, on this site, is a translation which gives the full puja of Tripurasundari or Lalita.

Lalita means She Who Plays. All creation, manifestation and dissolution is considered to be a play of Devi or the goddess. Mahatripurasundari is her name as transcendent beauty of the three cities, a description of the goddess as conqueror of the three cities of the demons, or as the triple city (Tripura), but really a metaphor for a human being.

What then is a yantra? The word is usually translated as a machine, but in the special sense of the tantrik tradition refers to the Devi in her linear or geometrical form. Yantras, by the way, are always used flat. They may be two-dimensional or three-dimensional. Every aspect of Devi has her own mantra and yantra. The yantra of Devi Lalita is Shri Yantra. The divinity of the yantra always occupies the centre or apex.

The different parts or petals and lines of the yantra are usually arranged in concentric circles (mandalas) and contain rays or sub-limbs of devi. The Shri Yantra has nine of these mandals, each filled with various aspects of the Devi. In Shri Yantra there are 111 aspects. The Shri Yantra is said to be a geometric form of the human body, which implies that goddess as Macrocosm is one with human being as Microcosm.

Formation of the Shri Yantra

The creation of the Shri Yantra is described in the Yogini Hridaya (Heart of the Yogini Tantra), which still does not exist in an English translation, as far as we are aware. This is said to be the second part of the Vamakeshvara Tantra.

“From the fivefold Shakti comes creation and from the fourfold Fire dissolution. The sexual union of five Shaktis and four Fires causes the chakra to evolve. O Sinless One! I speak to you of the origin of the chakra.

“When she, the ultimate Shakti, of her own will (svecchaya) assumed the form of the universe, then the creation of the chakra revealed itself as a pulsating essence. From the void-like vowels with the visarga (:) emerged the bindu, quivering and fully conscious. From this pulsating stream of supreme light emanated the ocean of the cosmos, the very self of the three mothers.

“The baindava of the chakra has a triple form, dharma, adharma and atma, and matri, meya and prama. The chakra of nine yonis is the great mass of consciousness bliss and is the ninefold chakra and the nine divisions of the mantra.

“The baindava is placed on a dense flowery mass and is the Chitkala. Similarly, the ambika form of eight lines is the circle of the vowels. The nine triangles quiver forth the effulgent form of 10 lines. The Shakti, together with her surrounding nine blossomed forth the 10 trikonas. The second quivering form of 10 lines has Krodhisha as first of the 10. These four chakras, of the nature of light, create the 14-fold form, the essence of perception.” — Yogini Hridaya, I 6-16.

At the very heart of the bindu or centre of the Shri Yantra is that which caused it to emanate. This is Kamakala, consisting of the three bindus or potentials. One is red, one is white, and one is mixed. The red bindu is ova, the white bindu semen, and the mixed bindu the union of Shiva-Shakti, the individual as potential Shri Cakra.

Father and Mother are represented in Shri Vidya by two limbs or aspects of Lalita known as Varahi and Kurukulla. The semen of Varahi, the father-form, gives four alchemical dhatus to the child. The ova of Kurukulla, the mother-form, gives five dhatns to the child. Consciousness enters via orgasm. The three bindus, collectively known as Kamakala (digit of sexual desire), are the root potential of sun, moon and fire. It is like sun and moon coming together in an eclipse, or the seed from which the plant human being grows.

Varahi’s four alchemical dhatus are known as the four fires. Kurukulla’s alchemical dhatus are known as the five saktis. The combination of these five saktis (downward pointing triangles) and four fires (upward pointing triangles), forms the complex figure in the centre of Shri Cakra.

Varahi’s four fires are the 12 (3 x 4) sun Kalas, 12 sidereal constellations. Kurukulla’s five triangles are the 15 (5 x 3) Kalas of the moon, 15 lunar days. The complete individual grows within nine months to be born as a Shri Yantra or plant. The flowering of this plant is shown by the 24 petals of the yantra. The above all gives rise to the familiar shape of the Shri Yantra. The yantra is usually arranged in one of two forms. In the Bhuprastara, it is two dimensional and laid flat, usually facing the east, but sometimes the north, depending on the practice. The Meruprastara has the yantra in a pyramidal form. Unless the yantra be decorated with the appropriate bija and other mantras, it is worthless. It is also dead unless it is installed with life and the individual doing the puja is initiated into one of the lines (parampara).

The Nine Mandalas of the Shri Yantra

The Earth Square or Bhupura

This mandala represents the enclosing walls or fence of the zonule of a practitioner. The three lines of the bhupura of Shri Yantra each has a set of subsidiary aspects or sub-limbs of the goddess. On the outer line are the eight world protectors (lokapalas), the guardian spirits of the directions and intermediate directions.

On the middle line are eight Siddhi Saktis identified with the senses. On the inner line are eight Shaktis ruling Desire, Anger, Envy, Delusion, Greed, Jealousy, Virtue and Vice. They are the eight Matrikas. These saktis are collectively known as the Obvious Ones (Prakata Yoginis). A form of the triple Devi known as Tripura rules all these shaktis in this individual mandala of the yantra known as ‘The Chakra Ruling the Three Worlds’. She has four arms, is the colour of crystal, is adorned with pearls and holds a book, a pot, and a beautiful lotus. her Vidya is Am Am Sauh.

Outer line: Indra (E) wears yellow, rides an elephant; Agni (SE) wears red, rides a ram; Yam (S) wears black, carries a staff; Nirriti (SW) wears dark green; Varuna (W) wears blue, and his vehicle is a makar; Vayu (NE) wears pale clothes; Soma (N) wears pure white; Ishana (NE) is a form of Mahadeva Shiva.

Middle Line: The Siddhi Shaktis are smeared with vermilion, wear red garlands, carry noose and goad, and are as bright and beautiful as red lotuses.

Inner Line: Brahmi wears yellow, has four arms, is beautiful. One hand dispels fear, one grants boons, the others hold a jewelled jar and makes the gesture of purification. Mahesvari wears white, has three eyes, holds trident, skull, axe, and vessel containing sour curds. Kaumari wears yellow, holds shakti-dart, Javelin, and makes the gestures of dispelling fear and granting boons. Varahi is dark in colour, holds conch, discus, dispels fear, grants boons. She wears many ornaments and gems. She has the head of a pig, holding plough, mace, sword and shield. Indrani is black, carrying a bright blue lotus. Camunda is black, holds trident and damaru (hourglass drum), holds axe, and milk in a bowl. Mahalaksmi wears yellow, holds serpent, shield, bell and milk in a skull shaped cup.

The nature of this outermost mandala is fire of fire. The gem is topaz. The time is 24 minutes (360 breaths). The Mudra is the All Agitating.

Sixteen Petals

The saktis in this circle are known as the Hidden Ones.

The whole mandala of 16 petals is called ‘Fulfiller of Desire’. The presiding form of the Lalita is Tripureshi. Her vidya is Aim Klim Sauh. She is described as ornamented with all gems, carrying a book and a rosary. The 16 yoginis in this mandala are associated with the attainment of desires by the cultivation or strengthening of power over mind, ego, sound, touch, sight, taste, smell, intellect, steadiness, memory, name, growth, etheric body, revivification, and physical body. They are described as the Nitya Kalas. Each holds a noose, a goad, pot full of nectar, and makes the sign of giving. They are very red.

The gem of the mandala is sapphire. The dhatu of physical alchemy is chyle, the first product of the disintegration of food by the biological fires. The time is three hours (2700 breaths). The Mudra is the Wettening Mudra. The nature of the mandala is sun of fire.

Eight Petals

The saktis in this mandala are called the Very Secret Yoginis. The whole circle of eight petals is called the ‘All Exciting Cakra’. Presiding here is Tripura Sundari. Her vidya is Hrim Klim Sauh. She is described as swaying because of her love intoxicated state, with her eyes full of bliss.

She smiles with passion. She shows the mudras dispelling fears and granting boons.

The eight saktis in each of the eight petals of the mandala are described as saktis of Speech, Holding, Walking, Excreting, Pleasure, Abandoning, Concentration and Detachment. They are described as sapphire blue, holding noose, goad, dispelling fear, and holding blue lotus. Their names (Ananga Madana etc) all convey terms of loving sexuality.

The gem is cat’s eye. The dhatu is Flesh. The time is day and night (21600 breaths). The mandala’s nature is moon of fire.

Fourteen Triangles

This mandala is called ‘The Cakra Bestowing All Good Fortune’. The Yoginis are called ‘Concealed by Tradition’. The presiding form of the devi is Tripura Vasini. Her vidya is Haim Hklim Hsauh.

She is very red and very beautiful. Fourteen shaktis of the triangles are associated with the chief nadis or currents of bioenergy. They are described as being proud, wanton, young, colour of cochineal, ornamented with gems, holding noose, goad, mirror, winecup full of nectar. They are the Akarshanis or Attractors.

The gem is coral. The dhatu is blood. The time is weekday. The Mudra is called All Subjugating. The nature of the mandala is fire of sun.

Outer 10 Triangles

This mandala is called ‘The Cakra Bestowing All Objects to the Sadhaka’. The saktis are called the Kula Kaulas. The presiding aspect of Red Devi is Tripura Shri.

Here, the goddess is as effulgent as 1000 rising Suns, adorned with celestial ornaments, with large rising breasts, holding book and rosary, dispelling fears and granting boons.

The 10 shaktis in the triangles are described as having thrilled faces, holding noose and goad and adorned with various crystal and heavenly gems.

These are the Yoginis of the 10 vital breaths. The gem is pearl. The dhatu is Ova/Semen. The time is Lunar Day (tithi).

The Mudra is called the All Intoxicating with Love. The nature is sun of sun.

Inner 10 Triangles

The mandala is called ‘The Cakra Protecting All’. The Yoginis are called Without Origin. The presiding aspect of Lalita is Tripura Malini. Her vidya is Hrim Klim Blem.

She holds noose and goad, dispels fear, and holds a skull. She is of vermilion brightness.

Her shaktis are the colour of 1000 rising suns, adorned with pearls and gems, holding noose, chisel, and showing the gestures of knowledge, and giving boons. They are the saktis of the 10 Vital Fires. The gem is emerald. The dhatu is Marrow. The time is Lunar Fortnight. The Mudra is the Great Goad. The nature is moon of sun.

Eight Triangles

This mandala is called ‘The Cakra Destroying all Disease’. The yoginis are known as the Secret or Rahasya yoginis. The presiding aspect of the Red Goddess is Tripura Siddha.

Her vidya mantra is Hrim Shrim Sauh. She is described as the Destroyer of Poison.

Her yoginis are the colour of pomegranate flowers, wearing red clothes, smeared with red scent, each carrying five arrows and a bow. These saktis are the rulers of Cold, Heat, Happiness, Sorrow, Desire, and the three gunas Sattvas, Rajas, Tamas. They are also called the eight Vasinis and rule the eight Sanskrit letter groups. The gem in this mandala is diamond (Vajra). The time is month. The Mudra is Khecari Mudra. The nature of the mandala is said to be fire of moon.

The Four Weapons

In between the mandalas of eight triangles and the central triangles are the four weapons of the Red Goddess — flowery bow, flowery arrows, noose and goad.

Central Triangle

This mandala is called ‘The Cakra Giving All Success’. The Yoginis are called Very Secret. Lalita dwells here as Tripura Amba, her Vidya being Hsraim Hsrklim Hsrsauh.

She is also known as Sampatprada Bhairavi, coppery effulgent, like 1000 suns, with three eyes, a face like the moon, adorned with white gems, with a beautiful figure, rising swelling breasts, intoxicated, wanton, young, proud, holding book, dispelling fear, holding a rosary and granting boons.

Her three saktis are called Lady of Lust (Kameshvari), Adamantine Lady (Vajreshi), and Flowery Vagina (Bhagamalini). Kameshvari is called the Rudra Shakti. She is white in colour, besmeared with camphor, adorned with pearls and crystal, and various other gems, holding book, rosary, bestowing boons and dispelling fear.

Vajreshi is the Vishnu Shakti. She is bright as red powder (kumkuma), adorned with flowers and gems, like the dawn sun. Her eyelids are smeared with sapphire dust, she holds sugarcane how, flowery arrows, bestows boons, dispels fear.

Bhagamalini is the Brahma Shakti. She is effulgent as molten gold, adorned with priceless gems, holds noose, goad, and shows the gestures of knowledge and bestowing boons.

The gem of the mandala is Gomaya. The dhatu is Fat. The time is season (two months). The Mudra is the Bija Mudra. The nature of the mandala is sun of moon.

Bindu

This mandala is called ‘Purely Blissful’. The Yogini in this mandala is the Queen of Queens, Rajarajeshvari, the Very Red One, her Transcendent Majesty Lalita Maheshvari Mahatripurasundari.

Her vidya (Kamaraja vidya) is ka e i la hrim ha sa ka ha la hrim sa ka la hrim, plus a secret 16th syllable. Her description is that given in Vamakeshvara Tantra.

Surrounding her are the Fifteen Nityas. The gem is ruby. The dhatu is hair. The time is year. The mudra is Yoni Mudra. The nature of this central mandala is moon of moon.

Yantra Mantra Tantra of Lalita

Lalita, as primordial devi, rays out her attendants and shaktis as modifications of moon, sun and fire. In this Shiva has no place, no qualities, is without the ability to act. Only when united with devi may ‘he’ act.

This is based on the subtle and practical idea of Shiva as pure consciousness, witness of the triple manifestation of his Shakti. This Shakti, the very essence of the three gunas of Sattvas, Rajas, and Tamas, is the cause of all manifestation in the universe and as a human being. The three shaktis, by blending and reblending, create all things.

Shakti is triple as sun, moon and fire — that is to say of all the sidereal constellations and planets, and therefore of Time itself. She is triple as Will (Iccha), Knowledge (Jnana) and Action (Kriya). She is threefold as intellect, feelings, physical sensation.

Shakti is triple as wake-dream-deep sleep. What is called the Fourth is the witness, Shiva, who is said to pervade the whole cosmos just as heat pervades a red hot iron.

The physical body, according to the precepts of Ayurveda, is triple as the ‘humours’ Vata, Pitta and Sleshma. The varying combinations of these three shaktis make up the physical body.

Shakti is also fivefold as aether, air, fire, water and earth. The combination of the five elements and three gunas produce Lalita’s Eternities (Nityas) — 15 in number, each identified with a lunar day of the bright fortnight. The moon, symbolising Shakti, is the mirror or reflection holding together all creation.

A close examination of the details relating to the nine mandalas of Shri Yantra reveals that the shaktis of the whole circle represent the human being, who, in potential, is Shakti-Shiva united. The aim is for a person to realise that all powers, energies and manifestation are shaktis of consciousness, pure awareness.

The yantra may be examined in two ways, either as manifestation or dissolution. Maintenance is an intermediate state between the two polarities. When she is worshipped as creatrix the order is from centre to perimeter. As dissolver, the puja is from perimeter to centre.

In Sivananda Yogi’s Subhagodaya is given the daily ritual or puja of Lalita’s Shri Yantra — based on the Vamakeshvara Tantra. This rite is based on non-dualism, in a spiritual sense the realisation of the intrinsic oneness of macrocosm and microcosm.

As the puja is intended to banish all thoughts of difference, the devi is first felt or visualised in the heart, and then drawn out via the breath and installed in the yantra. She is then worshipped as actually residing there. But a clear link has been made between subject and object. The true home of devi is as cosmo-creatrix in the heart of the body which is the devi in human form.

The Various Mandalas of Shri Yantra

The Triple Goddess, from her own will to manifest, extends herself in a ninefold way, as modifications of moon, sun and fire. The attributions of the various mandalas shows the type of energy represented. The meditation in Bhavana Upanshad is a figurative way of describing this celestial city or mountain which is a human being.

The island of jewels is the gross human body with its 9 alchemical bases or dhatus. Each is figuratively described as a gem — diamond, emerald, sapphire, ruby &c. The sea of nectar (semen/ova) is the base for the arising of the human body. The diagram suns up the meditation. We can see that this island of gems is a very pleasant place to he, full of gardens, with a beautiful, begemmed palace, wafted with a gentle breeze upon which is carried great fragrance, cool, alluring.

This indicates the Kaula view that one gains liberation by a very pleasant way, enjoying as one goes. This paradise island is very, very close. Each of the elements in the island meditation has a subtle meaning associated with the esoteric physiology of Shri Vidya.

She, Lalita, united with Shiva, is subtlety of subtlety, hidden behind the curtain hanging from the canopy. Her forms may appear to become progressively less subtle, but she still remains herself.

Bala-Sundari-Bhairavi

Although Tripurasundari, as mother of the universe (jagadamba) is the aspect most often met with in works of Shri Vidya, she is also worshipped as Bala (a young girl), and as Bhairavi (a crone).

As Bala, she is 16 years old, a virgin, very playful and dear. Bala has her own yantra and mantra. her vidya is Aim Klim Sauh.

Bhairavi is also an aspect of Lalita, but represents Shakti in whom menstruation has ceased, and has some affiliations with Kali.

Applications of Shri Vidya

There are many prayogas (ritual uses) related to Shri Yantra. Some rites depend on auspicious times, such as Full moon days or nights in specific solar months

Devi also manifests as the five elements of aether, fire, air, water and earth. The saktis are purple (air), white (water), red (fire), yellow (earth), blue (aether).

Chapter II of Vamakeshvara gives a large number of rites, which one is not entitled to perform unless the daily rite is also accomplished. These rites are called the shatkarma, six acts: protection, peace, victory, wealth, punishment, destruction. The categories vary occasionally. When punishing an enemy it is necessary to both protect yourself and to know the right time for performance, according to the rules, and also the vulnerable points, which vary with the phase of the moon and with astrological aspects.

It is important to remember that Shri Vidya was primarily oral, and vital information was often left out of the written versions, so it is necessary to know a host of things before a rite can be started.

Initiation

Devi Lalita may be installed in a disciple, a yantra, or an image. All the methods essentially follow a similar form, but the right time must be selected. A disciple must have the necessary qualifications and potential.

After initiation, she or he is to perform an operation to endue the vidya with energy or life. This involves the recitation of the root vidya a specified large number of times, although other valid methods exist for preparation.

The Vidya (Mantra)

There are said to be 15 lines of mantra, each perceived by a different Rishi (Seer). The most widespread seems to be that called Kadi (beginning with ‘Ka’), which itself has three sections. The other main division is Hadi, although it is said that the Kularnava Tantra incorporates both in a division called Kahadi. Devotees of the Kadi line worship the Shri Yantra from the perimeter to the centre, while Hadi devotees worship it from the centre to the perimeter. Some of the lines of the vidya are said to be broken, and do not run in a continuous stream.

The 64 Kaula Tantras

These tantras are enumerated in Vamakeshvara and Kulachudamani Tantras, and in other places. At some time in history a school of Shri Vidya was formed on an orthodox Vedik basis. A proponent of this school, Lakshmidhara, wrote a commentary on the famous Shri Vidya hymn called Saudaryalahari.

Unfortunately, most of the 64 tantras are lost. But their contents may be gauged from Lakshmidhara’s commentary. We have to remember that the descriptions are based on an orthodox Vedic interpretation.

1) Mahamaya Sambhara. Deluding of intellect and senses. 2) Yogini Jala Sambhara. Involving the agency of Yoginis. 3) Tattva Sambhara. Causing elements to appear and transform. 4-11) Eight Bhairava Tantras. The commentator says that these are objectionable as they belong to the Kapalikas or skull wearers such as Naths, Aghoris, and so forth. 12-19) The Bahurupa Astaka. Importance attached to the eight shaktis or Matrikas.

20-27) The Eight Yamalas. Of these, only Rudra Yamala seems to have survived, although it is doubtful that the text which exists is the same as the original. Other of the yamalas do exist in part as quotations in later tantras. The commentator says these relate to Siddhi. 28) Candra Jnana. Expounds the 16 Nityas, but condemned as ‘it smacks of Kapalika tenets’. 29) Malini Vidya. Enabling one to cross great oceans. This could be the Malini Vijaya Tantra, a work of the Kashmir Saivites which includes magical operations based on the 36 tattvas.

30) Maha Sammohana. Hypnosis. 31-33) Vamajusta, Mahadeva and Vatula. These are condemned as they deal with Vamachara. 34-35) Vatula Uttara and Kamika. The latter is still extant, and belongs to the Kashmir group of Agamas. The chief guru of this school is the famous Abhinavagupta. 36) Hridbheda Tantra. Condemned through Vamachara. 37-38) Tantrabheda and Guhyatantra. Condemned because of retaliatory magic. 39) Kalavada. Digits of the moon, induction of chandrakalas, which are the 108 parts of the moon found in a horoscope.

40) Kalasara. The rules of colour. There is no reason given for its exclusion. 41) Kundika Mata. Attainment of siddhi through elixirs and drugs. 42) Mata Uttara. Deals with ‘quicksilver’. See the Matrikabheda Tantra. 43) Vinakhya. Power over Yakshinis. 44) Trotala. Magical practices of medicine and clairvoyance. 45) Trotala Uttara. Bringing the 64 crores of yoginis face to face. 46) Pancamrita. Nectar from the body. The five nectars are mentioned in the Kaula Jnana Nirnaya. 47) Rupabheda. 48) Bhuta Uddamara. 49) Kulasara. 50) Kullaoddisha. 51) Kulacudamani. 48,50 and 51 are still available. The commentator says these tantras are not sanctioned by Veda.

52-56) Sarvajna Tantra, Mahakali Mata, Arunesi, Modinisa, Vikunthesvara. They are all declared reprehensible as they belong to the digambaras (naked sadhus). 57-64) East, West, South, North, Uttara Kaulas, Vimala, Vimalotta, Devi Mata. One of these lines still exists.

The Nine Nathas

Each of the nine Nathas or lords is identified with an aperture of the human body, and with one of the nine mandalas of the whole Shri Yantra. One’s own guide is Shiva as pervading these nine chakras, and is identified with the current of bioenergy called Susunna. They are all meditated on as white, with two eyes and two arms, showing the gestures banishing fear and giving boons. They may be visualised as being in sexual intercourse with the presiding aspects of the Devi in the nine mandalas.

The Four Oceans

The four duties of a human being are described as oceans because of their limitless extent. The sadhaka in the zone is at the junction point or field of action of these four oceans, on the island of gems.

The Nine Bodily Dhatus

Each of the nine matters (dhatu) in the body is presided over by an aspect of Lalita. The Universe, in Shri Vidya, is said to be time, space, and a combination of the two. The first is Shakti, the second Shiva, and the third Shiva and Shakti in union. These are also the three eyes on Lalita’s face, and sun, moon, fire.

The Island of Nine Gems

On this island, which is all and everything, seed and sprout, the six seasons all manifest simultaneously. The Aeon Trees (Kalpadruma) are identified with resolution as any act undertaken with resolution is fruitful. The six seasons are identified with the six tastes of a human being.

Horses are the five senses as they lead one forward into action, figuratively taken as war. It is Lalita who slayed the demon Bhanda with all his fearful hordes. All her saktis assisted her in this. Then the celestial city, the Nagar was built. Elephants are the objects of senses, or the impressions.

Shri Vidya implies unity between knower, means of knowledge and knowledge itself. These are the three cities. This means that the knower, by means of the five instruments of knowledge, offers to knowledge itself, Devi in the yantra. (See Bhavanopanishad).

The Fifteen Nitya Shaktis

These are modifications of Lalita as red goddess with her three gunas and her five elements of aether, air, fire, water and earth. They are identified with the 15 days of the lunar fortnight. As the moon remains itself, though appearing differently according to phase, so too Lalita. Each Nitya has her own vidya, yantra and group of energies (saktis). Lalita or Tripurasundari is the 16th day or Full moon, with her 15 digits. Each of the 15 Nityas has a certain number of arms, the totality of arms (= rays) of the whole circle being 108. Because any unit of time is taken as a microcosm or parallel of any other valid unit, each of the 15 Nityas has 1440 breaths.

One lunar fortnight is 21600 breaths — which is the number of a whole cycle or process. The breaths of a human being during one day and night are 21600 -10800 of which are solar, the other 10800 being lunar. By this device, the unity of the 15 Nityas, time, space and a human being is shown. As time is breath in Shri Vidya, we find that the periods of the four famous yugas are also based on breath. Each breath is influenced during the day by the planets in their waxing and waning of power.

These cause poisons to accumulate in the physical body. Nectar is released when the sun mandal ‘melts’ the moon mandal, and one attains to Hamsa. This is the nectar of compassion.

Lalita as the Whole Universe

Tantrik rites often include ‘nyasas’, the placing of some principles in a certain sequence on one’s own body. The idea is that this process purifies and divinises.

Lalita’s Sodha (sixfold) Nyasa is a highly complex rite in which a practitioner places on the body the 51 letters of the alphabet, the planets, the 27 naksatras or lunar mansions, the 12 sidereal constellations, and the 51 sacred sites (pithas) of all India.

Placing these different things on the body the practitioner comes to realise oneness with the whole cosmos. This ritual also illustrates some important concepts. The Tantraraja states that there is no difference between the circle of the letters of the alphabet and the sidereal Zodiac. Lalita as devi is Shakti as all language, mantra, sound, music and vibration. She is also Shakti of Time as all planets and constellations. She is the very essence of sun and moon. Each of these realms requires inner comment.

51 Ganesas and 51 Letters

The image of Ganesa illustrates the three realms. elephant, his body human, and his vehicle a mouse. These are three realms in one being. He is lord of obstacles in three ways. As elephant, his great strength can break harriers. As human, he can use his intelligence. As mouse, he can penetrate the smallest places. Every aspect of Shri Vidya may be understood in three ways — gross, subtle, and supreme — and so the meaning of things often remains uncertain unless you already know someone who has the key, or belong to the in group.

As letters of the alphabet, Lalita is Matrika Shakti, who deludes by her Maya through words, speech, mantra.

Planets

The tantriks knew the seven traditional planets of western astrology, and also had a greater number of shadowy planets, of which Rahu and Ketu — the nodes of the moon — are the best known. The planets are important to an understanding of Shri Vidya, but the details are so extensive that they must be reserved for a later time.

27 Nakshatras

These constellations were thought of as beyond the 12 sidereal constellations, so remote they were almost beyond time itself. These 27 are employed in Shri Vidya to determine suitability of partners, constructing Vajra Yantras, and so forth. Each of the 27 has its own animal. A yoni or lingam is classified as being harmonious or the reverse according to the position of the natal moon in these constellations. They are also associated with sacred herbs and trees, and much used in specific or optional rites.

Yoginis

The Yoginis of the bodily centres (dhatus) reveal very much of interest as they are associated with the well known but much misunderstood cakras. These Yoginis are really images of the ayurvedic or alchemic bases in the body.

They can only be understood in relation to such an alchemy. Kundalini is the body shakti, the great deluder, the trickster, the cause of sleep. To raise her means to become conscious of her manifestation. Shakti in the body has her various forms as Prana (Breath) Shakti, fire Shakti and so forth. When Prana Shakti becomes agitated, she zigzags up the body. At this time one starts to experience dissolution. Various things my be seen and felt.

Dakini, Rakini &c. preside over the alchemical physical bases of skin, blood, flesh, fat, bone, marrow. The last of these yoginis presides over the highest dhatu, highest as it forms the physical basis for new life — ova/semen. In this form she is truly limitless, as she manifests as the Aeon Tree (Kalpadruma). The Dakinis and Rakinis &c. are pictured as terrifying as they consuners of the food one ingests.

Twelve Rashis (Constellations)

These are viewed as 12 great suns or sun Kalas, mighty Adityas presiding over great affairs, feeding on human beings and their essence.

51 Pithas

These are places in India particularly sacred to devi, as they mark the spots where the parts of her body fell after it was sliced into pieces by the discus of Visnu. The yoni fell at Kamarupa, hence the special spiritual regard in which this place is held by Kaulas.

The Nadis

Nadi means river, and is extended to include other currents and courses, such as those of the bioenergy and the pulse. Ayurvaidyas have written works distinguishing various types of pulse indicating dysfunction of the three powers. Nadi is also 150th part of the ascendant in a birth chart based on the sidereal zodiac. Such a birth chart is called Rashi Kundali. It is impossible to cast accurate charts without knowing which nadi rules a person or time. Each nadi has an aspect of the devi ruling it, and a solar and lunar part — hence there are 3600 in the zodiac.

There are said to be 72000 nadis in the human organism. This number indicates a large but not infinite number of channels of bioenergy. They are the pathways of Prana Shakti.

The chief pathways are Susumna, extending from a point between the anus and genitals to the top of the head; ida and pingala, which are the solar and lunar pathways coiled around the central channel. This Susumna is Shiva and Shakti in sexual union. The human body is conceived of as a tree — the root is at the top of the head, and it ramifies downwards. These channels are the pathways or body vehicles for Vata, one of the three dosas or humours in Ayurveda of the human body, and constitute the central nervous system with three main concentrations.

Marmas

Marmas are 108 in number, well documented points of the human organisn which, if pierced, usually cause death. Many are recognised by western medicine. On the Shri Yantra, marmas are represented by the confluence of three or more lines.

Sandhis

These are joints in the human frame, knee joint, elbow joint &c. The body is the temple of the devi. On the Shri Yantra sandhis are represented by the junction of two lines.

Meaning of Kula

A ‘kula’ is a Shakti. The foregoing shows that each Shakti in the yantra is some energy of the human organism in its gross, subtle, or causal aspects. ‘Akula’ (lit. ‘not Kula’) is Shiva.

“Having abandoned her family of young Kula women, she becomes Shiva, with no qualities, no characteristics, devoid of the form of time.” — Vamakesvara Tantra

“All things the body. The body is the sacrificial ladle. Knowledge is the food.” — Shiva Sutras II, 9-10.

The Weapons of Lalita

Lalita holds five flowery arrows, noose, goad and bow. The noose is attachment (moon). The goad is repulsion (sun). The sugarcane bow is the mind. The flowery arrows are the five sense impressions. When oonsciousness perceives these, the outward directed arrows stop being dry sticks.

These five flowery arrows together with the bow are personified as six Krishnas or Kamadevas. V84 of ch xxiv of Tantrarajatantra states that Lalita assumed a male form as Krishna, and ‘by enveloping all women enchanted the whole world’. Each of the six forms is like dawn, with six arms, holding flute, noose, goad, sugarcane bow, flowers, sour milk.

Eroticism in Shri Vidya

The physiology of Shri Vidya postulates macrocosm and microcom as one. From this follows the realisation that the sexual union of man and wanan mirrors the cosmic creation. It is natural that loving sexuality should be seen to have a cosmic status.

Kaulas have been criticised as their works emphasise love and death, but they were always realists. Many tantras establish that the terrifying Kali and the benign Lalita are two sides of the same coin. This coin or currency is called life. Lalita, with her waxing moon, represents creation, and Kalika with her waning moon dissolution. Each is a complete symbol, of high sublimity and loaded with spiritual significance.

The 15 Syllable Mantra

A chart, in Sanskrit, in the Adyar Library edition of Varivasya Rahasya, which deals with the 15 lettered Vidya of Lalita is so useful to an understanding of Shri Vidya and the yantra that we have summarised its contents below.

The Kadi Vidya runs ka e i la hrim: ha sa ka ha la hrim: sa ka la hrim. There is also a secret 16th syllable said to be the quintessence of Lalita.

There vidya, yantra, guru, disciple, goddess are all conceived of as being one. The Shri Yantra is within the wheel of time (Kalacakra), and represents the human body (microcosm), and the universe (macrocosm). These 15 letters are conceived to exist within the meru or spine of a human being, from the base to the top of the head.

The seven (or nine) ‘cakras’ are strung along this thread of light, as are the different mandals or circles of Shri Yantra. Note that the Lalita Vidya is itself divided into three parts, each represents fire, sun and moon.

Different letters of the alphabet all exist in a subtle form within the spinal cord. Each chakra is presided over by a Yogini whose function is connected with the transmutation of food, which is alchemy of the food factory.

There are 50 petals associated with these six cakras as there are 50 letters of the Sanskrit alphabet. 21600/50 = 432. The cakra of the absolute or semen/ova itself has 1000 letters or petals. Semen is conceived of as residing here because of its alchemical nature as an elixir produced by the synthesis of the forms of food.

These three which are oneness are knower, means of knowledge, object of knowledge. Their union is called samarasa.

The three corners of the central triangle of the Shri Chakra are presided over by three symbolic Nathas. The Fourth Natha, Shiva Himself, is united with Shakti in the centre of the Bindu.

This Bindu, united Shiva Shakti, creates the cosmos. If we observe nature we see that the Shri Cakra (child) comes from the sexual union or samarasa (perfect assimilation) of man (Shiva) and woman (Shakti).

Their samarasa is known as the Fourth, because it appears when all three are present, and also produces or has the three as its powers or saktis.

This Fourth is awareness, the witness, the enjoyer, the measurer, the measuring stick, and the measured, Adinatha, the merulingam, beyond time and space, and therefore outside the Shri Yantra or the cosmos as modification or play of sun, moon and fire. These last three form the body of Lalita.

The three saktis of the Fourth are known as Kamesvari, Vajresi and Bhagamalini, in the symbolism of Shri Vidya.

They are also the saktis Iccha, Jnana and Kriya (Knowledge, Will, Action), and in their aspects as Creator, Maintainer and Destroyer are known as Vama, who vomits forth the universe, Jyesta who maintains, and Raudri who dissolves.

The body of a human being is made up of these three in combination and blending. They are active, passive and reconciling.

The three are also symbolised as three holy mountains known as Kamagiri, Purnagiri, and Jalandhari. The apex of these foothills is the very secret Oddiyana, at the centre of Shri Yantra. The three also represent three symbolic lingas within the human frame.

Conceived of as the human body, and as the Meru or subtle spine, these three places are points of convergence or pilgrimage of the channels of bioenergy connected with the sun and moon. There is a correspondence between these channels in the body, and the luminaries in the heaven.

As the Shri Yantra is Time and Space, all constellations, planets, lunar mansions, are conceived of as being the body of Lalita, Maha Tripura Sundari. It was these three cities that were destroyed by Lord Shiva, and described in the Shiva Mahimna Stotra.

At the confluence of the three rivers of bioenergy are three lingams of Supreme Shiva, resorted to by the wise. One united with the Fourth is liberated. Others are deluded by the Maya or play of the goddess, who, with her three aspects in all is known as Mahamaya Adya, the womb of all.

She deludes by her every process, and has the form of Matrika devi, or goddess of speech and words. The 15 syllables of the vidya are usually disguised in symbolic design or code. The three Hrims are called the three maya granthis or knots of delusion. This Hrim breaks down into Ha for Shiva, Ha for Shakti, and Im for samarasa.

The Fourth (Turiya) also pervades consciousness in its states of waking, dreaming and deep sleep. This is also expressed in the Shiva Sutra.

Meaning of Shri Vidya

The Yogini Hridaya, the second part of the Vamakeshvara Tantra, states that the mantra has several meanings. Some are literal, others traditional, inner, Kaulika, occult and real.

Literal Meaning

The syllables represent Shiva and Shakti. The first part, Ka E I La Hrim, is called Vagbhava, and is Vama Shakti, Brahma, Jnana Shakti, and Eastern Face. The second part, Ha Sa Ka Ha La hrim, is Kamaraja, Jyesta Shakti, Visnu, Iceha Shakti, and Southern Face. The third part, Sa Ka La hrim, is called Shakti, is Raudri Shakti, Rudra, Kriya Shakti and Western Face. The fourth part, the hidden or secret syllable, is mother goddess, Shambhu Natha, the totality of the three shaktis of Knowledge, Will and Action, and the Northern Face or amnaya.

Traditional Meaning

Ka = air, Ha = fire, Sa = water, La = earth, Ha = aether. The vowels are above aether. The 15 syllables are 1 of aether, 2 of air, three of fire, four of water, and five of earth. The three forms of La represent the three Worlds. The five forms of the letter Ha represent sound.

Inner Meaning

The vidya shows oneness of Shiva, Guru, devi and disciple; as it is Shiva in sound form (Shakti) which preserves the line.

Kaula Meaning

The Mother goddess is known as Ganeshi (Lady of Hosts), because of her great nunber of rays. These are the Ganesas of the sixfold Nyasa. Devi has three eyes which are sun, moon, fire. She has three saktis which are Will, Knowledge, Action. She has three gunas which are active, passive, reconciling. These are the nine planets. The 27 naksatras are 10 Knowledge and Action modes, 10 objects of senses, Devi, Deva, three gunas as one, and the four inner causes. The six yoginis have their names beginning Da, Ra, La, Ka, Sa, Ha — and end in ‘akini’. They preside over the physical bases (dhatus) of the body. The 12 sidereal constellations are the 10 vital breaths, the embodied being (jiva), and the Supreme Creator. The 51 pithas correspond to the letters of the alphabet, and are points of confluence one should visit within the body. Each of the three sections of the vidyas represents speech — in potential, in formation, in manifestation. The Devi is Matrika Shakti.

Breath is Time

This is a fundamental postulate of Shri Vidya and much of the symbolism is based on it. The letters of Sanskrit said to represent the embodiment of Laiita as mantra are 52 in number: 16 vowels and 36 consonants. These, multiplied together, total 576. This number, divided by nine yields 64. The Shri Yantra is said to have 64,000,000 yoginis in the nine sub-mandalas.

Each mandala has a unit of Time associated with it. The basic unit is a breath. One nadika is equal to 24 minutes or 1440 seconds, and each breath is one 360th of this, or four seconds. A human being breathes 21600 times each 24 hours.

A Kali Yuga is 432,000 years of 360 days. A Dvapara Yuga is 864,000 years. A Treta Yuga is 1,296,000 years. A Satya Yuga is 1,728,000 years. The circle of the sidereal zodiac has 12 constellations, each of which has nine parts (navamshas). These 108 (12 x 9) are called Candrakalas.

Each Candrakaia is, itself, a micro-constellation. The number of degrees in the sidereal cakra is 360. The number of minutes is 21600. A conjunction is 21600′, a square 5400′, an opposition 10800′. Each eternity (Nitya) of the root mantra has 1440 breaths. (See the prayoga of Bhavana Upanishad). This implies that Lalita is 21600, as she is the collectivity of the 15 Nityas.

Lalita’s cakra is the grand synthesis of Time, Space, and humankind. Her 36 tattvas are the whole cosmos.

Ritual Accessories (Upachara)

These can be multiplied indefinitely. The chief are scent (earth), incense (air), flame (fire), water, and flowers (aether). They should all be red, or tinged with red. They represent, in their basic form, the five impressions. See Gandharva Tantra.

Devatas of the Leftovers

At the end of the rite Vatuka Natha is in the NE, and takes flame leftovers; Yoginis in the SE take mantra leftovers; Kshetrapala in the SW takes scent and incense leftovers; Ganesa, in the NW, takes mudra leftovers. The aspect of Lalita called Sosika consumes everything that is left. She is worshipped in the NE in a circular pit.

Gayatri

This is the name of a specific kind of mantra used at the four twilights of dawn, midday, dusk and midnight. There are Vedik and Tantrik gayatris. Lalita has her own which is tripurasundaryai vidmahe kameshvaryai dhimahi tanno klinne prachodayat.

Esoteric Meaning of the Vidya

This leads the sadhaka to identify the vidya with moon, sun and fire, as sections of the central or Susunna Nadi, relating to Intellect, Emotions, and Physical Sensations. These have to he brought together for the Fourth to appear. There are 10 fire kalas, 12 sun kalas, and 15 moon kalas. The 16th includes them all.

Sound

The letters of the vidya are Nada, or sound, and the absolute, and end as uttered sound. When charged with the consciousness of the Fourth these mere letters become mantra. Otherwise, words continually delude.

The 16th syllable of the vidya also represents the Fourth. This Fourth is Kamakala. Beyond it is the Ultimate Absolute (Atiturya – beyond the Fourth), and beyond any sort of description.

Lalita sahasranama

From Wikipedia, the free encyclopedia

Jump to: navigation, search

Lalita sahasranama is a sahasranama or thousand names] of Lalita Devi or the Divine Mother, in the form of God’s Power or Shakti,The goddess of bliss, an epithet for Parvati, entomologically “Lalita” means “She Who Plays”.

The names are organised as in a hymn stotras and this hymn occur’s in the Brahmanda Purana. It is a dialogue between Hayagriva, a minor incarnation avatara of Vishnu and the great sage Agastya.

The Laita Sahasranama is held as a sacred text for the worship of the Divine Mother, Lalita (and is also used in the worship of Durga , Kali, Lakshmi, Saraswati, Bhagavathi, etc.. It is a principal text of Shakta worshippers. Lalita Sahasranama names the various attributes of the Divine Mother, and all these names are organised in the form of a hymn. This Sahasranamam is used in various modes for the worship of the Divine Mother. Some of the modes of worship are Parayana(Recitations), Archana , Homa etc.

Lalita Sahasranama is famous for the internal organization of its text and the rhythmic sound vibrations associated with its verbal audio recitation that its rendering can produce. Usually, in a sahasranama, if the same name repeats, the commentators use their scholarship and inspiration to give different meanings to different occurrences of the same name. Lalita sahasranma has the unique distinction, among all the sahasranamas, of not repeating even a single name. Further, in order to maintain the metre, sahasranamas use the artifice of adding words like tu, api, ca, and hi, which are only conjunctions not necessarily needed for the meaning except in rare cases of interpretation. Lalita sahasranama has again the unique distinction of not having even a single such innocuous word in its texture.

Every letter and word of the Lalita Sahasranamam is protected from interpolation, mutilation etc. through axioms called CHALARNA SUTRAS or PARIBHASHA SUTRAS in a manner similar to as the Vedas are protected through various methods like – padam, kramam, ghanam etc. The pronunciation of individual words is to be done with care to ensure that there is no distortions in the meaning of the words . The whole hymn is a string of Mantras with hidden esoteric meanings. The sahasranama is an esoteric text and many meanings are attributable to each of these names;as many as sixteen meanings are known to be applicble for some names. Extensive commenteries have been written on the Lalita Saharanamam and a notable translation of an authentic commentary is “Lalita-Sahasranama with Bhaskararaya’s Commentary “(Translated Into English) By: R. Ananthakrishna Sastry Published by The Theosophical Publishing House, Adyar, Chennai. and another by Dr. C Suryanarayana murthy published by Bhartiya Vidya Bhavan, Mumbai.

Simply chanting Lalita Sahasranama as a daily practice is intended to give relief and create a mind free of tensions, devoted to other living beings in the world, inculcate sincere love, unity , progressing to see divinity in all fellow beings and overcome hatred and animosity towards our enemies. Among the many hymns, mantras and devotional songs available, the Lalita Sahasranama is specially suitable for worship at all times and also at particular times like morning, evening or night. The Sahasranama is to be chanted in Sanskrit to obtain full benefits of its the rhythmic sound vibrations and with a conemplation on the meaning of each nama alongside with the recitation to obtain desired benefits.

While Sahasranamas giving material well-being and salvation are prescribed for all castes and in all stages of life, Lalita Sahasranama is generally prescribed for all for obtaining Divine grace for fulfilment of human desires. It is recommended that the Sahasranamama be chanted a number of times every daily or at least once every day or at least on important occasions like, during the summer and winter solstices, on Birth one’s own, one’s spouse’s, and one’s children’s birthdays, on Navami (the 9th or 14th day of the bright fortnight), and on Fridays , and all auspicious occasions. This Sahasranama may be recited especially on the Purnammi(Full-Moon) Day, as one meditates upon Mother Lalita as seated within the disc of the Moon

Prayoga and Phalasruti detail out the method of worship and the benefits accuring from the worship theron. The phalashruti on Lalita Sahasranama given in a chapter following the Laita Sahasranama in the Brahmanda Purana,

The Practice of chanting the Sahasranama is open to all and not restricted to any particular denomination or caste or creed who are who have faith and devotion for worship of the Devi

Purva-pithika

. Xyanm!.
Dhy˜nam

isNËraé[ iv¢ha< iÇnyna< mai[Ky maEil S)…rt!
tara nayk zeora< iSmt muoIm! AapIn v]aeéham!,
pai[_yam! AilpU[R rÆ c;k< r­aeTpl<ivætI—
saEMya<rÆ "qSw r­ cr[a< Xyayet! pramiMbkam!.
sind¨r˜ruõa vigrah˜Õ trinayan˜Õ m˜õikya mauli sphurat
t˜r˜ n˜yaka þekhar˜Õ smita mukhŸm ˜pŸna vakÿoruh˜m |
p˜õibhy˜m alip¨rõa ratna caÿakaÕ raktotpalaÕ vibhratŸÕ
saumy˜Õ ratna gha÷astha rakta caraõ˜Õ dhy˜yet par˜mambik˜m ||

I meditate on the Divine Mother
whose body has the red hue of vermilion,
who has three eyes,
who wears a beautiful crown studded with rubies,
who is adorned with the crescent Moon,
whose face sports beautiful smile indicating compassion,
who has beautiful limbs,
whose hands holds a jewel studded golden vessel filled with nectar,
and in the other a red lotus flower.

Aé[a<ké[a tri¼t]I—
x&t paza»‚z pu:p ba[ capam!,
Ai[maid i-rav&ta< myuoE>
AhimTyev iv-avye -vanIm!.
aruõ˜Õ karuõ˜ taraðgitakÿŸÕ
dh®ta p˜þ˜ðkuþa puÿpa b˜õa c˜p˜m |
aõim˜di bhir˜v®t˜Õ mayukhai×
ahamityeva vibh˜vaye bhav˜nŸm ||

I meditate on the great Empress,
who is red in color,
whose eyes are full of compassion,
who holds a noose, goad, bow and flowery arrow in Her hands,
who is surrounded on all sides by powers such as aNimA for rays,
and who is the Self within me.

Xyayet! pÒasnSwa< ivkistvdna< pÒpÇayta]I—
hema-a<pItvôa<krkiltlsÏempÒa<vra¼Im!,
svaRl»ar yu­a<stt<A-yda<-­nèa<-vanI—
ïI iv*a< zaNt mUit¡ skl surnuta< svR sMpt! àdaÇIm!.
dhy˜yet padm˜sanasth˜Õ vikasitavadan˜Õ padmapatr˜yat˜kÿŸÕ
hem˜bh˜Õ pŸtavastr˜Õ karakalitalasaddhemapadm˜Õ var˜ðgŸm |
sarv˜laðk˜ra yukt˜Õ satatam abhayad˜Õ bhaktanamr˜Õ bhav˜nŸÕ
þrŸ vidy˜Õ þ˜nta m¨rtiÕ sakala suranut˜Õ sarva sampat prad˜trŸm ||

I meditate on the Divine Mother,
who is seated on the lotus,
whose face is radiant,
whose eyes are like lotus petals,
who is golden hued,
who has lotus flowers in Her hand,
who dispels fear of the devotees who bow before Her,
who is the embodiment of peace,
who is knowledge (vidyA),
who is praised by gods,
and who grants every kind of wealth wished for.

sk…»‚m ivlepna milkcuiMb kStUirka<
smNd histe][a< szr cap paza»‚zam!,
Aze;jn maeihnI— Aé[ maLy -U;aMbra<
jpak…sum -asura< jpivxaE SmrediMbkam!.
sakuðkuma vilepan˜ malikacumbi kast¨rik˜Õ
samanda hasitekÿaõ˜Õ saþara c˜pa p˜þ˜ðkuþ˜m |
aþeÿajana mohinŸm aruõa m˜lya bh¨ÿ˜mbar˜Õ
jap˜kusuma bh˜sur˜Õ japavidhau smaredambik˜m ||

I meditate on the Mother,
whose eyes are smiling,
who holds the arrow, bow, noose and the goad in Her hand,
who is glittering with red garlands and ornaments,
who is painted with kumkuma on her forehead,
and who is red and tender like the japa flower.

. ïI lilta shönam StaeÇm!.
contributed by Saraswathy V. Somabhatta
Translation based on the meanings given in the book published by Ammachi Publications.

` ïImata ïImhara}I ïImiTs<hasneñrI,
icdi¶k…{fs<-Uta devkayRsmu*ta. 1.

%*Ñanushöa-a ctubaR÷smiNvta,
ragSvêppazaF(a ³aexakara»‚zaeJJvla, 2.

mnaeêpe]ukaed{fa pÂtNmaÇsayka,
injaé[à-apUrm¾dœäüa{fm{fla. 3.

cMpkazaekpuÚagsaEgiNxklsTkca,
k…éivNdmi[ïe[IknTkaeqIrmi{fta. 4.

AòmIcNÔivæajpdilkSwlzaei-ta,
muocNÔkl»a-m&gnai-ivze;ka. 5.

vdnSmrma¼Lyg&htaer[ici‘ka,
v³alúmIprIvahclNmIna-laecna. 6.

nvcMpkpu:pa-nasad{fivraijta,
tarakaiNtitrSkairnasa-r[-asura. 7.

kdMbmÃrI¬¯Ýk[RpUrmnaehra,
taq»yuglI-Ut tpnaefupm{fla. 8.

pÒragizladzR pir-aivkpael-U>,
nvivÔ‚mibMbïINyŠairrdnCDda. 9.

zuÏiv*a»‚rakariÖjpi“ÖyaeJJvla,
kpURrvIiqkamaedsmaki;RidgNtra. 10.

injs<lapmaxuyRivin-RiTsRtkCDpI,
mNdiSmtà-apUrm¾Tkamezmansa. 11.

Anakiltsa†ZyicbukïIivraijta,
kamezbÏma¼LysUÇzaei-tk<xra. 12.

knk£A¼d£keyUr£kmnIy£-ujaiNvta,
rÆ¢Evey£icNtak£lael£mu­a£)laiNvta. 13.

kameñràemrÆmi[àitp[StnI,
na_yalvalraemaillta)lk…cÖyI. 14.

lúyraemltaxartasmuÚeymXyma,
Stn-ardlNmXyp”bNxvilÇya. 15.

Aé[aé[ kaEsuM-vô-aSvTkqItqI,
rÆiki»i[karMyrznadam-Ui;ta. 16.

kamez}atsaE-aGymadRvaeéÖyaiNvta,
mai[Kymk…qakarjanuÖyivraijta. 17.

#NÔgaeppiri]ÝSmrtU[a-j<i”ka,
gUFguL)a kªmRp&ójiy:[uàpdaiNvta. 18.

nodIixits<DÚnm¾ntmaegu[a,
pdÖyà-ajalprak«tsraeéha. 19.

isÃanmi[mÃIirmi{ftïIpdaMbuja,
mralImNdgmn mhalav{yzevix>. 20.

To be continued…

Shree Lalitaa sahasranaama stotram

The famous Lalita sahasranama Stotra can be found in the Brahmanda Purana. It  was given to the great Rishi Agastya by Lord Hayagriva, an incarnation of Lord Vishhnu. Agastya was dismayed with the ignorance and the pleasure seeking lives of people and worshipped Devi Kamakshi at Kanchi, one of the most revered Devi Shakti peethas, for a solution to uplift the masses. Lord Hayagriva appeared before agastya and advised him that the worship of the Devi with the Lalita Sahasranama stotra is the best way to attain both spiritual and material upliftment. We have given the Lilita Sahasranama stotra here with word to word meaning.
Play & listen to Mp3 (opens in a new window) Lalita Sahasranama Stotra in Sanskrit (Devanagari)
Dhyanam

Sinduraruna vigraham trinayanam manikyamauli sphurat
Tara nayaka shekharam smitamukhi mapina vakshoruham
Panibhyamalipoorna ratna chashakam raktotpalam bibhratim
Saumyam ratna ghatastha raktacharanam dhyayet paramambikam –1

The Divine mother is to be meditated upon as shining in a vermilion-red body, with three eyes, sporting a crown of rubies studded with the crescent moon, a face all smiles, a splendid bust, one hand holding a jewel-cup brimming with mead, and the other twirling a red lotus.

Dhyayet padmasanastham vikasitavadanam padmapatrayatakshim
Hemabham pitavastram karakalitalasad hemapadmam varangim
Sarvalankara yuktam satata mabhayadam bhaktanamram bhavanim
Shrividyam shanta murttim sakala suranutam sarva sampatpradatrim ..3

The Divine Goddess is to be meditated upon as seated on the lotus with petal eyes. She is golden hued, and has lotus flowers in Her hand. She dispels fear of the devotees who bow before Her. She is the embodiment of peace, knowledge (vidyaa), is praised by gods and grants every kind of wealth wished for

Lalita Sahasranama stotram

Om shrimata shrimaharagyi shrimatsimha saneshvari
Chidagni kundasambhuta devakarya samudyata .. 1

Shrimata: Salutations to the Divine Mother, who is the Mother of all.
Shri-mahararagni: Great Empress of the whole Universe.
Shrimat-simhasaneshvari: Great Sovereign, enthroned on the lion’s back.
Chidagni kundasambhuta: Who came out of the fire of Pure Consciousness.
Devakarya samudyata: Who promotes the cause of Divine forces.

Udyadbhanu sahasrabha chaturbahu samanvita
Raagasvarupa pashadhya krodha karankushojjvala .. 2

Udyadbhanu sahasrabha: Who is radiant as a thousand suns rising together.
Chaturbahu samanvita: Four-armed Divinity.
Ragasvarupa pashadhya: Who holds in her lower left hand a noose representing the power of love.
Krodha karankushojjvala: Who holding the flashing Ankusa (goad) of anger in Her lower right hand for restraining the forces of evil.

Manorupekshu kodanda pancha tanmatra sayaka
Nijaruna prabhapura majjadbrahmanda mandala .. 3

Manorupekshu kodanda: Who wields in her upper left hand a Sugarcane bow that stands for mind.
Panchatanmatra sayaka: Who holds five arrows representing the five Tanmatras (Subtle elements).
Nijaruna prabhapura majjadbrahmanda mandala: In the rosy splendour of whose form the whole universe is bathed.

Champakashoka punnaga saugandhika lasatkacha
Kuruvinda manishreni kanatkotira mandita .. 4

Champakashoka punnaga saugandhika lasat kacha: Whose shining locks of hair impart their fragrance to flowers like Chamka, Ashoka and Punnaga adorning them.
Kurvinda manishreni kanatkotira mandita: Whose crown is shining with rows of Kuruvinda gems.

Ashtami chandra vibhraja dalikasthala shobhita
Mukhachandra kalankabha mruganabhi visheshaka .. 5

Ashtami chandra vibhraja dalikasthala shobhita: Whose forehead shines, arching like the crescent moon of the eighth lunar digit (Ashtami)
Mukhachandra kalankabha mruganabhi visheshaka: The Kasturi Tilaka adorns her moonlike face, like the spot in the moon.

Vadanasmara mangalya gruhatorana chillika
Vaktra lakshmi parivaha chalan minabha lochana .. 6

Vadanasmara mangalya gruhatorana chillika: Whose face, the auspicious home of Karma (Cupid), has eyebrows that resemble archways leading to that abode of beauty.
Vaktra lakshmi parivaha chalan minabha lochana: Whose eyes move like fish in the streams of beauty flowing from Her face.

Navachampaka pushpabha nasadanda virajita
Tarakanti tiraskari nasabharana bhasura .. 7

Navachampaka pushpabha nasadanda virajita: Whose shapely nose is like a freshly blown Champaka bud.
Tarakanti tiraskari nasabharana bhasura: With a nasal ornament set with a jewel that excels the brilliance of the planet Venus.

Kadamba manjari klupta karnapura manohara
Tatanka yugalibhuta tapanodupa mandala .. 8

Kadamba manjari klupta karnapura manohara: Who is radiant and charming with a bunch of Kadamba flowers over her ears.
Tatanka yugalibhuta tapanodupa mandala: Who has the orbs of the Sun and Moon as Her pair of ear pendants.

Padmaraga shiladarsha paribhavi kapolabhuh
Navavidruma bimbashri nyakkari radanachhada .. 9

Padmaraga shiladarsha paribhavi kapolabhuh: Whose cheeks are far fairer than mirrors of ruby (Padmaraga)
Navavidruma bimbashri nyakkari radanachhada: Whose lips outshine the redness of fresh coral and bimba fruit.

Shuddha vidyankurakara dvijapankti dvayojjvala
Karpura vitikamoda samakarshi digantara .. 10

Shuddha vidyankurakara dvijapankti dvayojjvala: Whose beauty is enhanced by her rows of teeth that resemble the sprouting of pure Knowledge (Suddha Vidya or Sri – Vidya).
Karpura vatikamoda samakarshi digantara: The fragrance of the campho limbedded betel roll in whose mouth is spreading in all directions.

Nijasallapa madhurya vinirbhartsita kachhapi
Mandasmita prabhapura majjatkamesha manasa .. 11

Nijasallapa madhurya vinirbhartsita kachhapi: Whose speech is more melodious than the Veena of Sarasvati known as Kachhapi.
Mandasmita prabhapura majjatkamesha manasa: The radiance of whose smile inundates the mind of Kamesvara, Her consort.

Anakalita sadrushya chubukashri virajita
Kamesha baddhamangalya sutra shobhita kandhara .. 12

Anakalita sadrushya chubukashri virajita: Her chin is peerless in beauty.
Kamesha baddhamangalya sutra shobhita kandhara: Whose neck is adorned with the Mangalasutra fastened thereon by Her consort Kamesvara.

Kanakangada keyura kamaniya bhujanvita
Ratnagraiveya chintaka lolamukta phalanvita .. 13

Kankangada keyura kamaniya bhujanvita: Whose beautiful arms are decked with armlets and bracelets of gold.
Ratnagraiveya chintaka lolamukta phalanvita: Who wears a gem – set necklace having a big pearl as a pendant.

Kameshvara premaratna manipratipana stani
Nabhyalavala romali lataphala kuchadvayi .. 14

Kamesvara premaratna manipratipana stani: Whose breasts form the price she pays to Her Consort (Mahesvara) in return for the gem of love He bestows on Her.
Nabhayalavala romali lataphala kuchadvayi: Whose breasts look like fruits on the creeper of the hair – line spreading upwards from the navel.

Lakshyaroma latadharata samunneya madhyama
Stanabhara dalanmadhya pattabandha valitraya .. 15

Lakshyaroma latadharata samunneya madhyama: Who has a waist so slender that it can only be inferred as a base for the creeper of fine hair springing from her navel upwards.
Stanabhara dalanmadhya pattabandha valitraya: Whose waist, breaking under the weight of the breasts, gets three lines like a supporting belt.

Arunaruna kausumbha vastrabhasvath katitati
Ratnakinkini karamya rashana dama bhushita .. 16

Arunaruna kausumbha vastrabhasvath katitati: Who wears a garment of deep red round Her hip.
Ratnakinkini karamya rashana dama bhushita: Who is adorned with a girdle having many mini bells set with precious stones.

Kamesha gyata saubhagya mardavoru dvayanvita
Manikya makutakara janudvaya virajita .. 17..

Kamesha gyata saubhagya mardavoru dvayanvita: The beauty and smoothness of whose thighs is known only to her consort, the Conqueror of love (Kamesha)
Manikya makutakara janudvaya virajita: Whose two knees are like crowns shaped from the precious stone Manikya.

Indragopa parikshipta smaratunabha janghika
Gudhagulpha kurmaprushta jayishnu prapadanvita .. 18

Indragopa parikshipta smaratunabha janghika: Whose calf – muscles resemble the quiver of the god of love with bright glow–worm like decorations.
Gudhagulpha: Whose ankled are well filled and therefore without protrusion.
Kurmaprushta jayishnu prapadanvita: The arch of whose feet rival the shapeliness and beauty of the back of a tortoise.

Nakhadidhiti sanchhanna namajjana tamogunaa
Padadvaya prabhajala parakruta saroruha .. 19

Nakhadidhiti sanchhanna namajjana tamoguna: The illumining splendor of whose tow nails dispel the darkness of ignorance in the votaries prostrating at Her feet.
Padadvaya prabhajala parakruta saroruha: Whose feet defeat the lotus in beauty.

Sinjana manimanjira manditashri padambuja
Marali mandagamana mahalavanya shevadhih .. 20

Sinjana manimanjira manditashri padambuja: Whose lotus – feet are adorned with tinkling anklets set with jewels.
Marali mandagamana: Whose gait is slow and gentle like that of a swan.
Mahalavanya shevadhih: Who is a treasure house of Divine beauty.

Sarvaruna navadyangi sarvabharana bhushita
Shiva kameshvarankastha shiva svadhina vallabha .. 21

Sarvaruna: Who is rose – hued all over.
Anavadyangi: Who is faultless in every limb.
Sarvabharana bhushita: Who is adorned with divine ornaments.
Shiva kameshvarankastha: Who is seated on the lap of Shiva, the conqueror of desire (Kamesvara).
Shiva: The Consort of Shiva, whose Power She is.
Svadhina vallabha: Who dominates over Her Consort Siva in the creative part of the cyclic motion of time.

Sumeru madhya shrungastha shrimannagara nayika
Chintamani gruhantastha panchabrahma sanasthita .. 22

Sumeru Madhya shrugastha: Who dwells on the mid most peak of Mount Meru.
Shrimannagara nayika: Who is the Bindu, the central circle of bliss in the Shri-chakra.
Chintamani gruhantastha: Whose abode is Manidvipa the Island of Wish-yielding Gem.
Panchabrahma sanasathita: Who rests on a seat formed of the five Divinities (Brahmans), Brahma, Vishnu, Rudra, Isana and Sadasiva.

Mahapadmatavi samstha kadamba vanavasini
Sudhasagara madhyastha kamakshi kamadayini .. 23

Mahapadmatavi samstha: Who dwells in a lotus forest, the thousand–petalled lotus of the Sahashra.
Kadamba vanavasini: Who resides amidst a grove of Kadamba trees (which fringe the Manidvipa)
Sudhasagara madhyastha: Who dwells in the center of the sea of Nectar (which is the light of the Blissful Moon of the pericap of the Sahashrara)
Kamakshi: The look of whose eyes is full of graceful
Kamadayini: Who grants all the prayers of votaries.

Devarshi ganasanghata stuyamanatma vaibhava
Bhandasura vadhodyukta shaktisena samanvita .. 24

Devarshi ganasanghata stuyamanatma vaibhava: Whose majesty is the subject of praise of hosts of sages and divine beings.
Bhadasura vadhodyukta shaktisena samanvita: Whose command an army of Saktis are intent on destroying Bhadasura (the Asura being Ignorance, Lalitambika, the Atman, and the Saktis, the potencies of the Atman.)

Sampatkari samarudha sindhura vrajasevita
Ashvarudha dhishtihitashva kotikoti bhiravruta .. 25

Sampatkari samarudha sindhura vrajasevita: Who is accompanied by a regiment of elephants, headed by Sampatkari.
Ashvarudha dhishtihitashva kotikoti bhiravruta: Who is surrounded by a cavalry of several crores of horses under the command of Ashvarudha.

Chakraraja ratharudha sarvayudha parishkruta
Geyachakra ratharudha mantrini parisevita .. 26

Chakraraja ratharudha sarvayudha parishkruta: Seated in Her chariot Chakra raja equipped with armaments of every kind.
Geyachakra ratharudha mantrini parisevita: Who is attended by Her minister (Syamala) seated in Her chariot named Geya – chakra.

Kirichakra ratharudha dandanatha purashkruta
Jvala malinikakshipta vahni prakara madhyaga .. 27

Kirichakra ratharudha dandanatha purashkruta: Who is preceded by Dandanatha, the commander of Her armiesin his chariot Kiri-chakra.
Jvala malinikakshipta vahni prakara madhyaga: Who has taken position in the center of the rampartof fire constructed by Jvalamalinika.

Bhandasainya vadhodyukta shaktivikrama harshita
Nitya parakramatopa nirikshana samutsuka .. 28

Bhadasainya vadhodyukta shaktivikrama harshita: Who rejoices at the valour of Her Saktis bent on destroying the army of Bhanda.
Nitya parakramatopa niriskhana samutsuka: Who is delighted on seeing the aggressiveness of Her Nitya deities in their attack on the army of Bhanda.

Bhandaputra vadhodyukta balavikrama nandita
Mantrinyamba virachita vishanga vadhatoshita .. 29

Bhandaputra vadhodyukta balavikrama nandita: Who is overjoyed to see Her daughter Bala who is intent on slaying the son of Bhanda.
Mantrinyamba virachita vishanga vadhatoshita: Who feels satisfaction at the destruction of Vishanga by Her chief minister Syamala.

Vishukra pranaharana varahi viryanandita
Kameshvara mukhaloka kalpita shriganeshvara .. 30

Vishukra pranaharana varahi viryanandita: Who appreciates the prowess displayed by Varahi in the destruction of Vishukra.
Kameshvara mukhaloka kalpita shriganeshvara: Who by a mere glance at her Consort Mahesvara generates Sri Ganesha (the elephant headed diety).

Mahaganesha nirbhinna vighnayantra praharshita
Bhandasurendra nirmukta shastra pratyastra varshini .. 31

Mahaganesha nirbhinna vighnayantra praharshita: Who rejoices when that Ganesha destroys the magical devices placed by Bhandasura as obstacles to Her victory.
Bhandasurendra nirmukta shastra pratyastra varshini: Who counters by Her own missiles the rain of missiles directed against Her by Bhadnasura.

Karanguli nakhotpanna narayana dashakrutih
Mahapashu patastragni nirdagdhasura sainika .. 32

Karanguli nakhotpanna rarayana dashakrutih: Who out of Her finger nails recreated all the ten Incarnations of Vishnu to destroy the Asuras slain by Him in His incarnations and now recreated magically by Bhanda out of a missile of his.
Mahapashu patastragni nirdaghasura sainika: Who burned to death the armies of demons with the fire of the great missile pashupata.

Kameshvarastra nirdagdha sabhandasura shunyaka
Brahmopendra mahendradi devasamstuta vaibhava .. 33

Kamesvarastra nirdagha sabhadasura shunyaka: Who with the flames of the missile Kamesvara caused the destruction of bandha and also of his Capita Sunyaka.
Brahmopendra mahendradi devasamstuta vaibhava: Whose manifold powers (displayed in the fight with Bhanda) are praised by Brahma, Vishnu and Indra.

Haranetragni sandagdha kama sanjiva naushadhih
Shrimadvagbhava kutaika svarupa mukhapankaja .. 34

Haranetragni sandagdha kama sanjiva naushadhih: The life giving herb, that revived the god of love (kama – deva) who had been burnt to death by the fire of Shiva’s eyes.
Shrimadvagbhava kutaika svarupa mukhapankaja: Whose lotus face represents the Vagbhava – Kuta of the pancha dashakshari – mantra which is subtle form of the Devi.

Kanthadhah katiparyanta madhyakuta svarupini
Shaktikutaika tapanna katyadho bhagadharini .. 35

Kanthadhah katiparyanta madhyakuta svarupini: Whose middle region from the neck to the waist is represented by the central part (Kamaraja – Kuta) of the same Mantra.
Shaktikutaika tapanna katyadho bhagadharini: Whose form below waist is identical with the last part (Sakti – Kuta) of Pancha – dashakshari Mantra.

Mulamantratmika mula kutatraya kalebara
Kulamrutaika rasika kulasanketa palini .. 36

Mulamantratmika: Who is the original Mantra (Mula-mantra, here Pancha – dashakshari) itself.
Mula-kuta-traya-kalebara: Whose body is identiacal with Pancha – Dashakshari Mantra with all its Kutas or combination of letters.
Kulamrutaika rasika: Who (as the Kundalini) revels in the nectar flowing from the Sahasrara through the whole of the Kula path (i.e.the Susumna).
Kulasanketa palini: Who guards the esoteric doctrine of the Kaulas.

Kulangana kulantastha kaulini kulayogini
Akula samayantastha samayachara tatpara .. 37

Kulangana: Who is the Female Element (Kundalini) in the Kula Path.
Kulantastha: Who is the innermost Reality of the Kula Path.
Kaulini: Who is called Kaulini, the core of the Kaula form of worship.
Kulayogini: Who is the Deity of the Kaulas.
Akula: Who is also the Akula (Siva) who is in the thousand-petalled lotus above the Kula Path.
Samayantastha: Who is likewise the center of the Samaya doctrine (in which the worship is done internally through meditation and which holds Siva-Sakti as of equal importance in all respects).
Samayanchara tatpara: Whom the Samaya tradition of worship is dear.

Muladharaika nilaya brahmagranthi vibhedini
Manipurantarudita vishnugranthi vibhedini .. 38

Muladharaika nilaya: Whose chief residence is the Muladhara.
Brahmagrandhi vibhedini: Who in Her ascent from the Muladhara breaks through the Brahma-grandhi (the Barrier of Brahma to the subtle dimension).
Manipurantarudita: Who then emerges in the Manipura – chakra.
Vishnugranthi vibhedini: Who then breaks through the Vishnu – granthi (the barrier to still subtler dimensions).

Agya chakrantaralastha rudragranthi vibhedini
Sahasraram bujarudha sudhasarabhi varshini .. 39

Agya chakrantaralstha: Who next abides in the center of the Agya – chakra.
Rudragrandthi vibhedini: Who finally breaks through the Rudra – granthi (the barrier to the subtlest dimension).
Sahasraram bujarudha: Who then ascends to the Thousand – petalled Lotus known as the Sahasrara.
Sudhasarabhi varshini: Who sends streams of Nectar (spiritual bliss) from the Transcendant moon in the Sahasrara.

Tadillata samaruchih shatchakropari samsthita
Mahasaktih kundalini bisatantu taniyasi .. 40

Tadillata samaruchih: Who shines like a steady flash of lightning.
Shatchakropari samsthita: Who then establishes herself above the six Chakras.
Mahasaktih: Whose immense joy consists in Asakti (union with Shiva)
Kundalini: Who resides in the Muladhara as the Kundalini (the coiled power).
Bisatantu taniyasi: Who is as fine and firm as the fibre of a lutus stalk.

Bhavani bhavanagamya bhavaranya kutharika
Bhadrapriya bhadramurtih bhakta saubhagya dayini .. 41

Bhavani: Who is Bhavani, the consort of Bhava (Shiva).
Bhavanagamya: Who is realized through devoted meditation.
Bhavaranya kutharika: Who is verily like an axe for clearing the jungle of Samsara (transmigratory existence) in which the Jiva is caught.
Bhadrapriya: Who is fond of everything auspicious.
Bhadramurtih: Who is the embodiment of auspiciousness.
Bhakta saubhagya dayini: Who grants all-round advancement to devotees, both in the spiritual and the material fields.

Bhaktipriya bhaktigamya bhaktivashya bhayapaha
Shambhavi sharadaradhya sharvani sharmadayini .. 42

Bhaktipriya: Who is fond of true devotion.
Bhaktigamya: Who is attained through true devotion.
Bhaktivashya: Who can be won over through true devotion.
Bhayapaha: Who dispels all fear.
Shambhavi: Who is known as Shambhavi, the Consort of Shiva.
Sharadaradhya: Who is adored by Sharada (the Consort of Brahma).
Sharvani: Who is the consort of Sharva or Shiva.
Sharmadayini: Who is the bestower of happiness.

Shankari shrikari sadhvi sharachandra nibhanana
Shatodari shantimati niradhara niranjana .. 43

Shankari: Who is Shankari the Consort of Shiva, who is inseparable from Her.
Shrikari: Who is the spouse of Vishnu, who brings prosperity to devotees.
Sadhvi: Who is a paragon of virtue.
Sharachandra nibhanana: Whose face shines like the autumnal moon.
Shatodari: Who has a very slender waist.
Shantimati: Who is full of peace.
Niradhara: Who has no support other than Herself. But supports everything else.
Niranjana: Who is free from the stain of ignorance.

Nirlepa nirmala nitya nirakara nirakula
Nirguna nishkala shanta nishkama nirupaplava .. 44

Nirlepa: Who is free from all affectations of external contacts.
Nirmala: Who is free from all impurities.
Nitya: Who is eternal.
Nirakara: Who is not limited to and by any form.
Nirakula: Who is never agitated.
Nirguna: Who is beyond the three Gunas of Prakrti – Sattva, Rajas and Tamas.
Nishkala: Who is the Partless Unitary Whole.
Shanta: Who is ever serene.
Nishkama: Who is free from desires.
Nirupaplava: Who is free from afflictions.

Nityamukta nirvikara nishprapancha nirashraya
Nityashuddha nityabuddha niravadya nirantara .. 45

Nityamukta: Who is eternally free.
Nirvikara: Who is not subject to change.
Nishprapancha: Who is beyond the sphere of multiplicity.
Nirashraya: Who is not dependent on anything or anyone.
Nityashuddha: Who is eternally pure.
Nityabuddha: Who is the ever – awake Consciousness.
Niravadya: Who is flawless.
Nirantara: Who is without any division, being eternal by nature.

Nishkarana nishkalanka nirupadhir nirishvara
Niraga ragamathani nirmada madanashini .. 46

Nishkarana: Who has no cause for Hersef, as she is the first cause.
Nishkalanka: Who is without any stain.
Nirupadhi: Who has no limitations.
Nirishvara: Who has no over – lord.
Niraga: Who is without passions.
Ragamathani: Who destroys all passion in the minds of devotees.
Nirmada: Who is without pride.
Madanashini: Who destroys all pride.

Nishchinta nirahankara nirmoha mohanashini
Nirmama mamatahantri nishpapa papanashini .. 47

Nishchinta: Who is free from all doubts and anxieties.
Nirahankara: Who is without any egoism.
Nirmoha: Who is free from false view of things.
Mohanashini: Who dispels all illusions.
Nirmama: Who is devoid of self-interest in any matter, as She includes everyting in Herself.
Mamatahantri: Who destroys the sense of self – centredness in devotees.
Nishpapa: Who is sinless.
Papanashini: Who destroys sins together with the root of all sinful tendencies.

Nishkrodha krodhashamani nirlobha lobhanashini
Nisamshaya samshayaghni nirbhava bhavanashini .. 48

Nishkrodha: Who is without anger.
Krodhashamani: Who destroys the tendency to get angry.
Nirlobha: Who is free from greed.
Lobhanashini: Who destroys greed in Her devotees.
Nisamshaya: Who has no doubts.
Samshayaghni: Who effaces all doubts.
Nirbhava: Who is not involved in the cycle of births and deaths.
Bhavanashini: Who frees devotees from involvement in the cycle of births and deaths.

Nirvikalpa nirabadha nirbheda bhedanashini
Nirnasha mrutyumathani nishkriya nishparigraha .. 49

Nirvikalpa: Who is without any modifications, as she is pure consciousness.
Nirabadha: Who can never be sublated.
Nirbheda: Who is beyond all differences.
Bhedanashini: Who destroys the sense of differences.
Nirnasha: Who is deathless.
Mrutymathani: Who destroys the fear of death.
Nishkriya: Who is without involvement in action.
Nishparigraha: Who needs no gift, as everything in the universe is hers.

Nistula nilachikura nirapaya niratyaya
Durlabha durgama durga duhkhahantri sukhaprada .. 50

Nistula: Who is peerless.
Nilachikura: Whose locks of hair are shining black colour.
Nirapaya: Who is imperishable.
Niratyaya: Who is indestructible.
Durlabha: Who is difficult to attain.
Durgama: Who is hard to approach.
Durga: Who is difficult of access.
Duhkhahantri: Who puts an end to sorrow.
Sukhaprada: Who bestows all happiness.

U botanici poznata kao Elaeocarpus ganitrus je veliko zimzeleno širokolisno drvo koje raste od predela Gange pa sve do jugoistočne Azije, Indonezije i Australije, pa čak raste in na Havajima. Ovo zimzeleno drvo veoma brzo raste i počinje da rađa plod u roku tri, četiri godine.

Đotiš priča

Postoji nekoliko izvora nastanka Rudrakše. Veoma dugo su poznata lekovita dejstva samog nošenja rudrakše i to jerazlog zašto se rudrakši oposvećuje tolika pažnja. Klasifikacija i korist različitog broja lica je data i u Šiva Mahapurani.

Po jednoj priči postojao je demon Tripurasura koji je bio veoma moćan i koji je pravio haos u sva tri sveta (tri pura). Pošto više nisu mogli da podnesu njegovo ugnjetavanje, Brahma, Višnu i ostale devate su otišli kod Šive kako bi tražili njegovu pomoć. Niko nije mogao pobediti demona Tripurasuru budući da je i on imao mnoge kvalitete. Pošto su ga molili za pomoć, Gospod Šiva je seo u meditaciju i meditirao neko vreme. Kada je nakon nekog vremena otvorio svoje lotosoke oči, nekeloko suza su mu pale na zemlju. Gde god su pale njegove suze, izraslo je drvo rudrakše. Potom je upotrebio svoje smrtonosno oružje Aghoru i ubio demona.

Po jednoj durogj priči iz Šiva Mahapurane, Parvati je zamolila Šivu da joj ispriča na koji način je nastalo drvo rudrakše. Šiva joj je rekao da je bio u tapasu hiljadu godina. Nakon hiljadu godina on j eotvorio oči i budući da je toliko dugo bio u meditaciji, kada je otvorio oči, nekoliko suza mu je kanulo iz očiju. Na mestima gde su pale suze, naraslo je drveće rudrakše.

Šiva Mahapurana kaže:

Poglavlje 25, slava rudrakše

Suta reče:

„Ovo zrno rudrakše je veoma povoljno i veoma je drago Šivi. Samo gledanjem u njega ili vršenjem đape (mantranjem na njemu), ili koristeći je kao brojanicu, svi gresi bivaju uništeni“

„u davna vremena je Gospod Šiva, u prisustvu Boginje Parvati ispričao važnost rudrakše zarad dobrobiti svih ljudi“

Šiva reče „O Boginjo, o Mahešani, zarad tvog zadovoljstva i zarad dobrobiti posvećenika, govoriću o slavi rudrakše“

„O Mahešani, ranije je moj um bio uznemiren nakon tapasa koji sam izvodio božanskih hiljadu godina“

„O Parmešvari, ja sam vrhovni gospodar univerzuma, i budući da sam postao priseban, otvorio sam oba oka“

„Onda su suze iz mojih poluotvorenih očiju pale na zemlju, što je prouzrokovalo drveće Rudrakše“

„Za dobrobit posvećenika, suze su postale drveće. Budući da je bilo nepokretno,  fiksno, drveće je dato Višnuovim posvećenicima, koji su pripadali četiri varnama“

„Oni su postali rudrakša drveća u državi Gauda, koja je postala veoma omiljena kod Šive. Takođe je drveće raslo u Mathuri, Ajodji i Malajaćali“

„Takođe je raslo u gradu Kaši, zarad uništenja greha u vreme pojave Veda“

„Na moju zapoved zrna rudrakše mogu koristitiBrahmane, Kšatrije, Vaišje kao i Šudre. Ove rudrakše su po svojoj prirodi veoma povoljne“

„Učeni ljudi bi trebali znati njihove boje. Postoje bele, crvene, žute kao i crne boje. Ljudi bi ih trebali nositi u zavisnosti od svoje varne“

„Ljudi željni ovozemaljskog uživanja kao i oslobođenja bi trebali da nose Rudrakše u odnosu na njihovu varnu. Posvećenici Šive bi trebali da nose rudrakšu, u cilju zadovoljenja Šive i Parvati.“

.

.

.

.

„Što je manje veličine, veća je dobrobit koju rudrakša daje. Svaka daje efekte…“

Daju se opisi efekata različitih veličina i oblika rudrakši u Šiva Mahapurani, no međutim kao što je navedeno, svaka daje efekte, no što je zrno manje, efekti su bolji, smatraju učeni ljudi.

Dalje Šiva kaže:

„Rudrakša se savetuje zarad uništenja greha. To je razlog zašto osoba treba da je nosi koja ispunjava sve želje“

„O Paramešvara, budući da brojanica od rudrakše daje tolike dobrobiti u ovom svetu, nijedna druga brojanica ne može dati takvu nagradu“

.

.

.

„Nošenjem zrna rudrakše otklanjamo velike grehe.nošenjem 1100 zrna rudrakše, osoba postaje kao Rudra“

„Dobrobit nošenja 1100 zrna rudrakše se ne može opisati za stotinu godina“

„Osoba koja nosi 550 zrna rudrakše sa posvećenošću, naziva se vladarem. Smatra se najboljim od svih posvećenika“

U nastavku se opisuje koliko mala i zrna treba nositi na kom delu tela i koje su dobrobiti.

U nastavku ćete čitati o efektima zrna sa različitim brojem lica (Ekha Mukha Rudrakša, Dvi Mukha…)

Reč vaastu se odnosi na sklonište, bilo za osobu ili božanstvo. Vaastu šastra znači nauka (šastra) o gradnji vaastua, a shilpa se odnosi na umetnost gradnje na estetski način i način koji će goditi čulima stanovnika kuće ili građevine.

Nauka o gradnji kuća je veoma stara u Indiji. Znanje o njoj je došlo od Brahme, kreatora kroz neprekinuti lanac mudraca.

Prema Višvakarmi, nebeskom arhitekti, Gospod Brahma je prvi primio ovo znanje od Gospoda Šive kao dela Veda, kao što je primio znanje o đotišu. Vaastu šastra koja se danas praktikuje je zasnovana na  125 stihova sadržanih u Brihat Samhiti od Varahamihire. Ova činjenica ukazuje na veoma jaku vezu đotiša i vastua. Na nesreću, ono što današnji vastu praktičari danas koriste jeste primena hramske arhitekture na domove i kancelarije. Postoji potreba da se koristi aštakavarga i ostali čartovi, sredstva iz vedske astrologije zajedno sa vaastu principima pri projektovanju svakog doma ponaosob u slučaju da je on projektovan za određenu osobu koja će u njemu boraviti neko duže vreme. Ako se u suprotnom projektuju stanovi i apartmani za sveopštu upotrebu, mnogo ljudi onda se mogu koristiti standardni principi.

Opšti vaastu principi

Ono što sledi su neki vaastu prinicpi koji su logički ispravni, a za projektovanje i gradnju kuća. Molim vas da primetite da kao i kod nekih drugih drevnih nauka i ovde se neke stvari više ne mogu primeniti. Međutim, sama osnova vaastu principa će uvek ostati povoljna za ljude u ovom ili onom obliku.

Osnovni principi su:

Ako ste u procesu kupovine placa ili zemljišta, molim da zapamtite da su placevi ili zemljišta na jugozapadu, jugu i zapadu u prednosti u odnosu na ostale.

Prema vaastuu najpovojniji ulazi u kuću su sa severoistoka, istoka ili severa

Dnevna soba ili trpezarija je najbolje locirana na istoku, severu i severoistoku.

Spavaća soba bi prema vaastuu trebala biti na jugozapadu, jugu ili zapadu

Za dečju sobu je najbolje da je na severozapadu, može biti na jugoistoku i severu takođe ali nikada na jugozapadu ili jugu.

Ako ste dovoljno srećni u današnje vreme da imate i gostinjsku sobu, stavite je na severozapad ili severoistok.

Kuhinja u kući je idealno postavljena na jugoistoku, potom na severozapadu ili istoku

Kupatila i toaleti bi trebalo da budu na severozapadu kuće, na zapadu ili jugu.

Prilikom kupovine placa ili zemljišta uputno je tražiti pravougaoni ili kvadratni oblik. Koliko god je to moguće plac bi trebao biti nagnut prema severu, istoku ili severoistoku.

Prilikom gradnje kuće, uputno je da imate podjednak otvoreni prostor sa sve četiri strane sveta. Nivoi otvorenog prostora bi trebali da budu viši (da je kuća na neki način zaklonjena) iz pravca juga i zapada, a niži (otvoreniji) u pravcu severa i istoka. Oluci bi trebali da budu u zonama severoistoka i severa.

Dnevna soba centralnog prostora (Brahmasthan) bi trebao biti prazan i slobodan bez ikakvih prepreka. Pod preprekama smatramo bilo kakav stub, predmet, toalet, stepenište ili čak zid ili lift.

Pravac na kom spavate je takođe veoma bitan. Osoba ne bi trebala nikada da spava sa glavom na severu. Spavanje sa glavnom na jugu obezbeđuje dug život. Na putovanju, savetuje se da spavamo sa glavom na zapadu.

U radnoj sobi, sedite tako da ste okrenuti licem prema istoku ili severu. . nemojte imati toalet u radnoj sobi, iako možete imati kupatilo.

Nemojte koristiti tamne boje u radnoj sobi. Koristite žutu, belu ili rozu. Stavite police na istok ili sever.

Ako pravite više od jednog sprata, napravite ga na jugozapadu. Visina prvog sprata ne bi trebala da pređe visinu prizemlja. Nemojte praviti skladište/spremište na prvom spratu.

Kaže se da skladište koje se nalazi na severozapadnom ćošku donosi neograničeno obilje osnovnih namirnica. Postavite neku svetu sliku na istočni zid. U ostavama ne treba koristiti svetle boje. Koristite tamne ili plavu, zelenu. Nikada nemojte spavati u skladištu preko noći. Takođe, uzdržite se od uzimanja žitarica iz ostave tokom noći.

Kupatilo/kupatila mogu biti u ili van kuće. U slučaju da su u kući treba da se nalaze na istočnoj ili severnoj strani kuće. (Ako su u vezi sa spavaćom sobom, onda istočna ili severna strana spavaće sobe). Ako se nalaze van kuće, onda treba da se nalazi na severoistočnom uglu kuće ali udaljen od glavne građevine. Zahodi su zabranjeni na severoistoku, centralnom delu, jugozapadu i zapadu kuće.

Vaastu šastra nas takođe savetuje o tipovima biljaka i drveća koja bismo trebali posaditi oko stambene jedinice kako bismo najviše uživali u njima.

Vaastu ne savetuje da se ima drvo manga, banane ili jamun drvo blizu kuće. Međutim drvo pipala na nekoj udaljenosti u zapadnom pravcu se smtra povoljnim, kao i imli na jugozapadnom pravcu kuće.

Takođe je povoljno imati anar, ašoka, čandan, čampa, čameli, gulab, narival i kešar drveće oko kuće.

Po pitanju veličine i oblika ulaznih vrata, vaastu savetuje da širina vrata treba da bude jednaka polovini visine vrata. Vrata kvadratnog oblika kao i automatska vrata treba izbegavati.

Slike/statue u kući su takođe važne. Ne bi trebalo u sobama imati slike koje prikazuju ratovanje (čak i ako su iz epske Mahabharate ili Ramajane) osim u kancelariji. Takođe slike na kojima su negativni prikazi ili patnja, borba, nasilje (uključujući i nasilje divljih životinja), tragediju ili nesreću, propast.

Preveo Bojan Vidaković