RSS

Tag Archives: Sri Chakra

The Meaning of ‘MEANING’ – Part Ten

Continued from Part Nine

s-l1600

Levels of speech

The various ancient texts speak of the levels of speech, which, generally, are taken to be four. Each School – Grammarians, Mimamsa, Upanishads, Tantra, Yoga, mythology etc – offers its own understanding and explanation of the four levels of speech. These levels are variously explained  as the varieties of  speech  that are said to be  spoken either in four regions of  the universe;  or spoken by divine beings and humans ; or as speech of the  humans , animals, birds and creatures .  These four are even explained as four levels of consciousness.

For our limited purpose, let us briefly scan through other interpretations, before we discuss  the Grammarians’ views and their explanations of the four levels of speech.

***

The Asya-vamiya – sukta  (Rig Veda: 1.140- 164) which is one the most philosophical , but  rather enigmatic Suktas (hymns) of Rig Veda, ascribed to Rishi Dīrghatamas  Aucathya  (son of  Ucathya  ),  who was  also called as Mamateya (son of Mamata) ,  mentions  about the levels of speech, among many other things.

According to Rishi Dīrghatamas, there are four levels of speech. Only the wise who are well trained, endowed with intelligence and understanding know them all. As for the rest; the three levels remain concealed and motionless. Mortals know  only  the fourth.

Chatvaari vaak parimitaa padaani / taani vidur braahmaanaa ye manishinaah. Guhaa trini nihita nengayanti / turiyam vaacho manushyaa vadanti. (Rigveda Samhita – 1.164.45)

But, he does not specify what those four levels of speech are.

*

The notion that there are four quarters or  four levels of existence ; and of which, only  one quarter is within the experience of mortals also appears in the Purusha-sukta  (Rig-Veda 10.90.3) ascribed to Rishi Narayana – Paadosya Vishva Bhutaani Tri-Paada-Asya-Amrtam Divi .

There are similar notions with regard to Pranava Om where the three syllables A, Vu, and Ma are normally visible. But it is its fourth element the Anusvara (Brahma-bindu) that leads from being to non-being; and , from the word to the silence beyond it.

svarena samdhayed yogam asvaram bhävayet param asvarena hi bhävena bhävo näbhäva  isyate– Brahmabindu Upanishad

And, there is also the Turiya paada (Chaturtha or Fourth) the fourth line of the Gayatri mantra. It is said; while the traditional three lines of Gayatri mantra can be grasped by reason, the fourth line, which is mystical in its import, and can be comprehended only through intuition. The fourth line (Turiya paada) which reads ‘paro rajas ya tapati’ is said to be hidden (darshatasya) or un-manifest (apad); beyond intellect; resplendendent, shining beyond the worlds known; and , which is the support of the Gayatri itself and of the Universe.

*

That idea of four quarters  is extended to speech as well. The texts of several traditions speak of four levels of speech. For instance :

The Maitrayaniya (Maitri) Upanishad (1, 11.5), of Krishna Yajur-Veda, mentions the four quarters of speech as those belonging:  to the upper region – the heavens (Divi); to the intermediate space (Antariksha); and, to the region of earth (Prithvi) as spoken by the humans (Manusi); and, to the animals (Pashu).

The Atmavadins (mainly those belonging to Nyaya and Vaisesika Schools) say: the four fold speech can be found in the animals; in musical instruments (such a flute); in the beasts ; and,  in the individuals (Atmani)

–  pasusu tunavesu mrgesu atmani ca iti atmavadinah

The Satapatha Brahmana (1.3.16) categorizes the speech into four kinds: as that of the humans; of animals and birds (vayamsi); of reptiles (snakes); and, of small creeping things (kshudram sarisrpam)

– varā vā ia iti hi varā io yadida kudra sarīspa 1.5.3.11

Similarly, those who believe in myths and legends say that – the serpents; birds; evil creatures; as also the humans in their dealings with the rest of the world – all use speech of their own.

Sarpanam vagvayasam ksudrasarispasya ca caturthi vyavaharika-ityaitihasikah 

The Jaiminiya-Upanishad-Brahmana (1.40.1)  deals with the four levels of speech in a little more detail. In a verse that is almost identical to the one appearing in Rig-Veda Samhita – 1.164.45, it mentions that the discriminating wise know of four quarters of speech.  Three of these remain hidden; while the fourth is what people ordinarily speak.

Chatvaari vaak parimitaa padaani / taani vidur braahmaanaa ye manishinaah. Guhaa trini nihita nengayanti / turiyam vaacho manushyaa vadanti //

Then, the text goes on to explain that of the four quarters of speech: mind is a quarter, sight is another quarter, hearing is the third quarter; and, speech itself is the fourth quarter. 

 tasya etasyai vaco manah padas caksuh padas srotram pado vag eca caturtah padah

Further, it says: what he thinks with the mind, that he speaks with speech; what he sees with the sight, that he speaks with the speech; and, what he hears with hearing, that he speaks with speech.

 tad yad vai manasa dyayanti tad vaco vadati; yac caksus pasyati tad vaca vadati; yac srotrena srunoti tad vaco vadati/

Thus, finally, all activities of senses unite (Sam) into speech. Therefore speech is the Saman.

Nageshabhatta (Ca. between 1670 and 1750), in his commentary on Patanjali’s Mahabhashya, accepts the four forms of Vac; and, explains the expression ‘Catvari padjatani namakhyato-upasargani-patah ‘as referring to Para, Pashyanti, Madhyama and Vaikhari :

 Bhashya padajatani Para-Pashyanti-Madhyama- Vaikhari rupani / ata evagre nipatah  ceti cakarah sangacchate

*

In the later Upanishads, speech is said to be assimilated with consciousness. The four divisions of speech are explained as four states of consciousness. For instance; Sri Gauda-Paada, the Parama-Guru of Sri Sankara (the teacher of his teacher) , in his celebrated commentary (Gaudapada-karika) on the Mandukya Upanishad while explaining his concept of Asparsha Yoga or pure knowledge,  identifies the four levels of speech with the four states of consciousness : Vishva or Vaisvanara in wakeful state (Jagrat); Taijasa in dream state (Svapna); Prajna in deep-sleep (Shushupti); and, Pranava AUM with Turiya, the fourth, the Absolute state which transcends all the three states and represents Ultimate Reality .

aum-and-cosmos-3

Explanations offered by Sri Sayana

Sri Sayana in his Rg-Bhashya   deals with the subject of four levels of speech in a little more detail. He says, people use speech in a variety of ways to fulfil their roles and responsibilities in life. And, similarly, the animals, birds, creatures and objects in nature do use their own sort of speech to serve their needs.  He  then , while explaining these four levels or quarters of speech (ani tani catwari ityatra bahavah) , remarks that  each School  offers explanations  (bahudha  varnayanti ) according to its own  tenets  (sva- sva-mantanu-rodhena). He, next, briefly mentions what those explanations are:

: – According to Vedantins, the four levels of speech could be the Pranava (Aum) – which is the sum and substance of all the Vedic terms (sarva-vaidika-vag-jalasaya), followed by three Vyahritis (Bhu, Bhuh and Suvah). Thus the Pranava along with three Vyahritis form the four quarters of speech.

: – According to Nirukta (Etymology), the language of the three Vedas (Rik, Yajus and  Saman ) and the speech commonly used  for dealings in the world , together make the four quarters of speech– (Rg-yajuh-samani-caturdhi vyavharikiti nairuktah )

: – The four levels of speech could also be related to four regions representing four deities : on the Earth as Agni (yo prthivyam sa-agnau); in the mid-air as Vayu (Ya-antarikshe sa vayau); and, in the upper regions as Aditya (Ya divi saditye). And whatever that remains and transcends the other three is in Brahman (Tasya-mad-brahmana).

: – The speech, though it is truly indivisible, is measured out or analyzed in the Grammar as of four kinds or four parts-of-speech (akhandayah krtsnaya vacah caturvidha vyakrtattvat).  Accordingly, the four divisions of speech are named by the followers of the various Schools of Grammar (vyakarana-matanus-arino) as: Naaman (Nouns), Akhyata (Verbs), Upasarga (prepositions or prefixes) and Nipata (particles)

:-  According to the wise who are capable of exercising control over their mind; the Yogis who have realized Sabdabrahman; and, others of the Mantra (Tantra) School,  these four levels of speech (Evam catvari vacah padani parimitani)  are classified as : Para, Pashyanti, Madhyama and Vaikhari.

Manisinah manasah svaminah svadhinamanaska brahmana vacyasya sabdabrahmani dhigantaro yoginah paradicatvari padani viduh jananti 

Apare mantrkah parkarantarena pratipadanti Para, Pasyanti, Madhyama   Vaikhariti catvariti 

jupiterfig5

The power of the spoken word

In the Indian traditions, it is believed that it is only  in its oral form that the language becomes fully alive and reveals  its true nature , provided it is spoken properly.  For Indian thinkers, language was  primarily the spoken word or speaking itself (vac); while the written word, as a secondary aid, was only a coded-representation of the spoken word; but, without its nuances. Perhaps the most salient feature of ancient Indian linguistic culture was its concern for preserving the purity of the spoken word.

It was the speech, the spoken word not the written letter that is at the base of the Sanskrit grammar. All speculations and practices are concerned with the oral. Panini’s Astadhyayi is also based on the sounds of spoken Sanskrit. The spoken language in Sanskrit was/is the real language.

Therefore, right from the earliest period, the study of speech has been one of the major concerns of various Schools of Indian traditions. The power of the spoken word or still more of the potent un-spoken sound was well recognized.

sound-matte

Levels of awareness and speech

The notion of various levels of awareness and speech is accepted and discussed in almost all the Schools of Indian philosophy and Grammar. Although numerous meanings are read into the term catvari vak (four kinds or levels of speech), the one that is commonly understood and commented upon by most Grammarians and philosophers is the classification of speech into four strata: Para; Pashyanti; Madhyama; and, Vaikhari.

The entire system of such classification is rooted in the faith that at the top of this language hierarchy, there is only One-indivisible (ekameva) Reality; and, it transforms itself (Vivarta), manifests itself , resulting (Parinama) in  variety of  sounds,  word, sentence etc.

The theory underlying the evolution of speech is an extension of that faith; and it asserts, though there are several levels in the hierarchy of language, they all emanate from one indivisible reality Sabdabrahman. And again, the Sabdabrahman is identified with Para Brahman, the Absolute.

The principle that is involved here is also based in the dictum that diversity essentially pre-supposes an underlying unity (abedha-purvaka hi bhedah).  In other words, it says, where there is difference or division there must be a fundamental identity underneath it ; else, each cannot relate to the other; and , each object in the world would be independent of , or unconnected to  every other thing in existence.

This concept provides the foundation for treating all forms of speech as emanating from a single source. The various levels of language from the most subtle to the gross are, therefore, treated as hierarchy or the levels of a unitary language-system. Most of the philosophical speculations on the process of manifestation of language; and, the discussions upon its various stages – from the subtlest (Para) to the most explicit (Vaikhari) – are based in that principle.

jupiterfig5

Grammarians’ view

Each of the major schools of Indian philosophy and Grammar tried to explain the origin and nature of the Universe by exploring the nature and manifestations of the sound. They built elaborate philosophical edifices around the concepts they evolved during that process. Those traditions considered sound as one of the most important principles of existence; as the source of matter ; and , also the key to be free from it. They described Sound as the thread-like link connecting  the material and spiritual realms.

The analysis of the speech by the Grammarians is not merely an intellectual exercise, but is also a philosophical quest in an attempt to identify all forms of speech as originating from Sabda-Brahman, the ultimate ground of all speech phenomena. The study of Grammar was itself looked upon as a means or as a right-royal-path to liberation (moksha-manamam ajihma raja-paddhatih).

*

Speech was  regarded as the verbal expression of a thought that arises in a person’s consciousness. If there is no consciousness, there would be no speech. Speech (Vac) is indeed an outward form of consciousness (chetana). Vac is the word principle that gives expression to the latent or unmanifest thoughts and feelings.

That was meant to say; thinking is, in fact, a sort of internal speaking. Such inaudible speech was regarded the seed or the potent form of explicit speech that is heard by others. It was also said; all knowledge is interpreted in terms of words; and, it is quite not possible to have any sort of cognition that is free from words (Vakyapadiya: 1.123)

The process of transformation of a thought or an impulse arising in ones consciousness into a cognizable, explicit speech is said to resemble the evolution of the Universe from the un-manifest (A-vyakta) to the manifest (Vyakta) material world.

Such process of unfolding is said to take place, at least, in two stages. The first one is the thought that flashes and takes a form within. And, the other is that which comes out as audible speech riding the vehicle of words and sentences; attempting to convey the idea that arose within.  The former is intuition that springs up; and, the latter is the effort that is exerted, both internally and externally, to put it out.

Here, the latent, unspoken form of thought that instinctively springs up and is visualised, within one’s self, is called Pashyanti Vak (thought visualized). The Pashyanti, which also suggests the visual image of the word, is indivisible and without inner-sequence; in the sense, that the origin and destination of speech are one. Here, the ‘internal speech’ or ‘thought’ stands for what is intended to be conveyed. That intention is instinctive (prathibha) and immediate; and, it does not involve stages such as: analysis, speculation, drawing inferences and so on. At the level of Pashyanti Vak, there is no distinction between word and meaning. And, there is also no temporal sequence.

The Pashyanti Vak thereafter transforms into an intellectual process, the level of thought (Buddhi), during which the speaker looks for and identifies appropriate words, phrases, and their sequence, which are capable of conveying his intention candidly. That sequence of thoughts results in definite and clear array of words. As that cognition arises and takes a form within, he grasps it. This is the intermediate stage – The Madhyama vak, a sequenced but a pre-vocal thought – described as the voice of silence; perhaps best understood as internal speaking. Here, there is no perceptible sound (Nada). The Madhyama vak is in an inaudible wave or vibratory (spandana) form.

And, the Madhyama, when it is put out explicitly through uttered words and sentences; and, when it comes out of the speaker’s mouth in sequenced and verbalized speech-form, it is called Vaikhari Vak. For the purpose of putting out the Vaikhari Vac, the speaker employs a sentence comprising words uttered in a sequence. The word itself comprises letters or syllables (varnas) that follow one after the other in space and time.

Thus, the Vaikhari is the articulated speech, which, as sound waves, reaches the ears of the listener and then on to her/his intellect.  The Vaikhari is the physical or gross form of the subtle thought or is the outward expression of the intention of the speaker. And, when it emerges as the spoken-word, it is the one that is heard and apprehended by the listener, in a flash of understanding (Sphota). 

 [The process of Hearing, that is what is heard and grasped by the listener, of course, operates in the reverse direction.]

The spoken word comes out of one’s mouth, no doubt. However, it needs the assistance of breath and of several body parts in order to manifest itself (Vikhara literally means body; and, Vaikhari is that which employs bodily organs). The head, throat, tongue, palate, teeth, lips, nose, root of the tongue and bosom are said to be the eight places which assist  the sounds of the letters to become audible and explicit.

When a person wills to express a thought orally, the air (Prana) inside his body spurs and moves up. Sabda or the Vac (speech or utterance) then manifests through Dhvani (sound patterns), with the assistance of appropriate organs.

[The King Pratardana of Kasi (Kasi-rajah-Pratardanaha), in the Kausitaki Upanishad, makes an interesting observation that one cannot breathe and speak at the same time (‘when a man speaks he cannot breathe; and when he breaths he cannot speak’- kau.Up.2.5).

Yavadvai purusho bhasate na tavat-pranitum shaknoti pranam …. Yavadvai purushah praniti na tavat-bhashitum shaknoti vacam-kau.Up.2.5]

Thus, the transformation of a thought into spoken-words involves two kinds of effort: the internal process (abhyantara prayatna) and the external effort (bahya prayatna). The former is classified into two kinds (Pashyanti and Madhyama), while the latter (the external) is said to be of eleven kinds.

And, of the three levels or stages of speech, Pashyanti is regarded the subtle forms of Vac; while Madhyama and Vaikhari are its gross forms.

The chief characteristic of Vaikhari Vak is that it has a fully developed temporal sequence. At this level, the speaker’s individual peculiarities (such as accent, voice modulation etc) are present, along with relevant parts of speech. Though the Vaikhari gives expression to subtler forms of Vac, it is not considered as the’ ultimate’.

*

The ancient Grammarians went to great lengths, systematically, to trace the origination of each letter, its appropriate sound; the intricacies and efforts involved in producing them. (Please see the Note * below)

*

[* In the Sanskrit, the vowels and consonants sounds are classified and arranged dependent on their origin (pronunciation) in different parts of mouth, such as throat, palate, teeth or lips.

The vowels and consonants are so arranged that those emanating from the throat come first. These are followed by those pronounced through tongue; the palate; teeth and the lips. All sounds are arranged as those from the inside of the mouth proceeding outwards, in that order. No other ancient system of writing seems to have been so systematically thought out.

The vowels (Svara-s) , alternating long and short, come first : अ(a)  (aa)  इ(i)   ई(ee)  उ(u)  ऊ(oo)  ऋ(r)  ॠ(r)  लृ(lr)  ए(e)  ऐ(ai)  ओ(o)  and औ(au)

The commencing vowels अ(a) and  (aa)  are pronounced in the throat – Kantya  (कण्ठ्य). They are followed by vowels इ(i) and  ई(ee) produced by the tongue touching the base of the teeth ,Taalavya (तालव्य). The vowels उ(u)  and ऊ(oo)  are produced using the lips making a rounded opening – Oshtya (ओष्ठ्य).  The vowels ऋ(r) and ॠ(r) are produced by the tip of the tongue curling back against the roof of the mouth- Murdhanya (मूर्धन्य). The vowel लृ(lr) is produced by the tongue touching the upper teeth – Dantya (दंत्य).  The vowels ए (e) and ऐ (ai)   are produced near the throat by the tongue touching the bottom of the teeth and sucking in the air – Kanta-taalavya (कंटतालव्य).  The vowels  (o) and औ (au) produced near the throat by the rounding of the lips are called Kantoshtya (कंटोष्ठ्य).

The two ornamental nasal (Anusvara) letters अं (am) and  अः (aha ) ,which are used to decorate the vowels, are called the Visarga , meaning  sending forth . These sounds, which are neither consonants nor vowels, add a softening short burst effect at the end.  These are usually listed as a part of the vowel -group; but are shown at the end.

Similar is the emanation of the consonants – from throat outwards to the lips .

The set of consonants – क(ka) , ख(kha) , ग(ga) , घ(gha) , and ङ(nga) – are guttural (throaty) consonants – Kantya  (कण्ठ्य). Then the consonants – च(cha) , छ(chha) , ज(ja) , झ(jha) , and ञ(nja)- are pronounced on the palate- Taalavya (तालव्य). The next set of consonants –  ट(ta)  ,ठ(tha) , ड(da) , ढ(dha)  and ण(na) – is  produced by the tip of the tongue curling back against the roof of the mouthMurdhanya (मूर्धन्य). Next are  those on the teeth (दन्त्य), like – त(ta) , थ(tha) , द(da) , ध(dha) and  न(na) . And last come those on the lips प(pa)  फ(pha)  ब(ba)  भ(bha)  and म(ma) – (ओष्ठ्य). Oshtya (ओष्ठ्य).

The list is rounded off with semi-consonants like – य(ya) , र(ra) , ल(la)  and व(va) ; and the aspirated and sibilant sounds like श(sha)  ष(sha) ,  स(sh)  and ह (ha ).

Such unique organization of the alphabet underlines the attention paid to the patterns of articulated sound; points  of its location; and , to degree of resonance,  in a way that has not been attempted in any other language]

[ Abhinavagupta offers a mystic explanation of the arrangement of the Sanskrit alphabets, which are placed in between A and Ha. According to him, in the Sanskrit alphabet, the very first letter A stands for Shiva, the primal source of all existence. A is the initial emergence of all the other letters; and hence is Anuttara, the absolute. And, A not only represents the origin of the language; but, also the expansion of consciousness.

If A  the first letter represents Shiva the transcendent source, then Ha the final letter of the alphabet represents the point of completion when all the letters have emerged. If A is Shiva, Ha the last letter is Shakthi, His cosmic outpouring that flows back into Him.

Again, the vowels (Bija – the seed) are identified with Shiva; and, the consonants are Yoni identified with Shakthi. The intertwined vowels and consonants in a language are thus the union of Shiva and Shakthi.

Thus, the sequence of A to Ha contains within itself not only all the letters of the Alphabets, but also every phase of consciousness, both transcendental and universal.

The entire sequence of alphabets, according to Abhinavagupta, represents the state in which all the elements of experience, in the inner and the outer worlds, are fully displayed.]

Vak

Philosophers’ view

In the ancient traditions of India, the Grammar, the philosophy of Grammar and the Philosophy run into one another. At times, it is hard to separate them.

While the Grammarians, generally, speak about three levels of speech, the philosophers identify four levels or stages of speech (Vac): Para, Pashyanti, Madhyama and Vaikhari.  Of these four forms of Vac, Para and Pashyanti are the subtle forms of Vac; while Madhyama and Vaikhari are its gross forms.

The explanations of the Pashyanti, Madhyama and Vaikhari are almost the same as offered by the Grammarians; however, their interpretations and connotations differ slightly.

*

It is said; the sound has four divisions:  Para manifested in Prana (vital energy); Pashyanti manifested in the mind (Manas); Madhyama manifested in the senses (Indriyani); and, Vaikhari manifested in articulate expressions (Vac).

Para Vac is the ultimate and unmanifest principle of speech, the Sabda-tattva (Sabdasya tattvam or Sabda eva tattvam), where there is no subject-object distinction; and, is of the nature of the Absolute (vag vai Brahmeti).

Para vac is identified with Pranava (Aum), the primordial speech-sound from which all forms of speech emanated. It transforms or manifests (Vivarta or parinama) as all forms of sounds, speech etc.

*

According to Abhinavagupta, word is a symbol. The four stage of Vac: Para, Pashyanti, Madhyama and Vaikhari represent its four phases of evolution and also of absorption; the ascent or descent from the undifferentiated to the gross.

It is explained; Para Vac as Sabda-Brahman is the creative energy (Shakthi) that brings forth all existence. It is also the consciousness (chit, samvid), vital energy (prana shakthi) that vibrates (spanda) and enlivens.

While Para Vac is pure consciousness; the three other forms are its transformations. The three lower forms of speech viz. Pashyanti, Madhyama and Vaikhari which correspond to intention, formulation and expression are said to represent ts powers , such as :  iccha-shakthi (power of intent or will) , jnana-shakthi (power of knowledge) and the power of becoming (bhuti sakti) or the power of action (Kriya shakthi  ). Thus, out of the transcendent Para, the three phases of its power (Shakthi) emanate.

The urge to communicate or the spontaneous evolution of Para into Pashyanti, Madhyama and Vaikhari   epitomizes the Cosmic act of One becoming many; and, the subtle energy transforming into a less- subtle matter.

Thus, the speech, each time it emanates, is an enactment, in miniature, of the unfolding (Vimarsa) of the One into many.  And each time, when that speech is grasped by the listener and each time it merges into her/his intellect, it re-enacts the process of absorption (Samhara) of the many into One.

The process of manifestation of speech is, thus, compared to the evolution of the Universe. And, that process is said to take place in four stages. First, in the undifferentiated substratum of thought, an intention appears. This first impulse, the self-radiant consciousness is Para-vac (the voice beyond).  This latent, un-spoken, un-manifest, silent thought (Para) unfolds itself in the next three stages as Pashyanti (thought visualized), Madhyama (intermediate)   and as Vaikhari  (explicit) speech).

In its second stage, the subtle thought visualised (pashyanthi-vak) is yet to acquire a verbal form. It is the first sprout of an invisible seed (Bija); and, is the second stage in the manifestation of thought or intention. Then the potential sound, the vehicle of the thought, materializes finding   words suitable to express the idea. This transformation of thought into words, in the silence of the mind (Buddhi), is the third or the intermediate stage of Vac (Madhyama-vak). From this non-vocal or un-voiced thought, emerges the fourth stage – the audible sound patterns. It is in that fourth stage, the ideas acquire cognizable forms of speech; and, are transmitted through articulated audible syllables (vaikhari-vak).  These four stages are the four forms of the speech.

jupiterfig5

Tantra

The three- Pashyanthi, Madhyama and Vaikhari – are construed as the three sides of the triangle at the centre of which is the dot-point (Bindu) representing the undifferentiated notion of Para-Vak. The triangle with the Bindu at its centre suggests the idea of Isvara the divinity conceived as non-dual Shiva-Shakti.

In the traditions of Tantra, the process of evolution of the principle of speech (Sabda Brahman) from its most subtle and soundless state of sound – consciousness (Para), in successive stages, into the gross physical speech (Vaikhari) is explained through the principle underling the structure of Sri Chakra.

ac250

Sri Yantra is a ‘Cosmogram’ – a graphic representation of the processes of evolution (Sristi) of the Universe emanating from its core; and, re-absorption (Samhara) of the created existence back into itself. And, at the very core or the centre of the Sri Chakra is the Bindu, the dimensionless point about to expand immensely. The Bindu denotes what is hidden; the subtle and the most sensitive.

It is said; the true nature of the Supreme Goddess is beyond mind and matter. She is limitless and formless. She is Arupa. But, when She takes a form, the Bindu is her intense representation. The Bindu symbolizes Her most subtle micro form as the Universal Mother, womb, yoni, creator, retainer as also the receiver of the created universe. It is this Bindu that is, in reality, the Sri Chakra; and, everything else is an expansion and manifestation of its aspects.

The Sri Vidya texts call the Bindu also as Sarva-ananda-maya (all blissful); and, the transcendental power (Para Shakthi). It denotes the absolute harmony (saamarasya) between Shiva and Shakthi; as the immense potential of the non-dual Shiva-Shakthi, the union of Purusha and Prakriti.

The evolution (shristi) from the primary state into the mundane level is said to be the apparent separation of Shiva and Shakthi (avarohana karma). And, the reverse process of re-absorption or withdrawal from the gross to the very subtle state is termed Samhara karma.

According to Sri Vidya ideology, in the process of evolution (Vimarsa), that is in the process of shristi or the outward movement or descending arc of creative activity, the speech proceeds from the creative consciousness pulsations (spanda) of the Devi as Para-Vac, the most subtle and silent form of speech-consciousness. And, in successive stages or forms,  it moves on to more cognizable forms as : Pashyanti (Vak-shakthi, going forth as seeing, ready to create in which there is no difference between Vachya– object and Vachaka-word); Madhyama (the speech in its subtle form as existing in the anthahkarana prior to manifestation); and, Vaikhari (as articulated gross physical speech).

If the Bindu represents the Para-Vac, its immediate expanded form, the triangle formed by three points, represents the Pashyanti, the second stage of the sound (Nada). The enclosure next to this, the eight sided figure (ashta kona chakra) is the Madhyama or the third stage in the development of sound. The rest of the Chakra represents the physical or the phenomenal stage, the Vaikhari, which is the manifest and articulate form of sound. The Vaikhari form is represented by the fifty letters of the alphabet, called Matrka-s or the source of all transactions and existence.

Thus, in the process of Sristi, in the outward movement from the centre of Reality to the periphery, from the most sublime to the ordinary, the Para assumes different forms, in successive stages. All these four forms, apparently different, are indeed the manifestations of Para Vac which pervades the entire structure of speech and consciousness, in all their levels – from the highest to the lowest; and, it transforms (Vivarta) projects itself in various forms (Parinama).  

 (Abhinavagupta treats these aspects in a very elaborate manner. We shall talk about the explanations provided by Abhinavagupta and Bhartrhari in the next part.)

jupiterfig5

Mantra

 The Tantra explains the concept of Mantra and Japa in a similar manner.

Mantra is said to connect, in a very special way, the objective and subjective aspects of reality. The Mantra, in its sublime form, is rooted in pure consciousness. The Shaiva text Shiva Sutra describes Mantras as the unity of Vac and consciousness: Vac chittam (Shiva Sutra: 2.1). It is the living sound, transcending beyond the mental plane; the indistinct or undefined speech (anirukta) having immense potential.  In its next stage, it unites harmoniously with the mind. Here, it is union of mind (Manas) and word (Vac).  That is followed by the Mantra repeated in the silence of one’s heart (tushnim). The silent form of mantra is said to be superior to the whispered (upamasu) utterance.

[When one utters a deity’s Mantra, one is not naming the deity, but is evoking its power as a means to open oneself to it. It is said; mantra gives expression to the identity of the name (abhidana) with the object of contemplation (abhideya). Therefore, some describe mantra as a catalyst that’ allows the potential to become a reality’. It is both the means (upaya) and the end (upeya).]

The reverse is said to be the process of Japa (reciting or muttering the mantra). It moves from Vaikhari through Madhyama towards Pashyanti and ideally, and in very cases, to Para vak.

Ordinarily, Japa starts in Vaikhari form (vocal, muttering). The efficacy of the Japa does depend on the will, the dedication and the attentiveness of the person performing the Japa. After long years of constant practice, done with devotion and commitment, an extraordinary thing happens. Now, the Japa no longer depends on the will or the state of activity of the practitioner. It seeps into his consciousness; and, it goes on automatically, ceaselessly and inwardly without any effort of the person, whether he is awake or asleep. Such instinctive and continuous recitation is called Ajapa-japa. When this proceeds for a long-time, it is said; the consciousness moves upward (uccharana) and becomes one with the object of her or his devotion.

[The term Ajapa-japa is also explained in another manner. A person exhales with the sound ‘Sa’; and, she/he inhales with the sound ‘Ha’. This virtually becomes Ham-sa mantra ( I am He; I am Shiva). A person is said to inhale and exhale 21,600 times during a day and night. Thus, the Hamsa mantra is repeated (Japa) by everyone, each day, continuously, spontaneously without any effort, with every round of breathing in and out. And, this also is called Ajapa-japa.]

jupiterfig5

Yoga

The system of Yoga also accepts and speaks in terms of Para, Pashyanti, Madhyama and Vaikhari. Here, those terms are meant to denote different sounds (Nada) or the stages of consciousness. It is explained:

: – Para is the most subtle form of sound, not audible; and, in its un-manifest (Avyakta) form resides as Nada at the base (Karana-bindu) in the centre of the Muladhara-chakra, solar plexus (Ekaiva nadatmika vak muladharadudita sati Para ityucyate)

vak-4

: – And, with the ascent of Prana (vital energy) it moves up to Manipuraka-chakra in the region of navel; and, it is transformed to Pashyanti when it enters the heart-region (hradayakhya) and becomes visible to the Yogis (hradayakhya udiyamanatvat)

vak-3

The Pashyanti (radiant) stage is compared to a well nourished seed (Bija) which sprouts into two leaves. it, then, acquires the qualities of subtle sound ( which is not audible to the physical ear) , and hue of colour (varna) which can be seen (Pashyan).

: – The Pashyanti, moving up and enters the mind (Buddhi) with a desire or the urge to express itself (Saiva buddhim gata vivaksam prapta madhyama ityucyate). And, on reaching the Anahata–chakra in the region of the heart, it is transformed into Madhyama Vac.  Anahata literally means un-struck. Here; the subtle sound (Nada) at the level of the mind is like ‘internal-speech’ which is heard, internally, by the Yogi.

vak-2

[It is said; the Vac which sprouts in Para gives forth leaves in Pashyanti; buds forth in Madhyama; and, it blossoms in Vaikhari.]

: – When the Madhyama moves up further from heart-region to throat, tongue and mouth it becomes articulate (Vyakta) sound, clearly audible to the external ear at the Vishudhi -chakra. This is Vaikhari, the last stage of sound or speech when it emerges out of the mouth with the help of syllables, words etc and is heard by the listener. And, Vaikhari is the intended speech that comes out clearly through the mouth with the assistance of tongue, lips, teeth and the breath

vak-1

(Atha yada saiva vaktre sthita talvosthadivyaparena bahirnirgacchati tada vaikhari ityuchyate)

Nageshabhatta in his Parama-laghu-manjusha also   describes the four forms of Vac (Para-Pashyanti-Madhyama- Vaikhari), in terms of the Yoga, as those arising from Muladhara, Nabi (navel); Hridaya (heart region) and Kanta (throat)

Paravac

jupiterfig5

Other explanations

Various other interpretations are also imposed on these four terms.

It is said;   Para represents transcendental consciousness; Pashyanti the intellectual consciousness; Madhyama the cerebral consciousness; and, Vaikhari the physical consciousness.

Further, these levels of consciousness are said to correspond with varying levels of awareness:  Turia (the fourth, the transcendental or the one-beyond); Shushupti (deep sleep); Svapna (dream state) ; and Jagrat ( wakeful state) , in that order.

And again, these states of consciousness are said to relate to different states of being (bodies). Para which is referred to as the Supreme form; the first form; the pure and resplendent Highest-light etc, is indeed beyond all forms (Turiya); and it is formless. The sphere of consciousness at Pashyanti is said to be the causal body (Karana-sarira); at Madhyama, the subtle or psychic body (Sukshma-sarira); and at Vaikhari, the physical body (Sthula-sarira).

While Para is pure consciousness, the other three are said to be its powers through which it differentiates as its power of will (iccha shakthi) at the subtle level of Pashyanti; as the power of discrimination or knowledge (Jnana shakthi) at the mental level of Madhyama; and, as its power of action (Kriya Shakthi) at the physical  level of Vaikhari.

**

In the next part, let’s talk about the theories expounded and the explanations offered by two of the great thinkers – Abhinavagupta and Bhartrhari- on the subject.

Buddha Meditation Song

 

Continued

In

The next part

Sources and References

http://shodhganga.inflibnet.ac.in/bitstream/10603/57870/2/02_abstract.pdf

http://shodhganga.inflibnet.ac.in/bitstream/10603/69217/7/07_chapter%201.pdf

http://shodhganga.inflibnet.ac.in/bitstream/10603/57870/7/07_chapter%202.pdf

http://shodhganga.inflibnet.ac.in/bitstream/10603/66674/10/10_chapter%203.pdf

http://shodhganga.inflibnet.ac.in/bitstream/10603/57870/10/10_chapter%205.pdf

http://shodhganga.inflibnet.ac.in/bitstream/10603/116523/13/13_chapter%205.pdf

http://www.svabhinava.org/hinducivilization/AlfredCollins/RigVedaCulture_ch07.pdf

http://www.vedavid.org/diss/dissnew4.html#168

http://www.vedavid.org/diss/dissnew5.html#246

Ritam “The Word in the Rig-Veda and in Sri Aurobindo’s epic poem Savitri

http://incarnateword.in/sabcl/10/saraswati-and-her-consorts#p17-p18

.Vedic river and Hindu civilization; edited by Dr. S. Kalyanaraman

Original Sanskrit Texts on the Origin and History of the People of India…Edited by John Muir

Devata Rupa-Mala(Part Two) by Prof. SK Ramachandra Rao

The Philosophy of the Grammarians, Volume 5 edited by Harold G. Coward, K. Kunjunni Raja, Karl H

ALL IMAGES ARE TAKEN FROM INTERNET

 
4 Comments

Posted by on April 8, 2017 in Artha-Meaning, Bhartrhari, Sanskrit

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Saptamatrka – Part Four

Continued from Part Three

Radiant Goddesses

41.1. The group of seven mother-like goddesses, Matrikas, as commonly accepted, consist Brahmi, Vaishnavi, Maheshwari, Kaumari, Varahi, Indrani and Chamunda. According to a version of their origin, as narrated in Devi Mahatmya, it is said, the Matrka goddesses were created by male Gods in order to aid Mahadevi in her battle against the demons Shumba and Nishumba.

The Matrkas emerge as Shakthis from out of the bodies of the gods: Brahmi form Brahma; Vaishnavi from Vishnu; Maheshwari from Shiva; Kaumari from Skanda; Varahi from Varaha; and Indrani from Indra. They are armed with the same weapons, wear the same ornaments and ride the same vahanas and also carry the same banners like their corresponding male Gods do. Saptamatrkas as a group indicate transformation of the male identities of gods into goddesses. These seven mother goddesses, celebrated as a group, are an embodiment of the female principle of prakrti, the counterpart of purusha.

Group composition

 

 

41.2. The Saptamatrka group is, thus, composed of: two Vaishnava Shakthis (Vaishnavi and Varahi); two Shaiva Shakthis (Maheshwari and Kaumari); one Brahmi Shakthi, in addition to Indrani (Aindri) and Chamunda. It is a group of six Deva Shakthis and one Devi Shakthi, making it into an integrated unit of seven.

42.1. Many have attempted to explain the rationale in the composition of Saptamatrka group. One explanation mentions that the group of seven goddesses was derived from the gods that were considered important during the Gupta period. By then, the major gods – Shiva and Vishnu – had already attained independent – super status within the Vedic pantheon. Brahma was in any case one among the trinity, though a less impressive one. And, Skanda had risen into prominence since the time of Kushanas when he was absorbed into Shiva pantheon; and he developed further during the Gupta era. Varahi the counterpart of Varaha was more popular during the Gupta period than any other avatar of Vishnu. Aindri is the only counterpart of the Vedic gods who by then had lost their importance. Chamunda, of course, represents the principal feminine force. The omission of the counter part of Surya who was a major god, acceptable to all sects, during the Gupta period is rather surprising. Similarly, of Ganapathi who was just beginning to rise to prominence.

42.2. The Saptamatrkas were earlier connected with Skanda (Kumara), but in later times were absorbed into the sect of Shiva himself. Aptly, the Saptamatrka panel begins with Ganesha, the son of Shiva; and ends with an aspect of Shiva such as Bhirava or Virabhadra. Sometimes, Natesha or Vinadhara – Dakshinamurthy represents Shiva. The presence of Ganesha at the beginning of the panel, it is explained, is prompted by the faith that Ganesha as the Lord of the Ganas would remove obstacles; help the devotee in his pursuit; and guide him along   his endeavour. From the sixth century onwards inclusion of Ganesha in the format became a standard practice. Thereafter, depiction of Ganesha and Shiva, and sometimes along with Skanda, became quite common. For instance, In the Matrka panels at Aihole and Elephanta caves Ganesha and Skanda are shown as child gods along with Shiva. Thus, in association with Chamunda, the Saptamatrka panel was rendered into a composite unity.

43.1. As regards the presence of Ganesha and Virabhadra at either ends of the Saptamatrka   panel, Shri DSampath observes, elsewhere: The Saptamatrikas symbolically represent the seven different aggressive tendencies of the female part of a human being. When unleashed; they tend to destroy the wellness that comes out of a fostering mother. Children below the adolescent age are likely to be influenced by such harmful energies. Those adverse influences breed in kids a sort of ’non- motherly’ destructive attitude. And, these aggressive tendencies (energies) are meant to be contained and held in check by the two male energies: of Vinayaka who was ‘mother- born’ and who regarded all women as mothers; and of Virbhadra who could invoke motherly virtues in any woman. Between the manifestation of rational Vinayaka and the fiery Virabhadra these female energies were to be harnessed.

43.2. The other significant aspect about the Saptamatrka group formation is the order in which they appear in the traditional texts. The order symbolizes the cycle of creation and its cessation; and presents it as the functions of female power-Shakthi.

The order of the Saptamatrka usually begins with Brahmi symbolizing creation. It is often represented by the all-comprehensive primordial Nada Om (pranava).Then, Vaishnavi provides the created world with symmetry, beauty and order. Maheshwari, who resides in the hearts of all beings, breaths in life and individuality. Kaumari, Guru-guha, the intimate guide in the cave of one’s heart, inspires aspirations to develop and evolve.  Varahi is the power and aggressive intent to go after enjoyment. Indrani is the sovereignty intolerant of opposition and disorder .Chamunda is the destroyer of delusions and evil tendencies, paving way for spiritual awakening.

43.3. The most important significance of Saptamatrka symbolism is the implication of the cyclical universal time and its cessation. In the standard versions, Brahmi symbolizes creation; Vaishnavi the preserver occupies the central position flanked by three goddesses on each side. The cycle of periodic time ends with dissolution symbolized by Chamunda. She is the only Devi Shakthi among the Matrkas. She is at times depicted as one who exists beyond death and time. Kalabhairava, who usually appears at the end of the Saptamatrka panel, symbolizes liberation from cycle of birth and death. Thus, it is said, Saptamatrkas epitomize the process of creation, preservation and death; and, the final liberation that takes one beyond time. This is in tune with the Shaktha theology which rationalizes creation, preservation and destruction of the world as the functions of female power-the Shakthi.

In Sri Chakra

44.1. In the Sri Chakra, Chatushra the outermost four-sided square field (bhupura – the earth stretch) known as Trailokya-mohana-chakra is composed of three lines which make way for four doors (dwara) on four directions.  These sets of lines are also described as the layers of the enclosure wall which surround the city of the Devi (Tripura). The three lines are understood to represent three planes of existence: attainments, obstructions and powers. The three planes are related to the body-mind complex and its experiences with the world around. The associated goddesses are worshiped by the aspirant seeking protection and guidance as he/she enters into Sri Chakra.

44.2. Along the outer line the ten Siddhis (attainment-divinities) reside; along the middle line reside eight Matraka  the Mother-like powers; and, and along the inner line are the ten Mudra-devatas (goddess who empower).

44.3. As said; the middle wall (line) is guarded by the Matrkas. The wall is red in colour; the red of the rising sun, signifying the  Rajo guna of the Matrkas who are said to represent eight types of passions. The Matrkas, according to Bhavanopanishad of Bhaskararaya Makhin, are said to be dark blue in color; wearing red garments; carrying a red lotus and a bowl filled with nectar.

44. 4. The Bhavanopanishad (9) recognizes Matrkas as eight types of un-favourable dispositions, such as: desire, anger, greed, delusion, pride, jealousy, demerit and merit.  Tantra-raja-tantra (36; 15-16) expands on that and  identifies Brahmi with desire (Kama);Maheshwari with the tendency to degenerate and dissipate (krodha);Kaumari with youthful longings to enjoy (lobha);Vaishnavi with power to fascinate and delude (moha); Varahi with pride and arrogance (mada);Indrani with jealousy and envy (matsarya);Chamunda with urge to sin (papa) and hurt(abhichara); and , Mahalakshmi with doing good (punya) with other than altruistic reasons. Matrkas who rule over such un-favourable dispositions are worshipped by the Sadhaka with prayers to suppress and overcome the evil tendencies that obstruct his progress.

44.5. According to Khadgamala (vamachara) tradition of Sri Vidya, the eight Matrkas are located along the wall (four at the doors and four at the corners) guarding the city (Tripura) on all eight directions: Brahmi on the West; Maheshwari on the North; Kaumari on the East; Vaishnavi on the South; Varahi on North-west; Aindri on the North-east; Chamunda on the South-east; and, Mahalakshmi on the South-west. Please see the figure below.

44.6. As you may notice, the Matrkas of Rajo–guna who govern over human passions are on the outer layer of the Sri Yantra. This signifies that the Sadhaka should get past passions and prejudices before he enters into the city of the Devi.

Matrka

Brahmi

Hamsarudha prakarrtavaya sukastraka-mandala
Sutram cha pusthakam ghate urdhva-hastha advaye shubhe (Rupamandana)

 

45.1. Brahmi or Brahmani the first Matrka is the shakthi of Brahma. She is depicted in bright golden complexion, having four faces and four hands. In her back- right hand, she carries a kamandalu and in the back- left hand an Akshamala. The front- right hand gestures Abhaya and the front- left hand bestows Varada. She is seated under a Palasha tree,   upon a red lotus. She is adorned in a mellow bright garment (Pitambara) and various ornaments; and, has on her head karanda-makuta. Her vahana and her emblem is the swan (Hamsa): (Amsumadbhedagama and Purva-karanagama).

45.2. The Vishnudharmottara describes Brahmi as having six hands. Of the three hands on the left, the lowest one gestures Abhaya; while the other two hold Pustaka (book) and kamandalu. On her right, the lowest hand gestures Varada; while the other two hold Sutra and Sruva (a ladle for pouring oblations of ghee into fire). It also mentions deer-skin as a part of her attire.

Aum Dhevee Brahmani Vidmahe

Maha-shakthiyai Cha Dhimahee
Thanno Dhevee Prachodayath

 

Vaishnavi

Vaishnavi Vishnu saddasi Garudapasi samsthitha

Chaturbhuja varada shankha chakra gadadhara (Rupamandana)

 

46.1. Vaishnavi is the Shakthi of Vishnu. She is seated upon a lotus, under a Raja – vriksha, the great tree. She is dark in complexion. She has a lovely face, pretty eyes and wears a bright yellow garment. Her head is adorned with kirita-makuta. She is richly decorated with ornaments generally worn by Vishnu. She wears the Vanamala, the characteristic garland of Vishnu. The emblem on her banner as well as her vahana is the Garuda. When depicted with four arms, she carries in one of her hands the chakra and in the corresponding left hand the shankha; her two other hands are held in the Abhaya and the Varada mudra. (Devi-Purana and Purvakaranagama)

46.2. The Vishnudharmottara states that like Brahmani, Vaishnavi also has six hands; the right hands are characterized by the Gada, Padma and Abhaya and the left ones by Shankha, Chakra and Varada.

Aum Thaarksh Yathwajaaya Vidmahe

Chakra Hasthaya Dhimahee

Thanno Vaishnavi Prachodayath

 

Maheshwari

Maheshwari prakarrtavaya Vrishabasana samasthitha

Kapala shula khatvanga varada cha chaturbhuja  (Rupamandana)

47.1. Maheshwari also known as   Raudri, Rudrani and Maheshi is the Shakthi of Shiva. She is white in complexion; and has   three eyes. She is depicted with four arms; two of which are in the Varada and the Abhaya mudra, while the other two hands hold the Trishula and Akshamala .Sometimes, she is also shown holding Panapatra (drinking vessel) or axe or an antelope or a kapala (skull-bowl) or a serpent. Her banner as well as the vahana is Nandi (bull). She wears snake-bracelets; and   Jata -makuta on her head.

47.2. The Vishnudharmottara mentions that Goddess Maheshwari should be depicted with five faces, each possessing three eyes and each adorned with jata-makuta crown and crescent moon. Her complexion is white. She is depicted with six arms. In four of the hands she carries the Sutra, Damaru, Shula and Ghanta. The other two hands gesture Abhaya and Varada mudra. Her banner also has the Bull for its emblem.

Aum Vrushath-vajaaya Vidmahe

Miruga Hasthaya Dhimahee

Thanno Maheshwari Prachodayath

 

Aindri

Indrani Indra-sadrishi vajra-shlu-gada dhara

Gajasngata Devi lochanirvasu bhivrta (Rupamandana)

 

48.1. Aindri, also known as Indrani, Mahendri, Shakri and Vajri, is the shakthi of Indra; her complexion is dark- red. She is seated under the Kalpaka tree. She is depicted as having two or three or a thousand eyes, like Indra. The Indrani is depicted with four arms. In two of her hands she carries the Vajra (thunderbolt) and the shakthi; while the other   two gesture Varada and Abhaya mudra. Sometimes, she is shown holding Ankusha (goad) and lotus. She is richly ornamented; and adorned with Kirita Makuta. Her vahana as well as the emblem on her banner is the charging elephant. (Devi-purana and Purvakaranagama)

48.2. According to the Vishnudharmottara, Indrani should be depicted with thousand eyes; and she should be of golden colour. She should have six arms, four of the hands carrying the sutra, Vajra, Kalasa (a pot) and Patra (a drinking cup) and the remaining hands being held in Abhaya and Varada mudra.

Aum Gajath-vajaayai Vidmahe

Vajra Hasthaya Dhimahee

Thanno Indrani Prachodayath

 

Varahi

Varahim tu pravakshyami mahiso rismsthtam
Varaha-sadrisham ghantanada chamara-dharini
Ghanta chakra gada-dhara padma danvendra vighatini
Lokanamcha hitarthaya sarvavyadhi vinasini (Rupamandana)

 

49.1. Varahi is the Shakthi of Varaha, an incarnation of Vishnu. The Markendeya Purana praises Varahi as a granter of boons and the regent of the northern direction.  Varahi is shown with the face of a boar and having dark complexion resembling the storm cloud. She is sometimes called Dhruma Varahi (dark Varahi) and Dhumavati (goddess of darkness). Varahi is seated under Kalpaka tree. And, her Vahana as well as the emblem on her banner is an elephant. She wears on her head a Karanda Makuta and is adorned with ornaments made of corals. She wears on her legs Nupura-anklets. She wields the hala and the shakthi and is seated under a Kalpaka tree. The PurvaKaranayama says that she carries Sarnga-Dhanush (bow), the hala (plough) and musula (pestle) as her weapons.

49.2. In other descriptions, Varahi is identified as the Yami, the shakthi of Yama. Varahi is described holding a Danda (rod of punishment) or plough, goad, a Vajra or a sword, and a Panapatra. Sometimes, she is said to carry a bell, chakra, chamara (bunch of yak’s hair  used as flywhisk) and a bow; and riding a buffalo.

49.3. In the Raktabija episode of Devi Purana, Varahi is described as having a boar form, fighting demons with her tusks while seated on a preta (ghoul).

49.4. To this description the Vishnudharmottara adds that Varahi has a big belly and six hands, in four of which she carries the Danda (staff of punishment), khetaka (shield), khadga (sword), and pasha (noose); while the two other hands gesture Abhaya and Varada mudra-s.

49.5. When depicted as part of the Sapta-Matrika group, Varahi who is called Panchami (the Fivefold One) is always in the fifth position in the row of Matrikas. It is explained; Varahi summarizes fivefold elements: water, fire, earth, air and ether. Each of these elements is related to lion, tiger, elephant, horse and Garuda (bird-human) which serve as vehicles of Vishnu. Varahi as the shakthi of Vishnu is depicted with head of a boar having three eyes and eight arms holding in her six hands a discus, conch-shell, mace, lotus, noose and plough; while the other two hands gesture Abhaya and Varada mudra-s. She is depicted as riding, alternatively, a Garuda, a tiger, a lion, an elephant or a horse.

49.6. In the Sri Vidya tradition, Varahi occupies a special position as Para-Vidya (superior power) .She is described as Dandanayika or Dandanatha – the commander-general of goddess Tripurasundari’s army. She is also the chief- counsellor (maha-mantrini) to the Devi. Varahi is also said to stand in a ‘father’ position to the Devi, while Kurukulla is the ‘mother’.

49.7. Varahi has presence in the Buddhist Tantric lore, also. There, she is described as the fierce Vajra-varahi or Vajra-yogini.

Aum Varaaha-muhi Vidmahe

Aanthra-shani Dhimahee

Thanno Yamuna Prachodayath

 

Kaumari

Kumaara rupa Kaumari mayura bar vahana
Raktha vastra dhara padma-shula-shakthi-gandhara eti Kaumari (Rupamandana)

 

50.1. Kaumari also known as Kumari, Karttikeyani and Ambika is the power of Kumara or Skanda; the war – god .Her depictions resemble that of Kumara. She is ever youthful, representing aspirations in life. Kaumari is also regarded as Guru-Guha the intimate guide who resides in the cave of one’s heart. She is shown seated under a fig tree (Oudumbara) riding a peacock, which is also her emblem.  Her complexion is golden yellow; and is dressed in red garments. She wears garland of red flowers. Kaumari has four hands; and carries Shakthi and Kukkuta (cockerel) or Ankusha (goad). The other two hands gesture Abhaya and Varada mudras. She is adorned with a makuta said to be bound with Vasika or Vachika. She embodies ideas of valour and courage. (Purvakaranagama and Devi Purana).

50.2. According to the Vishnudharmottara, Kaumari should be shown with six faces and twelve arms; two of her hands gesturing Abhaya and Varada mudras.  In her other hands she carries the Shakthi, Dhvaja, Danda, Dhanus, Bana, Ghanta, Padma, Patra and Parasu. Each of her heads has three eyes; and is adorned with karanda-makuta.

Aum Sikid-vajaaya Vidmahe

Vajra Hasthaya Dhimahee

Thanno Kowmari Prachodayath

 

Chamunda

Dastrala kshindeha chagatrakarshana bhimrudani

Dig-bahuksham kushisa musalan chakra marganaum//
Ankusha bibharti khadgam daksnesvatah
Khetaasa dhanurdandam kutharam chalti bibarti//
Chamunda pretaga raktha bikratasyahi bhusanath
Dvibhuja prakatray kartika karyamnuintra //

 

51.1. Chamunda also known as Chamundi and Charchika is the Shakthi of Devi (Chandi). She is the destructive form of Devi; and is similar in appearance and habits to Kali.  Devi Mahatmya recounts that in the course of her fight with demons Chanda and Munda, Devi created from her forehead the terrible form of Chamunda. Unlike other Matrikas, Chamunda is an independent goddess. She is also praised as the fertility goddess of Vindhya Mountains She is also associated with Yama. The descriptions of Chamunda are varied.

51.2. One of the descriptions of Chamunda mention of her as a goddess of terrible countenance, black and scowling, with drawn sword and lasso, holding a Khatvanga, wearing a garland of severed heads  (munda-mala) suspended by their hair. Chamunda is clad in a tiger skin, hungry and emaciated, mouth hideously distorted and the tongue protruding out. She sits upon a seat made of three skulls; and has a cadaver for footrest. She plucked off the heads of Chanda and Munda and presented both heads to Kausiki.

51.3. In other descriptions, a bear’s skin is tied over Chamunda’s clinging skirt, with its head and legs dangling on her back. She wears the skin of an elephant as a cape and grasps two of the animal’s feet in her uppermost hands. In her other hands she brandishes an array of weapons and awe-inspiring objects.

51.4. Chamunda is often depicted as dark in colour with very emaciated body, having three eyes, sunken belly and a terrifying face with a wide grin. Her hair is abundant and thick and bristles upwards. Her abode is under fig (oudumbara) tree. On her sunken chest, swings garland of skulls (mundamala) in the manner of a Yajnopavita. She wears a very heavy jata-makuta formed of piled, matted hair tied with snakes or skull ornaments. Sometimes, a crescent moon is seen on her head. Her garment is the tiger skin. Chamunda is depicted adorned by ornaments of bones, skulls, serpents and scorpions, symbols of disease and death. And in her four hands she holds damaru (drum), trishula (trident), khadga (sword) and panapatra (drink-vessel). She is riding a Jackal; or is seated in Padmasana or is standing on a corpse of a male (shava or preta).She is accompanied by fiends and goblins. She is surrounded by skeletons or ghosts and beasts like jackals, who eat the flesh of the corpse that the goddess sits or stands on. The jackals and her fearsome companions are sometimes depicted as drinking blood from the skull-cup or blood dripping from the severed head.

51.5. Purva-karanagama mentions that Chamunda, red in colour, should be depicted with wide open mouth set in a terrifying face having three eyes. Her socket eyes are described as burning like flames. She has a sunken belly; and, wears on her head the digit of the moon as Siva does. She has four arms. The black or red coloured Chamunda is described as having four, eight, ten or twelve arms, holding a Damaru (drum), trishula (trident), sword, a snake, skull-mace (khatvanga), thunderbolt, a severed head and panapatra (drinking vessel, wine cup) or skull-bowl (kapala), filled with blood, an urn of fire. She wears in her ears Kundla-s made of Conch shell (Sankha Patra). Her Vahana is an Owl; and the emblem of her banner an Eagle.

51.6. Vishnudharmottara describes Chamunda as having a terrific face with powerful tusks and seated upon a male corpse. She has a very emaciated body and sunken eyes and ten hands. The belly of this goddess is thin and apparently empty. She carries in her ten hands: Musala, Kavacha, Bana, Ankusha, Khadga, Khetaka, Dhanus, Danda and Parasu.

Aum Pisaasath-vajaaya Vidmahe

Soola Hasthaya Dhimahee

Thanno Kali Prachodayath

 

Narasimhi

52.1. In the Devi Mahatmya, the Saptamatrkas (the seven Matrkas) mentioned are: Brahmi, Maheshwari, Kaumari, Vaishnavi, Varahi, Indrani and Chamunda. At times, Narasimhi is mentioned in place of Chamunda. In some versions, the Martkas are counted as eight (Ashta-Matara) by including Narasimhi. There is also a tradition of Ashtamatrikas, eight Matrkas, which is prevalent in Nepal region. In Nepal, the eighth Matrka is Maha-Lakshmi (she is different from Vaishnavi). Narasimhi does not figure in the lists of Devi Purana and in Nepal.

52.2. Narasimhi or Narasimhini or Narasimhika with the face of a lion, fierce claws and four arms is the shakthi of Narasimha. She is said to have came out from the heart of the Devi. As Matrka, Narasimhi is regarded as an independent deity; and not as a female counterpart of Narasimha. In The Vaishnava School, she is believed to be an aspect of Lakshmi who pacified the ferocious Narasimha.

52.3. In Devi Mahatmya, Narasimhi accompanies Devi in the fight against demons Shumbha and Nishumba. There Narasimhi is described as a ferocious warrior: Narasimhi arrived there, assuming a body like that of a Narasimha throwing the stars into disarray, bringing down the constellations by the toss of her mane (DM: 20) . And, Narasimhi, filling all the quarters and the sky with her roars, roamed about in the battle, devouring other great asuras torn by her claws (DM: 37).

52.4. Narasimhi is sometimes identified with Pratyangira who is endowed with four arms and a face as terrible as that of a lion. Her head is that of a male lion and her body is that of a human-female. Her hair stands erect on her head. In her hands she holds a skull, trident, Damaru and the noose (nagapasa).  She is seated on a lion and by her power destroys all enemies.

52.5. In Tantric worship, Pratyangira is shown with a dark complexion, ferocious in aspect, having a lion’s face with reddened eyes and riding a lion wearing black garments, she wears a garland of human skulls; her hair strands on end, and she holds a trident, a serpent in the form of a noose, a hand-drum and a skull in her four hands. She is also associated with Bhairava, as Atharvana-Bhadra-Kali.

Sri Pratyangira Devi is also associated with Sri Chakra. She protects the devotees and guides him/her along the right path.

52.6. The Shaiva School suggests that Pratyangira sprung from the wings of Lord Sharabesha, the bird-lion-human form that Shiva assumed to pacify (subdue) the ferocious Narasimha.

[According to Kalikagama, the body of Sharabha should be that of a bird of golden hue, having two red eyes; and it should have two up-lifted wings and eight limbs. Sharabha, which is said to be mightier than an elephant, should have the fierce face of a lion grinning widely, having tusks and   wearing kirita makuta. The torso of Sharabha resembles that of human male having four hands .The lower part of its body should resemble that of a lion having four legs, sharp claws and a tail. Sharabha should be shown carrying the figure of Narasimha in his human form with upraised folded hands, anjali mudra. ]

Mahalakshmi

53.1. Mahalakshmi is counted as the eighth Matrika in the Asta-matrika tradition followed in the Nepal region. Mahalakshmi, as Matrka, is not derived from Devi Mahatmya, although she is described as “Universal Mother’ in other contexts. As Matrka, Mahalakshmi is regarded as an aspect of Durga; not as Lakshmi the consort of Vishnu. Mahalakshmi here represents her subtle aspect as Mind, specially her Sovereignty.

53.2. In the Shaktha tradition, Mahalakshmi is an independent Supreme Divinity manifesting herself as Maha-Sarasvathi (Sattva), Mahalakshmi (Rajas) and as Maha-Kali (Tamas).

Devi Mahatmya explains Mahalakshmi as Devi in her universal form as Shakthi. She is the primordial energy and was the first to appear before everything (sarva-sadhya); she is both devoid of form (nirakara) and filled with forms (sakara);   she is both manifest and un-manifest; She is the essence of all things (sarva sattva mayi). She creates and governs all existence (Isvari), and is known by various names (nana-abhidana-brut). She is the ultimate goal of yoga.  Mahalakshmi is the creator of the Trinity: Brahma, Vishnu and Rudra.

53.3. Mahalakshmi is the presiding Goddess of the Middle episode (Chapters 2-4) of Devi Mahatmya. In her manifestation as Mahalakshmi, the Devi destroys the demon Mahishasura. The Goddess fought the demon for nine days starting from prathipath (the first day of the brighter halfof the month of Ashvayuja; and killed the demon on the tenth day Vijaya-Dashami ending his reign of evil and terror. Her victory symbolizes the victory of good over evil.

53.4. Mahalakshmi described as having been created by the effulgence of all the gods is depicted as Ashtadasha Bhuja Mahalakshmi, with eighteen arms.

Skanda Purana (Sahyadri khanda) describes Mahalakshmi as: “She who springs from the body of all gods has a thousand or indeed countless arms, although her image is shown with eighteen hands. Her face is white made from the light streaming from the face of Shiva. Her arms are made of substance of Vishnu are deep blue; her round breasts made of Soma are white. Her waist is Indra and is red. Her feet sprung from Brahma are also red; while her calves’ and thigh sprung from Varuna are blue. She wears a gaily coloured lower garment, brilliant garlands and a veil. In her eighteen arms, starting from the lower left, she holds in her hands : a rosary, a lotus, an arrow, a sword, a hatchet, a club, a discus, an ax, a trident, a conch, a bell, , a noose, a sphere, a stick, a hide, a bow, a chalice and a water pot.”

The Chandi Kalpa adds that Mahalakshmi should be seated upon a lotus (saroja sthitha) and her complexion must be that of coral (pravala prabha).

54.4. When she is shown with four hands, Mahalakshmi is depicted as seated on a lotus throne, holding padma, shankha, a kalasha and a fruit (bilva or maatulunga). Her four hands signify her power to grant the four types (chatur vidha) of human attainments (purushartha): dharma, artha, Kama and moksha.

54.5. The Shilpa text Rupa-mandana suggests Mahalakshmi with four arms (chatur-bhuja) should be depicted in the colour of molten-gold (taptha-kanchana-sannibha) and decorated with golden ornaments (kanchana bhushana). She is also described as having complexion of coral; and seated on a lotus. Her four hands carry matulunga fruit, mace, shield and bowl of liquor. Her head must be adorned with snake-hood and a linga.

[Note: 1.

The head-gears mentioned for the Matrkas are commonly the Kirita -makutaKaranda-makuta and Jata-makutaMansara, the ancient text of Shilpa shastra, classifies these types of head-gears under the term makuta or mouli (MansaraMauli-lakshanam: 49; 1-232). For all makuta-s, the width commencing from the bottom should be gradually made lesser and lesser towards the top.

Among these, the Kirita-makuta is an elaborate crown that adorns major gods such as Vishnu and his forms (Narayana) and also emperors (Sarvabhouma).It has the appearance of Taranga-s (waves) and its middle is made into the shape of flowers and adorned with precious stones. The base of the Kirita-makuta should be curved like a crescent (ardha-chandra) just above the forehead. The height of the Kirita-makuta should be two or three times the length of the wearer’s face.

The Karanda-makuta is prescribed for lesser gods and for goddesses when depicted along with their spouse. It is simpler and shallower as compared to Kirita-makuta. The Karanda-makuta is a small conical cornet receding in tier. It is   shaped like an inverted flowerpot, tapering from the bottom upwards and ending in a bud. The width of a Karanda-makuta at the top should, however, be only one-half or one-third less than that at its base.

The jata- makuta is suitable according to Mansara for Brahma and Rudra, as also for consorts of Shiva. Jata-makuta, is made up of jata or matted locks, which are twisted into encircling braids of spiral curls and tied into a knot looped at the top. It is held in place by a patta (band); and is adorned with forest flowers and by a number of ornamental discs like the makara-kutapatra-kuta, and the ratna-kuta. In the case of Shiva, the jata-makuta is adorned with a crescent of the moon, a cobra and the Ganga.

In the case of Matrkas:  Vaishnavi and Aindri are adorned with kirita-makuta; Brahmi, Varahi and Kaumari with karanda-makuta; while Maheshwari and Chamunda are adorned with jata-makuta.

***

Note: 2.

Among the ayudhas carried by the Matrka deities the following are commonly mentioned: Khadga (Sword) ; Trishula (Trident) ; (Chakra Thunder – disc) Gada or Khitaka (Mace) ; Dhanush (Bow) ; Bana (Arrow ); Javelin (Bharji) ; Parashu (Battle- Axe) ;  Musula (pestle) ;  Danda (staff);khatvanga (skull-mace), khetaka or Sipar (shield); Ankusha (Goad) ; Sutra or Pasha(Noose or lasso); Damaru (drum); Panapatra (drinking cup); Ghanta (Bell) ; Akshamala (rosary) ;  Pustaka (book) ; kamandalu (water pot) ; and Vanamala (garland of forest-flowers ). ]

References and Sources

The iconography of the saptamatrikas: by Katherine Anne Harper: Edwin Mellen press ltd (1989-10)

Saptamatrka Worship and Sculptures by Shivaji K Panikkar; DK Print World (1997).

The Roots of Tantra by Katherine Anne Harper (2002)

Hindu Goddesses: Vision of the Divine Feminine in the Hindu Religious Traditions by David Kinsley; (1987)

Tribal Roots of Hinduism by SK Tiwari; Sarup and Sons (2002)

The Portrait of the Goddess in the Devī-māhātmya by David Kinsley

The Little Goddesses (Matrikas) by Aryan, K.C; Rekha Prakashan (1980)

Goddesses in Ancient India by P K Agrawala; Abhinav Publications (1984)

The Tantra of Sri Chakra by Prof. SK Ramachandra Rao ; Sharada Prakashana (1983)

Matrikas

http://en.wikipedia.org/wiki/Matrikas

Sapta Matrikas and Matrikas

http://shaktisadhana.50megs.com/Newhomepage/Frames/forumframebodyindex.html

The mother goddess in Indian sculpture By Cyril Veliath

http://www.info.sophia.ac.jp/fs/staff/kiyo/kiyo37/veliath.pdf

Some discussions on the Skanda – Tantra and Balagrahas

http://manasataramgini.wordpress.com/2008/09/03/some-discursion-on-skanda-tantra-s-and-balagraha-s/

The Mahabharata of Krishna –Dwaipayana Vyasa (Book 3, Part 2) Section 229

http://www.bookrags.com/ebooks/12333/180.html

Devis of the first enclosure

http://shaktisadhana.50megs.com/Newhomepage/Frames/gallery/Khadgamala/1stenclosureB.html

All pictures are from Internet

 
8 Comments

Posted by on October 7, 2012 in Devi, Saptamatrka

 

Tags: , , , ,