KirItam vyrincam parihara

[krishnarao]

KirItam vyrincam parihara ……
From :- lanka.kr...@gmail.com

SrIguruh
sarvakAraNaBhUtA Saktih |
SrImahAgaNAdhipatayEnamah ||

“kiriitam vyrincam parihara purah kaitaBhaBhidah
kaThOrE kOTIrE sKalasi jahi jamBhAri makutam |
praNamrEtEShvEShu prasaBha mupayA tasya Bhavanam
BhavasyABhyutthAnE tava parijanOktir vijayatE ||”

This is the 29th SlOkA in the soundaryalahari of SrI
AdiSankarAcArya.
Commonly understood meaning of it is,
“O mother, when your husband ‘Bhava’ is approaching thy abode
all the attendants of yours are perturbed in order to alert you, while
you rise in haste to receive him, they utter ---
“Skip over the crown of brahma, who is lying prostrated before you.
Skirt the hard coronet of the flat lying ‘viShNu’ also, without
stumbling. You have to safely pass over the diadem of the crouching
‘indra’ too, which may hurt your foot in your swiftness.

For this, I found another meaning also, which I wish to share with all
our members too.

“BhavasyABhyutthAnE” means creation of the universe. That is the
fulfillment of the core wish of parabrahma ‘Siva’. While the
aspirations of the ‘jIva’ is, to achieve ‘kaivalya’ of the ‘kailAsa’,
the completion of paramESwara`s wish would be to build up the
universe, extending himself to the ends of the “pR^ithvI tattwa”.
When the Siva tattwa shrinks, the creation of the universe will come
into existence and when the same expands, it returns to become
dissolved and merged in the same ‘Siva tattwa’. It is the nature`s
law to make both of these simultaneous actions one after another
alternatively. The condition of expansion in the ‘Siva tattwa’ which
is ‘samhAra rUpa’ (dissolution), is termed as “Urdhwa kunDalini”; and
the condition of contraction in the ‘Siva tattwa’ which is ‘sR^iShti
rUpa’ is termed as “adhah kunDalini”.

While doing ‘japa’, it is customary that we should raise our
kuNDalini towards the ‘brahmarandhra’, leaving out all the 36 tattwAs
behind, one after another. After reaching the destination, it will
sneak down, in the form of nectarous flow, into all of the seventy two
thousand pulsations (nADI manDala) of the body. The ‘prANa Sakti’
which flows through ‘idA’ and ‘pingala’ nADIs in the form of
“utChwAsa” and “praSSwAsa”’. and enters in to the three subtle
layers, confined in the ‘suShumnA nADi as an ‘antarvAhini’ (obscured
stream).
The names of these three layers are –
1. “vajriNi” which is stretched as the outer layer,
2. “citriNi” which is positioned as the middle layer and the
3.the inner most is “brahmanADI”, also it is called as “mUrdhanya
nADi”.
The goal of the sAdhaka would be to extend the ‘prANa’ up to this
‘mUrdhanya nADI’ only.

In the ‘rudrayAmala tantra’ there is an elaborate description about
these nADIs.

pR^iShTadESE mahAdanDE mErumUlE mahApraBhE,
mUlAdi brahmarandhrAdhah sadAsthirUpa dhArakah,
kanakAcala nAmnA ca pratiBhAti jagattrayE||
tanmadhyE muni swarUpA ca manas caitanya kAriNI,
tanmadhyE BhAti vajrAKyA Gora pAtakanASinI,
siddhidA BhAva vij~nAnam mOkShadA kularUpiNAm ||
TanmadhyE citrine dEvI dEvatA prItivardhinI,
hitaiShiNI mahA mAyA kAla jAla vinASinI ||
sA pAti sakalAn cakrAn padmarUpadharAn parAn,
trailOkya manDalagatAn sAkShAdamR^ita vigrahAn ||
swayam dadhAra sA dEvI citrAKyA cArutEjasI,
citrine madhyadESE ca brahmanADI mahA praBhA||
sarvasiddhipradA nityA sA dEvI sakalA kalA,
vyOmarUpA BhagavatI sarva caitanya rUpinI ||
Eka rUpam parambrahma brahmAtItam jagattrayam ||

This was said in the order of expansion (vikAsakramam or
samhArakramam), whereas the soundaryalahari SlOkA is describing the
same in the order of contraction (sankOcakramam or sR^iShtikramam).
While doing our mantra japa, we will have to adopt the samhAra kramam
only, in order to raise the kuiNDalini up to the bindu cakra.

The ‘nyAsakramam’ for these three nADIs also was mentioned there
itself as,

“talE pR^iShTE UrdhwadESe SIrShE vakShasi nABhiShu,
kanThakUpE cakramadhyE brahmAnDam pAti sarvadA,
SarIrAtmakam ISArtham trailOkyam sa carAcaram ||

See the dhyAna SlOka mentioned for the “mAtR^ika
nyAsam”

“AdhArE linga nABhau hR^idaya sarasijE tAlumUlE lalAtE
dwE padmE ShODaSadaLE dwAdaSArthE catuSkE
vAsAntE bAlamadhyE DaPakaTa sahitE AdiyuktE swarANAm
hamkSham tattwArthayuktam sakala daLagatam varNarUpam namAmi ||”

The central idea of this SlOkA is that, the kuNDalinIrUpa mAtR^ikA
saraswati is streaming through all the tattwAs namely the Atmatattwa,
vidyAtattwa and Sivatattwa, in this way in
“gudasthAna, linga, nABhi, hR^idayam, kanTham, lalATam, aShtAra and
trikONa and the sahasrArapadma which is called “the ShOdaSAnta”. All
these are in the ascending order in the gross body (sthUladEha).
Included with ‘Aj~nAcakra’ and ‘viSuddhicakra’ the catuShka which
means, anAhata, maNipura, swAdhiShTAna and mUlAdhAra cakrAs in
descending order in the subtle body (sUkShmadEha)
And in the causal body (kAraNadEha), in the mounting shift, again in
the mUlAdhAra, swAdhiShTAna, maNipUra, anAhata, viSuddha and Aj~nA
cakrAs”

“purascakrE dwipadah purascakrE catuShpadah
Purasca pakShI BhUtwA purah puruSha AviSEt ||”

Human form in the gross body, dharma form in the subtle body and in
the causal body in ‘garuDa form’ which carries us to the
brahmarandhra. The very next, we will attain the “viShNupadam”, our
eternal abode.

“sakR^iduccAritamAtrENa UrdhwamunnayatiityOmkArah”
So defined praNava too— it was said in the ‘uttara giita’ that,
“OmkAra dhwani nAdEna vAyOssamharaNAntikam |
nirAlambam samuddiSya yatra nAdO layamgatah
tad viShNOh paramam padam—“

Ahead of the brahmanADi, ‘viShNupadam’ is attained and that is the
emancipation (mOkSha).

While doing mantrajapa, the prANaSakti enters into the ‘suShumnA
nADi’ which looks like the tiny passage of a lotus string, and rises
upwards towards the sahasrArapadma like a furious serpent. After
entering into it, it returns back from there along with the nectarous
flow of that place, to satiate all the 72 thousand nADIs of the body.
While descending from the sahasrAra it enters first in the
brahmanADi. This brahmanADi was described as so soft and smooth like
the film of iceberg and that it belongs to the ‘candramanDalam’. It
gives the impression that this is the stage of ‘niShkalAtmaka
parabrahma’ transforming towards the “sakalAtmaka form”. Having its
‘raSmipunja’ downwards, this brahmanADi is so subtle that it is not
possible to recognize whether it is there or not.
“SaktirUpA hi sA dEvI sAkShAdamR^ita vigrahA”.
This is the ‘samaShti swarUpa’ of the five Siva tattwAs, viz., Siva,
Sakti, sadASiva, ISwara and Suddhavidya.

When Siva, in the beginning, aspired for “another one”, his own
“iccha” (wish), which is his own ‘Sakti’, manifested as “aham”. That
itself when being introvert, became “sadASiva” and when it became
extrovert, it was called “ISwara”. The samaShti j~nAna of these two
stages is called “Suddha vidyA”. Although they all appear as
different, all are not different from the “cidEkarasa Suddha
samvinmAtra Siva tattwa” only. These five ‘Suddha tattwAs” related to
the causal body, are actually the ‘bindu’ and ‘trikONa’. While the
Siva and the Sakti are one single entity in the bindu cakra, the
sadASiva, ISwara and Suddhavidya are manifesting as the ‘trikONa’.
“trikONE baindavam SliShtam”.
So all the five are “bindu” only. Looking at this descending Siva
swarUpa, it comes to our mind that this is the divine “anugraha
swarUpa”.

“kaEIlahrIm”. While returning from the sahasrArapadma after doing
pradakShiNa around in the ‘trikONa’ for the ‘bindu cakra, this
‘sAraswata kUTa’ first enters into the ‘brahmanADi’ with a humble
request to remove the hurdles for brahma (vEdamAtA) in delivering the
dharma for the universe. This is the essence of ‘gAyatrI mantra’.
This is ‘smaraNarUpA’ and ‘adhyayanarUpA’ and also ‘brahmavidyA rUpA’
too. “kanyantE prakASyantE SabdajAlAni” Exhibiting the universal
creation by expounding the magical flow of words. It is considered
worthy to be meditated by the ‘brAhmins’

After satisfying the brahmanADi, the kuNDalinI prANaSakti enters into
the middle layer called ‘citriNi’. This prANaSakti itself is the
‘candra manDalAmR^itam’, but slightly solidified and indurate by the
influence of the winds from the ‘agni manDalam’. “jyOtir vAyau
pratiShThitam”. This citriNi nAdi is really a peculiar one. This
being the abstract form of the ‘mahA maya’, exercising its power and
authority over all the ‘ShatcakrAs’ (universe). This is the
collective form of the seven tattwas from “mAyA tattwa” to “puruSha
tattwa”.

Engulfed by the ‘mAyA’, the ‘puruSha’, capriciously came to the
conclusion that he was duty bound to accept the fetters of all the
five tattwas viz., “kalA”, “vidyA”, “rAga”, “kAla” and “niyati”. He
thought himself that he was enclosed by them as five jackets (panca
kancukAs). In fact all these five tattwAs and the ‘mAyA tattwa are
just imaginary and not any existent things, the purusha tattwa with
all these six tattwAs is the only single tattwa.

“puruShassuKa duhKAnAm BhOktR^itvE hEturuccyatE”. The one who is in
dilemma of “ahamBhAvam idamBhAvam” is really the replica of and not at
all different from the ‘paramAtma’ who has been deluded by the ‘mAyA’,
aspiring for the experience of his wish “sO~kAmayata”.

This is the form of “kAmarAja kUtA” (hasakahalahrIm). The two
purushArthAs ‘artha’ and ‘kamA’ are amenable to the effort (kriya),
hence it becomes worthy to be worshipped by kShatriyAs. “hasakam”
means, 1. ‘tApa trayam’ 2. riches of wealth and food 3. improvises the
desire for all kinds of corporeal pleasures. And also—
“hasa” = enlighten upon; “halAm” = understanding; “kam”= brahma
(dharma) and, “hrIm”= yearning for knowledge. So, we have to
understand that this is capable of affording pleasures of both the
present and also for next of the worlds. This ‘citriNi’ is acting in
both the ways in the form of “citi” swarUpam, which substantiates the
differential notion (BhEda BhAvana), the nature of the ‘agni manDalam’
and also in the form of j`nAnarUpa “cEtanA swarUpam”, that endows the
non-differential recognition (aBhEda BhAvana), because of the nature
of “candra mandalam”

With upward rays of ‘agnimanDalam’ and the downward rays of ‘candra
manDalam’ mixed together in the form of the “sudarSana cakra”, inwards
and outwards, it is acquiring the administrative talents of
SrImahAviShNu. It is viscous; as if to say that it would be useful as
an adhesive in strengthening the concept of “agnIShOmAtmakam jagat’.
It seems that only to indicate, that this ‘citriNI nADi’ should be
melted to flow down, the word “sKalasi” was inscribed in the SlOka.
We can well say that this ‘citriNi’ is the ‘mAya’, which exists
between ‘jiivatma’ and ‘paramAtma’. This is the real form of the four
antahkaraNAs, by which the puruSha was immersed in the delusion of
samsAra.

With all its upward rays, being extrovert, wrapping up as a covering
around the ‘citriNi is the “vajriNI nADi”. This is the form of
“sahasrArciSha”(the fire), which emphasizes the concept of perception
of the universe. This is the collective form of the twenty four
tattwAs from “prakR^iti” to “pR^ithivi.

‘rajas tamascABhibhUya sattwam Bhavati BhArata,
rajas sattwam tamas caiva tamah sattwam rajas tathA ||”

What was said as “prakR^iti” in the matching stage of ‘guNA’s, the
same is called as “antahkaraNAs” in the clashing stage of the guNAs.
These ‘antahkaraNAs’ are not at all different from the ‘prakR^iti’ of
the ‘puruSha’ who is after all the collective form of ‘bAhyakaraNAs’
only. Since there is no difference between the ‘prakR^iti’ and
‘puruSha’, we can substantiate that the ‘samaShti’ of all these
tattwAs is the ‘puruSha’ only. The ‘prakR^iti of ‘puruSha’ which wore
the “antahkaraNa sahita panca kancukAs” itself has created the ‘panca
BhUtAtmaka dEha’ which is the aggregate of ‘panca tanmAtrAs’, ‘panca
j~nAnEndriyAs’ and the ‘panca karmEndriyAs’; and providing him the
experience of viewing the existence of the universe.

The outer most cover like layer is named as “vajriNi”. The
“sakalahrIm” of the “SaktikUta” indicates that this ‘vajriNi’ contains
many “kaLAs” and proposing heterogeneity of the world. It specifies
that it consists of all the process of the four ‘antahkaraNas’, sixty
four varieties of ‘kaLAs’, and also the twenty four kinds of tattwAs.
By saying “tasmAd AdhAram ASrayEt”, it signifies that this “vajriNi”
is the fundamental basis for all the four “puruShArthAs”

“jamBhO~mSE”. ‘jamBham’ means ‘diversity”. Even though it says,
that this ‘nADi’ is the sole proposer of all diversification, when
esteemed as ‘paradEvata’, it hinders all the activities of the “citta”
and strips off all variegation and it upholds the way for “Kaivalya”
too.

“sEyam kriyAtmikA Saktih Sivasya paSuvartinI,
bandhayitrI swamArgasthA j`nAta siddhyupapAdikA ||”

Soon after one acknowledges the ‘kriyA Sakti’ as ‘parA Sakti’ and
identifies himself with it, the personage of “j`nAna Sakti”, which is
the form of the three kinds of “antahkaraNa” and the form of “kriyA
Sakti” which is called as “bAhya karaNas” with the Sum total of the
mind
itself, is the all pervading “dESa kAlAparicCinna vyBhavAdhiShTHAtri”,
he will be able to realize that “viSwarUpa prakR^iti itself is the
“SivakaLa”. “parAparayOh SaktyOraBhEdah”.

In fact, all the thirty six tattwAs from ‘pRithivi’ to ‘Siva’ are
only one tattwa and none of them is separate from any one. The
indivisible ‘Sakti’ of ‘Siva’ who is “cidAnandaGana” and “paramAkShara
vigraha”, by its own will (iccha), hersef being the “jagannATaka
sUtrdhAri”, manifests in the forms of “citi”, “mAya” and “prakR^iti”
and creating many forms of diverseness and exhibiting “swAtantrya
mahima” of ‘paramaSiva’

“vartamAnAvaBhAsAnAm BhAvAnAmavaBhAsanam,
antah sthitavatAmEva GaTatE bahirAtmanA ||”

What is there in the kailAsa of brahmarandhra, that itself is
situated and found in the “pR^ithivi” of ‘mUlAdhAra also

“yasyAmantarviSwam Etad viBhAti bAhyaBhAvam BhAsamAnam visR^IStau,
kShObhE kShINE~nuttarAyAm sthitau tAm vandEdEvIm swAtma samvittim
EkAm ||”

“sR^iShti” which means that, whose inside and out side, all this
universe is delusively imaginable in the “kShObha daSa”, and when it
contracts, who settles again in the “anuttarAtmaka sthiti”, I adore to
that the ONE “aKanDa swAtma samvitti (Atma j`nAna) rUpa paradEvata”.
So praises “aBhinavaguptA” for this ‘jaganmAtA’ only.

Please excuse me if I have exceeded any limits of sampradAya.

krishnarao (SrIparasuKAnandanAtha)