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Cidgaganacandrikā - A Study
Cidgaganacandrikā - A Study
- A Study
By
Smt.S.MAHALAKSHMI
M.Com.,CAIIB,M.A.(Sans),M.Phil.(Sans)
March 2017
POSTGRADUATE AND RESEARCH
DEPARTMENT OF SANSKRIT
DECLARATION
Place: Chennai.
Date:
The thesis contains eight chapters. The first chapter elucidates the
date and authorship of Cgc. It is an imporant Śaiva Tāntrik text belonging
to Kashmir School of Tantrism attributed to Kālidāsa. Cgc states (
V.305) that it is a continuation of Kramastuti by Siddhanātha. The Cgc is
stated by Srivatsa the author as a commentary Paňcika on the Krama
Stotra of Siddhanātha.
The Second chapter the “Gleanings from the first two Vimarśa-s
of Cgc” provides the excerpts of the single English commentary made
available by Karra Agni Hotri Śāstri (Dhanadhānanda nātha). It explains
the various topics covered under Cgc in an elaborate manner.
The Third Chapter is a comparative analysis of the first two
Vimarśa-s, based on the two available commentaries viz., Divyacakorika
and Kramaprākaśika. Topics of the first two Vimarśa-s cover the
following :-
S. MAHALAKSHMI
CONTENTS
Chapter Page
Title
No. No.
CERTIFICATE
DECLARATION
PREFACE
ABBREVIATIONS
I Introduction 1
Bibliography
Tantra words-Glossary
LIST OF TABLE
Table of aktip ta
Table of aktikuta
FIGURES
CHAPTER I
Introduction
The author
The name of the author of Cgc is often confused as the Popular K lid sa
as there are some similarities in many places of the text about his authorship.
In the benedictory verse the author says:-
The ending verses of the work also reiterate the same fact:-
celebrated work. Kaivaly srama, a pupil of Govind rama, in his ‘Saubh gya
subodhin Tika on Anandalahari refers to the Cgc as the work of K lid sa.5
Problem of authorship
There is room for the conjecture that the great poet K lid sa could be
the author of a work on Tantra also because of his supreme devotion to
Goddess K li from whom he obtained the gift of his unparalleled poetic genius.
This work Cgc also deals with the worship of li . In many places of this
work, while speaking of the glory of devotion, the author addressed the Dev as
li and introduced himself as K lid sa, the devotee of li . He says:-
These factors have led the editor Svami Trivikrama Tirtha of the
Calcutta edition of the Cgc to concede its authorship to K lid sa. Karra
Agnihotri astri, the erudite modern commentator on the text, fully endorses
his views. To cite an instance, he finds an implicit reaffirmation of the
Abhij na- kuntala's eightfold Puri-s in the eightfold structure of the nda-
cakra.
Date of Cgc
rivatsa K lid sa
This justifies that he is not the legendary K lid sa, but a different
person. Cakrabh nu and Somar ja, and for that matter his son, more or less
have a definite chronological status that puts them within a century's bracket
running from 1050 to 1150 A.D. as they come in preceptor’s hierarchy. Even
the earliest limit cannot go beyond the tenth century, because the author of the
Krama Stotra i,e., Siddhan tha, belongs to the first half of the tenth century.
But since the author maintains direct doctrinal and scholastic affiliation to
Cakrabh nu etc, his date can not be pushed back to 11th or 12th cent.A.D.
Cidgagana-Candrik – A Study 5
Besides, the earliest references made to this are by Mahe var nanda who
belongs to the close of the twelfth and beginning of the thirteenth century.
Therefore his date cannot be advanced either. Had he flourished much earlier,
the early texts could not afford to ignore him altogether. Therefore, on every
count, the present author is different from the great poet.
Further, Mankha (1127 - 1151 A.D.) refers to a pair of the two celibates
namely Bhudda and rivatsa in course of his description of the literary circle of
his brother and heaps an exceedingly high praise on both of them for
unparalleled poetic richness and beauty of their verses - as if Goddess Muse
herself put a stamp on the wealth of their poetic art. rivatsa, therefore,
belonged to this period.
Internal evidence
The author of the Cgc in the last verse gives out his name as rivatsa in
an assertive tone. K lid sa seems to be his honorific title and not his actual
name, according to his own statement. Due to the grace of Divine Mother, his
unique literary and spiritual accomplishment fetched him this valued title.
rivatsa, the author of the Cgc,thus seemed to have secured the title of K lid sa
for his poetic brilliance, ingenuity and achievements.
The necessary corollaries that follow in the wake of such proposition are
that the author of the Cgc was rivatsa. He was a pupil of Soma's son who
perhaps was also known as Gupta. He belonged to api ha, the centre of his
spiritual activity, where he wrote his Pa cika on the Krama stotra.
The whole work, according to the author, comprises three hundred and
nine verses in traistubha metre, However, there are in all three hundred and
Cidgagana-Candrik – A Study 6
twelve verses in the printed edition and the first two verse are not in the above
metre. Thus the total number of verses in the above metre amounts to three
hundred and ten and if the last verse pertaining to the author himself is
excluded, the total corresponds to the figure mentioned by the author.But it is
doubtful that the original text has come down to us in full, because a few verses
quoted by Kaivaly rama, Amrt nandan tha are not traceable to the printed
text.
Contents of Cgc
This apart, principles that are exclusively known to the Up saka-s, such
as Pa cav ha, Dv da akti, Khecari, Gurukrama, the different forms of
Ady akti that are worshipped, krama, adadhv , Bh vana, the
consequence of Bh vana, the Mantra and Mantra akti, ra, Rava, ru, the
practical results of Mudra etc., have been discussed as matters of importance in
many loka-s in every division of the work. In the concluding ten stanzas of
the text, the author has explained the purpose and impact of his compostion.
Cgc elaborately deals with the forms of li, unknown to Bengal and
southern India viz. i K li, Sthitik li, Samh rak li, Raktak li, M tyuk li,
Ca dograk li, K la kar ik li etc., described later by Abhinavagupta and
others of Kashmirian tradition.
Paratattva up sana
Significance of Guruparampara
Vedic worship, has been discussed in the Agama stra-s, and explained
by Raghava Bhatta in the very beginning of his illuminating commentary on
rad tilaka. The knowledge of the Mantra-s are the basis for rituals. The
knowledge of abda is essential to know the meaning of the mantra-s.
“Securing the knowledge of the secrets and techniques, of this particular school
of Tantra, is necessary to catch the secret principles of Up sana focussed in
Cgc, from one who has obtained this knowledge in an unbroken line of
Cidgagana-Candrik – A Study 9
discipleship from the author. When Arnold Avalon wrote this in his
introduction to the work edited by Sw mi Trivikrama Tirtha at Calcutta in
1937, there was no Commentary available.
Two Commentaries
The next chapter deals with the content of the first two Vimarsa-s based
on the version of Agnihotri tri.
Cidgagana-Candrik – A Study 10
Chapter I: Introduction
Notes
1 Pandit Trivikrama Tirtha. (vide:Intro. by Arnold Avalon, Cidgagana
Candrika)
2.
-
Paratrimshika
10 Ct. “Matrgupta was, according to Kalhana, a predecessor of Pravarasena the
celebrated author of the Sethubandha), and his personality nas suffered a
confusion with Kalidasa by unwise conjecture”
Keith,A Hist of Sans Lit, p132 Ct-Winternitz, Gd; Levi,TI.i, 183f.
Stein fixes the dates of Mtrgupta and Pravarasena to be the latter part of the
6th cent A.D.,-Stein,Rajtar, III.125-326.
11. Aufrecht;Cat;Cat, P I, p, 99.
Cidgagana-Candrik – A Study 11
CHAPTER II
Invocation to Lord Ga a
Invocation to iva
limited, i.e., avamala, will be cooled or quietened by the bliss or nectar in the
form of this treatise or work, Cgc, born of the moon, the poet lId sa. ”By
the different readings in this verse, ‘ ’or ‘‘ ‘, your or our, it is suggested
that the seekers after the truth have the three Malas, illusions; whereas the
Siddh has only the avamala and to him the sams ra flows as Divya-bh va;
It hints the fourfold path of a devotee. The S dhaka stands on the plane of
Vij na and Pralay kala-s; whereas the Siddh stands on the plane of Sakala
and rises to the Ni kala, the place of oneness, the Par pada.3
Fruit of Up sana
Siddh says that he at the state of the impersonal I or pure self, the
seeker or knower after Truth, enthroned in the cave of the heart,’Cidvyoma’ has
gained an inner sight and has become one with vara or ivak la. He is
beyond knowledge or action, shining in all His perfection, the Destroyer of all
Dualism. As an instument of ivak la he reveals the nature of truth from this
state.5
iva- akti are the Divine parents in the six fold path.The pure Self in its
word abda-state, by nature, knowledge or Truth itself, is none other than the
Divine li, the unrevealed word(Mah da), at the centre, the cave of the
Cidgagana-Candrik – A Study 13
Siddh informs that I, the pure self, the impersonal Ego, the combined
form of the word and its meaning, the heart of all creation, born of the three
Gu -s or Virtues (Sattva-Light, Rajas-Light and Darkness, Tamas-Darkness)
is one with the dual self la-K li. He is in the hearts of the three different
types of human creation- the Higher, the Medial and the Lower. One in the
Lower stage sees himself and creation as real and has no knowledge of la.
One in the Medial stage knows himself and the world imperfectly and has a
glimpse of K la. One in the Higher stage knows himself and the world as none
other than la. Bhairava is eternally present, in the past, present and future as
the inner self of all beings in all states. la shines as self in the hearts of the
dhaka-s.8
The Siddh recollects the lineage of i-s starting with Patanjali, with
respectful devotion, who mentally realized themselves to be in union with
le vara as abda and Artha or both, in whom the creation lives or who in
Cidgagana-Candrik – A Study 14
The Siddh has his seat in the inner sky. He is none other than the Truth,
the Cidgagana- the centre of the five-fold da. ( given in detail later in the
work) This Cidgagana is the eternal source of the two-fold power viz. li
and K la a state without name and form that shines as (Vyoma) the inner sky.
It is the ever shining inseparable combination viz. la-K li or iva- akti by
virtue of the lustrous rays of the word and its meaning.10
The word and its meaning are inter-dependent. The li and la forms
are one and the same. By li ’s state or Power with varied lustrous forms, the
true nature of the indivisible One-ness of le vara, is understood or
conceived. The Siddh bows to Ambik the presiding Deity of the entire 36
individual elements that are invisible. They are the ivakal Tattva-s of nature
or forms.11
There is the highest peak of Kil sa, the highest pinnacle of Sattva(Light)
predominating Rajas and Tamas. K le vara lives in that luminous mountain
Kil sa. That Kil sa is Ambik . It is to be recollected here that : refer
The Siddh bows to the pure Self “cit”- the Impersonal Ego, which is
beyond the conception of the mind and the senses; which is beyond the concept
of the knower, knowledge and the known; which shines as creator and
destroyer between creation and destruction; which exists in between thought
and non-thought, the form-less one.13
The Siddh then resorts to the abode - Sat, Cit and nanda of Ambik
where she shines as the united form of word and meaning, name and form in
14
the unlimited variety of diverse creations.
other words, when she is conducive to harmony and producing universal love
she is Sattva. When she reverses it she remains as Tamas; when she blends
both She is in Rajas. In all Gu -s her manifestations remain pure. 16
Next, akti is invoked by the name Siv . Siddh says that the three
gu -s are her three fold divine body both the Invisible and the Visible. When
she is in the state of Tamas or Darkness she represents thvi-Tattva, (Earth)
Cidgagana-Candrik – A Study 16
Her ttvic body is Tejas or Agni; The mixture of both is Rajas. All the three
gu -s are born of her quiet nature- nt or ama. So she gradually creates
and evolves in her nt form (calm state) as Fire to Water and then to Earth .
While destroying she is in her Ugra or (Fierce) form. Thus, the world exists by
her ttvic nature, but in the physical form of the three gu -s.17
The Siddh then praises Amb calling her as the supreme wealth of her
Lord, vara in visible creations. This awareness resulting in the pure
knowledge and action leads the seeker to the highest or a perfect state qualified
by non-attachment.18
The Siddh addresses Amb here appropriately as Ca ika. She with the
grace of Rudra (Lord of destruction) approves the views of the preceptors of
two paths khya and Yoga (knowledge and action), as equally useful in
attaining the end, as long as they shine in their conceptual form; but if they
manifest in Perceptional form as theory and practice ( khya is dualistic
realism, yoga – which treats citta intellect alone as the means of realisaion)
She as Ca , (anger incarnate) excels above their Philosophy and destroys
both their views in a wink.20
Cidgagana-Candrik – A Study 17
The Siddh addresses akti as Siv as bathing in the light born of her
self or bathing the world in her light. She is the full moon, ‘ im ’. While
shrinking or with-drawing the light, she becomes the new moon, ‘am sy ’
or ‘kuhu’.Light and darkness exist together at a time for the visual eye.
Likewise, she exists simultaneously as light (creative force) and as darkness
(the destructive force) at a time. In other words, creation starts where
destruction ends and vice versa. Thus both light and darkness constitute her
nature in her full and Perfect state.21
The Siddh now addresses akti as li suitably. She shines as time, (as
the eighth day of the dark or bright fortnight ( a and ukla a amis) in the
‘pit a, i.e between im and am sy .) Though she shines as such
time without distinction apparently creates a gradual distinction in time as night
and day, months, seasons, years etc., and removes the same and exists as the
eternal Time ( li); In other words,she neither creates nor destroys time. She
is the unbroken and the endless flow of time ( la cakra), apparently day
killing night and night devouring the day. They are the opening and closing of
her eyes”.22 Here the suggestion is that the full moon as knowledge dispelling
non-knowledge i.e new moon and in turn new moon shading or swallowing
knowledge i.e full moon.
A dhaka who gains the knowledge shown in the first Vimar a, will
be a mukta.The naure of nitya mukta, of ever liberated soul, is defined by the
Siddh .According to him a ni is liberated, who realizes through buddhi,the
three fold form of Devi, as the knower, known and knowledge. He shines
Cidgagana-Candrik – A Study 18
through her will knowing her as subtle and pure. The wise who sees her as
knowledge as well as the cause of knowledge is liberated.23
The Siddh then prays to Amb for dispelling his avamala (i.e the
awareness that he is an atom) that envelopes his body in its three stages of
birth, growth and death; That avamala aided by the illusion in its double
capacity as the knower and the known depends on creation as real and that
creation takes the form through the external sense perceptions.25
Misconception removed
Addressing Goddess Amb the Siddh then says that the s dhaka
through his secret and peculiar introspection becomes aware that all that is
acquired or seen are nothing but her Self. He through his external senses, sees
oneness in all dual creations. He knows everything in the world as her body
damaya or abdamaya.27
Cidgagana-Candrik – A Study 19
Addressing as iv , the Siddh says that her powers that are in the sky
of the cave of the heart as means to the threefold knowledge, stop all external
activity and have their being in herself. In that state she shines over and above
that path or state.28
She as vari glowing through the seven channels- eyes, ears, nostrils
and mouth- external sense perceptions and standing aloof from the dual
creation, leads the Siddh or dhaka to the iva or la’s pada or abode, by
the method of either evolution or involution. That abode (pada) is Cidvyoma,
sky of knowledge quiet and lustrous.29
The Siddh says that Amb is known as k- word in its pure form as
par , in the unspoken state who shines as the knower, the knowledge and the
known. Vaikhar , the spoken word can not reveal her. If at all it reveals her, it
simply spells that she is la.30
Place of Par k
Bindu, Kal of the super plane, are subtle; as Pa yant , Madhyam and
Vaikhar they in turn become purely material as destruction, protection and
creation of the visual world. Thus in between the two forms of power she
stands as Par k, the pure unruffled state, constituting the seven channels of
knowledge.31
Revelation of vara
Forms of Manifestation
The wise think of her form as manifold. The nine wheeled form,
(Navacakr tmika svar pa) is constituted by the three fold k as Pa yant ,
(desire) Madhyam (knowledge) and Vaikhar (action); known, knower and
knowledge shining as one or many. The three states of mani-festation as
creation, protection and destruction shine in varied forms.33
Fivefold creation
Siddh conceives akti residing in the three physical- word form as,
abdamaya ar ra, or the body of meaning Arthamaya ar ra as
physical, mental and spiritual. Her face is lustrous. She is the chief source of all
powers. She shines in creation through the twelve fold subtle path or form. In
abdamaya ar ra she shines as the twelve svar s, vowels, excluding the
da Svar -s, . Her Arthamaya ar ra is revealed as twelve fold as
the three worlds, physical, mental and spiritual, each having a four fold state,
grat (wakeful), Svapna (dream), Su upti (deep sleep) and Tur ya
(transcendental )stage.36
true nature shines as Sun, Moon and Fire, as the -measurer, Meya-
measured, and M a- the measurement represented as Bindutraya. From
Bindutraya, the whole creation is evolved. Bindu (°) stands for vara and
Visarga (:) shines as laK li ( the Divine Pair) and then the creation starts.
Ambik is the prime source or cause of all .37
Siddh now sums up. The ever auspicious akti is the soul of iva. She
is the cause of creation, protection and destruction and non-appearance(
Tirodh na) and appearance-(Anugraha); She is the source of the three svar -s
or sounds, sounded or heard, hata, creation; She emanates having the body in
the form of enhancing or spreading or destroying the worldly knowledge. She
becomes the body of sense and sound, having the five elements. She takes
shape as Var a-alphabets to reveal( Samvit ) knowledge.38
Cidgagana-Candrik – A Study 22
Nine-fold N da
All the sixteen vowels from to are her rays, lustrous and brilliant.
When they are analysed, the primary vowels , shine as Sun, Moon and
Fire. Sun has twelve Kal -s or rays- vowels excluding the four da svar -s
. Agni has ten excluding Bindu and Visarga also. Moon has sixteen,
all the vowels. Thus these form her lustrous province or ma ala-s.40
da, is taking the form and becomes knowledge and dissolves itself
into the three fold form in the Bindu spanda, ruffled state; (the letter or eternal
sound; and action, inner desire and outer, spoken word, unsounded or sounded
word,) She is that da, cause of creating the letter ‘ ’ and the cause of
Cidgagana-Candrik – A Study 23
plurality. At this stage akti is called Par the sum total of the three ma ala-s,
Soma, S rya and Agni. Thus, She is taking her seat in vara, in whom the
three ma ala-s shine.42
Amb ’s four states excluding Gocar , are her external body. It is the
source of the word ( kpadam) or that which is spoken of by the word, the
objective world, or the Svar pa of k (self- illumined form of the word,
knowledge or source of knowledge). Her perfect undivided state, (Niram am),
is that which swallows all distinctions of duality and non-duality. It may be her
Spirit, or Inner or the outer body. When Gocar becomes the outer body, the
other four, form the inner ones.45
merges in iva only. This is her Bh va the power of birth and death revealed
as Samsara. If vara gives Kula-Dharma to akti, there is creation, if akti
surrenders Kula Dharma to vara, there is Pralaya, destruction or deluge.46
He, who imagines or remembers the Siddh pa caka and Saktipa caka,
and also her unmanifested da- sound form as Siddh -s and akti-s- becomes
foremost among the Siddh -s. He is free from va Bh va and is a liberated
soul.48
Even reminiscences of the past birth, ( san -s) have no impact on the
wonderful varied external creation. She is the source for everything. She is the
perennial fountain of power. The life power of her is the form revealed as
external world which is in her abdomen. Untouched by the external creation
She creates the psychic and sensory world.51
This world is eternal and shines in all states. She, with the varied forms
of word shines as world reflected in the mirror of knowledge or Buddhi. The
temporary external world that is enjoyed, shines through her form that shapes
through the senses.52
Negated world
She remains in the form of creation - as man or woman the third gender
or a lifeless thing. All this and the varied creation, viewed apart from name and
form, is her self. Since, she is the lustre of that lustrous vara, she neither
shines as objects of name and form, nor, is she revealed by means of something
else, for nothing exists besides her. She is the lustre pure and simple. This
suggests that vara has no separate existence without her.56
“Then what about the visible world?” The answer to this question is
given by Siddh . This world exists in vara (without name and form) only as
an idea in the mind’s eye, depending on lustre pure and simple, where the Ego
is also lost. When knowledge shines, (self-illumined) the world is lost in Truth
or shines as Truth. Then all is one luminous existence the Caitanya form.57
(
Herein, the Aj ta Siddh nta, spoken in the kya Upanisad and in the
Gauda da K rika, is recollected).
Know that vara appears as the seer and seen, as the knower and the
known, as the taker and the taken, only supported by her lustre, power or
nature.60
She is in the state of nanda, (Blissful form) and shines through the
action and inaction (Sat and Asat). She shines as thirteen types of independent
elements viz Buddhi, Manas and Aha kara and the ten Indriya-s. She is the
tma, shining as Sat and Asat (animate and inanimate). The , inaction
(the mbhava Visarga) and “ :” (the akti visarga) action, are after her;
ava visarga
Sth la- Visible Body:- Knowledge, Mind, Action, Man and Woman,
va, Pr a and Body.
akti fills the Pa u or J va, with intelligence, mind and sense. The va
stands between ‘ ’ and ‘ ’, creation and destruction, the one devouring
the other.64
va is
Bhogya vigraha
The word or abda brought down through the da or sound that has a
downward flow or current, the Ap na soma, the form or body of enjoyment,
Bhogya vigraha, has sixteen kal -s, given or made by akti, whose body is the
wheel of nanda, in the Guru Krama or order of preceptors.67
K la gati
Agni M rti
Siddh explains the form of Dev as being merged into one lustrous
form , where the Sun and the Moon, Bindu and da, Word and Sound, the
Knower and the Known stand undistinguished; if distinguished she appears as
Agni M rti,Fire.69
Pralay gni
Siddh says Siv is the fire of deluge (Pralay gni) devouring Sun and
Moon.She resides in the house, supported by the mental form or body, as 10
and 7, the sense group of knowledge and action of ten and Pa ca Pr -s with
Mind and Buddhi as seven, conceived in the wake of the order of the Guru.70
Tur ya p da
Siddh views Dev as taking her seat in the fourth state of super
knowledge or Tur ya p da, creating the triads such as, Desire, Knowledge and
Cidgagana-Candrik – A Study 30
Action, the three states of the world, Destruction, Being and Creation; and the
three mental states, Sleeping, Waking and Dreaming.71
akti Prabh va
Siddh further continues that the auspicious Dev shines, in the body of
k, as Par , Pa yant , Madhyam and Vaikhar ; in the body of human
creation as masculine:- a, hari a, v a and a va; as feminine:- khin ,
cittin , hastin and padmin ; in the three wheels or subtle bodies as Prak a,
nanda and rti cakras; in the symbolic body as sound, sense and word.
Thus Siddha worshipped Dev through the above states or forms.74 (Thus ends
the Second Vimar a).
Cidgagana-Candrik – A Study 31
Notes
1. , ,
-DCp 8-Cgc 1.
2.
- -
DCp10-Cgc 2.
3. ,
-DCp12-Cgc 3.
4.
-DCp13-Cgc 4.
5. , ,
,
-DCp17-Cgc 5.
6.
,
-DCp19-Cgc 6.
7.
—DCp 22-Cgc 7.
8.
- DCp 25-Cgc 8.
9.
“
”
DCp
26-Cgc 9.
10.
-DCp 27-Cgc 10
Cidgagana-Candrik – A Study 32
11. , ,
15.
-DCp 36-Cgc 15.
16.
“ ”
-DCp 48-Cgc 22end of I Vimarsa.
Cidgagana-Candrik – A Study 33
23.
30. “ ”
-DCp 61-Cgc 30
31.
- DCp 62-
Cgc 31.
32.
36.
-DCp70-Cgc 37.
38. :
-
DCp75-76-Cgc 38.
39.
- DCp 82-Cgc 41
42.
,
- DCp 83-Cgc 42.
43.
DCp 84-85-Cgc 43.
44.
—DCp88-Cgc 45.
46.
,
-DCp 89-Cgc 46.
Cidgagana-Candrik – A Study 35
47.
-DCp 90-Cgc 47.
48.
-DCp 91-Cgc 48.
49. - DCp 92-Cgc 49.
50.
—DCp 94-Cgc 50
51.
, -DCp
103-Cgc 56.
57.
-DCp 107-Cgc
57.
58.
-DCp110-Cgc 58.
59.
- DCp 111-Cgc 59.
Cidgagana-Candrik – A Study 36
60.
-DCp 112-Cgc 60.
61.
-DCp 115-
Cgc 62.
63.
-
DCp 117-Cgc 63.
64.
,
- DCp 120-Cgc 64.
65.
“ ”
68.
72. -
DCp 139-Cgc 72.
73.
- DCp
143-Cgc 74 end of II Vimarsa.
Cidgagana-Candrik – A Study 38
CHAPTER III
The full moon, emitting its coolest and pleasant rays on this whole
world, is allegorically expressed as rising from the calm milky ocean, so as to
add to the effect of fullness of its lustre. Generally, the full moon causes high
tides full of lather in the ocean with many waves like numerous garlands. The
bubbles in the tides, vying with each other to reflect the moon, form a beautiful
diamond necklace. The ocean here is mentioned as Calm, and hence the rising
of the moon in its fullness, forms the first cause of tidal activity in the ocean.
The idea that the Absolute iva’s ( la) initial vibration Prathama Spanda, is
in the form of a desire to start creation, i.e., Icch akti, is indicated as K
(Vimar a). She as the lustre of the fullmoon proceeds to create the empirical
world by the first tide, in the form of her progeny Ga a, with a trunk and
tusk. Ga a is the Controller of the organs of activity Karmendriya-s as well
as the organs of knowledge nendriya-s. He is empowered with Kriy and
na akti-s for effecting the cycle of creation. The trunk of Ga a
represents the prime seed letter which paves the way for subsequent
Cidgagana-Candrik – A Study 39
Icch , Kriy and na akti-s which in their wake create the k in the form
of the lustrous speech waves, from the calm Cidvyoma (the cave of the heart in
empirical world).
pratyaya ‘ ’ added to the ktapra ava ‘ ’.The function in the way of energy-
starts with‘ ’ ga a which denotes the auspicious note for a benedictory verse.
Sad iva (Pati) aspect in Tur state are by an act of churning in the space of
heart cidvyoma by the power of , a, result in creation of the lord of
subsequent creative process Ga a.
iva is the very form of knowledge. His only act is to create the Vimar a
akti-the awareness of “I” ( ). The significance of the prayer to iva is to
remove our ignorance due to limitations acquired through the rma amala
and lead us in the path of Kramamukti-The orderly progress from the empirical
I-self (ego) to the universal I-self (Supreme consciouness).
and K sa
obtain Ultimate Knowledge, must be aware of 1) the unity of Self with iva; 2)
the unity of the Universal beings with iva; and 3) the union of self with the
universal iva thus achieving completion of the life. The treatise itself is
intended by the author, placing himself at the Nishkala state of dhan , to
give the initiation to the Kramamukti through up sana, for the lower three
categories of Adhik ri-s-Pram ta-s -Sakala, Pralay kala and Vij nakala. The
ni by the knowledge of the oneness of iva and of His various manifest
forms, sees iva as the sum total of all and of his self as one with iva.
The limited ego, residing in the cave of the heart of the dhaka ,
forgetting its true nature to be the Supreme I-Conciousness1, assumes the
limitations of gross and subtle forms as the Self. Thus the self loses memory
that it was the Illuminating Absolute Conciousness. This up sana renders
the Supreme Knowledge accessible by removing this duality of the
consciousness. This is the ultimate knowledge that destroys the three mala-s-
ava, rma a and ya. Parama iva in his compassionate state, enters
the cave of heart of the living beings to help them attain liberation.
The first impulse, the awareness ‘I-( ), which arose in iva - Prak a
ever illumining iva himself. These two become the parents of the six path
universe, being the word and meaning of the creative activity resulting in the
expanse of empirical world of names and forms.
Author praises Rudra, who was in union with akti prior to creation,
who acting as the churning rod, churns the luminous ocean of truth in his
Prak a aspect, with the help of His akti (Vimar a) forming the churning
chord a) and brings out nectar-like digits of the moon to please her in her
creative play.
The life force in the form of Sudh (nector) is the Am tmik J akti .
Her kal is Vidy . Candra (Soma) is Sudh kal :. His abode is akti. Rudra is
meditating Agnikal . The union of the Soma and Rudra results in ryakal .
These three (Candra, S rya and Agni) form the eyes of iva and akti.
consciousness) feels the flow of nectar after reaching the Soma ku alin level,
when his Ku alin akti unites iva in Sahasr ra. The Ku alin akti of the
dhaka is divided into three states viz., Agni ku alin , rya ku alin and
Soma ku alin .
iva, who, in and through the process of creation in his dual aspects
(immanent and transcendental) is complete in existence and vibration; He being
the very form of abda and Artha, because of his omnipresence, is called
vara (Puru a); Mind, Speech and Body are cleansed by Yoga, Pada and
Vaidhya gurus viz., Patanjali5, Panini and Dhanvantari respectively. They
guide us in treading the suitable path for attainment of oneness with this
Puru a.
Projection of the Universe by the union of iva and akti in her five-fold
form ( hantasvar pa)
represents four folds of ethereal (vyom tmaka) Khecar , Bh car , Dikcar and
Gocar akti-s.‘ ra represents Vimar a- akti.
first impulse “Cit” (Vimar a) is the me var , who brings out the projection
of the universe of names and forms with the help of the other four fold akti-s.
She operates in the space of Cit (Cidgagana) to bring about the variances in
creation. She assumes doership and becomes Khecar the form of Pram ta.
Then attains the form with hands etc., and seeks worldly enjoyment. At this
stage she is called Bh car , Then by inheriting the faculties of sight, hearing
(Cak u, rotra) etc., directs the sense organs towards sense objects. At this
level she is Dikcar . Then She is called Gocar when she takes the form of
four inner sense organs (“Anta:kara a catu aya r ”). From this stage she
undertakes the worldly journey.
The five stages of the first Impulse “sound” ( da) are me var ,
Khecar , Bh car ,, Dikcar and Gocar - akti-s. They are the akti-s who
operate in the Subtlest form of the Universe before the actual manifestation.
Hence they are called the forms of “Vyom tmaka akti-s”.
Ambik the presiding deity of all the 36 individual and indivisible states of
manifestation is present simultaneously as and la signifying the
inseparable word and its meaning7.
vara- cy rtha for Kil sa v caka and akti as Kail sa his abode .
Prior to manifestation vara was one without a dual. (Kila sa). Kil sa
is the vara, and the place of his dwelling is Kail sa. In the phenominal world
vara’s abode is stated to be the snow covered peaks of Kail sa mountains. In
the process of creative force of akti through her three gu a-s, he took the pure
and bright sattva gu a as his abode, which dominated the Rajas and Tamas
gu a-s. This predominant Sattva gu a is akti8 only.
duality. The path of liberation through attaining the ttvic state and knowing
the knowable, removes this duality. The conciousness “ ” (I am He) the
oneness, is attained by realizing the concept of akti and iva as s ttvic Kil s
and vara.
Kil sa ( Sat).
process of manifestation in the form of the names and forms. This experience
brings in the dhaka, the state of Bliss. In the Cid sa of that dhaka, who
thus discards the path of manifestation through the reverse journey, shines Sat,
the Ultimate Truth10. That is the abode to be aspired by a true dhaka.
The initial throb felt in iva is epa, projection); At this stage there is
no awareness of (I exist). When the awareness of evolves this stage
from the pure self arises, then it is Sa khy nam (Determination); The
awareness in iva that ‘ - ’. “I am - This”, thus viewing the universe as
Manifestation brought forth by akti from the first throb in iva in the form of
Mah bindu. These five modes of Absolute dynamics are brought about by
, the Ultimate reality.
The twelve movements of any one cognition in ktop ya, are denoted
by the twelve forms of expansion of -known by Twelve -s11.
(v) Samh ra K in this stage, the experience is, "The object is non-
different from me"
(Supposing you look at any object-a flower- the sensation travels to the
place of the flower by our thought process. Then it returns again to your
thought registering the sensation in the form of realization of the flower. Now
the flower instead of being realized in the place it is seen, is realized in your
mind. Thus your perception from inside has moved to the flower and has
Cidgagana-Candrik – A Study 48
retraced to your thought from the flower. The corresponding movements of this
cognition take twelve forms as the twelve K -s in Krama system.)
The three gu a-s- Sattva, Tamas and Rajas in their Subtle forms
I-ness (Aham) in all beings is Sattva, is the body of , the Kil sa form
of the fully luminous light. This relates to all that leads to harmony and love,
resulting in Universal Love. That which operates against the Universal love and
harmony is termed as Tamas meaning darkness and represents the This -ness
( ) aspect. The mixed effect, is termed as, Rajas represented by Mine
(Mamata) aspect. At the subtle dormant level they are pure and harmless,
shining as such through the entire manifestation.
Three gu a-s forming the Gross elements viz.,Fire water and others.
The three gu a-s, which emerge from the Pure Sattva, the abode of
Kil sa i.e. form, transform into the Gross elements (Pa ca mah bh ta-s)13.
Due to the change undergone in Tamas-Darkness, the form of iti(P thvi) is
formed with the qualities of being inert and hard. Change undergone in Sattva-
Bright results in formation of Tejas (Fire) having the qualities of brightness and
lightness. The mixture of these two-Sattva and Tamas, which is Rajas, gets
transformed into the rest of the three Mah bh ta-s ( yu, sa and Jala).
yu has the quality of movement and felt by touch. sa has the quality of
being a medium for sound. Jala has the quality of being the medium for taste.
Cidgagana-Candrik – A Study 49
These gu a-s form the three facets of the divine form of the
supreme (Para), invisible (S ma) and visible (Sth la). All these gu a-s
emenate from her anta form ( ama). A gradual process of manifestation from
Fire to Water and then to Earth is from her anta form. Destruction on the
contrary is from her Ugra-terrible form. Thus the Pure ttvic anta form
undergoes transformation into the physical forms of the three gu a-s
experienced in the empirical universe.
The light of knowledge, which fulfils the yearning of the aspirant for
completeness, shines in his heart as ’s ttvic form. Darkness which is
driven away by that light, the Avidy , which is the masic form is also herself.
Thus Ambik shines as one even in her dual15 aspects.
The universe of word and meaning, the Arthama ala brightened by the
light of knowledge shining in the heart is subtle. When the Mah bindu, at the
instinct of creativity, splits into two ardhabindus (taking the variant reading
‘ardha’) (semi circles) which are opposite, Vimukha, then also the Absolute
Cidgagana-Candrik – A Study 50
shines through ’s dual aspect; but when they are Unmukha, face to face, at
dissolution, they become one and everything shines through her oneness as
Bindu.
khya, the path of knowledge, (Prav tim rga) and Yoga, the path of
action, (niv tim rga) both lead to same goal of self-realisation.
She is then unattached and unpolluted by Time. But she creates an apparent
progressive distinction in time as day and night, months, seasons, years etc.,
and she becomes the consumer of the same time when she indulges in the
destructive process, thus she exists as the Eternal (time eternal). In other
sense she neither creates nor destroys at that point. She is the continuous,
endless flow of time18 (K lacakra), apparently the day consuming night and
night consuming the day. This phenomenon is referred to as the opening and
closing of ’s eyes.
Vimar a II
In creating the universe akti24, being the material cause, assumes three
forms- ryar pam, K ra ar pam and Paramak ra ar pam. K ryar
denotes the deities in the gross form such as Durg , ,T , Bagal etc.,
who descend for fulfilling a particular activity. They operate amidst the
Brahm a. The ra ar pa denotes the ones, which assume subtility in
form, having freedom of movement, occupying the sky of the cave of heart,
Cid sa (V gm nasa- M tragocara:) and who are beyond the Indriya-s.
They operate above Brahm da in Cid sa. Paramak ra ar pa denotes the
one who is subtler than the ra ar pa (V gm nasayorapi agocara:). They
operate on a higher plane than the Cid sa. There are three planes at this stage
called atrayam(viz., Prak tya a, M a, Saktya a) (Vide Glossary)
where akti resides in the form of Prak ti, M and akti. The ra ar pa
deities that are in the Cid sa as means of threefold knowledge, free of all
external activities, have their being in akti(Paramak ra a) who shines on a
higher plane .
akti is above all duality in creation, though she emits the seven fold
var a-groups (akaca atapay dyai: saptabhir var a vargai:25) instrumental in
the formation of Pada and kya and hence the abd rtha. She leads the
dhakas who worship her in the path of evolution or involution, to the tranquil
Cidvyoma, the sky of knowledge shining as ivapada.
akti in her pure form is Par c in the Knower. akti shines through
26
four forms of c (Speech). Par that presides in M dh ra, Pa yant that
forms in the bhi, Madhyam that occupies daya and Vaikhar that
emerges from Throat.27 Par c is the Vimar a, the Power Discriminate,
dwelling in the pure Self of the knower, shining as the knower, knowledge and
the known. So the revelation of akti by Vaikhar means to say that she is not
different from iva.
Cidgagana-Candrik – A Study 54
Just like the fire, in the sky of the empirical universe, which operates in
between the Solar and Lunar systems, in the metaphysical body also the aspect
of fire takes the path, in between the Somama ala formed by the n i,
representing the na akti, and ryama ala formed by the Pi gal i,
representing the Kriy akti, called umn n i which is the midpath
(sudh ma:) the peak of which is the Cid sa. Brahmabilam which is the top
portion of this midpath situated in the Dvadas ntam that is the abode of iva,
Param nabha:29. The grace of akti will operate in the aspirant to see that iva
in that Mah sa.
Cidgagana-Candrik – A Study 55
akti tattva is explained in its Par and Apar forms30. Par form is that
in which akti is inseperable, changeless, actionless, beyond words and one
with iva in which state the concept of “This or that” does not arise. Apar
form is the manifest universe, formed of sound and sense; in the abda form of
Vaikhar ,Madhyam and Pa yant ; in the Artha form of Meyam, Manam, Miti,
; in the form of States of the Artha i viz.,Udbhava, Sthiti and Laya.
Manifold manifestation of Jagat arises due to this nine wheeled form which is
akti's Navacakr tmika svar pam.
The multiforms arising of the three fold knowledge viz., knower, known
and knowledge, is the outward form of vara, which transforms into the
objective world. As the first aspect of creation she shines in the form of
pa capr -s31. akti's abode is iva, when she attains unity in his formless,
attributeless state, which is stated as the form of vara, invisible to physical
eye. iva is the inner soul in both states.
Transformation of
akti is the substratum of all the triads. She forms the akti-v ndam
consisting of her four luminous forms viz., Par , Par par , Apar and
kar i. with these prime four forms multiplies as twelve forms at
the stages of i, Sthiti, and Samh ra33. They percolate through the
Cidgagana-Candrik – A Study 56
adhva-s viz Var a, Pada, Mantra, Kal , Tattva, and Bhuvana. They exist in
Akrama pada as eternal and omnipresent not being limited by place and time.
Yet they are present in the Kramapada too which is limited by the time and
place. These four forms multiply as twelve powers at the stages of i, Sthiti
and Samh ra.
akti’s three eyes are the Dhamat aya-I , Pi gal and umn ;
Soma, S rya and Agni; M na, M and Meya.34
ar ra) whose three eyes are Soma, (m na) S rya (meya) Agni (miti) shining in
the zodiac. Here the i cakra refers to the 12 i-s in the zodiac as well as
to the vibratory vowels and consonants.The following table will show the
identification of syllbles with i. (Ref: Prapa cas ra-fourth tala.)
i cakra35
Me a , , and
abha , and
Mithuna and
Karkataka and
Simha and
Kanya , , , , and
Tulam varga
chika varga
Dhanu varga
Makara varga
Kumbha varga
na , , and
Cidgagana-Candrik – A Study 57
through these letters. This signifies the cosmic form, physical form and the
verbal vibratory form of Par akti.
The unsounded word in the mind (man sa abda) shines in five forms on
the subtle plane as Vimar a, Bindu, N da, Spho a and abda. The sound
vibration (beaten) takes the four forms-Par , Pa yant , Madhyam and
Vaikhar . These form the danavaka, the form of Vimar a, which becomes
the material(up na) cause of the emergence of word and thus of creation.
All the vowels (svar -s) in sanskrit(a to a:) totalling sixteen are called
the Soma (Moon’s) kal s. Except the four da ( ) svar s, the rest
Cidgagana-Candrik – A Study 58
of the twelve svar -s form the ryakal -s. Leaving even the Bindu and
Visarga in addition to asvar -s, the balance ten svar -s become the Vahni
(agni) kal -s. The primary vowels respectively represent the Soma, S rya
and Agni ma ala-s which consist of these kal -s. akti indulging in ma
i proceeds to create the var amat ka-s with the ten Agni kal -s vowels as
ja-s and Vya jana-s which are the bh tayoni-s.37
Mah bindur pa, Amb activates the subtle forms - da, Bindu and ja.
38
The Prapañcas ra Tantra says that akti, who as the first Tattva
(mere "thatness"), quickens under the influence of Cit ( iva) which She
reflects; then She as Icch akti longs to create (Vicik u) and becomes massive
(Ghan bhut ) and appears as Bindu (Par bindu). Ghan bh ta means that which
was not dense or Ghana but which has become so (Ghan vasth ). It involves
the notion of solidifying, coagulating, becoming massive. This is the first gross
condition (Sth vasth ); The Par bindu is thus a compact aspect of akti
wherein action or Kriy akti predominates. It is the state of iva- akti in close
and undivided union. The Bindu is symbolized by a circle. The nya or empty
space within is the iva pada.39 The supreme Light is formless, but Bindu
implies both the void and gu , for, when iva becomes Bindur He is with
gu . According to PST, akti alone can create. When the desire for
appearance as all Her tattvas captures Her, She assumes the state of Bindu
whose characteristic is action (Kriy akti). This Bindu is the sprouting root of
the universe, is called the supreme Bindu (Par bindu), or causal or K ra a
Bindu. In Ni kala iva, Prak ti exists in a hidden potential state. The Bindu
iva- aktimaya is the first movement of creative activity.
The first wave arising from the calm ocean iva, is Udyama: (effort), i.e
Icch akti- the Prathamaspanda. The second one is the na akti. This rises
in the Cid sa and called the Mahodaya:-the great emergence. The third one
is the Kriy akti which is creator of universe -the Acit. These three are the
prime waves40 that set forth the pace of evolution of the universe by Amb in
union with iva.
The first wave i.e. Icch akti41 taking her place in the cave of heart,
spreads in all directions to become na akti, knowledge and then emerging
as subtle sense organs41 for receiving the knowledge as Kriy akti, unfolds the
universe identifiable by names and forms ( danavaka).
all the letters based on the organs of speech beginning with c is called
Dikcar mudr .43 That akti becomes Gocar at the meeting point of the
organs and object of denotation.44 As the letter denotes earth, so, when that
In the Pati ( iva and a liberated soul), Khecar denotes the unlimited
power of action (sarvakart tv di akti). Gocar denotes the certainity of identity
with Absolute. Dikcar is the identity of awareness of the state of the Absolute.
Bh car , denotes the identity of the universal presence as a part of His own
residing in the heart of iva(Pati). All these are the forms46 of me var akti,
who is united with iva and is none other than Citi aktir pa. In her Par form
akti is beyond the purview of c, (names and forms) and identical with
Prak a ( iva)- because her form at this stage is da.47 This is the advaita
state. The nine aspects of da48 are Bindu, Ardhacandra, Rodhin ,N da,
nta, akti, Vy pik , Saman and Unman .
akti offers iva the Projection of the entire manifestation through these
five akti-s beginning with me vari by her five functions49 (Pram a,
Vipary ya, Vikalpa, Nidr ,and Sm ti). This projection alone is her effort. In the
state of Sam dhi or Sleep, by meditation or by her interest to unite with iva in
the Akula state, she reverts from the act of creation. There is another
interpretation with regard to the five functions.50
The five Siddha-s, starting with Brahma, and the five akti-s starting
with Bh rati and the Par akti (Unman )are the eleven forms. Any one who
meditates upon these eleven forms of Par akti attains the status ( pyam)
of Siddha-s and thus released from the bondage of sams ra54.The Supreme
form of Par akti resides in Unman . But it is stated as preceptor’s face in
Svacchandatantra.55 In this state of Unman there is no remembrance of Kal ,
kal ra and Tattva56.This stage is also denoted as Sa khya with reference to
Siddha Parva57, one of the aspects of Kalana).
Cidgagana-Candrik – A Study 63
The subtle akti manifests as two dimensional energy viz Cosmic and
worldly.58 Cosmic power ‘Cit’ is in Siddhapa caka (dharmi). The worldly
energy ‘Acit’ raises from Dharma( aktipa caka).
‘Citi akti’ projects objects as ‘cidr pa’ on the mirror mat (the abode) viz
vara. That is the self illumination in Cit akti of vara, on virtual
manifestation gets the form and shape identical with the projection in subtle
levels. Thus she begins her action of i (creation). This is called the ik
form in other tantras.(vide also: Glossary for Drsti iv da).
akti is the highest knowledge and her transformation into objects brings
out the manifestation of names and forms. She forms the very core principle of
life in creation. In Pralaya where the whole creation (arthama alam) is
consumed into her womb, then she alone shines as supreme Knowledge and
59
nothing binds her. This is called her Pralayak form.
If san is the reason for the variety in creation of Jagat, and Citi akti
is assumed to be unrelated to it, then how can there be empirical manifestation
without the san (the previous experience). To this objection the author
reflects by highlighting the fact of the first creation happening in her cit form
acting as a wall for projection of the proposed creation at the macrocosmic
level as ma i.
akti being the mother who conceives the proposed creation in her
womb,60gradually gives shape to the empirical universe, St la i, as per her
wish at the microcosmic level, in the form of the inner organs and external
organs and objects of cognition.
Cidgagana-Candrik – A Study 64
At the Macro cosmic level Puru a has varied ideas in the six fold path
of knowledge ( adadhv ) due to varied creations. This is Bhedabh va. At the
seventh stage63 he experiences Peace. At this stage the duality disappears.
(Abhedabh va) There is another yogic interpretation.
3. Self-determination,
4. abda
5. Bhakti
6. Aparok a anubhava
7. Kaivalya.
Kaivalya is got only after attainment of J na.65 The ascent from one
bh mika to the next higher one is gradual and possible only after being well
established in each stage. The awareness of Puru a which is called ntata is
the seventh stage, that reveals the oneness of the Vimar akti with iva the
ultimate. Up to the sixth stage the duality is experienced.
manifest and unmanifest energy at the Macrocosmic level.66 At the micro level
the Citi akti67 and Citta (Matter and energy) simultaneously shine and by
arresting the waves of thoughts68 one attains the seventh stage of na.
Vimar akti, determines that “this” is the Universe. She is the revealer
of the sense of “ (I-ness) in iva and in the universe in its names and forms71
as (this). When she is bereft of them, she becomes identified with iva as
luminance.
The universe before the Pralaya, is consumed into Cit akti72 the abode
for all subtances with their names and forms. When iva (I-ness-Being) is
created by Icch akti, in Prathamaspanda, the awareness na, about the
Jagat shines. In the context of Pralaya, the cognizance of Jagat as “i am this”
(I-ness in Thisness) is created in the mirror called Cit -Vimar a. At that time the
reflection of Jagat is retained in iva (Sada iva)which is like the shining jewel
in the darkness i.e. Kal ( nyaratnam).
This realisation of iva as the enjoyer and the enjoyed, imposes the dual
perception of Himself as distinct from the universe is the fifth stage in the
manifestation of Pure elements74. This is the state of Suddha vidy (I-ness in I-
ness-Thisness in Thisness). All these are the dynamics created by Vimar a in
the Absolute iva at the micro level of manifestation.
akti bestows Buddhi, Manas and Indriyas, to this I-ness in the manifested
universe (Vir ) and in the state of Enjoyer (as Vir ). In dissolution iva
obsorbs his creations into his ar ra (as vara). Thus akti acts as mother
in both the stages, likewise in the empirical aspect.
Cidgagana-Candrik – A Study 68
akti endows the Li ga ar ra of all living beings with the Purya aka
and shines as their conciousness. For the purpose of Bhoga, the term is
denoted to Jiv ’s consciousness which enjoys the fruits80 of knowledge of
objects by virtue of the nendriya-s and Karmendriya-s along with Manas in
learning and action. It is the act of her motherhood81 and grace showered on
.
Bindu lak a
The rise of day by Pr as rya kal -s, and that of night by the
Ap nasoma kal -s happen both at the Subtle and Gross levels of
manifestation.The subtle function is day and night caused by the opening and
closing of akti’s two eyes86 - the Sun and the moon. The time cycle of Sun
enumerated as years and the Moon cycle as fortnights are the gross
identification. The fierce akti is the power inert in them for the whole
activities.
Cidgagana-Candrik – A Study 69
In the Sab ja sam dhi state when the external thinking is stopped, as per
the instruction of the Preceptors, akti acting as the Pralaya fire consumes the
actions of Pr a and Ap na. The dhaka gets the flash of the Seventeen
images at this state.The Seventeenth is the creative and destructive force
Buddhi, who is the eternal Mahak in the macro level. The other sixteen
being Manas, five Pr a-s and ten Indriya-s88 .
Mah akti creates the other powers viz Icch , J na and Kriy as well
as in three states i, Sthiti and Samh ra herself residing in the Tur ya pada
(the fourth state of awareness) and pervades the grat, Svapna,Su upti states
in Nirb jasam dhi of the devout up saka.91
Cidgagana-Candrik – A Study 70
Abode of the universe at the time of deluge is Tur ya, i.e., Mah akti
There are four parts of worship in Agama-s (Cary , Vidy , Yoga and
Kriy which are synonymous with ra,93 N da (R va),Caru and Mudr
respectively in Krama. These tradional methods of worship result in step by
step revelation of the deities and help them to realise the superior state.
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- KP p 17-Cgc-29.
26. ,
- KP p 18-Cgc-30.
Cidgagana-Candrik – A Study 73
27. “
” - KP p 18-Cgc-30.
28.
,
- KP p 19-Cgc-31
29.
,
,
-
KP p 20-Cgc-32.
30.
- KP p 21-Cgc-33.
31. - KP p 22-Cgc-34.
32.
, - KP p 22-Cgc-35.
33. , , , ,
- KP p 23-Cgc-36.
34.
-KP p 23-Cgc-37.
35.
- (Quote Prapancasara-4th
patala- Sl-33- 37) KP p 24-Cgc-37
36.
,
- KP p 24-Cgc-37.
Cidgagana-Candrik – A Study 74
37. “ , ”
“
” “
, ”
“ ,
- DC p 87- Cgc-44.
43.
ibid .
44. ibid .
45. -ibid Cgc-44
46.
,
49. ,
,
KP p 29- Cgc-46
50.
Tripurasiddhanta Kp p 30-Cgc-47
54.
- KP p 31-Cgc-48.
55. “ ( . )
- Patala 10. SvaT KP p 31- Cgc-48.
56. “ ” ( . )
Patala 10. SvaT KP p 31- Cgc-48.
57.
Dc p 91-
Cgc-48 .
58. , ,
KP p31-Cgc-49.
59. ,
- KP p 32- Cgc-50.
60. ,
, ,
-KP p 33- Cgc-51.
Cidgagana-Candrik – A Study 76
61.
-KP p33-
Cgc-52
62. Saptasati Adhyaya-5 KP p 33- Cgc-52
63.
KP p 33- Cgc-53.
64. ChII.- S 27(sutra) (Sadhanapada) “
” KP p 33- Cgc-53.
65. ( ) KP p 33- Cgc-54.
66.
KP p 34-Cgc-54.
67. - Cgc-54.
68. –
– L.S Cgc-54.
69. ,
, KP p 35-
Cgc-55
70.
- R.V of Kalidasa sl 1
71. ,
,
KPp35-Cgc-56
72.
, -
KP p 35- Cgc- 57-58
73. , , , ,
,
- KP p 38- Cgc- 62
77. 49-50.SKV
- KP p 40-Cgc- 64.
80. “ ” -Quote from Manu-KP p 41-Cgc-65
81.
/ KP p 40 -Cgc-65
82.
- KP p 41-Cgc-66.
83. TA IIIAhnika Sl131.
ibid sl 132.
Ibid sl 133
TA III ahnica Sl 170
- 187.
86.
, - ,
KP p 43- Cgc-68.
87.
KP p 43-Cgc-69
88.
, ( )
- KP p 43- Cgc- 70
89. (i) , (ii) (iii) (iv) (v) and
(vi) –
90. (i) , (ii) , (iii) , (iv) , (v) , (vi) , (vii) ,
(viii) –
91.
,
KP p 44-Cgc-71
92.
, KP p 44-Cgc- 72
93.
KP p 45-Cgc-73
94.
, ,
CHAPTER IV
The initial vibration (Vimar a akti) is the image of Cit at the time of
creation. She being consumed in Pralaya attains oneness with iva. The
changeless and eternal iva is the abode of akti in Pralaya. A dhaka, who
in the state of Nirb ja sam dhi1 worships that ultimate abode of iva gets the
liberation from cycle of birth caused by akti.
When the necessity arises for the creation, then Vimar a- dya
spandhar pa unites like the milk and water with iva, to spring out the first
form of creation, the Mahat tattva, as aktip ha2. He is Ga a as per the first
verse of First Vimar a. He is the creator of the whole universe born out of the
Sa kalpa created in iva towards manifestation. This Sa kalpa is the first seed
letter form “ ”.
beings. In the Savikalpaka sam dhi state, a dhaka attains her multitude form
in the hacakra. By perseverence when he attains the Nirvikalpaka sam dhi,
he transcends beyond the hacakra and realizes her omnipresence in the
entire manifestation (sarv tma).
The group of letters (Ak araga a) in different tones desire to attain one
of the three stages (Tridh mas) of Bindu, N da and B ja at the time of Pralaya.
The dhakas who desire to reach the state of iva, approach through the
various jak aras to transcend these levels. Her form as Citkal assuming the
position of Var akti6, fecilitates the attainment of the ultimatum of
Bindutvam or datvam or varatvam depending upon the state of up sana.
Cit akti who is in the forms of Agni(Bindu), S rya (N da) and Soma
(B ja) kal s, who moves in the An hata (Cid a) as Citkal reveals one of
her forms stated above, in accordance with the choice of worship (B hya or
nasa)7 of the dhaka.
The sixteen vowels are the seed letters which form the mantra-s. They
are the prime cause for the creation and maintenance of the manifestation in
their akti forms. ka akti8 who is the expressed form of iva( a-kara) are
also the cause of i, Sthiti and Laya. When they are pronounced in the
up sana they are Mantra-s. They rise eternally with out any obstruction to
form the seat of akti (dvaya akam manustava sanam)
beyond all modes of knowledge and is not void. It is realizable by the self as
the cit evershining in the Heart. When all activities vanish in Nirvikalpaka
sam dhi, the dhaka experiences his self shining as Prak a( iva) which is
the state of Karav ra mas nam.10 This appears to have a corresponding
treatment of this subject by Patanjali.11
Par is beyond the knowledge level where the knowledge, knower and
known culminate into oneness. Par which is K etrap la- tm takes three
further forms (Pa yant , Madhyam and Vaikhar ) constituting the base for
emanation. Par who causes resonance in the An hata region is Pa yant . Her
form of Madhyam with descriminating Buddhi and everactive Manas creates
and maintains the universe, as the Jagat-c laka:, The Var as consisting of
sixtyfour letters in conjunction in different forms becomes Vaikhar which
completes the creation. In deluge the process gets reversed from Vaikhar to
Par . At the Nirvikalpakasam dhi state where there is no activity, then she is
called An khya, who bestows the union of etrap la12 (S dhaka’s tm ) with
iva.
Gurukrama
Nirniketanapadam which is the abode where akti and iva are always
in union. This is attained only by the grace of akti in the Nirvikalpakasam dhi
state in the dhaka. There both are in the state of Bliss. From that state for the
purpose of Jagat i and Sthiti there is the spread of the divinity14 in the form
of the Prapa ca. This unfoldment of akti in her state of nanda is wonderful.
Bh car
akti then moves forward as the one, consuming the objects of cognition
relating to Spar a in quick motion and shines as Tvakv ttir pa and is called
Bh car . She adorns the form of Svabh va.
Dikcar
Gocar
akti, having become the face, Citta, properly established in the form of
Raudri (Ghr av ttipatita), whose rush outside in the form facility of Smell,
Ghr endriya, becomes the Bh vasvar pa of Antar tm as Anta: kara a
aktir pa, and though being one, reflects outwardly as many in accordance
with the activities of Ghr aktir pa. This form is called Gocar .
me var
Pa cav hamaya akti’s first form is me var (Ady kala). She is the
Brahma svar pa who emerges from iva aktis marasya as first descent in the
process of creation. In the pure internal organs of cognition of the Siddha-s20
she shines always as Brahmamaya without forms and actions related to the
external activities of manifestation.
Pra ava consists of six ak aras. In Ku alin , they occupy the six
cakra-s as devata-s in charge of each cakra (n bhy didv das n taparyantam).
The fourth one Ardham tra being Pras da- Cit akti. Ku alin has six cakra-s
called Ghosa (Sv dhi nam), Vadav (Ma ip rakam) (Vahnicakram), ikh
(An hatam), Binducakram (Vi uddh ), N dacakram ( a) and Pras da
(Sahasr ram). Pranava’s six divisions22 are; -k ra:, -k ra:, -k ra;,
Ardham tra, Bindu and da23. Pras da is Pra ava’s fourth division
Ardhamatra, which is the Citi akti attained in the Heart of the dhaka. So the
Pra ava is produced by Citi akti in the form of Ardham tra representing
ak ara-s form the base for akti’s form “ ” . When the “ ” and “ ” the
who meditates on the Pra ava and the one who meditates on soham, both get
the awakening of Self as Cinmaya(Cit).
After forming the first three levels in the form of three akti-s in the
Adhy tm pam, akti expands further in the Adhibh ta26 form as Pa ca
mah bh ta-s- P thvi, V ri, Vahni, V yu and a, in the process of creation
of Jagat.
da’s path
Divyougha janani
Bh car in Akrama i
Dikcar who is heading towards her abode Citr pa: iva:, reversing
from creation, gets her union in iva relinquishing her three differences in
manifestation namely, saj ya, vij ya and svagata bhedas. Then she
withdraws her own Samh rakrama, and transcends even the Cidgagana to
reach the Mah a. She is named as Gocar at this stage.
akti who unites with iva and attains Bindu form, flows through the
sixteen am tan dis in the Dh makrama, becomes the Sixteen rays of Cit as
da, then with four asvara-s forms the sixteen svaras as Var ar ra in
Var akrama, with Buddhi, karmendriya-s, J nendriya-s Manas forms the
Samvit krama. Thus Bh car in nandacakra31 shows her capability in i.
Dikcar proceeds to the Par vac, the abode of even the bindu.
of Par vac. And as she subdues all the inauspiciousness at this level she is
called Ma gala, the form of auspiciousness. In the gross level it is an ascend
from the Sv dhi hana to citpadam which is the significant state of sam dhi
attained progressively.
akti’s effects are felt in the manifestation which is subtle and called
Sasvaram ambaram35. She is always engaged in bringing about the union of the
entire universe with the Absolute. She is beyond the activities of creation of
various bh vana-s and the five phases of actions exhibited by the five faces of
iva. This ultimate seat is worshipped by the dhaka-s in their state of
sam dhi. This is akti’s abode called Sasvaram ambaram.
svara-s). and Var a’s( long and short )form 4 svara-s. (long and
sixteen svara-s. These emerge in the three levels of V c which form the three
types of Sasvara ambaram.
akti.
Cidgagana-Candrik – A Study 90
Citir pa akti through the sixteen svara-s exhibits her word power of
illuminating the objects in the Sasvara ambara which is the universe. When
akti adorns the Asvara ambara, which is the abode of svara-s, she is Par and
she continuously emits rays of ultimate knowledge even without the presence
of words and meanings. She is the instrumental cause37 of creation of both
abda and Artha.
Kara gi i38 is the akti, who facilitates the resting of the ar ratrayam
obtained off pa cabh ta-s, in the Ultimate abode called Cid a. ar ra
trayam consists of Sth la, S ma and K ra a ar ra-s which emerge out of
akti’s expansion as the universe. Sth la ar ra is endowed with Anta: kara a
and Bahiskarana indriya-s totalling nine. Kara gi i leads even the other two
ar ra-s viz., S ma and K ra a ar ra-s towards the Cid a.
Krodhani39 akti helps the S dhaka in the course of Tracing back the
elements of manifestation from Earth to Prak ti. At the time Laya these
elements vanish but the M ka Var a-s being instrumental for these elements
remain. The Mantram rti of akti made up of these Var a-s, is eternal and
hence called Nithya. In Mah pralaya since akti also merges in ivatattva the
mantram rti also vanishes.
Raudrar pa Krodhani
Sattva, Rajas and Tamas are the three gu a-s exhibiting the three
aspects of akti as Prak a, Prav tti and Niyama, that expand as the causal
body ( ma ar ra-k ranam) and the empirical body (Sth la ar ra-k ryam).
In order to transcend these two bodies, akti assumes the Raudr 40 form which
Cidgagana-Candrik – A Study 91
is endowed with the competence to consume these two ar ra-s into her Mantra
pam. Krodhani akti is the emotion of anger (krodha,sth yibhava) in the
Mantr tmikavapu of akti assuming Raudri form.
The five types of impressions acquired through the five external sense
organs and the impression of pleasure and pain etc., felt in the Anta-kara a are
the six knots that are snapped by the Bhairavi41 who resides in the Cidgagana
without any veils. She is Visva-abhedini in the Samh ra. When she assumes
the form of Prathama Spanda (Kriya akti) and spreads the entire manifestation
in different varieties in i then she is Visva-bhedini.
Ku alin akti which shines in three stages as Vahni, S rya and Soma
Ku alin , rises like lightning through the Su umn i which is central to
and Pi gala. This is likened to the stem of lotus which leads to the mbhava
state (brahmar pam) in the unveiled Cidgagana. Khecar takes this path44 .
Cidgagana-Candrik – A Study 92
1. J nasiddha (sixteenvowels)
vyanjana-s ending with either Anusvara or Visarga become the various Mantra
forms of Devata-s. akti is attained by the di (starting with ka) and by the
46
di (starting with ha) ar mantra-s.
In the Gross level, akti who adorns the Cid a of the empirical being
shines in four ways viz., Bindu cakra, i, Ku ali and ikar pa47. Bindu
cakra is the M dh ra cakra. i ap nav ta dh racakra (Sv dhi na),
Ku alin is the Ku alin akti, a snake form, wound in three and half
Cidgagana-Candrik – A Study 93
circular-ring form (Adhasahasr ra). ik is the Vahni that depicts the stomach
(Ma ip raka). akti piercing through the Bindu cakra ( iv tm ka) with the
help of vital air, reaches higher and higher progressively. Then she shines as
Par , Pa yant , Madhyam and Vaikhar respectively and acquires the form of
Sixtyfour Var a-s.
The four types of Siddha-s-J na, Mantra, Mel pa, and kta siddha-s,
accompanied by Raudri, V ma, Ambik and Jyesth respectively create the
four kal -s akti who is beyond the Kal s shines as a-k ra svara in the fifth
mbhava49 state.
At the Cosmic level, Prak a, iva is of the nature of a calm ocean and
enjoys the Svatantrya akti, Vimar a as his Ananda akti-anubhava. From this
state arise the akti-s which are called mbhavya:. When there is a slight
throb and iva is ready to act, then it is the state of kta-Ull sa. When there is
the feeling of Union of these two, then it is Mel pa-Sphura a. When there are
series of waves, then there arises the Mantra-Unmesa. When like Candrodaya,
which increases the tidal activity, there is complete shaking then arises the
nasiddha-Udaya.
Cidgagana-Candrik – A Study 94
The three activities of i, Sthiti and Samh ra, which are also depicted
by the three mental states grat, Svapna and Su upti and the fourth ,Tur ya51,
which is the withdrawal from all these three states or of the manifested
universe, shine with Citi’s presence.
Cidgagana-Candrik – A Study 95
The union of iva and akti54 assuming forms of enjoyer and enjoyment,
is for the purpose of creating the universal objects for the enjoyment of the
worldly beings, intended to be created. This is the grace of the Divine couple
arising out of their sheer compassion towards the Jiva-s (Mel pa siddha).
Cit akti without the tinge of san s, shines in the abode of iva in the
form of Knowledge alone. To the dhaka who attains the Nirvikalpaka state,
she always shines in the form of J nasiddha55.
Vimar a akti shines in the form of Buddhi in the Sthiti state of Jagat.
When united with iva,she reflects and spreads58 his lustre as the very soul of
everything in the entire manifestation. Bh vav nda consisting of sa, yu,
Agni, Jala and Bh mi is born out of the union of iva and akti (Cid nanda).
akti acquires the lustre of mbhu due to his proximity. She in turn reflects his
Cidr pam in and through the entire creation.
There are six cakra-s in the body of every human being. akti in the
form Buddhi guiding its activities, throws her strands of light in the form of
knowledge through the first five cakra-s in the mental state of Savikalpaka
sam dhi. She projects the proposed creation like a dream in Manas at this state.
This progressive ascend of the five cakras- dh ra, Sv dhi hana,
Ma ip raka, An hata and Vi uddh , paves the way for attainment of
Cidgagana-Candrik – A Study 97
Pa cadevat krama i
letter of the kara iva combining with kara Icch akti-Vimar a. This ja
helps attain siddhi in the form of Bhoga and Mok a and Vidy siddhi. On the
contrary the unattached pure lustre- iva, occupies the cakra, the sixth one.
The fifth akti is Gocar , who presides over the knowledge acquired
through the Sth la indriyas due to the play of Rudra, a form of Prak a. In this
manner, there is a process involved in ikrama. In the Ultimate abode, where
there is complete union of iva and akti , none of the activities of Indriya-s
exists and hence no process of creation. 62 & 63
The pentad akti-s Gocar etc., represent the activities of the respective
sense organs with the help of the flow64 of the pa capr -s. akti presents her
pa cavaha form at the time of Savikalpaka sam dhi as well as at the time of
arising back to consciousness, of S dhaka in the five states of nasiddha etc.,
In the Nirvikalpaka sam dhi state she is the body of Par -Cid a
impregnating the Pa cavaha aktis at the subtlest level. She then shines as
Svaprak asamvit.
Cidgagana-Candrik – A Study 98
In the Nirvikalpaka sam dhi and Susupti, akti reflects the ivatattva in
the Cidgagana and at this state she stops iva, the ocean of compassion, from
illuminating the Objects of knowledge. The thought waves which are causal for
the activities of Buddhi, in the Savikalpakasam dhi and Prabodha state, like
rivers, reach the abode, ocean of Cidambara in Nirvikalpaka state65 , as Buddhi
also disappears, thus bringing completion.
Spread of V ndacakra
gandha) in the dhaka. She is the form of the Lipi , the Pra ava mantra.
This consists of three horizontal lines, one vertical line, fifth is bindu. This
Pra ava is Citi akti’s form. The Pa camah bh ta-s are the Pa cayoni-s69
because they are the material cause for the Jagat i.
akti withdraws into herself the entire creation along with their Karma-s
(Pr rabdha). At the time of i, according to the Karma-s of the various
living beings, she begins from the step of da to proceed with the projection
of the pa ca spar avarga-s and from them the Pada-s, kya-s and the
respective names and forms.70
ilaksan in Sakrama
The form of union of iva and akti72 atttained by the dhaka only is
the eternal womb which is prime material cause for entire manifestation and
called the Akramayoni. It is called the Mahat tattva in stras. The pa cayoni-s
which arise out of Karma thereafter acquire their power from Mahat only.
After the splash of bh tapa caka, akti transforms into the forms of -
kayoni-Vi ur pa for managing the activity of Sthiti; form of Rudra who
manages the Time and the activity of Samh ra; form of Padmayoni,
Hira yagarbha for handling the activity of Sarga (creation).73
Cidgagana-Candrik – A Study 100
When iva ( aktimat) and akti are in union, it is Pralaya where there
is complete deluge. When iva and akti unite for the purpose of creation then
it is their revelation as dual entity76. Due to this arise the bh va ( nam).
Then the four mental States of grat,Svapna, Su upti and Tur ya (avasth -s)
are experienced.
To the Siddhama ala the duality of akti and iva is revealed in the
form of in the Savikalpakasam dhi state in Jagrat-Svapn vasth -s. In the
state of Nirvikalpaka sam dhi she at once reveals the abode Cidgagana, where
iva and akti are united.
Before i, they find their place in the heart (Manas) encircled by Ku alin .
These Sandhi ak ara-s form the material cause for i and are also the abode
for Laya. The protecter of the proposed Jagat is Vi u who gets his power from
akti.
Cidgagana-Candrik – A Study 101
Like the trained Sheep, which follows the orders of the master, the mind
which is trained80 to divert its attention from the consumption of objects,
towards the realility of the subject and the source of knowledge, with the grace
of akti, attains the Tur ya state. There it realises the power of Self. It becomes
very powerful and thus drives away the strong elephant like darkness viz.,
Aj na. It reaches Cidgagana to merge with Cidr pa akti.
The calm ocean of pure luminance is the Ultimate Oneness state of iva
and akti, where no division exists and is the Ultimate abode attained by
dhaka-s in sam dhi state. Vimar a, the Prathama spandar pa82 is the Icch
akti, who causes the ikrama. In the Layakrama, with the help of la,
Mahakalir pa, Vimar a, consumes even Manmatha, which act represents the
desire of akti towards Samh ra.
Citir pa, iva akti’s experience of the i etc., is Avabh sana krama83.
It is the abodeless, formless aggregate state. From this state akti spreads her
power in the various objects with different phases of movement and respective
rulers for their effective control.
s from to ‘ :’ form the Kha acakra, leaving the four asvara-s and -
ra are removed. -k ra is also left out, to form the Kha acakra having a set
of eleven Var a-s for each84 of the four krama-s ( i, Sthiti, Samh ra and
an khya). Eleven Var a-s from ‘ ’ to ‘ ’ form the Samh tikrama which is
Mah li’s Krama arising in Kha acakra, which must be meditated upon by
dhaka.
abda (Var am ka)85 are transcended as there is no form at the Laya stage. In
the state of sam dhi it is realised as Self-experience. Hence Akrama is the
highest abode viz., Cidgagana.
Sthitikrama vi am
abda and Artha are the two forms of Sound and Sense (Dhvani tmaka
and pad tmaka) ( dayugmam- vya jaka and vya gya). They are essence of
the entire manifestation simultaneously being the efficient and material causes.
The retinue of sakti represented by the eleven kha acakravarnarupa: emanate
from Citi akti desiring to consume the dayugmam. When they aspire for
salvation into their source i.e. Citi akti then they have to do so only through the
Samh ti krama of Kha acakra.87
ivaikyas tk ram
Vidvadanubhavasiddham s marasyam
When Jiva diverts his mental activies from the objects of knowledge by
means of practice and determination, (abhy sa and vair gya) then he
immediately attains Par level. Then his retinue of Citr pa, shining in him,
attain the Serene Param a and achieve oneness with Citi akti. This is also
the state attainable by the dhaka-s90 through proper pursuit.
(sama ar ra) she commands the sense of the same vowel. Thus in both inner
and outer embodiments91 she rules in her vowel ( ) which equals the creative
In one’s self, there are four inner revelations Rudra, iva, Bhairava and
Par ma iva. With the assistance of the twelve aktis stated earlier, when one
gets the revelation of the wholeness of all these divine waves, then he gets
liberated on reaching this great Bhairava state.
In projecting the Krama in the form of Universe, akti acts from Her
abode the Tur ya state, the Mah a. Brahma, Vi u and Hara emerge from
98
this state only. Thus akti becomes Kramamayi in projecting manifestation.
Though She is Kramamayi in i, Sthiti and Samh ra states, when the
ultimate deluge occurs, she completely withdraws all her waves to reside in the
Khacakra, the Anuttara Cid a where iva and akti merge as One.
aspects of akti. In the empirical self, these letters represent the three stages
Vi va,Taijasa and Pr a, who rule the three states of awareness- grat,
Svapna and su upti. Pra ava, which evolves from Mah bindu as Bindu, N da
and B ja, proceeds with the ikrama, and also leads the dhaka in its
oneness state with Paratattva (Nirvikalpa state).
Cidgagana-Candrik – A Study 107
- KP p46-Cgc 75.
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Cidgagana-Candrik – A Study 109
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Cidgagana-Candrik – A Study 110
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Cidgagana-Candrik – A Study 113
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Cidgagana-Candrik – A Study 114
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Cidgagana-Candrik – A Study 115
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Cidgagana-Candrik – A Study 116
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Cidgagana-Candrik – A Study 117
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Cidgagana-Candrik – A Study 118
CHAPTER V
Yogis through ktop sana, achieve the status of oneness with Vimar a
and they transcend all the obstacles caused by adhv -s in acquiring right
knowledge. By her will (Icch akti), they realise the shining of Self (Citr )
as well as her manifestation of the universe as one. They enjoy this
transcendence by discarding the six-fold path.3
Pra ava is understood in two forms, Am tra and Sam tra. Am tra
Pra ava is iva. Bindu which emerges as Citkala acts as pointer towards the
tra. M tra splits to form Ardham tra. The union of tra and Ardham tra
Cidgagana-Candrik – A Study 120
is very obscure. Ekam tra is Cit’s experience of gross form of Jagat. Mind is
the knower of both Consciousness and complete unawareness. abda and
Artha, which are the experiences of transformation, shine from memory. This
experience is obtained by single mindedness. When abda is remembered,
automatically its Artha is reflected. It is impossible to bring the mind into
single track. When the Grace of akti and Guru is obtained, then occurs the
realisation of the Ardham tra state. Upto Su upti, the Ekam tra level, the
whole Jagat is experienced. Tur ya, Tur ta levels pertaining to Ardham tra
is attainable only by the Yogi-s. When the mind’s concentration is directed
towards the least of the tra realisation level, then the Am tra Citprak a is
attained. Triput is one form at the Ardham tra level without any base.
The rise of Ardham tra happens only after the splitting of m tra.
nyam (Mah nyam) is the illuminous vacant space felt at this stage. The
spot, like moon in the skull, seen in the path from Bindu to Sahasr ra is
Ardhacandra. The Var am la which is the Cit-B jar shines in three forms-
Saumya, Saura and gneyi. The place of triangle, above Ardhacandra and
below Brahmarandhra is the place of Rodhin . She stops the progress to higher
levels. Here the rule of Bindu ends.
Bindu is the source for the various ak ara-s (lipi) arising out of its
swelling effect. Mantra-s and Yantra-s for invoking various Gods and
Cidgagana-Candrik – A Study 122
Goddesses are formed of these ak ara-s only. The yantra-s are made of various
materials like Mud, Stone, Cloth, Iron, Copper, Silver and Gold. As per one’s
requirement, the worship on these are performed with the prescribed mantra-s,
to get the desired results. li’s akti-s, which act in the form of objects of
cognition ( ,rasa etc) are equated to nectar. They grant the wish of the
worshipper, when they are pleased with their p . But if they go wrong in
spelling mantra-s or in following the prescribed procedures, the very same
akti-s act destructively.8 These akti-s acquire their power to grant boons only
by worshipping li, the m ka svar .
The Jagat’s reflection in the Mirror of Cit, in the Cid a,which shines
due to Cidagni is engulfed by the twelve rays of rya. Twelve rays of rya
are: Tapini, T pini, Dh mra, Mar ci, Jv lin , Ruci, Su um a, Bhogada, Vi va,
Bodin , Dh ri and K ama. In quadrangular brilliance of Citi, the reflection of
Cit, is wonderful, Supernatural and Invisible. The usual reflecting surfaces i.e.
Fire, Water, Sword, Oil, Wall and Mirror, have one side as substratum and the
other shining side reflects. But in the form of Cit, Jagat shines with four
dimensional effect and this also happens without an external object for
Cidgagana-Candrik – A Study 123
living being realises its true self. Reflection of Jagat as This arises from
, as per the “ dar a-avalokana ny ya”(The light from our own eyes, reach
the Mirror and returns back to show our face) “Ahant ” is the tm of all
beings. It is the Knowledge. Knowledge of the Absolute is for the enjoyment of
Knower. “This is like this”( ketat) is the understanding posed by
Consciousness. The subsequent guess of the same as “That is like that”
(tat-tath ) is the storage in the heart of Vimar a.15 She shines as the Triput -
Knowledge, Known and the Knower. She also as li consumes back the entire
Triput acting as their ultimate abode.
Cidgagana-Candrik – A Study 124
the Cave of Par c18 which is brilliant. The cycle of living things, the City of
19
iva, gets reflected by Vimar a in the form of Citprak a . akti, thus being
the abode for iva, with his City in her heart, becomes the ultimate director of
the manifestation. Here akti is hinted to be the protector of Ja avastu and iva
the protector of living things.
Cidgagana-Candrik – A Study 125
Memory of the things that are merged in akti at the time of deluge, get
reflected without any need for external object at the time of creation. This
image is similar to the projections in Svapna and in Sa kalpa.
The projection occurs as past, present and future. The past act of
retreading krama is illustrated by two events. Vi u first took Hayagriva form
and later during Tretayuga took cowherd form as a. He traced back to the
Cidgagana-Candrik – A Study 127
Cid a and attained oneness with Cit. The s dhaka who worships in line
with these two forms gets all material things. He also gets to know the path of
tracing the cause of Jagat in his inner Self. Thus the external projection which
is done with the intension to enable all beings attain such a stage through
retracing the path of Krama, is highlighted.27 Forgetting the past, One must be
content with the present and future effects of exrernal projection.
The knowledge form i.e Citi akti is also called M akti, who shines
in Cid a in ak ara form. The knowledge of akti in k (vedic mantra) form
which is ruti, has to be attained by contemplating upon her as in
the ultimate abode of Cid a. This worship begets the Devas and s dhaka-s,
the Brahma-J nam and Liberation from lifecycle28.
k, Sm ti and pohana
Experience of vara
Samh ra, Nigraha and Anugraha by her Yogic and masic forms
From these sets, begin the adhv -s- , k ra: and ’ k ra: create
Tattva, Kal , Bhuvana-V cy dhv -s; Var a, Pada, Mantra- the V cak dhv -s
are the result of all Var a-s and Svara-s. Thus they represent both Prak a and
Vimar a effects. rya, Soma and Agni are the propagators in i. They await
the intension of Vimar a in doing so. In S kta monism, the projection of the
inner concept as outside universe is i. The inner absorbtion of the
manifestation into akti’s heart is Samh ra. These are like opening and closing
of the eyelids for Cit akti.
Manifested objects are treated as permanent as per their use with respect
to that time and place. This knowledge is gained through the Indriya-s which
enjoy the worldly things and the objects of Indriya-s which are perceived38.
This is ikrama ( ireva i:). Pralayakrama is by discarding the gross
form of objects and going through the process of the power that illuminates the
entire perceived Jagat. Realizing through the proper knowledge endowed with
Buddhi, that the Jagat, that is experienced, is meaningless and the illumining
akti is the state of pralaya, one gets the Bhoga in i or Mok a in Laya.
Vimar a. Pa u- form spreads as thirty six tattva-s. Then in the Layakrama she
draws back the entire Jagat into her to combine the two halves. Only her being
(satt ) is felt and Jagat remains contemplation through Dh ma, Mudr , Var a,
Kal and Samvit cakra-s. akti’s retinue of five Mudr akti-s- viz., Kara gi i,
Krodhani, Bhairavi, Lelih and Khecar - are significant39. By knowing her
Prak a -bindu form, all the other worldly practices like mudr -s etc., for
attaining her become futile.
akti bears in her womb, Agni, whose form is (Sapta ikh ) only flames.
Three shining objects Agni, S rya and Candra are significant in the world.
Candra gets his shine from rya so he is not reckoned. rya submits his heat
to Agni while setting, in the evening. Both of them alternatively produce light
day and night. But akti illuminates everything all the time42.
with Cit akti. This is the ultimate goal of one’s existence. K la consumes the
entire Jagat in Pralaya with one’s respective Pr rabhda karma-s. lya: who
are non-different from K la, are gracious to va-s, who leave their bodies after
the enjoyments of karmaphala. dhaka can attain this state while he is alive
by the worship of K li by retracing the path of Tattva-s.
kala kila bila k epe, kala gatau, kala sa khy ne, kala abde,
- .
These are the stages in Kalana, which is the activity of li, who is
Kramasvar . iva is K la without Krama (Akrama). li with reference to
iva is Akrama. Thus she is both Akrama and sakrama.
rya, who has twelve forms, is the controller of Time and hence K la.
Even rya finds abode in li, who is the highest step that takes dhaka-s to
the ultimate abode of iva. Those who know her as one with iva 45will find no
words to explain that experience.
Objects of Cognition, Cogniser and the Cognition are the three parts of
knowledge which is called Kulam. The entire manifestation shines by the effect
of these three aspects of Triput . Many other meanings are sorted out by
Abhinavagupta in Tantraloka46 commented by Jayaratha with many
explanations. All these meanings taken together, are like an ocean, which is
equated to iva, who is in his Calm actionless state. akti, in order to activate
manifestation, is assimilated to wave whose abode is the ocean. iva with just
the Brilliance aspect without activity is stated to be incomplete. akti by
enacting manifestation brings about completeness in iva.
The Evolution (Unme a) and Involution (Nime a)47 include akti’s other
three functions- Sthiti, Nigraha and Anugraha also. akti holds the entire
manifestation in her womb and when the will of manifestation arises in the
Cidgagana-Candrik – A Study 134
ocean iva, she assumes the wave form (Vimar a) and spreads as the entire
manifestation. She enters every living and non-living being as core matter.
Thus she pervades in and through the entire manifestation for the purpose of
uplifting all beings48 to iva state. Like the waves in ocean, which are present
everywhere and always, she shines through out manifestation with her five
functions.
i K li’s form
akti emits the Jagat from her heart by her Sv tantrya akti. She with
ease devolves the entire manifestation to effect involution. Generally these
occur in cyclical manner in parts and hence intermittent states are managed by
her retinue of akti-s. In the Pralaya when, there is complete involution, then
even these akti-s merge into one - akti. This akti is the form of ik li50.
Ku alin akti rises from Cidagni, to take the upward journey and on
the path breaks through the Dh macakra and progressively attains Sahasr ra.
There, she enjoys the shower of Somarasa and thus shows the way of attaining
the ivapada. Here she shines as the abode of all knowledge and is in Samvit
form only.
lid sa says that, he, from outside, will explain this entire
play of akti. Vahnima alam consists of three Cakra-s-M dh ra,
Sv dhi na and Ma ip raka. Fourth An hata cakra is Dh macakra.
Sahasr ra is Dv da nta Cakra.
The dhaka, who meditates upon her, as akti, in her couple form of
aktimat ( iva) and akti y mala, realises her akti form ; and the one who
contemplates as iva realises iva form. At this state of rest, there is no
expansion or contraction, which happen only by her Sv tantrya (Icch ) aspect.
Cidgagana-Candrik – A Study 136
The peacock’s egg contains all the multiple colours of the peacock
feathers. Thus, in akti’s heart, lie the entire Var a-s ( to ), which take the
“Ahamta” form in manifestation of names and forms. Bindu and Visarga are
Puru a and Prak ti forms. is Puru a and “ :” is Prak ti. “ :” is Jagat.
When akti knows her Puru a aspect, she reckons herself as “ ”. In this
The retinue of akti, which arises from the Indriya-s and the entire
manifestation, is withdrawn into akti as reminiscence. This is evolved once
Cidgagana-Candrik – A Study 137
again by her Sm ti akti, when she wills to manifest. These two functions
happen eternally in Nityasiddh viz., Bhairava, in meditative mode53.
dhyaK li
When, from K lap la (S rya) upto iva tattva, who are like droplets in
the ocean, get their completeness, shine of Citi akti appears in manifestation.
She including them in herself assures their fulfillment. This is dhyak li.
Thirteen li-s indicated in Samvit krama in TL by A.N.Gupta does not
mention this li.
Yamak li
Vikalpa raises the doubt as to ‘This is right or not’ in our hearts. Yama is
the dictator of the right and wrong, whose expertise is to direct the human
beings in the right path and to punish when they go wrong. akti annihilates
even Yama and hence gets the name Yamak li54.
Yama creates the doubts about the right knowledge and thus directs the
strong and coward in pursuing the path of Niv tti and Prav tti respectively. The
determined souls pursue the Niv tti m rga to attain their source of creation.
The weak ones engage in Prav tti m rga to enjoy the worldly pleasure.
Prav tti distances one from the source of creation and thus is threatened by
Yama, who is engaged in that activity by akti, for helping the Humans attain
libertation.
The second one is the wrong perception of non-self as self and the resulting
pride (Aha ra). Ignorance is destructive. akti takes her seat on these two
Cidgagana-Candrik – A Study 138
types of ignorance and enlightens the right knowledge in them. She consecrates
tyu in her Samr jya as king.
Cit akti, with her retinue of akti-s, projects the undivided creation as
the inner celebration, for the purpose of Bhoga and Mok a. By her own freewill
she takes her seat on the same creation, to devour the same and thus helps
Yama, in her terrible form as li. This is like consecrating Yama. In the
empire of K li, Yama is the consecrated King55. Retracing the path towards
inner journey is possible, only if the external manifestation is rejected. The
creation is impure due to pervasion of akti and purification is only
through its destruction56.
Bhadrak li
Rudrak li
san -s are the form of precept and prohibition, which establish in the
Sthiti state of Jagat. They limit the Self and induce the created beings to
observe the good and evil acts. Rudrak li by knitting of her eyebrows,
swallows the entire manifestion in a second, along with the san -s which
cause the creation58.
lak li
rya’s image produces a reflection of Agni in full lustre. The image and
the reflections are also counted as subject matter in Krama system. Agni and
rya get their power to shine from Prak a aspect of akti ( iva)59. Par bindu
svar akti gives rise to rya, who rises and sets with his rays throwing
light on the entire creation during day. He produces Agni, to do this duty of
illumination in night. akti herself swallows these two lutres into her brilliance.
Thus through proper inner pursuit for knowledge the dhaka attains the
source of illumination.
Samh rak li
After the involution of manifestation of word and sense, till its memory
exists, akti shines as Jaganmay . When experience transcends even the
memory, then entirety of the Brahm a brings great rejoice. Hence, K la,
who is repositary of the Kal , viz., Samh rak li, is sought after by s dhaka-s.
i Krama is the best of the Kal -s of akti, in which her supremacy shines.
Cidgagana-Candrik – A Study 140
Sthiti Krama enables vivid experiences of the cognitions. Sthiti highlights the
beauty of i. Then it is Samh rakrama which is the effort to trace back to the
source of creation. i is associated with birth which starts with the pain of
containment in the womb of mother. Sthiti is the constant thought process
wavering between the twin concepts-Pain and Pleasure; Gain and Loss; Victory
and Defeat etc., Samh ra is the natural instinct of the soul to get back to the
original blissful state which is one’s source in creation61.
Yamak li
gnirudrak li
In the empirical world the retinue of twelve akti-s, first consumes the
objects of cognition. Then the cognition stored in Buddhi is also dispelled by
them. Ultimately the Cogniser is also led towards the Param rtha, the source
of their creation. Triput akti also attains Laya in iva, assisted by her retinue.
In the Laya krama, Meya (measurable) is enfolded into Miti (True knowledge);
Miti subsumed into (Knower). Means of cognition are the inner states and
their Laya does not occur. akti as Buddhi exists at the end as the Ultimate
means of cognition64. Kriy akti enfolds into na akti. na akti gets
absorbed in Icch akti, which is the cause of the mutitude of Manifestation.
Icch akti is li (Vimar a).
The crematorium of all the empirical beings in the real world is called
the Karav ra. Mah la is the ruler of this ma na. Even Pr gni is
incapable of consuming this form. akti dissipates Him in herself (Karav ra
ma na), in the light of withdrawing entire manifestation into her.
Dikcar as the name implies, moves in the form of ten indriya-s, plying
in all the ten directions (east, south, west, north, southeast, southwest,
northwest, northeast, beneath and loftier). She intends to unfold the objects of
cognition. In the Anta:kara a (Aha ra, Buddhi and Manas) rules Khecar .
Both of them are dear to akti, who swallows them also. Krama is the making
of la. K la is ever ready to consume and hence the significance of Samh ra.
Samvitr akti is li
i,Sthiti and Samh ra, to the higher stage in their consolidated form. This
akti is called Trayoda i, who is the controller of these rays.
An khyakrama-Bh mak li
akti as dar
In the three states of i, Sthiti and Samh ra that arise from the womb
of akti, where Vikalpa is absent, akti remains as da67 only. Then she
always being one with him in the Dhvani r pa, veils kara and emits in each
and every living being that inner da, when she emancipates.
Cidgagana-Candrik – A Study 143
Cgc drowns the Ignorant s dhaka and uplifts the Intelligent ones
Cgc leads the dhaka-s to the liberated state (Citr papr pti), who with
their Buddhi indulge in Sattarka and discard the various attractions posed by
akti, in order to get the Caitanya level of awareness. Par hanta,
Vimar a bestows on them the revelation of the peaceful state nta). The
grace of Svatantra- Anugraha akti is boundless to them. Cgc immerses the
bewildered minds completely into the cycle of birth and death.
Treasure of Nectar, which is the Arthapa cakam in Sams ra, has its
claybase in the Form of li akti, which holds those, who are immersed in the
ocean of Sams ra. K li71 is in the form of the Thirty-six tattva-s starting from
akti to P thvi, which is the display of Samvit, with names and forms in Jagat.
Citr is called as the nectar in the form of Arthapa caka.
also birth place of Brahma the initiator of the Jagat. When dhaka feels
perfection in Bhoga and desires to attain Mok a, M akti72, creates an
illusion of Omnipotency in him, in the form of A uddhavidy ( tmabh vam in
An tmavastu). This is compared to the closure of Eyes. Buddhi form of
Vimar a, which is uddhavidy , is the eyeopener of them, who are engrossed
in uddha vidy .
The universe is the pedestal of akti, which is the lotus with honey and
filaments in the form of the Artha-s, blooming with effect of Vimar a. This is
her grace for the upliftment of living beings. The Human body is the pedestal
of Samvit and the universe is the pedestal of Cinmayar pa akti. akti is
enthroned in ricakra form, in the Human body, which consists of
Bh van cakram ( mar pa, agiri, J landhara and Oddiy na p ha-s;
Buddhi, Aha ra, Manas and akti; Para, Itara, B a and Svayambhu li ga-
s; Cakra, P ha, Li ga and Mudr ) Thus, in her divine form of Cid nandaga a
vi var m and the impirical seat of names and forms, akti grants both Mok a
and Bhoga.
Prak a, which is the florescense of cya-V cak ; the blissful state of the
entire universal being; the desireless state; a perfect blissful self; Praty ra
rule starting from penultimate -k ra upto -k ra, forming aham with
Anusv ra bindu. This, again, merges into iva, who is -k ra. S dhaka-s, who
Author compares the pleasure endowed by akti and the Candra. Both
are sources of joy to the experiencer but akti’s supremacy in showering bliss
is highlighted. She is addressed as Ca i, the ferocious one in contrast to,
author’s intending pretext, of her grace. She chides those, who deserve it and
showers her grace on those, who worship her. Candra’s traits are coolness and
pleasure. When akti’s grace is showered, then it is permanent bliss as
compared to Candra’s pleasure giving aspect. This is because Candra waxes
and wanes75 and his illumination also is subject to shadowed areas in him.
akti, who eternally shines on her own might, is the illuminator of rya,
whose light is reflected by Candra76. She is wholesome brilliance and by her
will shine rya, Candra and Agni. Every living and non-living beings shine by
her will as she is the Paratattva in ktadar ana and Brahmamahi i in others.
Ku alin akti resides as dormant snake in three and a half rings; the
head is residence of K li, called Kula. Those, who worship li as
Kulaku alin are called Kaula. iva’s abode is the Bindu which is called
Akulam77. dhaka-s, who worship the Akula iva, attain the knowledge of the
United form of iva and akti and Kaula-s worship akti’s greatness as a via
media for attaining iva. The Divine Couple are complimentary78 to each other
by their very nature of being akti and aktimat. The equal status of iva and
akti consists of five classifications.
Cidgagana-Candrik – A Study 146
Tamas, which resides in the va-s as their mental condition in the form
of arrogance or pride, is driven away by the flames of fire or rays of brilliance
emenating from li. The Equal-status of iva and akti as stated above is the
ultimate purpose of each living being. Kulam rga of worship is once again
reiterated for attainment of the highest knowledge.
The divisions in time as past, present an future and the existence of the
names and forms in them, rest in akti. kar is akti’s form which
consumes even la (Time). This universal form is worshipped by all yogi-s
and kta Up saka-s starting from a. li Up saka-s always worship
a81 as the protector of their Kula.
The objects of cognition viz., Spar a, R pa, Rasa and Gandha, project
the knowledge of word and sense formed by abda starting from -kara.
These are the variety of projections in the form of adhv , posted by akti’s
brilliance. These divisions formed of time and space form the rticakra of
ikrama. In the Samh rakrama, she deactivates even this cakra by
consumption into her and the means of knowledge- J na, Karma indriya-s
and Anta:kara a are also defunct. Thus akti’s presence in i and Samh ra
are highlighted.
Cidgagana-Candrik – A Study 148
In the empirical world, two aspects of light and darkness, get highlighted
by form of akti. The triad of Moon, Fire and Sun are called the Kula which is
superseded by akti to the fourth stage, in the form of pr -s in all beings.
Through proper justifications and dhana she is realised by the noble ones.
akti is neither masculine nor feminine. She is not neuter gender also.
Her spouse iva is also beyond the three genders. In manifestation all beings
coming under these catagories, get their gender effect from power of akti
only. Thus akti quivers (sphuratt ) and is cause of manifestation.
shine due to her power and they are drawn into her at deluge. Thus her
existence as supreme principle is impossible of denial.83
akti can not be breached, but she can cause divisions Hamsa-hams , i.e.
Male and female (Rakta- ukla) aspects. Even her spouse falls into this
category, when he adorns a form. She is an unique female who acts like male.
Being the male aspect actually, she is interposed with feminity. iva is the
Prak a aspect only, like rya. Vimar a akti is the prime cause of all
variations.
When akti wills to create and protect the manifestation, she assumes
the Gentle form.When she wills to withdraw the entire manifestation into her
womb, she assumess the terrible form. Vimar a akti as Quietitude state, is the
power of will, in all these states in order to help the living beings attain her, by
single minded meditation86.
akti, ruler of svapna and Tur ya; iva, ruler of Su upti and Tur ta
In the mental states of grat, Svapna, Su upti, Tur ya and Tur ta,
akti rules the Svapna and Tur ya states. iva rules the states of Su upti and
Tur ta. The fourth state has to be transcended to stay in Tur ta state and
the stability in this level depends upon the steadiness in Tur ya state. Thus
Sv tantrya Vimar akti enables the shine of Cit (Prak a).
akti is the very form of the nine letters, which denote her mantra in two
aspects- Lalita and Ca i. Lalita /Tripurasundari mantra is of two versions
di and di vidy - mantra-with letters - (°) (Bindu)
Divya v ha are the Pr -s, which manifest along with akti, in her
ascent in the Krama i, as pioneers. The reverse sequence in Samh ra krama
is the bosom of akti. The constellation of the florescent elements abide in their
source of brilliance in Samh rakrama. Samh ra brings about the mitigation of
the the Soul, Time and Body of the empirical beings but as such it is
indestructible. This shows the greatness of akti’s power of withdrawal which
eternally operates as the supreme activity promoted by li.
Samh ra is the form of Mah lamel pa. Three resting phases of akti
in this level are, That, which is to become, which has become and which is
extinct. The ascent of akti is the innate beginning point from this level of
resting. akti assumes the different and non-different forms.The first point of
evolution of akti in diversity, lies in her Rajogu a aspect of complete
unsteadiness. Rasmicakra consists of rya, Soma and Agni that shine due to
akti’s emergence outwardly. When she is in the non-different form, her own
Cidgagana-Candrik – A Study 156
Mantr dhv - “ :- ”
akti assumes the seat of Mantra-s by her free will. This seat consists of
the adhv -s- Var a, Pada, Mantra, Kal , Tattva and Bhuvana-s. In the
cak dhv the first is Var a; Kal /Kalanasvabh va is the first in cy dhv .
Kalana is epa, J nam, Sa khy nam, Gati and N da, which are capable of
reducing the age of the universe in no time. These are the withrawing nature of
akti.
akti’s form93. iva’s form and akti’s form are always inseperable and
akti in her mantra form is the substratum of entire universe and hence
she does not need an abode. She expands and withdraws the manifestation on
the wall of herself with her freewill. Her mantra p ha is the best and unique
one without hassles. In the li Up sana the mantra-s and their practices are
learnt from Dh ti-s95.
akti assumes the nap ha, through uddhavidy . This envisages the
revelation of self in the impirical being and causes upliftment of souls to the
abode that is beyond enclosures and which is unstoppable brilliance as
Cidgagana-Candrik – A Study 157
more specifically from Pra ava . Thus the Triad of Nara- akti- iva is the
effect of ka akti-s and hence of K li. The whole group of Rudra, Siddhas,
Muni-s worship this form of li.
which are ruled by akti-s. li’s K tyapa cakam and the hacatu ayam put
together form the Cakranavakam.
varga-s) which rest in her bosom. iva (Prak a), who is her companion, is
assimilated to Candra. Her prime status is upheld by K lidasa, fixing iva, in
secondary stage in the form of Candra Prak a. When in union, it is difficult to
fix the primacy of status to either because they are the divine couple99. akti
forms the base for the Trika form-Nara- akti and iva that falls within her
empire.
hant bh va, which is nothing but the primal throb (Spanda). Though this
can not be explained or given name and form, still for the purpose of
understanding the Krama and Akrama levels, the different stages are created in
divine couple, who are always complimentary to each other. Author in order to
place his Goddess of worship at a higher plane, gives her a prominance in
status as the Absolute. akti in Krama, due to her Sovereign power, is the form
of the entire manifestation. iva as Puru a is said to take the process of Akrama
to reach the oneness with akti the absolute.
The goal of attaining the brilliance of akti, who is beyond the Gross
and Subtle levels of manifestation, which is her form of -k ra, is pursued by
the dhaka by worshipping her Manomayi akti. nam is of three types.
Knowing through element of hearing (Srotra) is Vaidikam; Through thought
process is Ved nt and other schools of philosophy; third is produced through
meditation and imagination. Knowledge of akti in the third form is the best as
it is capable of projecting even the non-existent object. Bh na of Manomayi
akti is highlighted.
Cidgagana-Candrik – A Study 160
Tivra aktip ta
Ga a, who is the son of Soma- iva, the prime manifest form, the
controller of the Buddhi and other indriya-s is Mahat -Aha ra element in
manifestation. Author says103 this Aha ra element is removed, when the
author purported to do this work Cidgaganacandrika, which is the Stuti form of
Krama doctrine. Sams ra struggles, which impeded were cleared by the
Perseverence and Bhaktibh van of him towards K li.
Author requests his Deity to bestow popularity to those, who recite the
hymns of K li, i.e. Cidgaganacandrika, which highlights Krama dar ana. He
Cidgagana-Candrik – A Study 161
Fruitfulness of Cgc
Author prays that the s dhaka, who sings the stuti in musical notes and
who procreates the sentiments in Dance/Drama may be blessed with success by
li. Three hundred and nine verses are composed in Cgc which is done in
praise of akti worshipped in Kramadar ana. One who follows the process
highlighted in this work will definitely fulfill all his aspirations.
lifetime and he feels the divine grace showered on him.108 li’s grace falls on
the s dhaka, who takes the path of sattarka to transcend from empirical levels
of manifestation upto the Source of manifestation. Similarly even without the
path of J na, the s dhaka, who exhibits bhaktibh va is also blessed with
li’s grace in knowing the ultimate abode ( iva).
Kala is the name obtained from Kalana, which relates to the five modes
of absolute dynamism.
Kalana as Sa khy nam, Gati and N da are aspects relating to the modes
operating after the empirical manifestation.
lidasa has vouched that he has dealt with the first two aspects109 only
in his work Cgc. He dedicates the completion of this work as Devi’s grace. She
is the Queen who causes the creation, Sustenance and Annihilation of the
universe. K lid sa pleads with Devi, to take due care of himself and lead him to
iva pada. The process involves rising and falling efforts and the grace of akti
is needed in each and every fall, till the s dhaka attains the iva state.
In the concluding stanza the author spells out his name as Srivatsa, and
dedicates his entire work to all s dhaka-s and mankind110. He after attaining the
hant status in his Self, being in union with iva, states that the grace of
li was showered on him due to his relentless devotion and effort.
Cidgagana-Candrik – A Study 163
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Cidgagana-Candrik – A Study 164
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Cidgagana-Candrik – A Study 165
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Cidgagana-Candrik – A Study 166
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Cidgagana-Candrik – A Study 167
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Cidgagana-Candrik – A Study 169
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Cidgagana-Candrik – A Study 170
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Cidgagana-Candrik – A Study 172
CHAPTER- VI
Literaray Reference
Experiences gained in the kta cult and aivism are a clear exposition
and manifestation by Tantric Treatises, most of which are lost. The rituals
anyway bear a clear imprint of these tantric influences. Present day S dhaka-s
of the kta and aiva cult are the direct descendants of the Tantric group of
preceptors. Subject of Tantra stra are expounded in the form of a male-
female dialogue, viz. the gama-s dialogue between iva and rvati. Tantra
stra-s which advocate supremacy of Par akti are called kta tantra-s1 .
Different manifestations of the world with three-fold form and the
collective energy of Brahma, Vi u and Mahe vara are called Tripura or
Tripurasundari who represents the three forms of Mah sarasvat , Mah lak
and Mah also.
aiva philosophy emerged in the sixth century with its roots in the
contemporary Tantric literature. Gradually it got refined and evolved as iva
advaitav da. Group of gama-s bringing forth the exposition of the Trika cult
are: Svacchanda Tantra, M lin vijayatantra, Netra Tantra, V make vara
tantra, Rudray malatantra and Vij nabhairava tantra. Svacchanda Tantra
gives a clear exposition of Tantra- stra in all its aspects viz.,'d a', ' sana'
'pa cak tya','pa camukhas', ma ala bhuvana, guru- disciple, mantra, abda,
var a etc. gamika-tantra deals with Parama iva svar pa Bhairava.
Agastyasamhita,Dak in rti kalpa, Yoga stra, V make vara, rada,
Kal mata, Tantra-r ja, Dak in rti Samhita, Bhairavi Tantra, Siddha
rasvata Tantra, Uttara Tantra, Kul ra ava, Pingalamata, ivay mala,
haty mala, Rudray mala, Kulaprak a Tantra, N rada, P nca-r tra, Yogin
Tantra, Ak a stra, rada Tilaka, N la Tantra, Sr krama, N raya ya, B hat
raya ya, atapata-samhita etc, regarded as an encyclopaedia of Tantra-
stra and its literature.
In Kashmir Saivism certain concepts are very significant which form the
epistructure of the philosophy. Some of them which find place in our text under
study-Cgc, are dealt with in this chapter.
The five great acts of iva are i, the creative act; Sthiti, the act of
Maintenance; Samh ra, the destructive act; Tirodh na, the act of enfolding or
concealing His nature; Anugraha, the act of unfolding or revealing His nature.
Individual soul also accomplishes each of these acts which are called ‘actions’
Cidgagana-Candrik – A Study 175
because this kind of act is dependent on the will of iva only.Individual being
can not act on his own will. As iva only is completely independent ‘Act’ is
attributed to iva and ‘Action’ relates to the individual soul .
iva creates Guru-s and ya-s through His fifth act(anugraha) the act
of grace. This grace ( aktip ta) is nine fold creation of Guru-s and disciples.
First and highest level of grace is called vrat vra aktip ta (Super
Supreme Grace) bestowed by iva leads one to perfectly recognized state of
Self. By this kind of intense grace he knows his real nature completely and in
perfection and unable to resist it by his body and he condemns his body and is
dead. He being not visible in this world, becomes a Guru, however,
accomplishing the act of his mastery secretly in the hearts of deserving
disciples, who experience his subtle existence.
vramadhya aktip ta
vramanda aktip ta
his leaving his physical body this intensity of grace carries him from this
mortal world first to paradise where he enjoys the pleasures of the world. While
in paradise, however, he does not gain the fitness to begin practicing for
attaining the realization of his Self. He must, therefore, be again reborn and
come down into this mortal field. And from that very birth he sentences his
mind toward the fulfillment of his Self realization. Although his life in this
mortal realm is very short as iva wants to carry him quickly to His own State,
yet he becomes absolutely complete in that short span of time and enters, in the
end, into the Transcendental state of iva.
The above three medium intensities of grace take place in the field of
aspirants living in the kingdom of ivadharma. Those aspirants living in this
field of ivadharma have the tendency for achieving the state of Self
Realization at least half hourly during the day and at least twice during the
night. The remaining period they keep aside for worldly pleasures.
The three impurities (mala-s) are respectively gross (sth la- rma a-
mala), subtle ( ma-M ya), and subtlest (par ava).
rma a mala
ya mala
Cidgagana-Candrik – A Study 180
avamala
Up ya is the term Kashmir Saivism uses, to denote the ways and means
to enter into Universal God Consciousness from individual consciousness.
mbhavop ya, the superior means, ktop ya, the medieval means, and
avop ya, the inferior means are three means advocated by Kashmir Saivism.
mbhavop ya
Cidgagana-Candrik – A Study 181
ktop ya
Centering can be practiced between any and all actions and or thoughts.
In centering, the yogi practising in ktop ya must develop great velocity of
awareness. Great velocity means firmness of awareness. If dhaka’s
Cidgagana-Candrik – A Study 182
awareness becomes loose he will be forced out of ktop ya into the lowest
up ya, avop ya9 iv. He will loose the right to tread on the path of ktop ya.
In his practice there must be in continuity in the cycle of his awareness,
maintaining an unbroken chain of awareness and then he will be able to find
out the reality between any two thoughts or actions. The practice of centering is
meant to be functioned between any two actions or any two thoughts. He can
center between any two thoughts or any two movements, between one thought
and another thought, between waking and dreaming, between one step and the
next step, between one breath and the next breath. All actions and all thoughts
are the proper framework for the practice of ktop ya. The ktop ya aspirant
must simply insert breakless awareness in the center of any two actions or
thoughts. Faulty awareness and Interruption lead him to fall and enter into the
lowest up ya, avop ya.
avop ya
Anup ya
adhva means six ways in the process of creation having a set of three
each relating to word and its sense which cause the empirical manifestation.
They operate in the fields of Subjectivity and Objectivity by the union of akti
as word and iva as sense10.
Three-fold cy dhv
Middle one is ma, the subtle path, Tattv dhv . Sth la, the gross and first
path is Bhuvan dhv . One has to either tread on the path or discard the path.
For realisation of God, the latter method is fruitful. Disposal/Discarding of this
path is achieved only by the grace of Guru, who is personification of Parama
iva himself. By such disposal of this path one reach the state of Parama
iva11. These three fold adhv -s is called Vacy dhv , which is the objective
cycle of this creation.
Bhuvan dhv
Bhuvan dhv means the path of all the worlds and consists of 118
worlds revealed to Siddha-s in sam dhi state. The whole cosmos containing
many suns, moons, stars and planets is meant by world here.This is Gross path.
Tattv dhv
The thirty six tattva-s in aiva philosophy, form the Tattv dhv . This is
a subtle path.
Kal dhv
The subtlest and more refined path is Kal dhv consisting of the five
kal -s acting as enclosures for all of the thirty six tattva-s, from earth up to
iva.
First and outermost enclosure is Niv tti kal corresponding to the first
gross tattva( thv ) earth.
Third enclosure is Vidy kal , consisting of the next seven higher tattva-
s from Puru a tattva to yatattva.
Fourth boundary is nta kal covering the next four higher tattvas from
uddhavidy tattva to akti tattva which is last but one of the Supreme Tattva.
Subtle ( ma) vacak dhv is Pad dhv and consists of the world of
words.
The combination of these six adhv -s, consisting of the three objective
adhvan-s and the three subjective adhv -s is called adhv , the six fold
adhv -s which effect expansion of this whole universe, both subjective and
objective.
ka akti
This universe is contained in, the thirty six tattva-s, in descending order
starting with iva tattva in the following order: akti tattva, Sad iva tattva,
vara tattva, uddhavidy tattva, M yatattva, and so forth and ends with
thv tattva. The reflection of the universe takes place not exactly in this
descending order from iva tattva but takes place in a reverse order from thv
tattva(earth), the lowest element, to the highest akti tattva, and not from the
highest to the lowest. When one sees his face in a cup shaped mirror, his head
will appear as down and the body will appear as up. Similarly this whole
universe begins from akti tattva, but it is experienced as beginning from
thv tattva.
No external reflector
nanda akti- energy of bliss of iva. Cit akti and nanda akti, the energies
of consciousness and bliss, are totally inseparable. Where there is
consciousness (cit) there is bliss ( nanda), and where there is bliss there is
consciousness. At this stage, the universe is yet to take its shape. It only resides
in nanda akti16, the energy of bliss.
Icch akti-energy of will, comes after Cit akti and nanda akti,
represented by the third and fourth letters of the alphabet, the letter . Icch
akti takes two forms, unagitated and agitated. Unagitated Icch akti resides
peacefully in its own nature taking the form of the letter . Agitated Icch akti
is formed as the next letter of the alphabet, the letter . In this state iva’s will
is agitated but not in such a way that it is separated from His own nature. It
remains as residing in his own consciousness and bliss, Cit and nanda.
An rita iva
Hence he discards and separates the universe from His own nature and
resides in His own Cit akti (consciousness) and nanda akti (bliss). This
state, wherein iva has rejected the fact that the universe resides only in His
own nature of consciousness and bliss, is represented by the next four vowels
of the alphabet,viz., . At this state, indicated by the four vowels, the
Supreme, filled with consciousness and bliss, resides in His own nature. He
does not move out. Due to this there is no possibility of the universe coming
out into manifestation. The manifestation of the universe stops totally. Hence
these four vowels,, are called Am ta b ja, meaning “residing in His
own bliss (ananda)”. At this stage there is no thought of creating the universe.
These four vowels ( asvara-s) do not create anything. The state of iva
represented by these four vowels is known as An rita iva, who has not
accepted the existence of the universe in His own nature. He does not allow
the universal existence in His own nature. In this state iva resides always in
His own nature.
Universal Manifestation
Cit and nanda akti-s, the energies of consciousness and bliss, denoted
by the vowels and , create contact with Icch akti, the energy of will,
Cidgagana-Candrik – A Study 189
represented in the vowels and create the letter . Then simultaneously Cit
and nanda akti-s, and contact and give rise to the letter . When Cit
and nanda akti-s and come in contact with na akti, the energy of
knowledge, represented in the letters and , they create the letter . When
simultaneously Cit and nanda akti-s and are in contact with the letter
and nanda akti-s with Icch and J na akti-s, represent the four states of
Kriy akti, the energy of action of iva. The first state of the energy of action,
represented by the letter “ ”, is called Asphu a (not vivid) Kriy akti. In this
state the energy of action is not clear. In the next movement and state of Kriy
akti, represented by the letter , the energy of action becomes Sphu a, vivid.
In the third state of Kriy akti, represented by the , the energy of action
becomes Sphu atara, more vivid. In the fourth and final stateof Kriy akti,
represented by the letter , the energy of action becomes Sphu atama, most
In this energy of action the reflection of the whole universe takes place.
Although this universe is reflected in His total energy of action, yet this
reflection has taken place primarily in His fourth energy of action which is
represented by the letter .
Even though this whole universe has been created, the nature of His
Self, that is full of consciousness and bliss, has not been lessened at all.
Nothing has happened. He is only residing in His own point. This state of iva
Cidgagana-Candrik – A Study 190
is represented by the letter (anusv ra). The letter or a dot °, shows that
the existence of iva has not moved from His own nature even though this
whole universe is created in His Self.
The reflection of the universe, being in the form of a cup shaped mirror,
is represented by the sixteenth letter of the Sanskrit alphabet, visarga, the letter
. In Devanagari script the letter “ ” takes the form of the two points of the
colon “ (:)”. And these two points of the visarga (:), represent the two cups in
which the reflection of the universe takes place. These two points are known as
iva bindu and akti bindu.
The Sanskrit vowels from the letter , which is Anuttara, to the letter
“:”, which is visarga, are iva tattva-s. The remainder of the alphabets is akti
tattva, the universe of thirty five tattva-s. This universe is the reflection of His
Sv tantrya. It is not created, it is a reflection. It is the reflection of Sv tantrya
that gives rise to each succeeding letter. The Sv tantrya of iva is reflected in
Cit akti, nanda akti, Icch akti, J na akti, and Kriy akti. All
elements (tattva-s) are a reflection of the five energies of iva.
Everything comes out from these five energies. His Sv tantrya acts like
a wall on which the projection of First twenty five tattva-s takes place. From
the five energies first come the five mah bhuta-s, and then come the five
tanm tra-s, and then come the five karmendriya-s, and so on. All of the five
energies co-exist in each of these energies. For example in Cit akti all the five
energies, Cit akti, nanda akti, Icch akti, J na akti, and Kriy akti,
are present. Although in one energy all the energies are present, yet only one
Cidgagana-Candrik – A Study 191
The five mah bhuta-s, which are the five consonants from to , are
produced by Cit akti (anuttara) and nanda akti, which are one and which
are the letters and , when mixed with His five energies. That reflection
where His Cit akti is predominant in sa (ether) and this is the letter . The
reflection of His nanda akti is V yu and the letter is . The reflection of His
Icch akti is Agni (fire) and this is the letter . The reflection of His na
akti is pa (water) and this is the letter . And the reflection of His Kriy
akti is P thv (earth) and this is the letter . akti tattva is a reflection of iva
tattva. The reflective flow is in each case from the last letter to the first letter,
e.g., from to , and the order of the consonants is reversed.
The five tanm tra-s, which are the consonants from to , are
produced by Icch akti, the letters and , when it is mixed with the five
energies. This reflection where His Cit akti is predominant is abda, the
residence of sound, and this is the letter . The reflection of His nanda akti
is Spar a, the residence of touch, and this is the letter . The reflection of His
Icch akti is R pa, the residence of form, and this is the letter . The
reflection of His na akti is Rasa, the residence of taste, and this is the letter
. The reflection of His Kriy akti is Gandha, the residence of smell, and this
the letter .
the five energies. The reflection where His Cit akti is predominant is k, the
organ of speech, and the letter is . The reflection of His nanda akti is
i, the organ of action, and the letter is . The reflection of His Icch akti
is da, the organ of locomotion, and the letter is . The reflection of His
na akti is P yu, the organ of excretion, and the letter is . The reflection of
His Kriy akti is Upasth , the active organ of sex, and this is the letter .
produced by the same tattva through the letters and . The reflection where
His Cit akti is predominant is rotra, the cognitive organ of hearing, and the
letter is . The reflection of His nanda akti is Tv k, the cognitive organ of
touch, and the letter is . The reflection of His Icch akti is Cak u, the
cognitive organ of sight, and the letter is . The reflection of His na akti is
Rasan , the cognitive organ of taste and the letter is . Reflection of His Kriy
na akti, which is the letters and , when mixed with the five
energies produces the five elements Manas, Buddhi, Ahamk ra, Prak ti, and
Puru a, which are the five consonants from to . That reflection where His
Cit akti is predominant is Puru a, the limited self, and the letter is .
Reflection of His nanda akti is Prak ti-nature and the letter is . Reflection
of His Icch akti is Ahamk ra, egoity, and this is the letter . The reflection
The six internal states of Puru a, which are M ya, Niyati, K la,
ga,Vidy , and Kal , are reduced to four by combining Niyati with R ga and
la with Kal . The four limitations which result from these combinations
correspond to the next four semi-vowels. The limitations la and Kal , which
are the limitations of time and creativity, correspond to the letter . Vidy ,
of attachment and space, to , and ya, the element of self ignorance and
objectivity, corresponds to .
These limitations are created by the energies of iva and they represent
the state of Puru a internally. These limitations, therefore, are called Anta:stha
because they reside inside Puru a, one’s own limited self. They are the internal
state of limited Puru a.
The four tattva-s, uddhavidy , vara, Sada iva, and akti, are also not
created by the energies of iva. Instead, they are the swelling of the heat of His
own nature. uddhavidy , which is the state of aham-aham / idam-idam, is the
letter . vara, which is the state of idam-aham, is the letter . Sada iva,
which is the state of aham-idam, is the letter . akti, which is the state of
aham, is the letter . This is the reason that these four letters in grammar are
called ma, which means “the heat of His own nature.” They are the
expansion of the state of unlimited. Being and as such are attached to the
unlimited state of Puru a which is the expansion of that state of unlimited
Being.
The aim of M kacakra is to function with the first and the last letter in
either the way of iva or in the way of akti. To function in the way of iva
Cidgagana-Candrik – A Study 194
take the first letter which is the first step of iva in the creative field, and
combine this first letter with the last state of iva the letter , which is the
resting place and the last letter of kacakra. This also corresponds to
Panini’s concept of Praty ra. Annexure. The first letter along with the last
letter represents all of the letters mentioned therein. The whole universe of
letters will come within those two letters.
whole Praty ra, which is contained in the letters from to , and which has
produced the one hundred and eighteen worlds, the thirty six elements, and the
five circles (kal -s), has in reality created nothing. It is just one point. This is
the significance of the letter which is Anusv ra.
The way of akti is the way of energy. The difference between akti
prathy ra and iva praty ra is that in akti praty ra two akti-s
combine together and create a world of their own. akti is actually the
existence of created Being. iva is the creator. Here akti wants to become
independent of iva. To do so She must create a world of Her own. It is like
what happens with bees. When the queen bee stops creating eggs then the
worker, without mating bees create eggs of their own. This is the mating of
akti-s. iva is put aside and akti combines with akti to create their own
world which is the expansion of akti-s. This creation takes the first letter of
the consonants, the letter , which is the first letter of the akti-s and combines
it with the last letter of the akti-s, the last consonant, the letter and produces
The first visarga exists at the state of Ananda akti and is represented by
the letter “ ”. This visarga is known as mbhava- visarga. The mode of this
The third and last visarga is called ava visarga. It is also known as
Apar visarga:, the lower or inferior visarga. It is the visarga of the individual
(nara:). This visarga is attributed to the letter , the last letter of the Sanskrit
alphabet. The mode of this visarga is called Cittavi nti:. The word
cittavisraniti: indicates that state where the mind rests in concentration, where
the mind takes a permanent seat in concentration.
kcatu ayam
Par , Pa yant , Madhyam and Vaikhar are the four forms of speech
called V kcatu ayam. They cause the manifestation of the universe20.
Par k
k and resides in the principal and supreme speech called Par k. In the state
of Par k he also travels in other sounds. He has the ability of traveling from
the supreme to the gross and from the gross to the supreme. He can ascend and
descend without varying his consciousness. His consciousness will remain the
same in each and every state.
Pa yant v k
Madhyam v k
Vaikhar v k
Of these three states of speech (subtlest, subtle, and gross)in turn, each
state of speech is itself also gross (sth la), subtle (s ma), and subtlest (Para).
Therefore there is gross Pa yant , subtle Pa yant , and subtlest Pa yant , gross
Madhyam , subtle Madhyam , and subtlest Madhyam , gross Vaikhar , subtle
Vaikhar , and subtlest Vaikhar .
Cidgagana-Candrik – A Study 197
First is gross (sth la) Pa yant , then gross Madhyam , and then gross
Vaikhar at the gross level. While playing metal strung instrument, the sound
produced by the instrument resides in Gross Pa yant . Concentration on this
sound leads one to enter sam dhi, in the Supreme transcendental being. That
sound must make one travel inside because that sound is Pa yant , even though
it is gross Pa yant .
Gross Vaikhar consists of all the sounds produced by the mouth, by the
contact of the lips and tougue. Concentration is impossible in this state of
speech. Only that aspirant who resides in the mbhava- state can enter into
sam dhi by concentrating on this gross Vaikhar . He enters into sam dhi
through ordinary talk. This also leads him to that supreme consciousness.
When only the sensation of the thought ( adajam karomi) “I will play
this string instrument”, or (madhuram vadayami) “I will play this drum”, or
(bruve vacah) “I will speak to you”, begins, when it just starts to take rise, that
sensation, which is only in the thoughtless world, is subtlest. It is before desire.
And that sensation of the thought ( adajam karomi) “I will play this string
instrument”, is subtlest Pa yant . The sensation of the thought (madhuram
day mi) “I will play this drum” is subtlest Madhyam . And the sensation of
the thought (bruve vaca:) “I will speak to you” is subtlest Vaikhar .
Aspirants who are in the state of avop ya, can only utilize the gross
movement of speech because they have no experience of the subtle or the
Cidgagana-Candrik – A Study 199
subtlest states of speech. They must, therefore, initially practice on the gross
state of speech. Gradually their concentration on that gross speech will carry
them to Saktop ya where they will then reside in their own nature.
Uniqueness of reflection
Prathibimbav da
All five reflections viz., sound, Touch, Form, Taste and Smell, are
experienced individually in all of the organs (ear, skin, eye, tongue and nose) in
the presence of Supreme iva Consciousness. Awareness needed is found in
consciousness and not in the organs. Normally reflections are just like the
reflection in a mirror which take place individually. All five reflections are not
available at once, only one thing is reflected in each. A mirror will only reflect
form and not Touch, Taste, Smell or Sound.
In the ordinary worldly course the reflected object (bimba) seems to be the
cause of the reflection (pratibimba) because the reflected object cannot exist
without that which is reflected. In manifestation, however, all reflection is
really a reflection in iva consciousness. In Saivism nothing can exist outside
of iva Consciousness. No other agency which is separate from iva
Consciousness travels with the cause, because if it is separate from iva
Consciousness and hence, the effect, it would not exist. If the object reflected
were to remain outside iva Consciousness then it would not exist. Therefore
there is nothing outside to be reflected in the mirror of iva Consciousness.
There is only the mirror. There is no external cause which has gone into the
reflection which is the effect. There is only the mirror of iva Consciousness.
Practice of Pratibimba
There are only twenty five tattva-s in Ved nta. In aivism there are
thirty six tattva-s which are significant points of entry. Aspirant must rise up to
Parama iva through these tattva-s. The ascent starts from grossest element
‘earth’ first; proceeds to subtler and subtler elements until the subtlest element
Parama iva is attained.
Pa ca-mah bhut -s
Gross tattva-s, which form the lowest degree of the tattva-s are the five
great elements-the Pa ca-mah bhut s viz.,P thvi (earth), pa (water), Tejas
(fire), yu (air), and a (ether). a is not a perceptible element, it is
space that gives room for movement wherein exist the other four gross
elements. It is a special vacuum which is filled by the other four great elements.
Gross tattva-s are called mah bhut -s(great elements) forming the basis for
the whole universe.
Pa ca-tanm tra-s
Pa ca-karmendriya-s
Five tattva-s emerging therefrom are the five Karmendriya-s, the five
organs of action ( k-organ of speech, P ni-organ of action i.e., hand, P da-
organ of locomotion i.e., foot, P yu- organ of excretion, and Upastha- organ of
procreation).
Pa ca-J nendriya-s
Next are the two interdependent tattva-s (Prak ti and Puru a). Prak ti
is nature who is the combination of three gu a-s (Sattva, Rajas, and Tamas) but
without any distinction from whom they arise and expand. They being created
by Prak ti, do not come under tattva-s as they are not creators themselves.
Puru a responds to and wins that Prak ti, is on higher level.
The twentyfive elements form the limit of the Vedanta philosophy of the
tattva-s. In aivism, all of these tattva-s exist in the field of , in the field
of objectivity, and nothing as yet has happened. Puru a is not a realized soul
but is bound and limited like Ahamk ra tattva. Puru a is connected with
subjectivity and Ahamk ra is connected with objectivity. This is the only
difference between Puru a and Ahamk ra.
Ka cuka-s on Puru a
Five Ka cuka-s- Niyati, K la, R ga, Vidy , and Kal bind Puru a in
five ways. Niyati tattva operates to put the impression in Puru a as with respect
of particular place of his existence and not in all places (De a). It causes
limitation on the place of residence(Omni-presence) of Puru a22. K la means
time. The action of K la tattva is to keep Puru a in a particular period. It
poses limitation of particular period of existence on Puru a of Eternity.‘ ga’
means attachment. This is that attachment which results from not being full. By
creating in Puru a the feel of lacking which he must fill, it limits Puru a from
feeling of fullness.( atva). Vidy ’ means knowledge. This limits his omni-
scient nature. It puts an impression in Puru a that he has limited knowledge,
that he is not knowing all for he knows only some limited things. Kal tattva
creates the impression in Puru a that he has some particular creativity, as
against his actual unlimited creativity. (Kart tva)
Cidgagana-Candrik – A Study 204
These five tattva-s plus are six tattva-s which are known as
Ka cuka-s (the six fold coverings). These six coverings bind and entangle and
thus limit Puru a. These coverings must be removed, uncovered and this is
done automatically by the grace of the Guru. Through his grace, at the time of
real knowledge, is transformed into His akti, His great energy. In His
glory becomes the glory of Parama iva. When Puru a realizes the
reality of his nature, becomes glory for him.
Subsequent two tattva-s, vara tattva and Sada iva tattva lead to purer
subjectivity levels. Realization at the level of vara tattva is “This universe is
my own expansion. This universe is not an illusion, it is my own expansion.”23
In Sada iva tattva the same realization with more refinement occurs thus “I am
this whole universe.” In the first it is an impression whereas in the next it is
refinement of the same.
Cidgagana-Candrik – A Study 205
Final two tattva-s to purest form of subjectivity are akti tattva and iva
tattva, the interdependent tattva-s. The impression which comes in these two
tattva-s is only I, the pure I, the universal I. It is not the impression ‘this
universe is my own expansion’ or ‘I am this whole universe,’ no, it is just I,
pure I, universal I.
Last is Absolute which does not come in the cycle of tattva-s, is called
Parama iva. Parama iva is not only found in iva tattva or in akti tattva. It
is not only here, It is not only there, everywhere It is present -from the lowest
tattva to the highest tattva. It is in and through all levels and is everywhere24.
Just like the travel of the universal subjective body in the thirty six
elements, the individual subjective body travels in five states.
When it travels in the cognitive world and becomes one with it and loses
consciousness of its subjectivity, it is (Svapna), the second state, Dreaming.
The individual subjective body travels in the impressions (samsk ra-s) of the
objective world in Svapna, the dreaming state and becomes one with the world
of impressions, losing the awareness of its subjective consciousness.
The four states of the individual, J grat, Svapna, Su upti and Tur ya are
found inter se in these four states. Tur ta is absolute. In Tur ta there is
no contact of either objectivity or subjectivity. It is for this reason that only
four different states are to be found in each of the four states of the individual
subjective body.
grat Su upti, deep sleep in the state of wakefulness, the next state in
grat is, when in the state of wakefulness that individual subjective body loses
consciousness of the objective world and loses consciousness of the world of
impressions; when externally he is not experiencing the objective world and
internally he is not experiencing the objective world of impressions. In Saivism
Cidgagana-Candrik – A Study 208
grat Tur ya, the fourth state in the state of wakefulness is the highest
and most refined state in grat. In this state, the individual subjective body,
after losing consciousness of both external and internal objectivity, enters into
some consciousness of self, of Being. He is partly illuminated by that
awareness of self and he becomes quite aware internally of the consciousness
of self. He moves and travels in the objective world, and at the same time he
resides in self consciousness. He does not lose hold of his internal subjective
consciousness. Saivism calls grat Tur ya as Suprabuddha:, absolutely full of
awareness.
grat refers to that state wherein one is full of awareness from his own
point of view of individual consciousness, not from the point of view of
subjective consciousness. Worldly people call this state grat (waking) but
Yogi-s differently name this state as Pi astha: because it is really the state of
becoming one with objectivity. This state,th erefore, is not actually the state of
waking ( grat). Enlightened souls ( ni-s) have another name
Sarvatobhadra (everywhere divine) for this state as they experience in this
state that the Being of iva has expanded His Body of Consciousness in names,
forms, space, and time and feel the consciousness of iva everywhere. For
these enlightened souls wherever they go they feel the divinity of iva
Consciousness. Whenever they travel in the objective world, whether in name,
form, space, time, whether walking or talking, whatever they may be doing,
they are traveling in Absolute Consciousness.
Svapna J grat is the first state in svapna, I.e., wakefulness in the state
of dreaming. When the subjective body travels in impressions and is given to
those impressions in the field of objectivity and at the same time loses
consciousness of those impressions, this is the state of individuality in the
waves of impressions and sometimes travels in the waves of objectivity.
Everything in this state, whether normal or abnormal, seems normal and
ordinary to him. It is objective because one travels in objectivity and is lost in
the object. Saivism calls this as Gat gatam, which means ‘you go and you
come’- some times it is a pen and sometimes it is different object.
Svapna Su upti, deep sleep in the state of dreaming is the third state
found in svapna. Sometimes in the dreaming state this subjective body, while
traveling in the world of impressions and thoughts, also develops some
awareness of subjectivity. Realization that you are not awake, that you must be
dreaming exists. One is traveling in subjectivity; however, that subjectivity
does not remain. As this state is Su upti in the state of dreaming one’s
subjective consciousness comes and goes. Questions and arguements arise and
then they are forgetten. There exists the loss of this consciousness and again the
travel in impressions. This state of individuality is called Samgatam, which
means ‘touched’. Experience of the occasional touch of consciousness is the
significance of this state.
Cidgagana-Candrik – A Study 210
Svapna Tur ya, the fourth state in the state of dreaming is the next and
highest state in Svapna. When one is in the dreaming state and observes some
particular object, he perceives this particular object in the world of impressions.
At that very moment, while in the dreaming state, he becomes aware and
becomes conscious that he is not awake, that he is in the dreaming state and, by
the grace of his Guru, he castes away the objective world of impressions and
enters into sam dhi, this is the state of Svapna Tur ya. This state, however, is
not permanent. Again he falls into the dreaming state full of impressions and
begins to dream. Realizing that he is again dreaming he enters again into
sam dhi and then again another dream comes and takes him away. He moves
from the dreaming state to sam dhi and then back to the dreaming state and
again to sam dhi and so forth. He is incapable of maintaining that state of
sam dhi. Saivism terms this state as Susam hitam, which means ‘absolutely
aware, full of awareness.’
The first state of these four states in Su upti, deep sleep is Su upti
grat, wakefulness in the state of deep sleep. In this state of deep sleep, there
is loss of all impressions and thoughts and dwelling in absolute void ( nya).
While remaining in this state one is not aware and does not taste its joy. In this
state of dreamless sound sleep, one neither travels in objectivity nor in
impressions, and on coming out from the dreamless state, there is this
experience “I was peacefully sleeping,” does not occur in Su upti J grat. In
Su upti J grat you remember afterwards that you were experiencing nothing.
Saivism calls this as Uditam, full of rising because one throws away the world
of impressions and enters into the negation of impressions. There is a rise out
of the world of impressions towards iva.
Su upti svapna, dreaming in the state of deep sleep is the next state in
deep sleep, where in deep sleep one travels in the world of unconscious
subjectivity. It is the world of subjectivity where subjectivity is absent from
consciousness. In deep sleep there is no consciousness, nor awareness of that
subjectivity. One remains in that subjectivity without knowledge that he is in
subjectivity. In this state however, one has some impression of being in
subjectivity, there is some congnition of remaining in that subjectivity. In this
state one is slightly conscious of his traveling in subjectivity. Saivism calls this
state as Vipulam, which means ‘gets nourished.’ This means that the
impression and awareness that one is traveling in the world of subjective
consciousness gradually becomes stronger and stronger, it slowly increases.
Su upti Su upti, deep sleep in the state of deep sleep is the third state of
deep sleep. In this state, while one is traveling in the world of subjective
consciousness, the impression, the faint idea that this is the world of subjective
consciousness remains in the background through out, without interruption as
against the interrupted perception in the state of Su upti svapna. However in
both Su upti svapna and Su upti Su upti, where the impression, the faint idea
Cidgagana-Candrik – A Study 212
Su upti Tur ya, the fourth state in the state of deep sleep is the fourth
state of deep sleep. In this state one travels in the world of subjective
consciousness. He is aware in the background of that subjective consciousness
in continuation and at the same time experiences the bliss of this state. In the
state Su upti Su upti experience is not of the real bliss of this subjective state,
but only the experience of peace. In Su upti Tur ya, however, there is
experience of the positive bliss of this state. This state leads one enter into
sam dhi while consciousness still remains in the background. Saivism terms
this state Suprasannam because this is that state which affords absolutely full
bliss even though one is not fully aware of that bliss.
Worldly people call the state of deep sleep Su upti (asleep) because
knowledge of objectivity is absent in this state. In this state there is neither
objectivity nor impressions. This state for worldly people is full of
unconsiciousness. This state is an appeased state, mbh va, which
means‘absolute silence’. They feel that after leaving this state they are more
peaceful and find this state to be nourishing. Yogi-s, however,feel that in this
state of sound sleep they become attached to their own nature. For them it is
full of consiciousness. Yogi-s call this state ‘R pastha, which means
‘established in one’s own Self’, because here they are established in their own
Consciousness. ni-s call this state Mah vy pti (the great pervasion) because
here they find that there is absolutely no limitation of objectivity or
impressions.
Cidgagana-Candrik – A Study 213
The state of Tur ya is above the state of Pram . It is called the state of
Pramiti where subjective consciousness prevails without the agitation of
objectivity. Where the agitation of objectivity is also found in subjective
consciousness then it is the state of Pram . The state of Pramiti is without
any object at all. In other words, when he is residing in his own Nature, that
subjective consciousness is called the state of Pramiti.
The states of Tur ya J grat, Tur ya svapna, and Tur ya Su upti only are
possible in Tur ya. As Tur ya cannot be divided Tur ya Tur ya is not possible.
The preceding states of individual subjective consciousness, grat, Svapna,
and Su upti, each have four aspects, the state of Tur ya has only three.
There are only two names actually attributed to this state of Tur ta,
one given by worldly people and one by ni-s. Worldly people, because they
know nothing about this state, call it Tur ta, which means ‘that state which
is beyond the fourth.’ ni-s, on the other hand, have named this state as
Mah pracaya which means ‘the unlimited and unexplainable supreme
totality.’ Yogi-s have no knowledge of this state. It is completely outside of
their experience. Yogi-s have however, by the use of their imagination and
through guesswork, imagined one name which might be appropriate for this
state. They say that it is Satatoditam which means ‘that state which has no
pause, no break.’ It is a breakless and unitary state. It is there in sam dhi;
When sam dhi is absent; In the worldly state; In the dreaming state; And in the
state of deep sleep. In each and every state of the individual subjective body it
is there. These are the five states of individual subjectivity in the Trika system.
Sakala Pram
The first state for the Sakala Pram (perceiver) is the state of
Prameya, the state of the object of perception. The perception takes place in the
objective world and not in the subjective world. This state is realized by its
Sakala Pram ,where the observer dwells in the field of objectivity and its
world. All the three mala-s, ava, M ya, and K rma a mala, are active in
him.
Cidgagana-Candrik – A Study 216
Second state, Pralay kala is the state of negation, where the whole
world is negated. Pralay kala Pram of this state who resides in this world of
negation has no experience of the state of this voidness because this state is
actually the state of unawareness. rccha, Coma etc., represent this state
which is like unnatural and heavy sleep, like deep sleep which is void of
dreams. Pralay kala Pram , resides in that void unawareness. Only two
mala-s ava mala and M ya mala remain, in this state which are concerned
with thought rather than action as against rma a mala that is concerned with
action.
The twin states mentioned above are states of worldly people not
spiritualists as they function in the state of individuality not in the state of one’s
real nature.
Vij nakala Pram , the third state is attained by one pursuing on the
path of yoga. At times awareness is experienced by the yogi but the same is not
active. At other times his awareness is active but he is not aware of that active
awareness. “ ava mala is two fold. It is the cause of ignorance of free will
and it is also the cause of the loss of free will.Thus it carries one away from
their own Real Self.” Sometimes it is full of action (Sv tantrya- full of absolute
independence) without awareness and sometimes it is full of awareness without
actions. Being full of awareness is nap a, full of knowledge29.Only
ava mala, remains while the other two mala-s are removed.
Mantra Pram
is the real state of iva. The mantra for this state is “aham aham, idam idam”.
The meaning of the first section of this mantra, “aham, aham”, is that in this
state he experiences that he is the reality, the Real nature of Self, the Truth of
this whole universe. On the other hand the meaning of the second section of
this mantra, “idam, idam”, tells us that he also experiences that this universe is
false, unreal. He feels that the universe is false, that he is the truth of this
reality. Due to instablity of this state, the yogi does not always remain in this
state. The experience of this state comes and goes. Sometimes he experiences
this state and sometimes he does not experience this state. Sometimes he
experiences only “aham aham”. Sometimes, when his consciousness is a little
damaged, he experienced only “idam idam”. Therefore, his reality of Self
remains unstable and uncertain.
vara Pram is the fifth state and the observer is Mantre vara which
means the one who has sovereignity on mantra (aham - I). Just like the state of
Mantra Pram this state is full of consciousness, full of bliss, full of will, full
of knowledge, and full of action but this state is a more stable. The mantra for
this state is “idam aham”, meaning that the aspirant in this state of mantresvara
feels that this whole universe is not false, on the contrary, he feels that this
whole universe is the expansion of his own nature. He unites the state of the
universe with the state of his own consciousness. This is actually the
unification of va, the individual, with iva, the universal. In this state of
mantre vara he finds the universe in his Self.
Sada iva is the sixth state, the observer of which is Mantra mahe vara
who finds himself to be absolutely one with the Universal Transcendental
Being. He experiences this state to be more valid, more solid, and deserving of
confidence. Entry into this state ensures no falling from it at all. This is the
established state of his Self, his own Real nature. The mantra of this state is
Cidgagana-Candrik – A Study 218
“aham idam”. The meaning of this mantra is, I am this universe. Here, he
realizes his Self in the universe. In the former state he realized the universe in
his Self.
iva Pram
iva is the seventh30 and last state where iva himself is the observer. In
this final state, the state is iva and the observer is also iva. There is nothing
outside iva. The mantra in this state is , universal I. This state is
In the former six states, the state is one thing and the observer is
something else. However in the final seventh state Thisness is gone, melted in
His Iness.
In these seven states of seven Pram -s there are seven Pram akti-
s. They are the energies of the seven Pram -s.
Sakala Pram akti the first energy makes one capable of residing in
all the three mala-s and thereby remaining in the state of Sakala.
Vij nakala Pram akti, the third energy enables one to be seated in
the state of vij nakala, where only ava mala is active. Mantra Pram
akti, the fourth energy enables one to reside in the state of “aham aham, idam
idam” in the state of Mantra Pram , which is the state of uddhavidy . All
three mala-s have vanished completely31.
Mantre vara Pram akti, the fifth energy is that energy which carries
one in the state of mantre vara and is found in the state of vara as perception
“idam aham”32.
Cidgagana-Candrik – A Study 219
Mantra mahe vara akti the sixth energy guides the yogi to the state of
Sad iva, the state of mantra mahe vara and it carries the aspirant in the
perception of “aham idam” where he finds his I-ness in the universe33.
P cada avidhi:
The state of iva36 is actually that state where iva can rise and descend,
and after descending He can again rise. On the other hand the state of
individuality is that state where iva descends from the state of iva to the state
of individuality and then having descended cannot rise again. This is the
difference between the reality of iva and the reality of individual.
Cidgagana-Candrik – A Study 220
-
Cgc -Vim-I Ver-1.
7.
Cgc -Vim-I Ver-3.
8.
Cgc -Vim-II Ver-26.
9.
Cgc -Vim-IV Ver-180.
10.
Cgc -Vim-I Ver-6.
11.
Cgc -Vim-IV Ver-182.
12.
Cgc -Vim-IV Ver-181.
13.
Cgc -Vim-II Ver-35.
14.
Cidgagana-Candrik – A Study 221
31.
Cgc-Vim-II-Ver- 59
32.
Cgc-Vim-II-Ver- 58
33.
Cgc-Vim-II-Ver- 57
34.
Cgc-Vim-I-Ver- 5
35.
Cgc-Vim-II-Ver- 23
36.
Cgc-Vim-II-Ver- 56.
Cidgagana-Candrik – A Study 223
CHAPTER VII
Cgc and the Concepts of Krama system
and Trika school
Krama system
1) ntric system,
Krama system deals with a synthesis of the aiva philosophy, the kta
esotericism and ntric concepts of life. It is a fine philosophical system
dealing with epistemic and ontological matters and also deals with the esoteric
discipline of Spirituality contained in the ntric culture.
The Monistic stream got split into two paths. First is Tantra Prakriy
advocated by Traiyambaka, and the second is Kula Prakriy associated with
Ardhatriambaka. Kula is identified as Ardhatriambaka line of thought. Other
monistic systems viz., Trika, Krama and Pratyabhijñ are grouped in the
Tantra- Prakriya or Triambaka school. Monistic aiva thought of Kashmir
generally called ardha-Krama-vijñ na comes under the Triambaka school.
Thus Trika and Krama though having different secular history seem to be one
in their origin.
There is, generally, a close affinity between Krama and Trika. The idea
that Krama culminates in the Kula system is more due to the final spiritual
possibilities of the Krama than to their apparent structure. The identity between
Krama and Trika systems ensues from their present character. AG learnt
Krama from the very lineage of Guru-s, led by Som nanda, who taught him
Trika and Pratyabhijñ . For Kula he had an entirely different lineage of Guru-s
culminating in ambhun tha, the author of Kramasrsti.
Krama is akti-oriented
Unity in Duality
Centering can be practiced in ktop ya, in between any and all actions
and thoughts. In centering, the yogi must develop great velocity of awareness.
Great velocity means firmness of awareness. Awareness must not become
loose. If the yogi’s awareness becomes loose he will be forced out of ktop ya
into the lowest up ya, avop ya. He will loose the right to tread on the path
Cidgagana-Candrik – A Study 226
of ktop ya. His practice must be continuous in the cycle of his awareness.
Only by maintaining an unbroken chain of awareness will he be able to find out
the reality between any two thoughts or actions. The practice of centering is
meant to be functioned between any two actions or any two thoughts. He can
center between any two thoughts or any two movements, between one thought
and another thought, between waking and dreaming, between one step and the
next step, between one breath and the next breath. All actions and all thoughts
are the proper framework for the practice of ktop ya. The ktop ya yogi
must simply insert breakless awareness in the center of any two actions or
thoughts. If his awareness is faulty and is not breakless then he falls and enters
into the lowest up ya, avop ya. The concept of spiritual progression is the
very essence of Krama system.
Functions of Absolute
Slight modification of the five functions of the Absolute viz Srsti, Sthiti,
Samh ra, Tirodh na and Anugraha as extolled by ntric gama-s and other
schools of Kashmir aivism are made in Krama by terming the last two
functions as An khya and Bh sa.
4. Bhoga and Mok a are synthesized into one and thus an object of
enjoyment itself is an expression of liberation8.
5. Three of the Pañca Mak ra-s, Madhu, M msa and Mithuna which
are condemned in vedic practices are most significant in the rituals
and offer the toughest test of one’s spiritual progress.
tha with nine Kal -s is also identified with Pañcav ha, the basic
pentad .
Pañcakritya-s of
Absolute - i, Sthiti, Pralaya, An khya and Bh sa20.
21
Pañca akti - Cit, nanda, Icch , Jñ na and Kriy .
Quartic Tendency
Basic concepts of Krama are also classified in groups of four. The fifth
function (Anugraha/Bh sa) is included in the fourth viz., Tirodh na or
An khya. Ultimate reality here is not Bh sa but An khya. The fifth power, Cit
of the Absolute is subsumed under nanda. Division of twelve li-s of Samvit
cakra are formed by the four functions in relation to each of the Subject
(Pram tr), object (Prameya) and means of knowledge (Pram a). c under
this does not reckon the S ma introduced to the popular Four-fold speech25.
Where male aspect iva is the Ultimate reality, li/ akti is treated as
His Manifestation and hence relegated to a subsidiary level. Then Bh sa and
An khya functions become the domain of Prak a. Vyome vari of Pañcav ha
emerges from him. The exponents of the Male Absolute subscibe to the Twelve
li (Dv da aK li)27 aspect theory under Samvit cakra and sixty-four aspects
under Vr dacakra excepting Pañcav ha.
Absolute and hence the five function theory of the Absolute commands
supremacy. The other believers in the absoluteness fo iva follow the Four fold
functions of the Absolute. Both tendencies, Quartic and Pentad are the logical
outcome of conscious and sub-conscious analysis by the Krama thinker of
philosophic and esoteric bearings of the theory of Absolute functionalism.
Trika Philosophy
iva concepts are triads such as Pati, a and Pa u; iva, akti and
u; iva, akti and Nara etc., Trinity principle in Kashmir aivism is known
as Trika stra/Trika s sana comprising of principles and practice. As the
whole thing is transmitted through Guru- ya lineage it is called Rahasya
sampradh ya.
She is the one who can help u recover his memory that he is one with iva.
She being the completely free will of iva, Sv tantrya akti makes this
possible.
akti trinity
When Pram tr, Pram a and Prameya32 become one, the true nature of
the world is discovered. This monistic state is the experience by iva and
perfect yogi-s of the world.
Cidgagana-Candrik – A Study 232
Svapna - Dreaming
ktop ya-Path of the Divine Energy, the path of akti, the intermediary
path;Yogi must be able to perfectly control his emotions and thoughts in this
up ya and merge his consciousness with one or more Divine Energies, akti-s
Three impurities
Philosophical aspects
classified under the Anuttar mnaya. The practitioner who realizes Anuttara38
through any means, whether by her own efforts or by direct transmission by the
Grace of iva/ akti, is liberated and perceives absolutely no difference between
herself and the body of the universe. Being and beings become one and the
same whereby subject perceives object and in that act of perception is filled
with non-dual being/ consciousness/bliss. Anuttara is different from the notion
Cidgagana-Candrik – A Study 236
of transcendence in that, even though it is above all, it does not imply a state of
separation from the Universe.
interior space39 of iva, support for the entire manifestation, supreme mantra
identical to akti.
The concept of free will viz., Sv tantrya is the cause of the creation of
the universe - a primordial force40 that stirs up the absolute and manifests the
world inside the supreme consciousness of iva. It plays a pivotal role in
Kashmir aivism.
Spanda
Levels of intensity
vra-t vra- aktip ta- the so-called "Super Supreme Grace" - produces
immediate identity with iva and liberation; due to the extreme intensity of this
grace the physical body dies; such a being goes on to become a Siddha master
and bestows grace from his abode (Siddhaloka), directly into the heart of
deserving aspirants
Manda- "Inferior Grace" - for those who receive this level of grace, the
aspiration to be united with iva is present only in times of distress and
suffering; the grace of iva needs to work in them for many lifetimes before
spiritual liberation occurs.
Chapter VII: CGC and the Concepts of Krama system and Trika school
Notes
1.
-
Cgc-Vim-I-Ver- 1
2.
Cgc-Vim-I-Ver- 2
3.
Cgc-Vim-I-Ver-7
4.
Cgc-Vim-I-Ver-8
5.
Cgc-Vim-I-Ver-9
6.
Cgc-Vim-II-Ver-23
7.
Cgc-Vim-II-Ver-28
8.
Cgc-Vim-II-Ver-62
9.
Cgc-Vim-III-Ver-118
10.
Cgc-Vim-II-Ver-73
11.
Cgc-Vim-I-Ver-21
12.
Cgc-Vim-II-Ver-43
Cidgagana-Candrik – A Study 241
13.
Cgc-Vim-II-Ver-44
14.
Cgc-Vim-II-Ver-45
15.
Cgc-Vim-II-Ver-49-55
16.
Cgc-Vim-III-Ver-110
17.
Cgc-Vim-III-Ver-112
18.
Cgc-Vim-III-Ver-124
Cgc-Vim-III-Ver-147
19.
Cgc-Vim-II-Ver-34
20.
Cgc-Vim-III-Ver-109
21.
Cidgagana-Candrik – A Study 242
Cgc-Vim-III-Ver-149
22.
Cgc-Vim-II-Ver-37
23.
Cgc-Vim-III-Ver-79
Cgc-Vim-III-Ver-144
24.
Cgc-Vim-III-Ver-121
25.
Cgc-Vim-II-Ver-74
26. Note 3 Cgc-Vim-I-Ver-7
27.
Cgc-Vim-II-Ver-36
28.
Cgc-Vim-IV-Ver-185
29. Note 2 Cgc-Vim-I-Ver-2
30.
Cgc-Vim-I-Ver-2
31.
Cgc-Vim-II-Ver-43
32.
Cgc-Vim-II-Ver-37
33.
Cgc-Vim-IV-Ver-253
Cgc-Vim-IV-Ver-254
34.
Cgc-Vim-IV-Ver-297
35. Note 1 & 2 Cgc-Vim-I-Ver- 1&2
Cidgagana-Candrik – A Study 243
Cgc-Vim-I-Ver-3
36.
Cgc-Vim-IV-Ver-193
37.
Cgc-Vim-IV-Ver-252
38.
Cgc-Vim-III-Ver-171
39.
Cgc-Vim-I-Ver-5
40.
Cgc-Vim-II-Ver-61
41. Note 1 Cgc-Vim-I-Ver-1
Cidgagana-Candrik – A Study 244
CONCLUSION
The knowledge of the Mantra-s are the basis for rituals. Knowledge of
Sabda is essential to understand the meaning of the mantra-s. Securing the
knowledge of the secrets and techniques of the particular school of tantra from
one who has obtained this knowledge in an unbroken line of discipleship is a
must to catch the secret principles of Up sana.
Parama- iva, the Absolute, is all complete in Himself and holds the
universe as Par da in his womb. He remains as such the substratum of all
that is subsequently expressed as manifestation in categorical terms of
expansive thought and speech. He transcends even this extremely ideal
universe ,i.e.,the universal experience. All complete in Himself, He is both the
transcending Reality, Bliss and Conciousness as well as the One All-pervading
Supreme Experience. There is neither the need of a universal manifestation nor
is there any feeling of want. He however exerts His akti for the existence of
the universe which manifests itself.
Thus in the experience of the iva-Tattva there is only the pure “I-sense”
in its sublimest aspect without even the conception of “I-am” lest it speaks of
an identity, however, subdued or indistinct, indicating ‘I am this” viz., the mind
and the body.
Cidgagana-Candrik – A Study 246
As they enter into the process of the universal manifestation, the iva
and akti Tattva-s are happily united to each other, the former as the sacred
light(Prak a) of the Cognizing Principle, as Cit realizing Itself as the pure ‘I’,
devoid even of the experience of an “am”; and the latter, as the realization of
the feeling of only the profoundest Bliss and Peace beyond all understanding as
that nanda which lies at the root of all things to come (Vimar a).
akti-Tattva is the life and soul of the principle of Restraint and so its
main task consists in controlling and regulating that movement of Life.
The Krama system suffers from continuity of its lineage due to the latter
developements and admixture of Kula concepts. Krama is basically a
philosophical system with least weight towards the external techniques of
worship. Complete internalisation is advocated in this system by enfolding the
various levels of objective manifestations into their next level subjective
awareness.
Many more aspects of the Krama system need a deeper study. The text
is stated to be an ocean which submerges the less intelligent ones and the same
provides the knowledge for attaining the extreme bliss only if a dhaka
follows the philosophy propounded in it.
An advanced study may yield fruit as there is still lot of scope for a
deeper probe.
Cidgagana-Candrik – A Study 248
What is the
What one
When is the defining
needs in order
Type of spiritual grace moment of quality
to attain
liberation? of the
liberation?
recipient?
The great Sanskrit grammarian Panini also explains the alphabet as done in Saivism.
1 2 3 4 5 6
7 8 9 10 11
12 13 14
The place where the following letters are produced is the throat.
, , , , , , , & :
The place where the following letters are produced is the palate.
, , , , , , , &
The place where the following letters are produced is the head.
, , , , , , , &
The place where the following letters are produced is the teeth.
, , , , , , , &
The place where the following letters are produced is the lips.
, , , , , , &
upadhmaniya is used in the recitation of mantras in the Vedas.
The place where the following letters are produced is the nose.
, , , ,
The place where the following letters are produced by the throat and palate.
The place where the following letters are produced by the throat and lips.
,
The place where the following letters are produced by the teeth and lips.
Sivananda
Hrasvanatha
Cakrabanu
Soma
Somapurtra
Author of Cgc.
(Srivatsa)
Mahesvarananda
1173 – 1225 AP
BIBLIOGRAPHY
Selected Bibliography
Garland of Letters by Sir John Woodroffe, published by Ganesh & co., Madras,
printed by J.C.Ghosh., Cotton press, Calcutta. 1922.
(Utpaladeva), shvarapratyabhijn rik , Torella Raffaele, ed. and trans. With the
Author's Vritti. Corrected Edition. Delhi: Motilal Banarsidass, 2002.
Pancadasi, Sri Jnanananda Bharati Svaminah, pub. Sri Jnanananda Grantha Prakasana
Samiti, Ptd Sri Vani Vilas Press, Srirangam, 1970.
Pratyabhijn hridayam: The Secret of Self-Recognition, Jaideva Singh, ed. and trans.
Delhi: Motilal Banarsidass, 1980.
Sri Lalitarcana candrika by Sri Nilakanth Mahadev Joshi, II edition 1980, published
by Acharya Nilakanth mahadev Joshi, Aravainda Nilayam, Rameswaram.,
prtd by Keshav s. Chaudhari, Antar Bharati Mudranalaya, Bombay 400 031.
Sri Maha Tripurasundari Pooja Kalpa by K. Ramachandra aiyar, Tanjore, rev. Edition
1937., printed at Vavilla press, Chennai.
Sri Vidya Gita., with Tatpatya Dipika by N. Subramaniya Iyer., Guhananda Mandali.,
Printed Sri Balamanorama Press., Mylapore, 1949.(Tamil)
The Shiva-Sutra Vimarsini of Kshemaraja, P.T. Srinivasa Iyengar, Sri Garib Das
Oriental series no 174, Sri Satguru Publications, Delhi, ed Allhabad, 1912,
reprint 2007.
The Stanzas of Vibration: The Spandak rik with Four Commentaries. Dyczkowski,
M.S.G, trans. Albany: State University of New York Press,1992.
Vac- The Concept of the Word by Andre Padoux published by Sri Satguru
Publications, Delhi printed at D.K.Fine Art Press, Delhi.1992.
A
A : Symbol of iva, short form of anuttara (the Supreme)
the one letter pervading all the other letters of the
alphabet.
Akrama : Successionless manifestation of the essential nature.
Anugraha : Grace.
Apavarga : Liberation.
Abh va : Void
Abhinna : Non-different, identical
Tantra words-Glossary iii
Avikalpa (Nirvikalpa)
Avikalpa (Nirvikalpa)
Avyakta : Non-manifest.
Avasth : State.
Asat : Non-being.
uddha vidy : Knowledge of a few particulars, empirical knowledge.
Ahant : I-consciouness
Ardhacandra : A sound-level above the jñ cakra. In the gradual
elimination of differentiation experienced by the
dhaka, on the sonic level upward from jñ cakra,
Ardhacandra resonance is symbolized by half moon.
A-U-M : The three sounds which compose the root mantra, Om
Upasana : Worship.
Upeksa : Mental balance, equanimity.
Ekagrata : One-pointed.
Ka
Kañcuka : The coverings of M , throwing a veil over pure
consciousness and coverting iva into jiva. They are:
(1) Kal (2) (a uddha) Vidy (3) ga (4) Niyati and
(5) la.
Kanda : An egg-shaped electromagnetic sphere surrounding the
Kundalini, located in the area of the perineum.
rana : Cause.
rya : Effect; objectivity.
Ku
Kundal or Kundalin : The creative power of iva; a distinct akti that lies
folded up in three and a half folds in dh ra. akti
energy coiled like a serpent sleeping near the base of the
spine, behind the genitals. When aroused, it ascends the
central channel of the spine or su umna.
Kai
Kaivalya : Realization of one’s self as being identical with Reality.
Ko
Kau
Kha
Ga
Guru : Teacher.
Ghora akti-s : Deities that draw the jiva-s towards worldly pleasures.
Ghoratari akti-s : Deities that push the jiva-s towards a downward path
in samsara.
Granthi-s : Psychic knots. Three cakra-s, Muladhara, Anahata, and
Ajna are associated with Brahma,Vi nu, and Rudra
knots respectively and with psychic blockages called
linga-s-the Bana, Svayambhu and Itara linga-s-which
are to be surmounted in the passage of the rising
Kundalini.
Ca
Cha
Ja
Jagat : The world process.
Da
Ta
Tanmatras : That only; the primary elements of perception; the
general elements of the particulars of sense perception:-
Sabda,Sparsa, Rupa, Rasa, Gandha; Infra-atomic energy
potentials.
Tantra : One of a series of scriptures that emphasize practical
ways of self- enlightenment, especially relating to the
power of akti.
Tattva-traya : The three tattvas, viz; Nara, akti and iva or Atma,
Vidya, and iva .
Da
Dik : Space
Dikcari : Sub-species of Vamesvari, connected with bahiskaranas
or outer senses.
Desa : Space.
Dha
Dharana : (1) Meditation, (2) The letters, ya, ra, la, va ( ).
Pa
Panca akti : The five fundamental aktis of iva, viz., Cit, Ananda,
Iccha, Jnana, and Kriya.
Pancatattva : Lit., the five tattvas. This applies to the material of the
earth used as sacrifice in Tantric rituals. Also called
pancamakaras.
Para : The Highest, the Absolute. The last stage of
consciousness.
Parinama : Transformation.
Pasu : The empirical individual bound by avidya or spiritual
nescience.
sa : Bondage.
Pratyavamarsa : Self-recognition.
Pralayakala/
(2) Vowel
(3) The mystical letter forming the essential part of
the mantra of a deity.
Bha
Bhakti (apara) : Devotion; intense feeling and will for being united
with iva.
Bhakti (para) : The constant feeling of being united with iva and the
supreme bliss of that consciousness.
Bhumika : Role.
Bhavana : Meditation.
Ma
Manthana Bhairava : Bhairava that churns i.e. dissolves all objects into Self-
consciousness; Svacchanda Bhairava.
Marici : akti.
Mahamaya (apara) : The state below suddha vidya and above Maya in which
resides the vijnanakala.
Mahamaya (para) : The lower stratum of suddha vidya in which reside the
vidyesvaras who, though considering themselves as of
the nature of pure consciousness, take the world to be
different from the Self.
Maya tattva : The principle that throws a veil over pure consciousness
and is the material cause of physical manifestation, the
source of five kancukas.
Maya akti : The akti of iva that displays difference in identity and
gives rise to maya tattva; the finitising power of the
Infinite.
Maya-pramata : The empirical self, governed by Maya.
Mayiya mala : The limitation due to Maya which gives to the soul its
gross and subtle body, and brings about a sense of
difference.
Malini : akti of letters which holds the entire universe within
itself and in which the letters are arranged in an
irregular way from ‘na’ to ‘pha’.
Manipura : The cakra located in the area of the solar plexus. It has
ten “petals.”
Marga : Path.
Tantra words-Glossary xxx
Ya
Ra
Rajas : Principle of motion, activity and disharmony-a
constituent of Prakrti.
La
Va
Visvamaya,Visvatmaka: Immanent.
Vedaka : Experient.
Vedya : Object.
Vyapakatva : All-pervasiveness.
Vyamohitata : Delusion.
Sishya : Disciple
Suddha Vidya : The fifth tattva, counting from iva. In this tattva the
consciousness of both ‘I’ and ‘This’ is equally
prominent.
Sunya (Bauddha) : A state in which there is no distinct consciousness of
knower, and known; an indefinable state of Reality.
Sa
Sada iva
(Sadakhya tattva) : The presiding deity of the Visuddha cakr and The third
tattva, counting from iva. At this stage, the ‘I-
experience’ is more prominent than ‘this’-experience.
Sabija samadhi : Concentration, meditation and samadhi are simply three
degrees of the same thing: samadhi-sabijasamadhi,
savikalpa samadhi, samprajnata samadhi.
Samana : When the Unmana akti begins to display herself in the
form of the universe beginning with Sunya and ending
with earth, then descending from the highest state of
Pramata (knowing Self), she is known as Samana in as
much as she has started the mentation of all phenomena
(asesamanana-matra-rupatvat samana). The vital vayu
that helps in the assimilation of food etc., and brings
about equilibrium between prana and apana.
Samarasa : One having the same feeling or consciousness.
Sarvakartrtva : Omnipotence.
Sarvajnatva : Omniscience.
Susupti (savedya) : Sound sleep in which there remains slight trace of the
sense of pleasure, lightness, etc.
Samsara: Created forms: The world in which the law or reincarnation operates.
Samskara : An imprinted impression or fruit of karmic action.
Sthula : Gross
Sudha : Nectar
Suksma : Subtle
Svara sadhana : Practice of the yogi causes the breath to flow through
the left nostril from sunrise to sunset; and through the
right nostril from sunset to sunrise.
Ha
Hetumat : Effect.