Dear all, with the concept of Adya Ma being explained in brief, lets move ahead to the eligibility and base needed to reach a stage for invoking her. As I said every ritual is essentially used for creating and increasing the mantrika mandala. So this ritual (Tara Panchakshari) will make the anchorite to communicate with the deity as the first step.
Now after the successful completion of this pooja, the sadhak has to make the Tara Yantra and then start worshiping it. As I mentioned earlier, there are specific numbers of worship to attain the mantra siddhi.
This is applicable to the person who uses his body as the yantra or an external yantra. The body here is not used as the yantra because, the sadhak has to master various rituals and hence the single body will not be enough to be used as the yantra for various deities.
Now let’s move into the visualizations of Tara Ma and the variants of her mantras based on tantra.
The visualizations are done linking to the color of the ma’s skin. This is strictly tantric and not an Aghoric view. The visualizations are as follows:
For Vashya – Blood red colored For Stambhana – Golden colored For Marana – Black colored
For Uchadana – Smokey colored For Shanthi – White colored
This visualizations are based on the five types of mantra prayogas. For an aghori, he will invoke Ma in various color forms with the following sankalpas.
For Vashya – let the kundalini in me be under attraction and ascent to meet with lord shiva in crown chakra For Stambhana – let the thoughts in me; unstable be stopped or made still
For Marana – let the five senses in me be destroyed with in return provide me with subtle understanding.
For Uchadana – let the thoughts and sensations stilled which are not of any good for my sadhana be warded off from me.
For Shanti – let the ever pervading and benevolent Ma gives peace and prosperity to every being animate and inanimate around me.
Tara Ma Mantra Variants
Dear all, after the visualizations being discussed, lets move into the variants of the Tara Ma mantras. This includes two basic variants other than Panchakshari which have strict ritual differences. Those two are
Tara – Trijadatrakshari and
Tara – Saptakshari since the rituals are different for the two, I will outline them separately in detail after discussing the mantric variants in general.
The common mantric variants are as follows:
- Om trim hrim hum hrim hum phat (this is the Saptakshari mantra which Lord Brahma has used for the upasana of Tara Ma). The same mantra is used in the Saptakshari ritual mentioned above.
- Aim hrim srim klim sau: hum ugratare hum phat
- Om hum hrim klim sau: hum phat
(Both these mantra variants are used by lord Vishnu to do Upasana of Tara Ma)
4. Aim hrim srim klim h(stress)sau: hum ugratare hum phal
5. Om hum hrim klim hasau: hum phal (with a “hu”kara with the fifth beeja)
(Both these mantras are again used by lord Brahma for upasanas)
6. Om hrim hum phal
7. Trim hum hrim hum phal
8. Trim hum phal klim aim
(Among this the first two has been used by lord Brahma and the eighth one by lord Vishnu)
All the above 8 mantra variants are having shakhti rishi:, gayatri chanda, tara devata
“shwetambaram sharada chandrakandim saadbhushanaam chandrakalavadamsam kartrim kapaalanvithapaanipadmaam taaram trinethraam prabhajeyokhiladhaaidhaeeye”
With this dhaya shloka, with proper austeries, 4 lakh times japa, followed by homa of red lotus flowers dipped in mixture of milk and ghee for 40,000 times and do the sapakshari pooja (the one I mentioned earlier). He/she will get the mantra siddhi.
If the homa is done with payasa made of jaggery mixed with honey for 1008 times, he/she will be reaching number one positions in all vidyas.
Tara Trijada Ritual
Dear all lets move into the next ritual of Tara Ma and its details. This ritual is called
Tara Trijada (Chaturakshari mantra)
The details are as follows with some omissions
Astra mantra – vajrodake hum phal Moola mantra – hrim trim hum phat
- hram hridayaya namah
- hrim srirase swaha
- hrum shikaye vashal
- hraim kavachaye hum
- hraum netratrayaya vaushat
- hra: astraya phat
- chanda – akshobhya rishi, brahathi chanda, tara devata dhayana sloka – this is omitted
- Peeda shakthi – hrim namah ( similar to the previous pooja mentioned. that to be followed) Peeda samashti – hrim sahaum saraswathi yoga peedaya namah
- Peeda pooja mantras – ( as mentioned in the previous sadhana)
- Murthi kalpana – Om hrim namah hrim trim humphal namah trijadamurthaye namah
The upachara , avahana upto naivedya are similar to that of the previous sadhana I mentioned.
||Tara trijada pooja samaptam ||
Tara Ma and Vedas
Dear all, with the two major Tara sadhanas being explained let me try to detail on the connection of vedic systems and the tantric systems.
There are two ways in which we can connect the tantra to vedic systems:
- By the deity form
- By the metric form
Let me start with Tara Ma and the deity form.
Tara ma is also known as Neelasaraswathi, the bluish wrathful form of the vedic goddess Saraswathi. I will detail the Neelasaraswathi sadhana as the next ritual in explanation. In Rig veda, she is also known as “Pashyanthi Vak” in the dasha maha vidyas. The specific verse for this representation is the RV 1.164.41.
Before we move into the translations and the details, I would like to add the three forms of communication. They are vaikhari, pashyanthi and para (I am just treating madhyama or the nasalized speech as a form of vaikhari in refined form not as a separate category). In this, humans use the vaikhari form of communication.
The communication in which, words are made audible by friction and channeling of air. But para is the highest form of communication. Only enlightened souls, luminous ones and rishis usually use this mode of communication. The vedas are heard to the various rishi as para first. :). Here no words are communicated just the intention.
Goddess saraswathi, the goddess of vidya and language exists in all the three forms and is called Tara in the “pashyanthi vak”. Pashyanthi is the point where mind simply produce the syllable from no visual or frictional means. So Tara Ma is that form of Saraswathi in which all the syllables merge and dissolves and only the existence of all is on the subtle level. So she is where the word began and where the word ends, the cosmic source.
Now let’s move into the RV 1.164.41.
Gaurirmimaya salilani takshatyekapadi dwipadi sa chatushpadi
Ashtapadi navapadi babhuvushi sahasrakshara parame vyoman ||
(The shabda brahma which is in the form of vak rupa, at the divine sky as one, two, four eight and nine word forms in proper unison culminates into the thousand letters or words)
The interpretation is as follows:
(In the cosmic sky, the shabda brahma as audible form of word manifested. Now from the one form of ma, the Om – primordial sound and agna chakra beeja (Akasha tatwa) is manifested. The duality of sound synonym to male and female (the shabda and the bindu) is been formed, the four elemental seeds of 4 remaining elements are formed with the fifth one akasha( kula- Akula- Cakra) and the eight vargas and the nine cakras or the energy centers with the syllables attached to it (six commonly mentioned chakras + 3 secret chakras ( Golatha , Lalatha and Lalana (that can be only understood by raising the kundalini)) are manifested. The various combinations of these syllables form thousands and thousands of words in the physical world).
Dear all as I mentioned earlier, Tara ma is the beginning as the cosmic force, it is manifested form of word in the subtle level, the base for the vaikhari.. If we examine the various syllables in the above context we can find that all the sanskrit alphabets which forms the base for all the communication, both in vaikhari and on pashyanthi.
Dear all, thus the evolution of shakthi is well and completely explained in the Rig vedic hymn. The existence of unity, then the division at the cosmic space into two beejas of pursha and prakriti , then the remaining of pancha bhutas in the beeja form sustained in the cosmic sky.
This pancha bhutas then manifest, collectively with the eight vargas for the Tara Yantra in the cosmic space. The basic Tara Yantra is the pentagram itself with a bindu in the center. The upward triangle and the lower triangle symbolizing man and woman.
This yantra is elemental and it itself is the deity in the first form, a form of recognizable existence. This yantra is replicated in the human body in limited scope and expansiveness to various energy centers. Thus all these are pertaining to the creation of the cosmic sound and individual sounds based on the microcosm and macrocosm case.
Now how these syllables carry the power for such level of creation? This can be explained based on the Bijavriksha Nyaya. The entire tree is being conceptualized as a seed. But beeja in cosmic level are far more complex than our seed and tree analogy. It has the ability to combine and create newer levels of awareness and existence. Just like we make new words out of letters, the bijas can be mixed and pronounced in specific way to attain benefits.
Vedas address this use of cosmic beejas or collection of letters or words in suktas based on this logic. Every tantric or vedic chants have a rishi, a metre and a devata. Now the merger of tantra and vedas can be learned by understanding this connection.
Dear all, for understanding the relevance of meter is more important before further venturing into other complex aspects.
For understanding about this let me explain it on basis of the Aitareya and Kausitaki brahmanas of Rig Veda. Referring to the Adhayaya-1 on consecration sacrifice which is a sub section on Soma Sacrifice basics, the relevance of meters and the benefits are explained.
The verses in Gayatri meter was supposed to be used by those who desires brilliance and splendor, in Usnih by those who desires life, in Anustubh by those who desires heaven, of two Anushtubhs, 64 syllables who three world each 21 fold (not explaining details as this itself is a topic of lengthy discussions which come under design of suktas), Brhati verses for those who desire prosperity and glory, Pankti verses by those who desire for fivefold sacrifices(again large topic in itself, limiting explanation with apologies), Trishtubh verses for those who desire power, force and strength, Jagati verses those who desire cattles etc. I am just closing this list with this limited content as this in itself is a topic of broad scope.
Now the deities also have forms which have different effects. The agni suktas in gayatri and agni suktas in trishtubh has different effects. So this means, the nature of the same devata varies with intonations and syllables.
Tantric gods are non descriptive, so no hymns. They are codified as limited manifestations of vedic expansive forces which are descriptive and broad. Still their prayoga also has a rishi, a chandas and the devata. Also to note that the prayogas are less complicated compared to a soma yaga or ashwamedha due to this limited scope.
Take the example of Tara Panchakshari and Tara Trijada. Both are in Brhati metric system. Now please read the benefits I outlined also. This will be dealing with prosperity, gains, glory as benefits in most cases.
Nyasa in Vedas and Tantra
Dear all, with the discussion on the deity and the metric systems, I would like to outline on one more topic on commonality of Vedas and tantra; the Nyasa. Aghora exists in this togetherness.
Nyasa, the word means “to place”. The practitioners of tantra are well aware of the relevance of this term and application of it in the ritual. The Nyasa kramas of various types are the best kept secrets without which a ritual will not attain completion or the person is not bestowed with the siddhi.
But the scope of Nyasa based on the vedic rituals is limited in description. Both tantra and vedas accepts in unison that the external rituals are just a representation of the internal ritual. Vedic school categorizes this as antharyaga. Please refer to the first kanda of Krishna Yajur veda taittariya samhita for a sample antharyaga.
Tantra just focuses more on rituals with texts mentioning mostly on the competent one addressed as “Vira”. But in Aghora, the refined forms and the lower form to “Vira” exists.
Aghora addresses the class of higher order beings who are introverted and perform internal rituals as “Divya”. Rishi’s who should know both vedas and aghora to perfect a sukta are in this classification. For eg: an aghora sadhana done by Veda Vyasa was karnapichani sadhana to know more description of past event at ease.
The lower form to “Vira” is classified as Pashu, who are not refined, but will perform rituals more intense with focus on higher sensual pleasures.
Sometimes, the sukta in its lyrical content have explanations on the innate nature. But some times when we translate, you will find it more poetic than any inner meaning. But the rishi’s have done this with a purpose. As I have explained in the previous posts, every metric system has an innate power in delivering the various purusharthas. Now they have a way to recite externally and internally. Once you recite to countless times, it will start working on the inner world.
The vaikhari mode of reciting sukta will kindle the pashyanthi form in oneself. With this progress only one will get the reflection how the metric system can be perfected to a nyasa vidhi. This nyasa vidhi will be revealed only when the bhuta agni increases to that level within oneself. The prana will automatically adjust to the schema of this revelation.
With this understanding lets compare the stages of a tantric ritual and an antaryaga. I have outlined the tantric ritual for Tara Ma and its steps. Now let’s focus on the antaryaga from Krishna Yajur Veda Taiyttareya Samhita.
I would like to consider the smaller antaryaga ; Darshapurnamasau ( kanda1, prapathaka1).
This is an inner yagna or antharyaga which uses 177 yajus mantra , 47 Riks and 15 RV. The steps are as follows:
- Dhishana (channeling rays of knowledge) (4 yajus , 4 riks , chandas : Dvipada virat, Madhyejyothitristup , Ekapada Trishtup)
Trishtup is for channeling power and control and virat metric is associated with food or nourishing.
2. Seat made of mantra for gods (16 yajus, 3 riks, chandas: Tristup, Ekapada Tristup and Ekapada Gayatri)
Trishtup again facilitates power for the making of seat and Gayatri invokes the power
- Prayer to yagna for the manifestation of delight (9 yajus, 1 rik chandas: Gayatri)
The invoking of delight by gayatri which bestows brilliance
4. Agni , Soma and Gods of will and delight (19 yajus)
5. Purification of physical body (14 yajus, 3 riks chandas: Gayatri, Ekapada Gayatri)
The deity form, Savitr is requested for purification with the gayatri chandas
- Preparing the body for yagna (10 yajus, 1 rik chandas: trishtup)
The attainment of perfection can only be ensured by the active preparation of body. Trishtup will provide the underlying strength
- Firming and integrating the body (11 yajus, 1 Rik chandas: anustup)
Anustup integrate the body to level of heavenly divinity with its metric capacity
- Body as integrated offering ( 13 yajus , 4 riks chandas : Uparishadbrhati , Ekapada Gayatri)
Please remember that offering brings in prosperity with proper invocation to receive with gayathri
- The fire altar to support all ( 22 yajus , 3 riks chandas : Dvipada Gayatri , Ekapada trishtup , Tripada trishtup)
Here gayatri to create and variants of trishtup to support.
- Purification by agni ( 18 yajus, 5 riks chandas: Anushtup, Trishtup, Gayatri)
Purification with invoked agni at heavenly realms is accomplished by three metric systems
- Protective enclosure and seating of gods ( 18 yajus, 2 riks, 1 RV chandas: Gayatri and Ekapada tristup)
- World builders ( 7 yajus, 2 riks: Ekapada Gayatri, Dwipada Gayatri)
The meters of creation used in singular and dual aspects
13. Elevation of a rishi (16 yajus, 4 riks chandas: Anustup, Purastajyotistristup, Tristup )
Elevation is to heavens and support from the force. due metric systems mentioned
14. Rik mantras of gratitude (14 riks, all in RV, chandas: Tristup, Anustup, Gayatri)
Gratitude is just a culmination of all with the respective support and actions rendered by each devata that which is residing with the metric in various manifestations.
With this simple yagna layout in perspective, it needs no further explanations on the closeness in steps which tantric sadhana or an inner vedic ritual. Dear all, you can understand this by comparing with the previous external sadhana mentioned for Tara Ma.
As an aghori, it is immaterial for this whole antaryaga to be performed sitting on a corpse or a tantric sadhana in vedic altars. For an Aghori, the whole world is the place of worship and all systems are equally same and different.