"muKam bindum, kR^itwA"
- From :- krishnarao (lanka.krishnarao@...
Subject :- "muKam bundum kR^itwA .".
SrIguruh sarvakAraNaBhUtA Saktih |
SrI mahAgaNAdhipatayE namah ||
"muKam bundum kR^itwA .."
"muKam bindum kR^itwA kucayugam adhastasya tadadhO
harArtham dhyAyEd yO haramahiShi tE manmadhakalAm |
sa sadyah sankShObham nayati vanitA ityatilaGu
trilOkImapyASu Bhramayati ravIndu stanayugAm ||"
This is the 19th SlOka in the soundaryalahari of Srimad
BhagavatpAdA SrI Adi SankarAcArya, and its li literal
meaning runs as follows.
"hariNi ! He who meditates upon your face in the
bindu-sthAna and having the Sun and moon as the pair of breasts
beneath of it, and its underneath the cupid`s segment (the yOni),
instantaneously he is creating distress and delusion in the women of
the three worlds".
But in my opinion, the esoteric meaning of it is otherwise
different. I submit hereunder my view point, for the perusal of our
"nityA kUta trayam dEvi turIya swara SEKaram |
tat turIyam swarUpan ca bindutrayam udIritam ||
tadAtmakan ca dEvyAstE sAdhakasya ca yadBhavEt |
tad BhAvanAm SR^iNu prAj~nyE mahOdayakarIm SuBhAm ||
Urdhwa bindwAtmakam vaktram adhO bindu dwayAtmakam |
kuca dwayam tu tatChEShA gatimEtAm viBhAvayEt ||"
The kAditantra has described the `kAmakalA' as above.
At the end of the three `kUtAs'of any mantra, as heard in the ends of
nAda and nAdAnta, that "ImkAra nAdA' itself is the "turIya swarUpam"
(the fourth avastha).The `ImkAra" is meant for the "mahA mAya". That
is to say that it is the witnessing spirit for both the concepts of
existence and nonexistence. (BhAvABhAva sAkShi caitanyam).
"kUta trayE mahAdEvi kuNDalI tritayEpi ca |
cakrANAm pUrva pUrvEShAm nAdarUpENa yOjanam ||"
This is an instruction of guide lines for the three
types of "adhikAri BhEdAs" for doing japa and dhyAna of "kAma kaLA".
The first one for the beginners is, to conjoin the three kUtAs
of the mantra In the `kuNDalini", which is in three forms as gross,
subtle and `para' and doing japa associating the nada in each of the
The second one for the `madhyamAdhikAris' is, to meditate upon
the nine `nAda sthanAs' from the centre of the forehead up to the
brahmarandhra viz. `bindu', `arthacandra', `rOdhini', `nAda',
`nAdAnta', `Sakti', `vyApika', `samana' and `unmani' each at a
distance of one `anguLi' linking up with the `mantra akSharAs',
with a feeling of the nectarous flow showering in the `dwAdaSAnta'.
The third one for the `unnatAdhikArIs' (advanced devotees) is,
visualizing the face of fully ornamented divine mother in the
'bindu', (`nAdasthAna' in the centre of the forehead), brace of
breasts appearing as "visarga" in the "nAda, (nAda Sthana" in the
hairline); and the vagina in the `trikONa' of `brahmarandhra',
adopting the three kUtAs/KanDAs of the mantra with the feeling of
absorbing oneself in that `citkaLa', which is the real source of the
birth of us all. This kind of dhyAna is called as "kAmakaLA dhyanam".
Every alphabet of the mantra being merged into the preceding one and
forming into one single "EkAkShari mUrti swarUpam"
"dEvA dEvEShu Srayadhwam| prathamA dwitIyEShu
Srayadhwam| dwitIyAstR*itIyEShu Srayadhwam| tR^itIyAscatuturdhEShu
Srayadhwam| etc., etc.,| dEvA~~strIrEkAdaSA streestrayastigmSA| uttarE
Bhavata| uttara vartmAna uttara sattwAnah| yat kAma idam juhOmi| tanmE
samR^idhyatAm| vayagg syAma patayO rayINAm||"
Here "nAdarUpENa yOjanam" means, merging all the
bindurUpa alphabets in the ultimate nAda. Generally many of the
sAdhakAs recite the `mantrAkSharAs' and at conclusion, prolong it with
the nAda. It is just like proceeding yourself in fore-front and
asking the `kuNDalinI rUpa paradEvata' to follow you behind. The
above verse is asking us to keep behind of the `paradEvata' until her
destination to the `bindu'. Or, recite all the `mantrAkSharA's as
lightly as the uninterrupted nAdA only. .
"trikONE baindava sthAnE adhOvaktram vicintayEt |
bindorupariBhAgE tu vaktram paricintya sAdhakah ||
taduparyEva vakShOja dwitayam samsmarEd budhah |
taduparyEva yOnin ca kramaSO BhuvanESwarIm |
SrIvidyAm kAmarAjan ca vinyaSyASu vimOhayEt ||"
`SanatkumAra samhita' also describes the same in another
slightly changed method.
"bindutraya samAyOgAn mahAtripurasundarI
nAdarUpENa sA dEvI hakArArtha swarUpiNI ||"
`J~nAnArNava tantra' also is describing it as "nAda rUpa"
"Antaram nAdAnusandhAna lakShaNam japah" and also,
"nAsti nAdAt parO mantrO na dEvah swAtmanah parah"
That is why, by accomplishing the 'turIya swara japa' in the
form of `nAda', is achieving instantaneous "siddhi". This very
`turIya swaram' is also called as "gupta mahA sAraswata bIjam".
"avyakta nAmnI paramESa Saktih
anAdyavidyA triguNAtmikA parA |
kAryAnumEyA sudhiyaiva mAyA
yayA jagat sarvamidam prasUyatE ||"
AdiSankarAcArya has described this "mahAmAyA swarUpiNi" as
"sannAp yasannAp yuBhayAtmikAnO
Bhinnap yaBhinnap yuBhayAtmikAnO|
sAngAp yasAnga hyuBhayAtmikAnO
Which is neither the form of "SUnya" nor the form of "sat",
being and not being both the forms, is "mAya". The `rudrayAmalam'
says that the influence of this `mAya' is extent all over the three
"naBho mahA bindumuKI candra sUrya stanadwayA |
sumEru hAravalayA SOBhamAna mahIpadA ||
pAtALatala vinyAsA trilOkIyam tavAmbikE |
kAmarAja kalArUpA jAgarti sacarAcarA ||"
All the three worlds of BhU, Bhuvah and swah were stretched in
the three `avasthAs' of `jAgrat', `swapna' and `suShupti' just by this
`mAyA Sakti' only.
This `mAyA' is neither a male nor a female, nor it
belongs to both genders. The form of it is visualized as a fully
ornamented woman. Because this is the highest of all the dEvatAs, the
japa samarpaNam is intended in the name of masculine gender and the
dhyAna slOka is indefinitely saying,
"dhyAyEd BhAskara SItAmSu vahnInAm manDalOpari
sthitE vahnipurE nAgadaLa padma samASritam |
anguShTa mAtra mamalam viShgnu mOnkAra rUpiNam
sarva dEvamayam dEva manantam sarvatO muKam |
swamAyayA samAkrAntam sUkShma jyOti swrUpakam
sa brahma sa Sivah sa hari ssEndrah sO~kSharah parama
Here ' viShnum' indicates the extensiveness and `sUkShma jyOti
swarUpakam' indicates the last visible state of an object. "swarAT"
indicates the sovereignty.
As many of us think, there are no three bindus, nor
there any `trikONa' at all. There is only one `bindu' in which all
these are embedded, in the same bindu, there are two bindus, just like
a seed of any plant having two cotyledon cups. With the extensions on
both sides of this, it appears like a triangle. If this `bindu' is
considered as "Siva", the two cotyledons can be taken as "Siva and
Sakti". However they are not two different individuals. On the
whole, because of the duel appearance, just as the seed is appearing
with two extensions on both sides like a triangle, the bindu also
appears as a triangle when it is all set for creation of the universe.
Prior to the separation of `icCha, j~nAna and
kriya", all of these three were remaining in the same `icCha' of
`paramaSiva' only. The j~nAna and kriya of the ensuing creation both
were embedded in that `icCha'. It means, both of the two bindus,
(j~nAna and kriya) were set in the main "kAraNa bindu" only. Because
there was no pollution of external "viShayAs" (worldly interactions)
they were glowing in perfect and pure brilliance. Those three
luminaries were named as the moon, Sun and fire.
The consequence of the "aham sphuraNa" (the quiver of
`I' consciousness) in `parama Siva' itself has appeared as `a' and
`ha'. If `a' is the `prakASarUpA' of Siva, `hakAra' is his
`vimarSarUpa'. `akAra' is called bindu and SUnyam ("binduh SUnyam
akArah"). From this `SUnyarUpa bindu' only all the fifty alphabets
emerged out. `ha'kAra' also is the outcome of this `SUnyarUpa
anuswAra' (`a'kAra), and this is called as `visarga'. In this `hakAra'
both hakAra and akAra are existing, just like the "agnIShOmAtmaka
rUpam' coming out as an accessory of the `sUrya maNDalam'. It is the
deceptive form giving us the impression that the Sakti' is different
from `Siva'. This `visarga', the twin bindus is the persona of the
`vimarSarUpa cit Sakti' which is actuating in the act of creating the
.. From this `visarga', the whole of the universe came out
through six `adhwAs' in three stages, viz., firstly `varNa'
(alphabets) from one bindu and `kalA' (division) from the other; again
these alphabets developed as `padam'(words) and the `kala' became
`tattwam' (constituent element); and then the `padam' transformed as
`mantram' (sentence) from which all the `vEdAs, AgamAs and the whole
literature; and the `tattwam' transformed as `Bhuwanam' in which all
the fourteen worlds existed. By this we can understand that the whole
of the universe and whole of the knowledge, every thing is the product
of this twin bindus ie., visarga. All of these issues were dispensed
out through the triangle which is the reflected manifestation of the
`bindu' and `visarga'.
For any one who aspires to explore about his own
primary origin (swaswarUpa j~nAnam), he has to go and search for it in
the basic source of his entering into these worlds. That source is
nothing else but this unit of `bindu', ` visarga' and the `trikONa'.
This unit is called "kAmakaLa", because all the intelligent
intellectuals always yearn for it. They all know that this is the
"viShNupadam" they eternally aspire for.
"tad viShNOh paramam padam sadA paSyaNTI SUrayah.
divIva cakShur Atatam"
All of these sages are relentlessly staring at this unit only, making
their eyes as wide as the skies.
"nEtrAdi jAlakOpAntE hR^it padmAsana lIlayA
vAram vAram twayA dEvi rUpAdi madhu sEvyatE ||"
For every thing of the worldly experiences, the external and internal
senses are the sole generators. This mahAmAya is observing every thing
with the help of these senses like a spectator and also controlling
every thing like a dictator. Nothing is there which is not deluded by
this `mAya'. Undisputedly every one is in her grasp. She is
"sarvavimOhi". and when graciously kind, she becomes "mOhanASani".
In the above SlOkA the word "trilOkIm" indicates the
"sthUla, sUkShma and kAraNa dEhAs". The word "ravIndu stana yugam"
indicates "brilliantly glowing visions" and the word "vanita" is
indicative of the worldly attractions. It means if the mahAmAya is
kind and benevolent, she will disrupt all the clutches of the worldly
attractions. "ravIndu stana yugam" again indicates the"agnI shOmAtmaka
Every thing is Siva_ Sakti mayam!!
"EkAm prakR^iti rUpENa sarva Saktim vicintayEt |
kAmayEt kAminIm sarvAm dEvIm AvarNa rUpiNIm ||
cintayEt sundarIm dEvIm sarva vyApaka rUpiNIm |
ikAraBhUta mantrasyAvayavam ca catuShtayam ||
bindu trayasya dEvEsi pratham dEvEshkaka viduh |
bindu dwayam stana dwandwam hR^idi sthAnE niyOjayEt ||
hakArArtham kalAm sUkShmAm yOni madhyE vicintayEt |
udyadAditya samkASam sindUrABham stanadwayam ||
bindum sankalpya vaktram tu sphurad dIpa SiKa praBham |
kAmO bindu raham dEvi tatrasthA paramESwarI |
Siva Saktimayam dEva tadadhastat kucadwayam ||
tadadhah saparArtham tu cidrUpA paramA kalAm ||
sancintya sAdhakaSrEShTastrailOkyam vaSamAnayEt |
Etat tE kathitam dEvi kAmakalA sunirNayam ||
gOptavyantu prayatnEna yadIcChEdatmanO hitam ||"