The Goddess Within and Beyond the Three Cities Tantra in Contemporary Researches, no. 5 The Goddess Within and Beyond the Three Cities Śākta Tantra and the Paradox of Power in Nepāla-Maṇḍala Jeffrey S. Lidke Cataloging in Publication Data — DK [Courtesy: D.K. Agencies (P) Ltd. <docinfo@dkagencies.com>] Lidke, Jeffrey S., author. The goddess within and beyond the three cities : Śākta tantra and the paradox of power in Nepāla-maṇḍala / Jeffrey S. Lidke. pages cm – (Tantra in contemporary researches ; no. 5) ISBN 9788124608760 1. Shaktism — Nepal. 2. Tantras. — Criticism, interpretation, etc. 3. Tripurasundarī (Hindu deity) 4. Tantrism — Nepal. I. Title. II. Series: Tantra in contemporary researches ; no. 5. BL1282.235.N35L53 2016 DDC 294.5514095496 23 ISBN 978-81-246-0876-0 First published in India in 2017 © Jeffrey S. Lidke All rights reserved. No part of this publication may be reproduced or transmitted, except brief quotations, in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior written permission of the copyright holder, indicated above, and the publishers. Printed and published by: D.K. Printworld (P) Ltd. Regd. Ofice: Vedaśrī, F-395, Sudarshan Park (Metro Station: Ramesh Nagar) New Delhi - 110 015 Phones: (011) 2545 3975; 2546 6019 E-mail: indology@dkprintworld.com Website: www.dkprintworld.com Dedicated to Sarita and Aria Foreword R esilient to history’s vagaries, pliant in serving culture’s heterogeneous expectations, Śrī-Vidyā distinguishes itself among the traditions of Śākta Tantra by having proliferated, and indeed prospered, across the extent of the Indian subcontinent. From Kashmir to Kanyakumari, we recognize Śrī-Vidyā’s essentials through its unmistakable triadic theological markers — the beneicent, intoxicating saumya goddess Lalitā Tripurasundarī, her mantra from whence later tradition derives its most explicit identities, and the śrīcakra, likely the most famous visual trademark of esoteric Hinduism. Even as the Traipura goddess tradition likely procures its guise irst in the vale of Kashmir some time around the eighth and ninth centuries and from within the complex arrangements of Śaivism that mean to insinuate diversiied and visionary non-dualist philosophies into coherent experiential ritual practices, Śrī-Vidyā regards itself Dakṣiṇāmnāya (southern transmission) associated with disseminations in Kerala and Tamil Nadu. Other important Śākta Tantrisms, such as Kubjikā-mata and Krama, either sustain themselves within seemingly narrower regional parameters or fail to survive the complications of transmission that depend as much upon precarious and often determinative accessories of culture. Śrī-Vidyā continues, it lourishes and lounders, but it never fails and rather than assimilate, it takes on new character using the same forms. Śrī-Vidyā embodies her contrast as saubhāgya-sampradāya, the tradition that entreats to prosperity by invoking divine self-identiication with grace, beauty, and good fortune. While today her fate looks far less certain within the circles of cultural elite who have long been primary sponsors wherever Śrī-Vidyā has rooted in South Asia, she appears now also in the diasporas of Hindus and proselytes in the West. As Jeffrey Lidke shows, I believe here for the irst time in detail, the history of Śrī-Vidyā in Nepal, long and storied as it has been, is at a crucial turning point within the political society that has employed this cult of divine power as part of its own mechanisms of validation. While no viii | the Goddess Within and Beyond the three Cities comparable royal patronage or political role has served south Indian proponents, Śrī-Vidyā appears today to have retreated from public view more deeply into the private realms of householder pūjā than it was in the last decades of the twentieth century. Where we ind Śrī-Vidyā today visibly presenting portraits of its ideologies and practices is on the Internet and in temples in the hands of private practitioners. What may lie ahead for Śrī-Vidyā Tantra in Nepal is an issue Lidke braves to consider with seriousness and insight even as the volatility of the situation renders certainty impossible. But the situation of Śrī-Vidyā as a living Tantra has always countenanced change as part of the dynamic of a universe construed to be power itself. For whatever challenges are posed by modernity’s transmutations via global culture, paradox may be the very soul of Śrī-Vidyā as a body of teachings, one as eager to discredit the tentative as it is vigilantly determined to embrace the diametrically opposed. The goddess is transcendence and immanence, outside and in, macrocosm and microcosm and she is more: She is whatever she needs to become to be anything that is possible and all that precludes possible or impossible. Whatever transcendence is, she manifests as, for there is at once the narrowest sense of her fullness recovered through speciic ritual arts of identiication and the broadest sense of her inclusion in every kind of experience, in every aspect of reality. Unlike those who would prefer the perfection of inal liberation to make for simple extrication from a world of opposites, Śrī-Vidyā asserts that transcendence possesses no otherness and demands immanence without exception must be none other than she, the goddess herself in some manifestly karmic or playful form. Such a universe is not inscrutable nor can it be reduced to comprehension; illusions must be real in so far as they refuse any sensibility of falsity; options trump exiguity without the slightest diminishment of integrity. What makes Śrī “the auspicious” is that there can be no scarcity, no summation, no ultimacy that inalizes less than another possibility; and all of this Śrī reveals herself as vidyā, a science, a process of veracity, an impeccable wisdom, a mantra feminine-encoded as reality true to itself but beholden to none. As Lidke so diligently reveals, Śrī-Vidyā conceals itself in contradictions that pose no threat to those who embrace paradox as the solution to a world that is itself not a problem to be solved. Teun Goudriaan and Sanjukta Gupta noted that the study of Tantra without the inclusion of the testimonies of oral traditions was “liable to appear incomplete ForeWord | ix and full of misunderstandings to an initiated Tantric adept”.1 Further, that such oral explanations by living Tantric gurus (or modern accounts based upon these) [a]lthough they are in the irst place of importance for our knowledge of the development of Tantric doctrine and practice in the recent period . . . may also incidentally provide the investigator with important clues for the interpretation of early written sources.2 It is fair to say that few scholars have endeavoured, as Lidke has here, to integrate Tantric historical texts and the formations of history into the interpretations of tradition. Part of the reason that past scholars have excluded the voices of wellversed informants in their scholarship is simply that access to said informants is not easily obtained. A “ieldworker” such as Lidke must do more than ind such a person(s), he must somehow win his conidence, breach the usual scholarly etiquettes of emic and etic convention, and after having ingratiated himself into the life of Tantric discourse return to reveal what may have been conidential information. If another were to attempt to repeat these results or establish similar terms of contact, the outcome might be dramatically different or parallel rather than comparable. In other words, beyond issues of veriication or breaches of conidentiality, ieldwork in Tantra creates a situation in which the lines between insider and outsider must be deliberately contaminated in order to create any kind of authoritative ingress. To move deftly between texts and interpreters, the facts of history and a history of “facts” involves multiple languages, skills that stretch across the breadth of humanities and social sciences, and a dedication to truth that is willingly challenged by commitments to keep faith with others as well as with oneself. Lidke here puts himself on the line: he names names, translates the originals, and works through the problematics of uninished, unknown, and unknowable sources and history. He peers as seriously into the eyes of the dead as he does into the living, knowing full well that scholarship demands the apologetics of tentative conclusions while tradition invites him to reach into his own heart for insights that are otherwise unobtainable. Few have been so willing or so competent as Lidke is here to the task of revealing a Tantra committed to secrecy and esotericism. He must pull it through the eye 1 Teun Goudriaan and Sanjukta Gupta, 1981, Hindu Tantric and Sakta Literature: A History of Indian Literature, ed. Jan Gonda, vol. II, Fasc. 2, Wiesbaden: Otto Harrassowitz, p. 13. 2 Ibid., p. 12. x | the Goddess Within and Beyond the three Cities of a needle that occludes rather than reveals through history, text, and culture. It is the whole that stands here as the accomplishment of a scholar of the Tantra: ieldwork conversations, the close reading of texts, careful reconstructions of history, and dedication to the primary sources considered in light of authoritative living voices. Any one of these endeavours is dificult, time-consuming, and rare. Placed together this becomes an exceptional effort even where conclusions must remain contingent or provisional. Knowing full well, as his principal informant reminds him, that any study of Śrī-Vidyā Tantra must include a deep familiarity with the ocean of sources that make up the schools of Kashmir Śaivism — Abhinavagupta’s Trika, Pratyabhijñā, Krama, Spanda, Kaulism, etc. — Lidke does the work for us and draws these materials into the larger picture even as he keeps his focus on Nepalese history and the practice as it manifests among contemporary practitioners. He wants at once to stay true to the “whole” of Śrī-Vidyā as well as its historical antecedents from Kashmir and to make speciic the issues and interpretations that place the tradition squarely within the Nepali setting. What may be revealed in contrast about Śrī-Vidyā in contemporary south India will augment or even conlict with Lidke’s observations but they in no way impugn or dispute the real integrity of his indings. By studying the Nepali situation closely, by taking the example of the particular, Lidke opens the door to comparison as well as to the treasured prize of generalization. Nothing is more dificult in the study of Tantra than moving from the unassailable interpretations of the individual and lineage to the larger identities of tradition and history. Like all work in the humanities, the goal of generalization is the most dificult: for the particulars of history and demands of context conspire to create the exception as ever the rule. With this work, we have an opportunity to advance that project with seriousness and promise. Where philology and history meet anthropology, the study of Tantra rightly begins. But where Tantra concludes is in conveying a sense of the experience and the empowerments that the practitioner asserts comes from and through the ultimate source of power itself, the goddess who is Śakti. Were it not for Śakti there would be no Tantra but without Śakti there would surely be no world, no history, no possibilities. In this work Lidke has loomed the elements of a new Tantra, not for the sake of mere theological explication but as a way of extending tradition into the conversation of a world threatened by power, enthralled with power, beholden to powers beyond our abilities to control. ForeWord | xi As Sir John Woodroffe observed in the most incipient era of Tantric studies, Śakti is the world as power and there is no subject more urgent or real than this fundamental claim about nature, culture, and human experience. Douglas R. Brooks Preface Relexive Speech For me, to say a few words on Jeffrey Lidke’s work is to map my own life of the past two decades, relecting on the rivulets that lowed together and streamed apart in the intersecting journey of our lives that has brought many gifts, and took some as it evolved. Writing is an act of self-discovery for me, a process from which I have never tried to disentangle myself. I have never pretended to be the author of the truth that splits my being and stands outside of myself. And to discuss this work, which of course is praiseworthy, is therefore not in isolation of my own self-discovery and the space that Jeffrey has occupied in this mapped and unfolded realm of being. I was then a lecturer at Nepal Sanskrit University in Kathmandu and Jeffrey a Fulbright scholar researching the goddess tradition in Nepal. We were both young and had yet to recognize our potentials. We were facing in two directions: I wanted to learn from the West and he from the East. His teachers and spiritual masters had urged him to ground his self-experience on indigenous Nepalese culture. My teachers, classical paṇḍits mostly naïve regarding affairs of the world, had a romantic imagination regarding the Western scholarship of India and her culture. And I am a product of the culture shaped by Kumārila Bhaṭṭa, and a irm believer that I need to learn from all, inside and outside of culture. We both grew up in a perennial imagination of a transcendental reality that is not shaped by culture, language, or the like. There was an occasion for me to learn from Jeffrey: about the West, English language to begin with, and the Western modes of scholarship. There was something I could trade: my own Sanskrit training, my studies of Indian philosophical and theological traditions, my research on Tantric manuscripts and a few jokes from Nepal. We both are still walking in these two directions to eventually greet each other, not as two total strangers but as two friends. Jeffrey was not the irst or the only scholar with whom I had worked. xiv | the Goddess Within and Beyond the three Cities Eminent Indologists and Western scholars trained me during my college years and, at that time, I had been working with a number of scholars, training them in different disciplines of Indological studies. What deined my task with Jeffrey as unique was the approach: unlike many other scholars, Jeffrey was interested in integrating the experience of the indigenous practitioners. His was not a descriptive project; nor was it prescriptive either. It was a project of self-discovery by allowing oneself to be vulnerable, to let the outside mitigate the inside, and open the parameters of the self so that the luid space could allow a conversation between inside and outside. Coming from the Tantric Trika background, I felt this as a project of self-recognition (pratyabhijñā) wherein the boundary of the self and the world is erased and mapped within one’s own relexivity. I have walked in ieldtrips and offered information for this project from within, read and translated the text, worked on the microilms, participated in rituals, and celebrated festivities. I still wonder, why are our experiences so culture-bound? Even people who are highly sensitive and sympathetic to each other’s culture fail at times to recognize the subtleties of the cultural nuances that separate and continue to keep us distinct. Abhinavagupta delineates a paradigm wherein subjects can enjoy both the transcendence of their phenomenality while at the same time retain individuality and have the experience of the phenomenal with lived and embodied intentionality. This to me is a mantra for the hope for humanity with culture wherein we can melt with each other in the oceanic experience of pure being while at the same time retain our differences and identities. It is up to the reader to explore the possibilities this book provides and read it as a project that is yet to be synthesized. Cultural studies do not need to stand at cross purposes with cultural identity, as evidenced by my sustained engagement with cultural outsiders. At the same time, cultural studies do not need to provide the political framework for cultural activism. Although most of the scholarship today functions as an instrument in the global power play, we the individuals are not required to delete our autonomy over political identities. In this regard, my own process of self-discovery stands in contrast to the discovery of a culturally and politically deined self. If there is nothing providing the foundation for my subjectivity, I am pleased to be that nothing and stand on nothing for my self-exploration. I often wonder, does the philosophy that grounds the tradition of Tripurā, the PreFaCe | xv goddess who is at the centre of this study even engage these limsy identities? A product of Western scholarship, Jeffrey explores the connection between the spiritual power, the power assigned to the goddess, and the political power assigned to speech. I often wonder, why did not I think like that? What precludes me, a product of pan-Indian culture, from intermingling political power and the concept of śakti? As a part of self-deconstruction, I wonder whether my own presuppositions are grounded on the dichotomy of the sacred and profane? I also happen to be the generation that witnessed absolute monarchy, participated in revolution and abolished that monarchy, witnessed the decline of democratic forces and saw the country succumb to the Maoist revolution. Ritual paradigms have shifted with the collapse of the kingship, liturgies have changed with a new low and intermixing of Indian and Tibetan practices, and traditional forms of Tantric sādhanā have reshaped, adopting the market spirituality. What the practice of Śrī-Yantra visualization and the worship of Tripurā meant for the public two decades ago hardly means the same thing today. It is not that traditional tāntrikas were not aware of this luidity of power: they were actually the foremost players of the power game. None the less, their metaphysical understanding of power never shadowed their own quest for gaining social inluence. They did not view these two powers as mutually exclusive but never made a case that one is needed for the other. The power of Tripurā manifests in the mantric form, or the power of speech, in other words, none the less retained its higher status over the political power for the latter’s inability to dissociate itself from violence. Needless to say, societal tensions and transformations have not made this study of Jeffrey irrelevant. Nepal was never a global player, no matter what political system she has been through. Nepal has maintained its balance between the two superpowers, India and China, and its own philosophy of Śakti or power is rather introverted. Championed by two major philosophers Janaka and Buddha, Nepal boasts that it can provide the fusion of the Vedic and Buddhist cultures in an integral Hindu–Buddhist paradigm, most vibrant in the Newar culture of the Kathmandu Valley. And both the Buddhist and Hindu traditions take a Śākta Tantric orientation in the Nepalese cultural stage, as if geopolitical limits have always been complemented by the internal power, the power of the self, the power that cannot be reduced to material gains and the power that transcends socio-economic and political transactions. Nepal xvi | the Goddess Within and Beyond the three Cities has learned to actualize the internal and inherent power, if the cultural has anything to say about the socio-political affairs. Additionally, Jeffrey’s focus on Tripurā is also extremely signiicant in revealing the power-play in the esoteric realms of Nepal. Locally, one can easily ind the temples of Kālī as easily as one can ind the temples of Durgā, Lakṣmī, or Sarasvatī. The Kathmandu Valley seems particularly silent regarding the central position of Tripurā, with an exceptional temple only in Bhaktapur. In the outlying regions of Nepal, be it Karnali or the suburbs outside of Kathmandu, Tripurā seems to have more prominence. Jeffrey makes it explicit that the practice of Tripurā has none the less remained central to the Śākta practice in the Kathmandu Valley. And the Tantric practice in Nepal, based on manuscripts and historiographies, was indeed grounded on the practice of Tripurā. Just as the name of the goddess suggests, she has remained hidden, outside of public purview. What we learn from the practice of Tripurā is that the discourse of power is located within the discourse of speech itself. This interplay of power, sound, and language is nowhere more explicit than it is in the mantric speech that constitutes the divine body of Tripurā on one hand, while at the same time this speech also constitutes the world, the world of discourse. And the dialogue, as conigured in the Āgamas as an exchange between the goddess and her consort, is the same dialogue that gives a teleology for being in the world at the same time as it identiies the top–down cosmologies intersected with the bottom–up reductionist approaches, as ultimately in this monistic paradigm, what constitutes matter is not different from consciousness. Life is the vantage point within which both pure consciousness and external world meet, where the embodied nature of Tripurā expresses the lived nature of the divine. Being in the world, described sometimes with the metaphor of ripples and waves in relation to the ocean, is Tripurā’s intrinsic character. The transcendence and purity of Tripurā are not compromised in her expression of myriad forms, as the Śākta philosophy in the texts of Tripurā highlights. When I met Jeffrey, I was teaching at Balmiki campus in Kathmandu. I then went to Germany for my PhD and eventually migrated to the West. To me, what is crucial is inding the meaning of my own life interwoven within the work on this text. Nepal has changed her constitution twice after I left the country, and the Maoists and Congress and many other parties have ruled over her. All PreFaCe | xvii political philosophies have been exercised. The potential of Marxism, Maoism, or Capitalism has been probed. A few months back, when I was climbing the hills of Nuwakot, walking among the carriers who were collecting grains from the market place, I wondered whether any of these systems meant anything for the peasants and the labouring class. My cousins were ploughing the ield with bullocks that incised the fresh burrows, and my aunt was planting rice. It had been three decades ago when I was last in Taksar, and nothing much has changed, except that the earthquake has decimated the adobe homes and my cousins were busy making tin-roof shelters. There were of course some newcomers in the family. As if my being or non-being meant the same, the village silently stood there, providing the ield for the farmers to grow some grains, for politicians to give some speeches, and priests to chant some mantras. Beneath the economic structure, political power, and the bodily and environmental mappings of our being, all I could hear was the echo of the silence that surrounded the mountains of Taksar. The presence of Tripurā was evident in her transcendence. The being that I could recognize, despite the gap of three decades, was open for only a minute, a rupture in time that allowed me to make the journey with my past self and experience the younger me running along the hills from the house of one uncle to the other. Tripurā, I thought, was present in every mode of being in Nepal, despite the natural calamities. If her politically repressed being functioned as the heating element to melt the golden metal within, the transcendent power, the power of being alone, was expressed in the daily life. This relexive journey has meant that I trace myself back in time in my different modes of being, and in one of those beings, I met Jeffrey and discussed the Śākta philosophy. Our discussion was not to convince one another. It was not meant to represent a culture for an outside scholar’s external gaze upon the esoteric heart of Tantric practice, like some post-colonial commentator may imagine. It was not meant for translating one culture into another. It was only meant to experience something beneath the classical discourse which was rarely expressed through the ritual dialogue, where we rediscover our own meaning for being here, in our temporal and spatial limitations. After that, we both have written our dissertations, published numerous articles and given hundreds of talks. Nevertheless, this work is a testimony that we did converse at one point in time, and that temporal extension is marked as xviii | the Goddess Within and Beyond the three Cities an expression of ourselves, a dialogue that aimed to transcend culture and leave its imprint in our very being. Sthaneshwar Timalsina Professor of Religious Studies Department of Religious Studies San Diego State University Contents Foreword – Douglas R. Brooks vii Preface – Sthaneshwar Timalsina xiii Acknowledgements xxi Introduction: Tracking the Stories of Devī 1 1. The Goddess Embodied: Tripurasundarī and the Tricosmos 13 2. Tantric Sādhanā: Harnessing the Powers of Śakti 37 3. The Maṇḍala-Hologram: Centres, Peripheries, and the Dance of Power 61 4. The Reverberating Goddess: The Kumārī and the King 108 Conclusion: Will the Devī’s Power Be Enough? 145 Appendix A: Nityāṣoḍaśikārṇava: An Annotated Translation of the Maṅgala-Ślokas in Chapters 1, 4 and 5 along with the Commentaries by Śivānanda and Vidyānanda 153 Appendix B: Index of Śrī-Vidyā Paddhatis at Nepal’s National Archives 283 Appendix C: Inscriptions from Bhaktapur Tripurasundarī Vidyā-Pīṭha and Dolakha’s Devīkoṭṭa 333 Glossary 338 Bibliography 349 Index 372 Acknowledgements aCCordinG to Taoist legend, Sage Lao T’zu gestated in his mother’s womb eighty-one years before emerging into the world already as an “old sage.” This metaphorical narrative comes to mind as I now witness the birth of this book. The research for the following pages commenced way back in 1997 when I was a Fulbright Dissertation Fellow living in the Kathmandu Valley with my then wife and our ive-month old daughter, Sarita. Since that time I earned my doctorate, taught at Grinnell then Bard then the University of Virginia before coming to Berry College, thirteen years ago. What began when I was a twenty-eight-year old dissertation fellow reaches its fruition now in my forty-eighth year as a tenured professor and chair of the Department of Religion and Philosophy at Berry. I am deeply indebted to many people for the completion of this project. First and foremost I thank Sthaneshwar Timalsina, Professor of Indology at San Diego State University, for being a teacher and friend all these years since he was irst introduced to me as Nepal’s foremost authority on Tantra. Dr Timalsina’s immense knowledge of the Sanskrit corpus, particularly Śākta Tantra, has been a constant inspiration these past twenty years. My qualiication for completing this project is further grounded in my Sanskrit and Indological training with Dr Gerald James Larson at the University of California, Santa Barbara, from 1992 until 1996, the year he accepted the Rabindranath Tagore position in Indology at Indiana University. David Gordon White’s many writings on, and profound textual knowledge of the schools of, Kaula Tantra have revolutionized my understanding of the history and practice of these traditions. Barbara Holdrege offered invaluable assistance with regards to the structuring of the thesis that has become this manuscript. Bill Powell initiated me into Foucault’s discourse on power and provided his Yosemite home as a retreat site for writing the initial draft of the book. I am deeply indebted to Mark Dyczkowski who on several occasions kindly welcomed me into his home on at Nārad Ghāṭ on the banks of the Ganges in xxii | the Goddess Within and Beyond the three Cities Benares, India and shared with me his profound knowledge of Śākta Tantra in Nepal. All of his work on Tantra has signiicantly shaped my own understanding and writing. His 14-volume publication of the Kumārikākhaṇḍaḥ of the Manthānabhairavatantram provides for us the single greatest translation and commentary on a work of classical Tantric literature to date. In addition to assistance from Fulbright I also received support from the Muktabodha Indological Research Institute, which made possible a ive-month study with Dr Balajinnath Pandit at Shree Muktananda Ashram in New Delhi in 1996 with John Nemec and Marcy Braverman. This period provided for an in-depth study of key Kashmir Śaiva texts by one of the few remaining paṇḍitas of this tradition. I thank Dr Nutan Sharma for his guidance and advice in terms of the sociological dimensions of my study as well as Diwakar Acharya, Spalding Professor of Eastern Religions and Ethics at All Souls College, Oxford University, for his insights on the dating of key texts. Dr Acharya is a worthy successor of the prestigious position previously held by Alexis Sanderson, the world’s foremost authority on Tantra. I offer my praṇāmas to Siddhi Gopal Vaidya, now deceased, and his senior student, Vasudev Gorkhali, who sat with me week after week in 1997 to discuss the intricacies of the Nepalese Sarvāmnāya system. Without my ongoing relationship with Homnath Upadhyaya, Nepal’s royal court tabla master, I could not have come to understand the important intersections between classical music and Tantric practice. To the many Nepalese sādhakas, bhaktas, friends and informants who have shared with me their understanding of Nepāla-Maṇḍala, I offer all my gratitude. May this book do justice to the depth of their collective understanding. Salutations as well to Douglas Brooks, for writing the Foreword and to Glen Hayes and Jeffrey Kripal for their early reviews. I am also deeply indebted to my mother, Ann Wells and to Diane Land, for their many hours of editorial assistance as well as Koby N. Boatright who took on the signiicant labor of creating the index in Adobe InDesign. Thanks as well to my many friends, colleagues and mentors at Berry College, particularly Tom D. Kennedy for his ongoing guidance and support of my scholarship and to John Hickman whose commitment to his scholarship is a constant inspiration. I also thank my Berry colleagues Tom Dasher, Christopher Diller, Harvey Hill, David McKenzie, Michael Bailey, Michael Papazian, Jonathan Huggins, Dale McConkey, Anne Lewinson, Mark Taylor, Lara aCknoWledGements | xxiii Whelan, Tina Bucher, Sandra Meek, Todd Timberlake, Ron Taylor, Kirsten Taylor, Peter Lawler, Julie Pynn, Christy Snider, Matt Stanard, Chaitram Singh, Matthew Lee, Jonathan Parker, Peter Yoder, Brian Campbell, Timothy Knowlton, Andy Bressette, Randy Richardson, Kathy Richardson, Steve Briggs, Jon Atkins, Jen Corry and Larry Marvin for their friendship and for making Berry a great place to teach and serve. Gratitude as well is extended to my many students over the years who have read and given insightful feedback on various drafts of the book, including but not limited to Koby N. Boatright, Jesse Burnette, Chris Zefting, Elena Brotherton, Jason Schwartz, J.P. Kinsbury and Shar Devi. I also thank the many members of my family for their love and support over the years, including my father Don, stepfathers Scott and Tichy, my stepmother Eliza and her husband David and my siblings (by blood and marriage) Naren, Mike, Danielle, Sara, Stephanie, Lloyd and Jeff. I thank as well my dear friends from my eight years in Santa Barbara: Mary Hicks, Philip Lawson, Budhi Harlow, Katie Komenda, Sudama Mark Kennedy, Jeffrey Ruff, Dave McMahan and Montino Bourbon. And, of course, my lifetime friend, Hari. I am also deeply indebted to Susheel Mittal at D.K. Printworld for the outstanding editorial work his crew has poured into the design, layout and inal production of this book. His support and gracious diligence in bringing the book to its completion have been truly appreciated. Finally, I express my deepest gratitude and joy for the presence of my two precious daughters, Sarita Mayri and Aria Elise Lidke. They are the guiding stars in my life. May this book stand as a small tribute to the people and traditions of Nepal, a country at once ancient and modern, hidden and revealed, foreign yet mysteriously familial. As the Oglala Lakota Sioux medicine man, Black Elk, said of his great vision in his youth, so too do I know that all that I experienced and saw while in Nepal cannot possibly be captured solely in words. Herein, I have done the best that I can to sketch with some accuracy the subtle and theologicallyrich contours of Nepāla-Maṇḍala. Jeffrey S. Lidke Berry College Abbreviations AiĀ AR BĀU Aitreyāraṇyaka Artharatnāvalī Bṛhadāraṇyakopaniṣad BhGi BoP Bhagavad Gītā Bodhapañcadaśikā Col DaSmṛ ĪP Colophon Dakṣasmṛtiḥ Īśvarapratyabhijñā-Kārikā ĪPr ĪPv ĪU KaKra KKV KSTS Īśvarapratyabhijñā Īśvarapratyabhijñā-Vimarśinī Īśāvāsyopaniṣad Karmakāṇḍakramāvaliḥ Kāmakalāvilāsa Kashmir Series of Texts and Studies Kumārasambhavam Lalitāsahasranāma Mālinīvijayottaram Madrāsī Artharatnāvalī Mahābhārata Netra Tantra Nepal National Archives, Kathmandu, Nepal KuSam LSN MāVi MAR MBh NeT NNA NṢA PrS PrSā PS Nityāṣoḍaśikārṇava Prapañcasāra-Tantra Prapañcasāra Paramārthasāra PTlv PTriṁ Parātīśīkālaghuvṛtti Parātriṁśīkā PTV PrHṛ Parātrīśkāvivaraṇa Pratyabhijñāhṛdayam Pvt RV ṚjV SaṁPa SāPa SiPā ŚiSt ŚiVi SL ŚloVā SM SpKā ŚSū ŚTH SvT ŚvU TĀ TaiĀ TaiS TaiU Private collection Ṛgveda Ṛju-vimarśinī Saṁketa-Paddhati Sāmbapañcāśikā Siddhanāthapāda Śiva Stotrāvalī Śivasūtravimarśinī Saundaryalaharī Ślokavārttika Sarvamaṅgalāśāstram Spanda-Kārikā Śivasūtra Śrī Tantra-Hṛdgahvara Svacchanda-Tantra Śvetāśvatara Upaniṣad Tantrāloka Taittirīya Āraṇyaka Taittirīya Saṁhitā Taittirīya Upaniṣad TS VāP VB VS Tantrasāra Vākyapadīya Vijñānabhairava Vikram Samvat or Vikram era (Indian calendar starting in 57 BCe) Yogavāsiṣṭham YoVā List of Plates Fig. 1 Śrī Yantra, painted by Narayan Chitrakar, Bhaktapur, Nepal, 1997. Personal collection of author. Fig. 2 Bhaktapur Maṇḍala, painted by Narayan Citrakar, Bhaktapur, Nepal, 1997. Fig. 3 Tripurasundarī at centre of Bhaktapur Maṇḍala, painted by Narayan Citrakar, Bhaktapur, Nepal, 1997. Fig. 4 Navadurgā dancers, Bhaktapur, Nepal. Fig. 5 Folk style painting of Tripurasundarī on wedding invitation for Princess Shruti, 1996. Fig. 6 Classical painting of Tripurasundarī at heart of her yantra. Wedding invitation for Prince Dipendra, 1996. Fig. 7 Tripurasundarī. Personal collection of Kabijananda. Fig. 8 Ugra Tārā. Personal collection of Kabijananda. Fig. 9 Guhyeśvarī. Personal collection of Sthaneshwar Timalsina. Fig. 10 Mahākālī as Viśvarūpa Devī. Personal collection of Sthaneshwar Timalsina. Fig. 11 Gold-gilded Taleju above gate of Bhatkapur Royal Palace. Fig. 12 Patan royal Kumārī. Fig. 13 Face of Tripurasundarī on Devīkoṭṭa Temple, Dolakha, Nepal. Fig. 14 Yogī. Pasupatinath Temple, Kathmandu, Nepal. Fig. 15 Sthaneshwar Timalsina practising mantra-japa at Manakamana Temple, Nepal, 1997. Fig. 16 Sambadev on harmonium with Shambhu Prasad Mishra on tablā and Swami Prapannacarya. Pasupatinath Temple, Kathmandu, Nepal. 1997. xxviii | the Goddess Within and Beyond the three Cities Fig. 17 Narayan Citrakar painting the Śrī Yantra at his home in Bhaktapur, Nepal, 1997. This painting is now in the private collection of the author. Fig. 18 Siddhi Gopal Vaidya. Fig. 19 Navadurgā dancers. Bhaktapur, Nepal, 1997. Fig. 20 Musicians performing during Dasein holidays. Bhaktapur, Nepal. 1997. Fig. 21 Historic bell at Tripurasundarī Vidyāpiṭha, Bhatkapur, Nepal. Fig. 22 Shrine at Pasupatinath Temple with Sri Carka meru construction (far right). Fig. 23 Author playing tablā at temple in Bhaktapur, 1989. Fig. 24 Initiating priest of Pasupatinath Temple, Padma Prasad Bhatta, with his family and the author’s daughter, Sarita Lidke. Kathmandu, Nepal, 1997. Fig. 25 Tripurasundarī Deochen, Bhaktapur, Nepal, 1997. Fig. 26 Remains of sacriiced goats. Dakshin Kali Temple, Nepal, 1997. Fig. 27 Shri Kabijananada. Descendant in lineage of royal priests to the kings of Nepal. Patan, Nepal, 1997. Fig. 28 Worship of Patan royal Kumārī. Patan, Nepal, 1997. Fig. 29 Sthaneshwar Timalsina with Kathya Baba. Cover Guhyeśvarī. Goddess of the Secret. Personal collection of Kabijananda. Color Images Captions Cover photo: Guhyeśvarī. Goddess of the Secret. Personal collection of Kabijananda. Color Images Figure 1: Śrī Yantra, painted by Narayan Chitrakar, Bhaktapur, Nepal, 1997. Personal collection of author. Figure 2: Bhaktapur Maṇḍala, painted by Narayan Citrakar, Bhaktapur, Nepal 1997. Figure 3: Tripurasundarī at center of Bhaktapur Maṇḍala, painted by Narayan Citrakar, Bhaktapur, Nepal 1997. Figure 4: Navadurgā dancers, Bhaktapur, Nepal. Figure 5: Folk style painting of Tripurasundarī on wedding invitation for Princess Shruti. 1996. Figure 6: Classical painting of Tripurasundarī at heart of her yantra. Wedding invitation for Prince Dipendra, 1996. Figure 7: Tripurasundari. Personal collection of Kabijananda. Figure 8: Ugrā Tārā. Personal collection of Kabijananda. Figure 9: Guhyeśvarī. Personal collection of Sthaneshwar Timalsina. Figure 10: Mahākālī. Personal collection of Sthaneshwar Timalsina. Figure 11: Gold-gilded Taleju above gate of Bhatkapur royal palace. Figure 12: Patan royal Kumari. Black and White Images Figure 13: Face of Tripurasundari on Devīkoṭṭa temple, Dolakaha, Nepal. Figure 14: Yogi. Pasupatinath temple, Kathmandu, Nepal. Figure 15. Sthaneshwar Timalsina practicing mantra-japa at Manakamana temple, Nepal, 1997. Figure 16: Sambadev on harmonium with Shambhu Prasad Mishra on tablā and Swami Prapannacarya. Pasupatinath Temple, Kathmandu, Nepal. 1997. Figure 17: Narayan Citrakar painting the Śrī Yantra at his home in Bhaktapur, Nepal. 1997. This painting is now in the private collection of the author. Figure 18: Siddhi Gopal Vaidya. Figure 19: Navadurgā dancers. Bhaktapur, Nepal, 1997. Figure 20: Musicians performing during Dasein holidays. Bhaktapur, Nepal. 1997. Figure 21: Historic bell at Tripurasundarī Vidya-Pitha, Bhatkapur, Nepal. Figure 22: Shrine at Pasupatinath temple with Sri Carka meru construction (far right). Figure 23: Author playing tablā at temple in Bhaktapur, 1989. Figure 24: Initiating priest of Pasupatinath temple, Padma Prasad Bhatta, with his family and the author’s daughter, Sarita Lidke. Kathmandu, Nepal, 1997. Figure 25: Tripurāsundarī Deochen, Bhaktapur, Nepal. 1997. Figure 26: Remains of sacrificed goats. Dakshin Kali temple, Nepal, 1997. Figure 27: Śrī Kabijananada. Descendent in lineage of royal priests to the kings of Nepal. Patan, Nepal, 1997. Figure 28: Worship of Patan royal Kumārī. Patan, Nepal, 1997. Figure 29: Sthaneshwar Timalsina with Kathya Baba. Introduction Tracking the Stories of Devī My tracking of the stories of Devī (the Goddess) has involved an extensive examination of the esoteric ideologies and practices of Nepalese Hindu Tantra, which have their roots in the antinomian power-centred rites of the Kula and Yoginī traditions of seventh- and eighth-century India. Textual, epigraphic, and oral sources indicate that from the eighth century on Nepalese kings from each of the three major dynastic lineages — Licchavi (c. fourth to ninth century), Malla (1200–1769), and Shah (1769–present) — have appropriated a variety of Tantric ideologies and practices that were brought to Nepal from India, including not only Kula and Yoginī traditions but also Nātha, Bhairava, Śaiva, and Śākta traditions. By the eleventh century these older traditions had begun to coalesce into the high forms of Hindu Tantra that were institutionalized as the elite Tantric traditions of Nepal: the Śrī-Vidyā, Kālī, Kubjikā, Guhyeśvarī, Siddhi Lakṣmī, and Taleju schools. By the twelfth century these distinct yet interconnected streams of Tantra had begun to coalesce as an interwoven tradition that today is commonly known as either the Ṣaḍāmnāya (Six Schools) or Sarvāmnāya (All Schools) tradition of Nepalese Tantra. The term āmnāya encompasses a polysemantic ield that lends itself to a diversity of translations, including “transmission”, “sacred tradition”, “sacred text”, “family or national custom”, “instruction”, and “family”.1 When contemporary Nepalese practitioners of Tantra, called tāntrikas, refer to their tradition as Sarvāmnāya they do so with the intention of claiming that their initiation-based knowledge represents the culminating synthesis of all (sarva) the transmissions (āmnāyas) preserved by the sectarian clans (kulas) of the six streams of Āgamic scriptural revelation (ṣaḍāmnāyas): the eastern (Pūrvāmnāya), 1 Sir Monier Monier-Williams, 1984, A Sanskrit-English Dictionary, Delhi: Motilal Banarsidass, p. 147. Cf. Mark Dyczkowski, 1988, The Canon of the Śaivāgama and Kubjikā Tantras of the Western Kaula Tradition, Albany: SUNY Press, p. 66. 2 | the Goddess Within and Beyond the three Cities southern (Dakṣiṇāmnāya), western (Paścimāmnāya), northern (Uttarāmnāya), lower (Adhāmnāya), and upper (Ūrdhvāmnāya) transmissions. Although knowledge of the esoteric, yogic dimensions of Tantra is not common in the Kathmandu Valley, there are to this day living representatives of the tradition who continue to live in a world predicated on the ritual establishment of complex semiotic links between the streams of scriptural revelation (āmnāya) and the subtle physiology of the tāntrika’s own body. In the Sarvāmnāya system, each of the six āmnāyas is associated with a particular goddess, who in turn is correlated with one of the six cakras (energy centres) in the subtle physiology. The Sarvāmnāya path involves sequential initiation, stage by stage, in each of the six transmission schools in order to awaken the kuṇḍalinī-śakti (serpentine power at the base of the spine) and activate in turn each of the cakras along with the corresponding goddesses who are mistresses of the cakras (cakreśvarī). The inal stage of the Nepalese Sarvāmnāya path involves initiation into the upper transmission school (Ūrdhvāmnāya), which is commonly associated in Nepal with Tripurasundarī, the cult Goddess of the Śrī- Vidyā kula (Figs. 5, 6 and 7). Through this inal initiation, the ājñā-cakra — situated between the eyebrows — is activated, and the kuṇḍalinī-śakti rises up to the sahasrāra-cakra at the crown of the head, culminating in a state of full enlightenment in which the Tantric practitioner (sādhaka) cognizes his or her identity with Tripurasundarī (the beautiful Goddess of the three cities). Although the Nepalese Śrī-Vidyā tradition identiies its own cult-speciic deity to abide at the summit of divine power, contemporary initiates of the tradition articulate a common theme from classical Śākta Tantra texts: in the inal analysis all forms of the goddesses are simply different manifestations of the one great Goddess, Mahādevī. In a wide range of textual sources and liturgical contexts one reads (or hears) passages (or litanies) that coalesce the identities of Tripurasundarī, Kālī, Kubjikā, and Taleju as but epithets used to describe the one supreme Goddess who manifests herself in the relative world of name and form while remaining unmanifest, transcendent, and formless in her essential nature.2 The Sarvāmnāya system actualizes this theological perspective through technologies of ritual empowerment that train the sādhaka to transform his or her body into a conduit through which each of the multiple forms of the Goddess are awakened and united in the encompassing totality of 2 Tripurasundarīstavarāja 6.12-13, NNA, C 65/5. introduCtion | 3 Tripurasundarī, who is cognized as the ininite sky containing the fullness of all existence. This recognition generates and arises from a mystical recognition of the identity of self with deity-as-universe. And it is this meditative awareness that functions to bind the tāntrika to the cosmos such that he or she begins to actualize the wisdom and power that are identiied by the tradition as signs of spiritual accomplishment. In the context of yogic and liturgical training the Nepalese Sarvāmnāya Śākta Tantra initiate trains him or herself to view the numerous goddess temples of the Kathmandu Valley as śākta-pīṭhas (seats of power) of the Goddess, which correspond to the cakras, the seats of power within the subtle physiology. Rooted in the theological and ritual traditions of the Āgamas, the Sarvāmnāya system represents geospatial landscapes as mirror images of the interior spaces encountered by the sādhaka in his or her journey to the summit of the subtle physiology. Whether journeying within or journeying without, all paths are said to converge in the singular realization that there is only one reality: the supreme Goddess, whom Śrī-Vidyā tāntrikas call Tripurasundarī. The Discourse of Power in Nepāla-Maṇḍala In Nepal, Hindu Tantra assumes a dual nature as a system of esoteric ideologies and practices and a system of socio-political ideologies and practices. In this study I adopt the thematic of “power” as a heuristic tool for interpreting what I term the dyadic nature of Nepalese Śrī-Vidyā Śākta Tantra: (1) its esoteric function as a technology for harnessing the ontological power of the Goddess, and (2) its exoteric function as a public discourse intimately linked to socio-political productions of power that serve to incorporate, accommodate, and hierarchize the numerous religious, social, and ethnic communities of Nepal. Following Sam Gill’s lead, we can term these two aspects the “theo-contingent” and “anthropocontingent” dimensions of power, respectively.3 My work maps both of these aspects of the discourse of power in an attempt to illumine the ways in which Nepalese Śrī-Vidyā Śākta Tantra — in keeping with the etymological roots of the term tantra, which derives from the root √tan (to weave) — has traditionally interwoven individuals not only with their respective 3 Sam Gill, 1998b, “Territory”, in Critical Terms for Religious Studies, ed. Mark Taylor, Chicago: University of Chicago Press, pp. 298-313. See also S. Gill, 1998a, Storytracking: Texts, Stories, and Histories in Central Australia, Oxford: Oxford University Press. 4 | the Goddess Within and Beyond the three Cities understanding of objectiied divinity, but also with their respective social world. Nepalese Śrī-Vidyā Tantra integrates individuals with deity through the complex system of ritual and yogic practices that constitute Tantric sādhanā, while it interweaves individuals into the fabric of society through a variety of social, cultural, and political structures, such as rituals of state, national festivals, city layouts, and royal patronage of temples. Through these esoteric and exoteric systems of practices, the discourse of power is inscribed on the bodies of Tantric practitioners as well as on the bodies of the broader Nepalese populace who have internalized the Tantra-suffused sociocultural taxonomies of Nepāla-Maṇḍala. In Nepalese Śrī-Vidyā Tantra — the speciic tradition that is the focus of this study — the ultimate source of all power is identiied as the Goddess Tripurasundarī, who is celebrated as Parāśakti, the supreme (parā) power (śakti). In the context of this tradition, all forms of power and energy are understood to arise from Tripurasundarī, who is ananta-śakti (replete with ininite powers).4 Tripurasundarī is thus revered by Śrī-Vidyā tāntrikas as that divine consciousness-power, cit-śakti, which reverberates on all levels of reality. As the dual connotation of her name indicates, Tripurasundarī operates simultaneously as a transcendent principle — “the beautiful Goddess beyond the three cities” — and as an immanent principle — “the beautiful Goddess within the three cities”.5 In her transcendent nature as Parāśakti, Tripurasundarī is identiied as abiding beyond the realm of name and form and pulsating in her essential nature as the plenitude of being–consciousness–bliss (sat–cit–ānanda). By means of her visarga-śakti (emissional power), Tripurasundarī becomes immanent and projects the universe as the manifest form of divine consciousness-power in which she herself becomes embodied. In Śrī-Vidyā Śākta Tantra the divine consciousness-power of Tripurasundarī, Parāśakti, is described as assuming multiple forms on the macrocosmic, 4 Sthaneshwar Timalsina, 1992, Śrī Tantra-Hṛdgahvara, Kathmandu: Māyadā Publications, 2.2-3, p. 109. 5 Rendered in this way the Sanskrit term tripura is taken to mean the “three (tri) cities (pura)”. For contemporary practitioners of Nepalese Śrī-Vidyā Śākta Tantra, the three cities are not only the three power-seats within their subtle, yogic bodies — located at the base of the spine, the heart, and the crown of the head — but also the three cities of Kathmandu, Patan, and Bhaktapur, which together form the power points of the mesocosmic power grid that is Nepāla-Maṇḍala. introduCtion | 5 microcosmic, and mesocosmic planes of existence.6 On the macrocosmic level, Parāśakti becomes embodied in the manifest universe of name and form through the process of cosmogenesis. On the microcosmic level, Parāśakti becomes instantiated in the human subtle physiology as the kuṇḍalinī-śakti (serpentine power) that, when awakened, transforms the sādhaka into an enlightened siddha (perfected one). On the mesocosmic level, Parāśakti inds expression in a number of intermediate structures that mediate between the macrocosm and the microcosm. Three of these mesocosmic embodiments of Tripurasundarī — the iconic image used in ritual worship (pūjā); the Śrī-Vidyā mantra; and the aniconic geometric representation, the Śrī-Yantra — play a central role in Tantric sādhanā and are celebrated by Nepalese Śrī-Vidyā tāntrikas as the “triadic forms of power (śakti-trimūrti)”.7 According to Nepalese Śrī-Vidyā Tantra, the mesocosmic manifestations of Parāśākti also include her instantiation in the complex of social, cultural, and political structures that constitute Nepāla-Maṇḍāla. The esoteric ideologies and practices of Tantra had been adopted by Nepal’s dynastic heads since at least the eighth century as their modus operandi for both personal liberation and state government. Nepal’s mythico-historical chronicles, the Gopālarājavaṁśāvalī, report that a king’s capacity to rule is directly proportional to his attainment as a sādhaka, a Tantric adept. Thus, the harnessing of power within the king’s body through the technologies of Tantric practice has translated directly into the socio-political sphere. In times past, the geopolitical landscape of Nepal has been envisioned as a maṇḍala, with temples and śākta-pīṭhas strategically constructed throughout the Kathmandu Valley in order to channel the divine power through and beyond the king’s body into his extended body, the body politic. Powerful Nepalese kings, such as the eighteenthcentury Prthivi Narayan Shah, thus understood their royal authority over the body politic to be a direct relection of their ability to govern and harness the 6 Rendered in this way, the Sanskrit term tripura is taken as “prior (pura) to the three (tri)”. Both renderings are accurate and both are understood by Śrī-Vidyā practitioners and theologians to be simultaneously operative. Cf. B.N. Pandit, 1993b, Speciic Principles of Kashmir Śaivism, New Delhi: Munshiram Manoharlal, pp. 15-29. 7 David G. White (1996) has effectively demonstrated the value of this triadic heuristic model in his The Alchemical Body: Siddha Traditions in Medieval India, Chicago: University of Chicago Press, pp. 15-17. See also Barbara A. Holdrege, 1998, “Body Connections: Hindu Discourses of the Body and the Study of Religion”, International Journal of Hindu Studies, 2(3) (December): 308-09. 6 | the Goddess Within and Beyond the three Cities divine energies within their own body. The divine power cultivated within the king’s body was understood as translating directly into those socio-political forces that maintain order within Nepāla-Maṇḍala. In this way, Tantric ideology has provided an overarching socio-political framework in Nepal that has woven together the nation’s disparate parts into one Tantra-suffused maṇḍala — the term maṇḍala deined and utilized in this work as an integrative system of thought and practice linked to texts and technologies whose highest aim is salvation — that has informed the various facets of Nepalese society and culture: whether the rituals of the king, the design of cities, the classiications of caste and ethnicity, occupational divisions, or the daily ritual and social practices of Nepalese citizens. 8 The situation today in Nepal is not what it was when I irst did ield research for this book at the end of the twentieth century. Since that time there has been a cataclysmic transformation from within the religious and cultural maṇḍala. In June 2001 King Śrī Pañca Mahārāj Birendra Shah Deva, an initiate of Śrī-Vidyā Śākta Tantra, along with his entire immediate family, was murdered in the Royal Palace. After his death, King Birendra’s brother, Gyanendra came to the throne in a charged atmosphere of suspicion and political turmoil. His right to the throne was challenged by those who suspected him of being the mastermind of his brother’s tragic death. Meanwhile, Maoist activists and guerilla warriors continued their ive-year long efforts to completely transform Nepal’s political, social, and cultural landscapes. These efforts bore fruit in 2006 when King Gyanendra stepped down from the throne, bringing an end to over two thousand years of monarchy in Kathmandu. As a result of these events, this book now speaks of a way of seeing and being in the world that in the span of a generation or less may be largely memories of a bygone world. In this sense then, I seek through this book to memorialize a cultural and epistemological orientation that I was fortunate to study and be immersed in before its recent rapid transformation in the immediate years after my ield research in the Kathmandu Valley at the end of the twentieth century. Although this book is not primarily about the tsunamic political events of the last decade, I do take into account their destructive currents. Despite recent transformations, the country’s major national festival, Dasein, remains nothing 8 Oral communication, Patan, Nepal, 22 May 1997. introduCtion | 7 less than a ifteen-day observance of Tantric rituals; Nepal’s three major cities — Bhaktapur, Kathmandu, and Patan — are still recognized as mesocosmic representations of Tantric yantras; the major temples remain three-dimensional Tantric maṇḍalas; Nepalese coins still carry Tantric symbols; and practitioners from the entire Indian subcontinent continue to visit Nepal to engage in the self-proclaimed liberating practices of Tantric yoga. Although perhaps in its inal days of cultural glory, Tantra in Nepal, even as the twenty-irst century proceeds on, remains a ubiquitous ideological and ritual system in Nepal that continues to inform both private and public discourse on the pursuit of both spiritual and socio-political power. Prior to the death of the monarch, kings sat at the centre of NepālaMaṇḍala, governing their empires as a servant (dāsa) of the supreme Goddess, Tripurasundarī.9 King Birendra, who reigned in Nepal during the time of my ield research, was an initiate of Śrī Vidyā Tantra, and therefore received her divine blessings (prasāda) daily from the Paśupatinātha Temple in Deopāṭan, on the outskirts of Kathmandu. Like his predecessors, on one day each year King Birendra would visit the Goddess in her embodied form as a young virgin, the Kumārī, who is still considered a living instantiation of the supreme Goddess. According to tradition, he went to receive the blessings of the Kumārī as divine ratiication of both his political sovereignty and his spiritual attainments. For many Nepalese citizens, the institution of the Kumārī remains evidence that the “horizontal” power of earthly rulership derives from a “vertical” source — that is, from the Goddess herself, Parāśakti, who, while remaining transcendent in her essential nature, assumes the manifest form of a living virgin in order to extend her divine power to the king and, through him, to all of Nepāla-Maṇḍala. In the eyes of a diminishing faithful it is the Goddess who invigorates NepālaMaṇḍala by showering her blessings on the nation’s ruler and infusing her power throughout the geopolitical landscape in its multiple mountains, streams, trees, caves, cremation grounds, cities, temples, places of pilgrimage, and beings of all kind. This study seeks to map both the esoteric and exoteric conigurations of power in Nepāla-Maṇḍala. Chapter 1 will examine Śrī-Vidyā ontology and 9 This hypothesis, which I developed after ield visits to Nepal in 1988-89 and 1990-91, was conirmed by Mark Dyczkowski during a series of discussions at his house in Benares from 21 January to 10 February 1997. 8 | the Goddess Within and Beyond the three Cities cosmology, with particular attention to the macrocosmic, microcosmic, and mesocosmic forms through which the divine consciousness-power manifests. Chapter 2 will focus on an analysis of Tantric sādhanā and the manner in which various mystico-erotic and yogic practices function as technologies of power aimed at harnessing, manipulating, and channelling bodily energies for the sake of both worldly empowerment and liberation. Chapter 3 will examine Nepalese constructions of space as instantiations of divine power, in which the maṇḍala — and more speciically the Śrī-Yantra — functions as a template that reduplicates itself on multiple levels: in the geopolitical landscape of the entire country, in the layout of the Kathmandu Valley as a whole, in the design of the three most important cities in the valley, and in the structures of the temples in those cities. Chapter 4 will investigate the socio-political ramiications of the discourse of power as evidenced in the historical interconnections among Nepalese royal lineages, Śākta Tantric traditions, and the institution of the Kumārī. In the course of our investigations of Nepalese Śrī-Vidyā Śākta Tantra, we will grapple with a number of pivotal categories that have been theorized by scholars in the human sciences — including the categories of power, place, body, and ritual — in order to illuminate the paradox of power that reverberates at the heart of Nepāla-Maṇḍala. The Textual Track My study combines historical investigations, textual translations and analyses, archival research, and ethnographic research in an attempt to illuminate the multilevelled conigurations of the discourse of power in Nepāla-Maṇḍala. The textual phase of my study draws on the authoritative texts of the Trika Kaula Śaiva and Śrī-Vidyā Śākta traditions. A signiicant portion of my textual analysis focuses on a single Śrī-Vidyā text: the Nityāṣoḍaśikārṇava, which I translated during my ield research in Nepal under the guidance of Sthaneshwar Timalsina, then an Assistant Professor of Sanskrit and Tantra at Valmiki Sanskrit Campus and now Professor of Indology at San Diego State University (Figs. 15 and 29). The Nityāṣoḍaśikārṇava together with the Yoginīhṛdaya constitute the Vāmakeśvara-Tantra, which is the root scripture (mūlāgama) for Nepalese practitioners of Śrī-Vidyā Śākta Tantra. The name of this text combines three Sanskrit terms — nityā, ṣoḍaśika, and arṇava — and may be translated either as “The Ocean (arṇava) of the Sixteen (ṣoḍaśika) Eternal Goddesses (nityā)” or as introduCtion | 9 “The Sixteen (ṣoḍaśika) Waves (arṇava) of the Eternal Goddess (Nityā)”. The irst translation points to the text’s connection with an older Yoginī Kaula cult that centred on the worship of sixteen goddesses associated with the phases of the moon. The second translation points to the later non-dual interpretation of the text by Tantric exegetes who identify Tripurasundarī as the one supreme “eternal Goddess” who gives rise to the sixteen deities that constitute the phenomenal world. This shift from a group of deities to a singular divinity relects a historical shift from the older forms of Kaula Tantra to the later sanitized forms of high Hindu Tantra found in the Trika Kaula Śaiva traditions of Kashmir — particularly as expounded by the great Śaiva theologian Abhinavagupta (c. 975–1025) — and in Śrī-Vidyā Śākta traditions.10 While none of the Śrī-Vidyā manuscripts at Nepal’s National Archives is older than the eleventh century, there is evidence to suggest that the Nityāṣoḍaśikārṇa derives from an earlier date. Abhinavagupta mentions a Nityā-Tantra in his writings, which Diwakar Acharya, the Spalding Professor of Eastern Religion and Ethics at All Souls College, University of Oxford, suggests is a reference to the Nityāṣoḍaśikārṇava.11Timalsina posits the eighth century as the date of the text’s origin — a date that is also suggested by Douglas Brooks.12 While we have no Nepalese manuscripts from such an early date, Nityāṣoḍaśikārṇava manuscripts from as early as the eleventh century present us with a fully developed system of theological and liturgical speculation. By the thirteenth century this core text had received commentaries from three major Tantric exegetes: the VāmakeśvarīmataVivaraṇa of Jayaratha (twelfth century), the Artharatnāvalī of Vidyānanda (twelfth century), and the Ṛjuvimarśinī of Śivānanda (thirteenth century).13 The textual phase of my work in Nepal also included archival research at Nepal’s National Archives, in which I examined the colophons of several hundred Śrī-Vidyā ritual texts (paddhatis) and Tantras as part of my investigations of the 10 The Nepalese kings’ chosen deity appears to have been predominantly Tripurasundarī. See Purushottama Shreshta, “Saudāminī Māsika” (Varṣa 1 aṅk 1, NS 2047 Caitra), p. 27. This important essay conirms the statements by the historian and bibliographer, Śrī Prasad Ghimire, whom I interviewed on several occasions. 11 See Douglas Renfrew Brooks, 1992, Auspicious Wisdom: The Texts and Traditions of Śrīvidyā Śākta Tantrism in South India, Albany: SUNY Press, pp. 38-40. 12 Oral communication, Valmiki Sanskrit Campus, Kathmandu, Nepal, 10 March 1997. 13 Brooks, 1992, Auspicious Wisdom, p. 40. 10 | the Goddess Within and Beyond the three Cities historical development of the tradition and the nature and extent of its canon.14 The Ethnographic Track My textual and archival work was complemented by my ethnographic research in Nepal from February 1997 to January 1998, during which I worked extensively with local scholars, paṇḍits, and practitioners. During my ield studies at the major sites of Śrī-Vidyā worship throughout the Kathmandu Valley and outlying areas, contemporary practitioners shared with me at length the oral traditions of interpretation of Śrī-Vidyā teachings and practices that they had received from their respective lineages. At each of these sites I encountered local exponents of esoteric traditions making the radical claim that the ritual technologies of Tantra have the power to transform human beings into living incarnations of deity. “The Śrī-Vidyā tradition transcends and fuses together all levels of reality.” With these words Timalsina inished pouring my tea, and we commenced our irst discussion of Tantric practice in one brisk fall morning at his home in the Kathmandu Valley, shortly after I irst met him in 1996. Timalsina is not only a world-class Sanskritist and scholar of Hinduism, but also an advanced adept of the Sarvāmnāya Śākta Tantra tradition. For this reason, Timalsina functioned in a dual role for me during my research. On the one hand, he was the impeccable scholar and textualist who guided me through the complex world of the Nityāṣoḍaśikārṇava and related texts;15 and, on the other hand, he was the advanced practitioner whose own experience provided one of the principal windows through which I gazed upon the landscape of Nepalese Tantra as a living tradition. In my encounters with Timalsina and other practitioners, I was guided by the assumption that religious traditions live most meaningfully in the understandings and experiences of their adherents. Timalsina’s understandings and experiences of Śrī-Vidyā served as a primary means through which I accessed the corpus of Tantric texts and practices that he claimed low into and through him. Timalsina, like the great commentators on the Nityāṣoḍaśikārṇava 14 See Appendix A, which contains my translation of portions of the Nityāṣoḍaśikārṇava along with two principal commentaries, the Artharatnāvalī of Vidyānanda and the Ṛjuvimarśinī of Śivānanda. 15 See Appendix B, which is an index of Śrī-Vidyā paddhatis housed at Nepal’s National Archives. See also Appendix C, which contains my translation of inscriptions from the Bhaktapur Tripurasundarī Vidyā-Piṭha and Dolakha’s Devīkoṭṭa. introduCtion | 11 — Jayaratha, Vidyānanda, and Śivānanda — is an initiate of both the Śrī-Vidyā and Trika Kaula Tantric traditions. Consequently, he is not only thoroughly conversant with the canons of the two traditions, but he also has engaged in the ritual and meditative practices of both. Having conidence in Timalsina’s status as a pre-eminent teacher of the Śrī-Vidyā and Trika Kaula schools, in my study I frequently invoke the oral teachings that he imparted to me over the course of nearly one year of intensive study and analysis of Nepalese Tantric traditions. Through Timalsina’s analysis, the written texts were wedded to oral interpretation. In this way, Timalsina functioned as my guru, the living voice through which the texts and practices of Śrī-Vidyā came to life. Before commencing my studies in Nepal I spent ive months in New Delhi, India, studying with Balajinnath Pandit, who is regarded as one of the few living exponents of Trika Kaula Śaiva traditions. Pandit is a disciple of the late Amrita Vagbhava, a renowned Siddha and exponent of Trika Kaula Śaivism. Among Paṇḍit’s many credentials is the fact that he was a teacher of the late Swami Lakshman Joo. With Pandit I studied Utpaladeva’s Īśvarapratyabhijñā-Kārikā as well as Abhinavagupta’s Īśvarapratyabhijñā-Vimarśinī and Tantrasāra. These texts igure prominently in Vidyānanda’s and Śivānanda’s commentaries on the Nityāṣoḍaśikārṇava. Knowing that after completing my studies with him I would go on to Nepal to study Śrī-Vidyā Tantra, Pandit assured me that “no study of the Śrī-Vidyā could be complete without a prior study of the Trika Kaula”. He regards Śrī-Vidyā as the “secret essence” of the Trika Kaula and was sceptical that anyone in Nepal could unravel its mysteries. However, he was aware of a “young practitioner” who he believed “might be able to help me”. This “young practitioner and scholar” turned out to be Timalsina. When I later went to Nepal and met Timalsina, he conirmed Pandit’s assertion that the works of Trika Kaula are a necessary compliment to any serious study of the texts and traditions of Śrī-Vidyā. Moreover, I discovered that Timalsina regarded Pandit as a rare living authority of Trika Kaula traditions and was familiar with many of his essays, translations, and commentaries. In my tracking of the stories of Devī, I was guided by numerous other scholars and practitioners in Nepal. Mukunda Raj Aryal, Professor of Art, Culture, and History at Tribhuvan University, who advised me on an earlier research project on the Cāṅgu Nārāyaṇa Temple in 1988-89, also guided me in my research in 1997 on the textual, iconographic, and ritual traditions of Śrī-Vidyā. A great many of 12 | the Goddess Within and Beyond the three Cities my Saturday afternoons in Nepal were spent in conversation with Siddhi Gopal Vaidya, a ninety-three-year-old Ayurvedic doctor and a guru of the Kālī tradition. These carefully documented exchanges ind their way into this study at many levels. With Nutan Sharma I conducted ield research at important Śrī-Vidyā sites in Patan, Bhaktapur, and Dolakha. I also spent many hours with Divakar Acarya discussing the historical and textual intricacies of Śākta Tantra. Shri Kabijananda, pūjārī to King Birendra until his recent death, openly discussed with me the position of Tantra in the life of Nepalese kings (Fig. 27). This was also the topic of my conversations with Shri Prasad Ghimire, who is the author of several works on Nepalese kingship and Tantra. With Kedar Raj Rajopadhyaya, former chief pujārī of the Taleju Temple at Bhaktapur, I discussed the peculiarities of the Tripurasundarī tradition in Bhaktapur. My tracking expedition in pursuit of Devī has been signiicantly informed by Mark Dyczkowski’s extensive studies of Nepalese Tantric traditions, as relected not only in his written works but also in the many relections that he shared with me during my one-month stay at his home overlooking Narad Ghat in Varanasi. It was Dyczkowski who directed me to Hemendra Chakravarty, a renowned student of Gopinath Kaviraj and a leading authority on both the Trika Kaula and Śrī-Vidyā traditions. In New Delhi and later in Calcutta I also studied for a brief period with Debabrata Sensharma, a noted scholar of Kashmir Śaivism. In addition to scholars and Pandits, I consulted with a number of eminent musicians, including Pandit Shri Homnath Upadhyaya, the royal court musician of the king of Nepal, who relected with me on the practical applications of Tantra in the domains of music and sound. Having briely charted the multiple voices that inform this study, we now turn to an exploration of the manifold manifestations of the paradox of power on the macrocosmic, microcosmic, and mesocosmic planes. 1 The Goddess Embodied Tripurasundarī and the Tricosmos It seems that the entire complex network of esoteric cults [in the Kathmandu Valley] is dying a not so slow and pitifully unknown death, immured in the secrecy which has jealously guarded its life in bygone days. But, while one would wish this to be otherwise, this sad fact greatly assists the anthropologist of religion. People are ready to talk in a way they have never been before. — Mark Dyczkowski1 On the night of Mahāśivarātri, 23 February 1997, while thousands of vermilionstriped devotees (bhaktas) made offerings to images of Lord Śiva, Timalsina and I visited the revered Paśupatinātha Temple in Deopatan, at the eastern rim of the city of Kathmandu (Fig. 14). As often happened when we were together, I took this opportunity to expand my understanding of his particular Tantric vision of reality.2 As we walked along the banks of the Bāgmatī River, near the burning 1 Personal communication, Benares, India, 28 August 1995. 2 My intention from the outset has been to explore the ways in which traditions are transformed through embodiment at the level of the individual. I would contend that human experience, desires, and biogenetic make-up are inseparably linked to the history, practice, and doctrine of religious traditions. Seeking the contours of the logical, geometric web that weaves together the various strands of Nepalese socio-political, cultural, and religious traditions, I have walked up both textual and ethnographic pathways believing that each has something of unique value to offer and that they are inseparably linked just as Śrī-Yantra’s bindu is linked to its bhūpura. When oral tradition — the locus of ethnography — becomes institution it replicates itself as authoritative text (śāstra) — and thereby enters the locus of textual analysis. In a Tantric context, a text is authoritative by merit of the fact that it emblemizes the living tradition which reciprocally identiies with it as the symbol of its own relationship to divinity. In this symbiotic relationship between text and tradition, the living tradition (sampradāya) embodies its text through yogic practices which transform the written word into lived experience and makes possible liberation from the binding properties of language. Once freed from discursive ields, the mind thinks according to its own intuitive lashings (TS 111.35-37). In such a state one is freed to embody aporia (Derrida 1996) by being the I-principle (ahantā) which gazes 14 | the Goddess Within and Beyond the three Cities ghāṭs, Timalsina remarked: This universe is nothing but power (śakti). This śakti is the Goddess, she who contains within herself all opposites. The purpose of my life is to access this power, to plug into the ultimate power source and be illed with it until I become that power itself. Until and unless you see all forms as the pulsating power of the Goddess, you are still in bondage. If your vision is dualistic, then you know you are bound. When you see all forms as expressions of the one Goddess, then you are free. Look at all these people coming in and out of the temple. You and I see individuals, separate beings. A siddha sees nothing but the Devī. The Goddess contains within herself all of these forms. This is why we call her Viśvarūpa Devī, the Goddess whose form is the universe. And what is that form? It is pure power, pure śakti in the form of the Śrī-Yantra.3 Timalsina’s words offer an entry point into the world-view of Nepalese Śrī Vidyā Śākta Tantra, and so I will begin with an explication of his comment. Timalsina declared that the universe is “nothing but power (śakti)”. The Sanskrit term śakti implies not only “power” or “energy”, but is also used more speciically to refer to the feminine activating power through which the universe manifests. The term is often used in this context to refer to the female consorts of male deities. For Timalsina śakti is all of these things and something more. As an exponent of Śrī Vidyā Śākta Tantra, Timalsina uses the term śakti to designate Parādevī, the supreme Goddess, who is the source and sum total of all existence. The universe with all its myriad forms is understood to be her body, and for this reason she is addressed as Viśvarūpa Devī,4 the “Goddess whose form is the universe”(Fig. 10). simultaneously from within, without, above, and below. This doctrine of an ubiquitous I is not unlike an earlier shift in Purāṇic traditions which saw the siddha as the supreme symbol of imitatio dei. These traditions are of particular interest here not only because they shared the same theology, ontology, cosmology, and even philology, but also because they are deeply wedded to the proto-hard science traditions of the greater subcontinent (and here I include Tibet and all the trade routes that entered it); for, the siddha was not just a mystic, theoretician, and ritual specialist, s/he was also a “scientist” acutely interested in the movements of the stars and the earthly cycles that accounted for anything from menstrual lux to the low of tides. 3 Oral communication, Deopatan, Nepal, 23 February 1997. 4 In my earlier work, I analyse how the symbolism and theology of the viśvarūpa, embodied so richly at the temple of Cāṅgu Narayana, functions as a metonym of Nepalese religious traditions. In the eleventh āhnika of the Bhagavad-Gītā the god-king Kṛṣṇa reveals his viśvarūpa The goddeSS eMbodied : TripuraSundarī and The TricoSMoS | 15 As Viśvarūpa Devī, the Goddess is depicted in stunning iconic form as the South Asian ideal of feminine beauty. However, in a ritualized setting the Goddess is more commonly depicted as a maṇḍala or yantra, and more speciically as the ŚrīYantra — an aniconic geometric representation of the low of śakti. In Timalsina’s statement the term śakti thus interweaves a complex of meanings, ranging from power, the body, and the universe to Viśvarūpa Devī and the Śrī-Yantra (Fig. 1). To the Śrī-Vidyā tāntrika, śakti is all of these things. And śakti is also an energy within the body — the kuṇḍalinī-śakti — which, when awakened, leads to the meditative realization of the unity of the Self with the universe — perceived as the body of the Goddess, the Śrī-Yantra, and the abode of power. This transformation is both gnosiological and performative. The tāntrika’s realization of his or her identity with the Goddess is attained through engaging in sādhanā, a system of ritual and yogic practices. The Śrī-Yantra is the key to this process. As the aniconic depiction of the macrocosmic godhead, the maṇḍala is also the mesocosmic medium for the transformation of consciousness. The goal of Tantra is to embody the maṇḍala on the micro-level: in short, to make the divine body one’s own. The body of the Goddess is thus described in Śrī Vidyā Śākta Tantra as manifesting on multiple levels. On the macrocosmic level, the Goddess is embodied in the cosmos. On the microcosmic level, she is embodied in the subtle physiology as the kuṇḍalinī-śakti. On the mesocosmic level, the Goddess manifests three forms that are used as devices in Tantric sādhanā — the anthropomorphic icon, the Śrī-Vidyā mantra, and the aniconic Śrī-Yantra. In southern schools of Śrī-Vidyā, the iconic image is revered as Tripurasundarī’s gross form (sthūlarūpa), the Śrī-Vidyā mantra as her subtle form (sūkṣma-rūpa), and the Śrī-Yantra as her transcendent form (parā-rūpa).5 In Nepalese traditions of Śrī-Vidyā, as we to Arjuna. In Kṛṣṇa’s universal form Arjuna sees all facets of reality contained within the cosmic body of God. He sees plurality embraced by unity, the many within the one. With this vision, Arjuna is able to engage in battle knowing that ultimately all forms are manifestations of and contained within the body of God. As a seminal text for Bhāgavata and Vaiṣṇava Hindu traditions, the Bhagavad-Gītā also epitomizes Śākta Tantric conceptions of the Goddess as transcendent, immanent, and all-pervasive. 5 The tripartite correlation of gross, subtle, and supreme form to, respectively, the mūrtī, mantra, and yantra of Tripurasundarī, is found in such early texts as the Yoginī-Hṛdaya. It is for this reason that Brooks adopts this model in laying out his analysis of Śrī-Vidyā traditions in south India. See D.R. Brooks, 1992, Auspicious Wisdom, esp. chaps. 4-6. 16 | the Goddess Within and Beyond the three Cities shall see, the Śrī-Yantra in particular is celebrated as the divine form (īśvara-rūpa) of the Goddess that serves as the supreme means (uttama-upāya) to liberation. As we continued our walk through Paśupatinātha Temple on Mahāśivarātri, Timalsina noted: The Goddess is, has been, and always will be all things, all people, all places, and all times. Ever transcendent and undivided, she becomes many.6 This statement captures the ontological paradox at the heart of Śrī-Vidyā Tantric discourse: the marriage of all opposites within a goddess who embodies the possibility for all possibilities.7 Ultimately the Goddess, as the universal basis of I-consciousness, is beyond and prior to speech (parā-vāc). A practitioner of Śrī-Vidyā Tantra is considered “accomplished” (siddha) not because of his or her intellectual grasp of the canon of authoritative texts, but because he or she, through engagement in Tantric practice, has attained direct realization of that supreme Goddess who is beyond all speech and all mental constructs. This realization (pratyabhijñā), although clearly a product of the capacity to know (jñāna-śakti), is inseparably wedded to the capacity to act (kriyā-śakti). In a Tantric context, realization is born of practice, as practice is itself a form of knowledge. The stages of liturgical worship (krama-pūjā) do not just represent knowledge about the sequential unfolding of consciousness (krama-saṁvit) at the time of cosmogenesis; they are that unfolding. To engage in the practice is to recapitulate on the level of one’s own consciousness the creation and dissolution of the cosmos. The Goddess’s macrocosmic projection and subsequent absorption of the universe are realized by the tāntrika on the microcosmic level as the pulsations of his or her own consciousness.8 6 Oral communication, Deopatan, Nepal, 23 February 1997. 7 Much like their Ch’ān counterparts, Tantric exegetes manipulate paradox for the purpose of producing a jump from the discursive to non-discursive ields. Here, the emphasis is on the inexpressibility of truth (anirvacanīyam) and the importance of practice-based experience (anubhava) over knowledge (jñāna). 8 This activity of reduplication, its impact and place within Nepalese culture, society, and politics, and its implication for a comparative theory of power, are the central foci of this work. Flowing along the interconnected channels of the Nepāla-Maṇḍala, Tantric practice and discourse entered the “mainstream” nearly a millennium ago and has since then functioned as one of the primary streams that fed the reservoirs of cultural knowledge. For this reason, Tantric understandings of power are traced not only to Tantric texts and practitioners, but The goddeSS eMbodied : TripuraSundarī and The TricoSMoS | 17 In his or her sādhanā the Śrī-Vidyā tāntrika makes use of the mesocosmic forms of the Goddess Tripurasundarī — the anthropomorphic icon, the Śrī-Vidyā mantra, and the aniconic Śrī-Yantra — as devices to awaken the microcosmic form of the Goddess in the subtle physiology — the kuṇḍalinī-śakti. In the inal stages of realization, the tāntrika realizes that the Parāśakti who is embodied within in the reverberating pulsations of consciousness is simultaneously embodied without in the vibrant forms of the cosmos. In the end the distinctions between inside and outside — between the microcosmic and macrocosmic bodies of the Goddess — collapse in the uniied awareness of the unbroken wholeness of consciousness. In this chapter we will explore representations of the macrocosmic, microcosmic, and mesocosmic forms of the Goddess, with particular attention to the ways in which Śrī-Vidyā Śākta traditions in India and Nepal appropriate and transform certain Trika Kaula Śaiva traditions. The Paradox of Divine Power: The Goddess Within and Beyond the Three Cities In order to understand the mechanisms through which the Goddess Tripurasundarī becomes embodied on the macrocosmic, microcosmic, and mesocosmic planes, also to doctors, musicians, artists, politicians, shamans, housewives, and taxi drivers. In each case, the degree of specialized knowledge varies; however, just as all Americans are to some degree inluenced by “American values” so all Nepalese are inluenced, to varying degrees, by the high Tantric traditions which entered their country by at least the twelfth century and quickly thereafter became a dominant social and cultural force. My primary interest here is to excavate, reproduce, interpret, and evaluate an elitist perspective. I am interested in the understanding of the practitioners of Śākta Tantra, their informed patrons (often kings), and the other actors who consciously engaged in Tantric practice. These are the agents who interwove the sectarian discourses and practices of Tantra into the “common sense” fabric of everyday realities in the Kathmandu Valley. Taking a lead from Foucault, I work from the assumption that the domains of my archaeological and hermeneutical project are not limited to any particular segment of Nepal’s maṇḍala since all points lead to and are fed by shared epistemes. Although epistemes — shared understandings of the mechanisms of knowledge — are historically rooted, multiple, and often paradoxical (in that epistemes are rooted in bodies and bodies do not always conform to logic), I contend that the Nepalese epistemes have been consistently informed by high Tantra for the last 800 years. During this time Tantric epistemes have spread like viruses — not meant in a pejorative sense here — through the multiple levels of the Nepalese social, political, and cultural “matrix” to such an extent that its ubiquitous presence is unquestioned. I make no judgement of this all-pervasive presence. Rather, I take interest in the ramiication of its presence and potential demise. 18 | the Goddess Within and Beyond the three Cities we must irst examine the fundamental paradox that underlies Śrī-Vidyā notions of divine power: Tripurasundarī, the Goddess within the three cities, is at the same time the Goddess beyond the three cities; she is immanent, embodied in the realm of name and form, and at the same time she is transcendent, beyond the realm of embodiment altogether. The textual sources of Śrī-Vidyā Śākta Tantra, as well as contemporary oral traditions, reveal an ideology of power that is paradoxical, an ideology that suggests that tāntrikas have long been aware of the multiple dimensions of power.9 In this ideology the ontological source and goal of all power is the Goddess herself, who as the supreme śakti is a dynamic consciousness power reverberating at all levels of reality. The Goddess, pulsating in her essential nature as being, consciousness, and bliss (saccidānanda-sphurati), is the ultimate source and ground for all phenomenality. She manifests the universe as the body of consciousness, and at the same time she remains transcendent of the macrocosmic body that she manifests. Tripurasundarī is both a transcendent source and an immanent manifestation. Śrī-Vidyā Śākta Tantra, appropriating, informing, and adapting the Trika Kaula ontology of Kashmir Śaivism, posits a non-dual theology that seeks to overcome the dualism between pure consciousness (puruṣa) and matter (prakṛti) established by Sāṁkhya philosophy. In the non-dual theology of Śrī-Vidyā, the Goddess, as divine consciousness, manifests the material world, and the material world in turn embodies divine consciousness. The Goddess, in her paradoxical 9 At the core of the Tantric (hence, Nepalese) episteme on power is the doctrine that multiplicity can be transformed within the uniied ield of subjective awareness. The tāntrika constructs for himself a vision of oneness (advaita-dṛṣṭi), remoulding ordinary categories of perception to it the idealized world constructed by his root texts (mūlāgama) and the words of his guru (guru-vacana). This elitist, post-tenth-century world-view depicts the universe as the unfolding of ininite reservoirs of divine power, reservoirs to be tapped by the tāntrika for both worldly gain (bhukti) and spiritual emancipation (mukti). Herein, I attempt to map this idealized universe with an eye towards understanding how a tāntrika comes to proclaim that all multiplicity is contained within a single godhead who is, ultimately, one’s own I-consciousness. This navigation will take us not only into the texts and oral traditions of Nepalese high Tantric traditions — particularly Śrī-Vidyā Śāktism and Trika Kaula Śaivism — but also the texts and oral traditions of Nepalese music, art, politics, and medicine. Tracking the story of Devī we walk many interconnected paths and listen to a chorus of multiple, historically interwoven voices. The goddeSS eMbodied : TripuraSundarī and The TricoSMoS | 19 nature as the unitary consciousness-power that embraces all opposites, is celebrated as both unmanifest (nirguṇa) and manifest (saguṇa), conscious (caitanya) and inert (jaḍa), being and non-being (asat), transcendent (viśvottīrṇa) and immanent (viśvamaya), absolute (paramārtha) and relative (vyāvahārika). In its formulations of the paradoxical nature of divine power, Śrī-Vidyā appropriates and recasts from its Śākta perspective the ontology of the Trika Kaula school of Kashmir Śaivism, declaring the Goddess, Tripurasundarī — rather than the God Śiva — to be the supreme godhead who is the unmanifest source of all manifestation. As we walked that night of Mahāśivarātri on the banks of the Bāgmatī River at Paśupatinātha Temple, Timalsina expounded the Śrī-Vidyā vision of divine power and invoked Abhinavagupta, the pre-eminent theologian of Trika Kaula Śaivism, in order to explicate that vision. He sang the opening verse of one of Abhinavagupta’s inest works, the Tantrasāra, in which he distills the essential doctrines and practices of the Trika Kaula school. Abhinavagupta declares: Śakti, the substratum of the pure creative art, reveling in ever new creation, is my mother and that reality (Śiva), which, being illed to the brim, maintains a ive-faced activity [i.e. creation, etc.], is my father. May my inner self, consisting of the manifest reality brought about by the lutter of the coupled union of both of them, shine as the totality of the transcendental nectar [of pure consciousness].10 Timalsina, in commenting on this verse, interpreted Abhinavagupta’s Śaiva theology from the Śākta perspective of Śrī-Vidyā: This is a great statement on the nature of Tripurasundarī. She is both the mother and the father to which Abhinavagupta refers. She is Śakti, the foundation for the stainless art, and she is Pañcamukha, the ive-faced father Śiva, whose activities are manifest as the senses and their respected domains (viṣaya). She is phenomenality and she is the transcendent (anuttara). She is of the three cities and she is beyond them. Abhinavagupta was not simply a Śaivite. He didn’t just worship the God of the Purāṇas. Abhinavagupta was a scientist of the highest order. His laboratory was his body and mind. His object of study was consciousness. The conclusion of his inquiry was that the object of his study is all-pervasive I-ness that functions as the Self of all.11 10 TS 1.1. 11 Oral communication, Deopatan, Nepal, 23 February 1997. 20 | the Goddess Within and Beyond the three Cities In developing his doctrine of absolute non-dualism, Parādvaita, Abhinavagupta was careful to distinguish his theological system from the systems of the Advaita Vedāntins and the Vijñānavādins (Yogācāra). He declares: Finding the contradiction between unity and diversity quite irreconcilable, some thinkers [Vedāntins] stated that apparent diversity was inexplicable because of its being basic ignorance (avidyā), while others [Vijñānavādins] said that diversity was false because it was an outcome of mental ideation (saṁvṛti). Thus both of them deceived themselves and others.12 From Abhinavagupta’s Tantric perspective, the essence of this ontological deception was that Vedāntins and Vijñānavādins had failed to recognize phenomenal existence as proof of the grandeur of the godhead. For the tāntrika the manifold forms of the phenomenal world are not an illusion, but are rather proof of the ininite creative powers of the divine. For this reason, Abhinavagupta redeines the concept of Brahman from a Tantric perspective as that power of bliss that projects itself externally by a kind of spilling out of the universal creative potency lying within. Ininite consciousness gets evolved into all phenomenal existence just as the word Brahman means both the allpervading ininite and the evolved entity.13 This notion of divine consciousness as an all-pervasive plenum and a fount of creative potency was a discursive synthesis that intertwined and recast centuries of philosophical relection on humanity’s relationship to its source. Kṣemarāja, Abhinavagupta’s disciple, in his Pratyabhijñāhṛdayam depicts consciousness as expressing its self-creativeness by casting the canvas of diversity within its own non-dual, contentless being. This act of casting provides for three epistemological centres: a subject of cognition, an object of cognition, and the act of cognition itself. While Vedāntins and Yogācārins alike gave primacy to the subject alone, tāntrikas proclaim that all three centres are linked as a triangular embodiment of being whose unitary nature is borne out through its expression as a subject–object–cognition Self (pramātṛ–prameya–pramāṇātmaka-svarūpiṇī).14 The exponents of Śrī-Vidyā appropriated and reinterpreted Trika Kaula 12 ÁPv with Bhāskarī 2.131, quoted in Pandit, Speciic Principles, p. 3. 13 PTV 4.221, quoted in Pandit, Speciic Principles, p. 2. 14 PṛHṛ 3. The goddeSS eMbodied : TripuraSundarī and The TricoSMoS | 21 ontology from the perspective of Śākta Tantra, establishing the Goddess, Tripurasundarī, as the supreme godhead who is the plenitude and fount of all being. The goal was to awaken sādhakas to the realization that all outer appearance is a relection in the mirror of consciousness of one perfect I-ness — the Goddess — manifest simultaneously as all forms, sentient and insentient alike. This was the capturing of the great paradox through a discursive shift that made diversity the very revelation and proof of the unitary being of Parāśakti. The Nityāṣoḍaśikārṇava, the authoritative text of Śrī-Vidyā, and its commentaries relect on the paradoxical nature of the Goddess, describing Tripurasundarī as both transcendent (viśvottīrṇa, literally, “escaped from the world”) and immanent (viśvamaya, “consisting of the world”).15 The Śākta initiate understands the term “transcendent” (viśvottīrṇa) to encapsulate a double meaning. On the one hand, it posits a godhead that is transcendent of phenomenal existence — thus “not of the world” (alaukika). On the other hand, it also suggests the status of the sādhaka who “escapes from the world” (viśvottarati) by engaging in Tantric yoga and meditation and thereby becomes aviśvamaya, “not of this world”. Tripurasundarī is celebrated in this context as that consciousness power which moves in a dialectical fashion from an unconstructed plane of pure being (akalpita-śuddha-sattā) to a constructed condition of worldly embodiment (jīvarūpa-parikalpita) and then returns again to an unconstructed, transcendent realm.16 Śivānanda, in Ṛjuvimarśinī, his thirteenth-century Kashmiri-based commentary on the Nityāṣoḍaśikārṇava, explores the paradoxical nature of Tripurasundarī through playing on the etymological possibilities of her name as either “the mistress within the three cities” or the “mistress beyond the three cities”. These two etymological derivations imply the doctrine of two truths, which was initially posited by the Buddhist philosopher Nāgārjuna (c. second century) and later adopted by the great exponent of Advaita Vedānta, Śaṅkārācārya (c. eighth century) and which by the time of the codiication of Śrī-Vidyā in Kashmir had become part and parcel of South Asian theologizing. These two truths are designated in Sanskrit as saṁvṛti-satya and paramārtha- 15 NṢA 1.4-6, 2.7. 16 ṚjV on NṢA 1.1. 22 | the Goddess Within and Beyond the three Cities satya.17 Saṁvṛti-satya is, by deinition, relative, constructed (saṁvṛti) truth and is vyāvahārika,18 of this world, and pauruṣeya, a product of the activities of humans. Its locus is the realm of human knowledge and power. As such, relative truth, as Śivānanda writes in his Ṛjuvimarśinī, is conditioned by ignorance (avidyā) and illusion (māyā), because it is the product of dualistic awareness (dvaita-vikalpa).19 By contrast, paramārtha-satya (supreme truth) is avyāvahārika, not of this world; asaṁvṛti, unconstructed; and apauruṣeya, not created by humans or divine agents. While relative truth is socially and historically conditioned, determined by the mental constructions of the mind (manas-parikalpita), the supreme truth is unborn (aja), unconditioned (aparikalpita) and eternal (nityaṁ).20 In Śrī-Vidyā these two truths — relative truth and supreme truth — are not viewed as mutually exclusive, but are seen rather as interconnected, inseparable facets of that unitary consciousness which is called Tripurasundarī.21 Timalsina, in his own authoritative text (śāstra)22 on Śrī-Vidyā cosmology entitled Śrī Tantra-Hṛdgahvara (Auspicious Heart-Cave of the Tantras), encapsulates in 300 ślokas the paradoxical nature of Tripurasundarī as both absolute and relative, transcendent and immanent, unmanifest and 17 Saṁvṛti, from root vṛt (“to turn”, “to produce”, “to set forth”) plus preix sam (“towards”) comes to mean, variously, “to conglomerate”, “to produce”, “to perform”. 18 Comprised of the elements vi-ava- √hṛ, this semantically charged term denotes a “dealer”, “female slave”, “common practice”, and “ways of world”. 19 AR 1.3.5. Cf. ŚTH 4.2. 20 In some ways the distinction between the two truths of Tantric theology parallels the differing interpretations of the term “sacred” as mapped out in the theoretical writing of Mircea Eliade and his student, J.Z. Smith. See Sam Gill’s insightful essay on the scholarship of J.Z. Smith and Mircea Eliade entitled “Territory”, in Critical Terms, 1998, pp. 298-313. 21 In his Śrī Tantra-Hṛdgahvara, Timalsina deines Tripurasundarī as “that consciousness/power (cit-śakti) that creates the world and is created by the world”. ŚTH 2.3. Cf. NṢA 4.15-16, 1819a. 22 I apply the term śāstra to Timalsina’s text as a result of our discussions on its origins. Timalsina claims that the text was revealed to him, that it was the “grace of the Mother” who placed the verses in the “womb of his mind” and thereby made possible the birth of a text that is in my estimation one of the most concise treatises on Śrī-Vidyā cosmogony to date. This opinion is shared by certain contemporaries of Timalsina who view him as an accomplished sādhaka of uncommon standard. The goddeSS eMbodied : TripuraSundarī and The TricoSMoS | 23 manifest, omnipotent and bound.23 This concise text serves as a contemporary complement to the Nityāṣoḍaśikārṇava and numerous medieval Śrī-Vidyā 23 In Śrī Tantra-Hṛdgahvara I ind evidence that Tantric ideology (Tantravāda) presupposes both social constructivism and its opposite, theology, and — through the incorporation of a body-based technology — reveals dimensions of power that are translingual. For tāntrikas, historically-contingent ideological constructs may be producers of power; however, such productions are rooted in a transcendent other — the Devī — who is paradoxically both constructed and transconstructed. It is this dual nature which allows for freedom, for the Goddess who binds through her veiling power of language (śadba-tirodhāna-śakti) is also the Goddess who liberates through the unveiling power at the heart of language (śabda-anugrahaśakti). I am reminded here of Foucault’s insistence that the purpose of his own scholarly project was to liberate himself and others from the historically-contingent discourses that have determined Western constructions of power and knowledge. Genealogically a dualist — in that he is post-Structuralism — it would have perhaps been illogical for Foucault to proclaim the possibility of the “freedom to think freely” as a potential innate to the very nature of that which produced the tethering institutions that cage our minds. Ultimately we cannot know Foucault’s perspective on Nepalese Śākta Tantra. Unfortunately, he did not write on South Asian epistemes. However, we do know that many post-Foucaultian thinkers — particularly in the ields of gender and feminist studies — tend to see “liberated thought” as positioned at one end of an ontological and discursive ield whose opposite end contains the “institutions of humankind”. While not disagreeing with the insights of these post-Foucaultian theoreticians, the tāntrika also sees the binding properties of institutions, uniquely rooted as they are in the social and economic realities of each and every particular community, as the historical instantiations of one of the ive powers of the Absolute: the power to bind (tirodhāna-śakti). While post-Foucaultians might convincingly argue that Tantric non-dualist discourse is but another ideological ploy by which the powerful encode their hegemonic agendas into both public and private discursive ields, this kind of neo-Marxist argument — while of value — comes up short in explaining the multiple dimensions of Tantric practice, discourse, and experience. In analyses such as the one I am undertaking, one must take into account that at its core Tantra is a sophisticated and inely tuned machinery of body praxis, the aim of which is the production of beings who cognize themselves as lords of the universe (jagadīśvaras), not solely because such self-structuring — when accepted by others — makes possible favourable positionings within the theatre of institutionalized power, but also because such self-structuring is based on a real shift towards freedom as a result of the attainment of the highest of the four aims of human existence (catuḥ-puruṣārthas), liberation (mokṣa), which is itself the supreme power, the power of freedom (svātantrya-śakti), a power that, when rooted in the experience of the king, extends out like rays of light across the multiple intersecting lines of his maṇḍala/kingdom. AR on NṢA 4.10-17. 24 | the Goddess Within and Beyond the three Cities sources, including over 700 paddhatis at Nepal’s National Archives.24 In the opening verses of Timalsina’s Śrī Tantra-Hṛdgahvara, Tripurasundarī is defined as the eternal one (nityā) who is inseparable from the state of transcendence (turyātīta). In the very next verses this transcendent divinity is paradoxically equated with phenomenality and the state of bondage. In this way, the text intentionally uses language to produce its own epistemological collapse and thereby points to a divinity that is the embodiment of paradox. Timalsina commented on this sequence of verses: This the ultimate function of language: to bring about its own death at the feet of a Mother who births us within ourselves as our own Self. This Mother produces language and is produced by language in a process by which she inds herself bound while ever transcendent. The capacity for bondage is one dimension of divine power. Freedom is its necessary opposite.25 In his Svātantrya-Darpaṇa, a concise treatise on Kashmir Śaiva cosmology and soteriology, B.N. Pandit encapsulates the paradoxical nature of a godhead that expresses its transcendence through self-bondage: God forgets his own nature by means of the luxury of his playfulness. This is bondage. Freedom arises through self-remembrance as a consequence of [His] contact with preceptors and scriptures.26 Commenting on this passage, Timalsina explained to me that it is important to understand that the divine is released by “preceptors” and “scriptures” who are themselves divine. The bound aspect of the divine is liberated by its liberated aspect. At the meeting point of the two halves of divine paradox freedom arises.27 Pandit himself provides a similar interpretation of this passage from his Svātantrya-Darpaṇa: Both bondage and liberation are two aspects of the divine play of God and that eternal play is His godhead. Bondage is His play in self-oblivion and liberation is that in self-recognition. Both are basically due to the divine nature of God 24 For a complete list of these paddhatis see, below, Appendix B. 25 Oral communication, Patan, Nepal, 22 May 1997. 26 Svātantrya-Darpaṇa 4.1: sva-vilāsena śivasya svabhāva-viṣye ’tha vismṛtir bandhaḥA guru-śāstropāsanayā pratyavamarśa-smṛtiḥ punar mokṣaḥAA 27 Oral communication, Patan, Nepal, 22 May 1997. The goddeSS eMbodied : TripuraSundarī and The TricoSMoS | 25 and such nature is His godhead.28 In Śrī-Vidyā it is the Goddess Tripurasundarī who is celebrated as that consciousness power (cit-śakti) which can be simultaneously bound and free. This consciousness power allows for the production of, and freedom from, all discursive ields. The Goddess, as consciousness (cit) and power (śakti), by nature shines as not only the three relative levels of speech — vaikharī, madhyamā, paśyantī — but also as the fourth transcendent level — parā-vāc.29 It is this principle of transcendence that deines the essential nature of the supreme power, Parāśakti. “The adorning anthropomorphic form,” Timalsina explained, “and the naming as ‘Tripurasundarī’ only conceal the formless nature of the soul.30 The unveiling of this name and this form is what empowers the sādhaka to discover, accept, and become his divine Self, illed with ininite powers.”31 It is this condition of being illed with all powers (pūrṇa-sarva-śaktitva) that has made the Śrī-Vidyā traditions so attractive to Nepal’s dynastic leaders over the last 900 years. On our walk on that night of Mahāśivarātri at Paśupatinātha Temple, Timalsina made this point just as we passed by the three-dimensional Śrī-Yantra atop the small Śiva shrine at the base of the eastern gate of the temple. A symbol and statement of kingly power, such architectural images allude to a cosmological vision born of an attempt to harness the ininite powers of cosmogenesis and thereby capture the paradox of the non-distinction between the macro- and microcosmic realms. The Macrocosmic Form of the Goddess: Parāśakti and Cosmogenesis In Śrī-Vidyā sources, Tripurasundarī is represented as manifesting macrocosmic, microcosmic, and mesocosmic forms while at the same time remaining 28 Commentary on Svātantrya-Darpaṇa 4.1, p. 47. 29 ŚTH 1.3. Cf. Andre Padoux, 1990, Vāc: The Concept of the Word in Selected Hindu Tantras, tr. Jaques Gontier, Albany: SUNY Press, esp. pp. 172-88. 30 Here Timalsina’s use of the term “soul” is problematic. A more appropriate term would have been Self (ātman), which by deinition is formless, whereas soul — rendered jīva in Sanskrit — is understood to have characteristics. In this statement, Timalsina is speaking poetically, drawing from Western mystical interpretations of soul as they were developed by medieval mystics like St. John of the Cross and Meister Eckhart who described the soul as ininite and formless. 31 Oral communication, Patan, Nepal, 22 May 1997. 26 | the Goddess Within and Beyond the three Cities unmanifest and formless in her essential nature. The macrocosmic form of Tripurasundarī is the universe, the phenomenal world, which is represented as the body of the Goddess (devī-śarīra). Cosmogenesis is understood in this context as a process of self-projection, in which the Goddess, Parāśakti, by means of the progressive power of the visarga-śakti, projects the universe as the manifest form in which she herself becomes embodied. The irst verse of the Nityāṣoḍaśikārṇava celebrates the Goddess who assumes the form of the universe: I bow to that Goddess Mātṛkā who, [assuming] the form of the Gaṇeśas, the planets, the stellar conigurations, the Yoginīs, and the twelve constellations, is of the nature of mantras and has the form of the power seat (śākta-pīṭha).32 The referent of this verse is Tripurasundarī, the supreme Goddess, whom Śivānanda, in his commentary on this verse, describes as the source, cause, and material substance of cosmogenesis.33 Śrī-Vidyā accounts of the role of the Goddess in cosmogenesis build upon and adapt certain Trika Kaula cosmological and cosmogonic conceptions. First, the theory of projection (Ābhāsavāda) is recast from a Śākta perspective, with Tripurasundarī assuming the role of the supreme godhead, who is both pure luminosity (prakāśa) and a relective power (vimarśa-śakti) capable of selfprojection and limitation (saṁkocana).34 In short, the Goddess is cit-śakti; she is both consciousness (cit) and the power (śakti) through which consciousness projects itself as the phenomenal world.35 The phenomenal world is understood in this context as the body of consciousness (cit-śarīra), which is the body of the Goddess (devī-śarīra). Phenomenal existence is the lashing forth of consciousness into a wondrous display of subjects and objects, which the enlightened sādhaka, 32 NṢA 1.1. 33 ṚjV on NṢA 1.1. 34 Alper offers an extensive analysis of Ābhāsavāda in his essay, “Śiva and the Ubiquity of Consciousness: The Spaciousness of an Artful Yogi”, in Journal of Indian Philosophy, 7 (1979): 345-407. Cf. Kamalakar Mishra, 1993, Kashmir Śaivism, The Central Philosophy of Tantrism, Massachusetts: Rudra Press, 1993, see esp. chap. 5, “The Theory of Appearance (Ābhāsavāda)”, pp. 191-218. 35 See Jaidev Singh’s discussion of “dynamic consciousness” in his translation and exposition of the Spanda Kārikās, Delhi: Motilal Banarsidass, 1980, esp. pp. xiii-xxii. The goddeSS eMbodied : TripuraSundarī and The TricoSMoS | 27 through training in specialized ritual and yogic techniques, ultimately recognizes as an expression of one all-pervading divine consciousness.36 Second, Śrī-Vidyā accounts of cosmogenesis appropriate Trika Kaula conceptions of the visarga-śakti, reinterpreting this “emissional power” as Tripurasundarī’s — rather than Śiva’s — capacity for self-projection. At the time of creation, from within the plenitude of Tripurasundarī’s being, there emerges an innate pulsation. Desiring to bring forth the universe, this pulsating power (spanda-śakti) begins to stir, and, like a spider weaving its web, Parāśakti emits the universe out of her ininite womb.37 This capacity for self-projection is understood as a dialectic of the progressive and regressive powers of the visarga-śakti.38 During the phase of cosmic manifestation, the visarga-śakti displays its progressive/ extrovertive capacity by bringing forth the phenomenal universe of name and form. During the time of dissolution (mahāpralaya), the visarga-śakti displays its regressive/introvertive capacity by reabsorbing the universe into the limitless womb of Parāśakti.39 The projection and manifestation of phenomenal existence from the plenitude of Parāśakti are represented as a contractive process, as a coagulation or condensing of ininite potentiality into inite form.40 36 Paramārtha-sāra 25-26 [author’s translation]: ajñānatimirayogād ekam api svasvabhāvam ātmānam A grāhyagrāhakanānāvaicitryeṇāvabudhyeta AA 25 AA “From its association with the darkness of ignorance, the Self, though its own self-nature is non-dual, comes to perceive itself as a wondrous diversity of subjects and objects.” rasaphāṇitaśarkarikāguḍakhaṇḍādyā yathekṣurasa eva A tadvad avasthābhedāḥ sarve paramātmanaḥ śambho AA 26 AA “As syrup, molasses, candied sugar, sugar balls and hard candy, etc. are all juice of the sugar cane, so the plurality of conditions is all of Śambhu, the Supreme Self.” 37 For a further discussion of the spanda dynamic, see Deba Brata SenSharma, 1990, The Philosophy of Sādhanā, Albany: SUNY Press, esp. chap. 1, “The Metaphysics of the Trika School”, pp. 1440. 38 See Moorhead Kennedy, 1994, “The Role of Visarga in Abhinavagupta’s Parātṛṁśikā Vivaraṇa: A Tantric Solution to a Philosophical Problem”, Masters Thesis, University of California, Santa Barbara. 39 I am indebted to Paul Müller-Ortega for his insights on the dual nature of the visarga-śakti. See his essay, “The Power of the Secret Ritual Theoretical Formulations from the Tantra”, Journal of Ritual Studies, 4(2) (Summer 1990): 41-59. 40 Gavin Flood offers the most detailed analysis of this process of coagulation in his excellent 28 | the Goddess Within and Beyond the three Cities Third, Śrī-Vidyā cosmologies, in elaborating the notion that the phenomenal universe is the body of the Goddess, draw on Trika Kaula conceptions of the universe as the embodied cosmos (kula).41 As the self-manifestation of Tripurasundarī, the kula is the power of embodiment (kaulikī-śakti) that makes possible the play of universal creation (viśva-sṛṣṭi-līlā).42 However, even in the midst of the universal play, the Goddess exhibits a dual nature: she is at once kula, the manifest universe, and akula, beyond the universe. The Nityāṣoḍaśikārṇava states: The consort of kula, dropping her kula,43 goes to the supreme Puruṣa,44 which is beyond characteristics and qualities and without kula or rūpa.45 The phrase “consort of kula” identiies Tripurasundarī as the consort of Śiva, who in this case is the embodied cosmos, the kula. This is an important reversal of the classical schema in Trika Kaula traditions, in which Śakti is equated with kula and Śiva with akula, that which transcends the universe. Ultimately both of these aspects, the male and the female, the embodied and the transcendent, are but two aspects of one consciousness power that contains within itself all possibilities. Kula is Tripurasundarī as the Goddess within the three cities. Akula is Tripurasundarī as the Goddess beyond the three cities. Kula is the manifest ŚrīYantra. Akula is the empty centre point from which the Śrī-Yantra arises. Kula is the Sanskrit phones. Akula is the unstruck sound, the anāhata, from which they arise. Kula is power manifest in concrete, historically contingent modes. Akula is the transcendent source from which all power arises. Kula is the community of Tantric practitioners, rooted in time and place. Akula is the timeless, placeless absolute reality that tāntrikas seek to experience. The conjoining of kula and akula is the paradox that constitutes the body of Tripurasundarī. The Goddess fashions for herself macrocosmic, microcosmic, and mesocosmic forms for the work, Body and Cosmology in Kashmir Śaivism, San Francisco: Mellen Research University Press, 1993, esp. chap. 3, “The Embodied Cosmos”, pp. 85-110. 41 Müller-Ortega, 1989, The Triadic Heart of Śiva, Albany: SUNY Press, pp. 58-63. 42 For a discussion of this notion of the universe as a “cosmic-play” (līla-vāda), see Mishra, Kashmir Śaivism, pp. 249-51. Cf. SenSharma, Philosophy, pp. 29, 42. 43 Ibid. 44 Here, puruṣa is synonymous with Brahman, the formless, transcendent aspect of divinity. 45 NṢA 4.12-14. The goddeSS eMbodied : TripuraSundarī and The TricoSMoS | 29 purpose of embodying her own paradox: the mystery of the coexistence of all opposites and the potential of freedom through radical empowerment. Theologians throughout the ages have grappled with the question, why does divinity manifest the universe? In Śrī-Vidyā traditions the answer to this question is: Because she is free to do so. The highest power of divine consciousness is its power of freedom, called svātantrya-śakti. Totally free, having the power to be and accomplish whatever it wants, the godhead manifests as the universe for the sake of revealing its innate freedom. “God,” according to B.N. Pandit’s Svātantrya Darpaṇa, “has fancied all this [creation] out of His own self through the grandeur of (His supreme) self-dependence and it is only children, and not others, who say that this thing or that thing is the (ultimate) cause of the universe.”46 Commenting on this passage, Timalsina remarked: Consciousness creates because it is free to do so. This world is only an illusion if you are like the children Panditji refers to. If you are awakened by her [Tripurasundarī’s] grace, then you see that this whole universe, including yourself, is her body of love projected as universal lux. . . . Like an artist or a musician, Tripurasundarī becomes inspired. Her spanda-śakti stirs, and she desires to create. Having nothing on which to create, the Goddess, like a spider, must give rise to her canvas by producing it from her own being.47 The painting she produces is the Śrī-Yantra.48 For Timalsina, the Śrī-Yantra is the Goddess’s work of art. It is the triangular manifestation of a universe that contains within itself, like a hologram, ininite replications of itself such that each point within the body of the Goddess is an exact replica of that very body. The Microcosmic Form of the Goddess: Kuṇḍalinī-Śakti and the Subtle Physiology In Śrī-Vidyā Śākta Tantra, as in Trika Kaula Śaivism, the power of divine embodiment manifests not only on the macrocosmic level of the cosmos body, but also on the microcosmic level of the human body, which is itself represented as a kula that is possessed of kaulikī-, vimarśa-, and visarga-śaktis.49 According to 46 Svātantrya Darpaṇa 8.4. 47 Cf. PṛHṛ 1. 48 Oral communication, Kathmandu, Nepal, 15 June 1997. 49 Müller-Ortega, 1989, op. cit, p. 44. 30 | the Goddess Within and Beyond the three Cities Śākta Tantra, the process of cosmic embodiment and release recapitulates itself at the human level.50 Just as the universe contracts only to expand again, so the human experiences limitation (kula) only to become unlimited again (akula) by engaging in the esoteric practices of Śākta sādhanā, which are designed to harness the embodied powers of Tripurasundarī. Śrī-Vidyā constructions of the human body incorporate earlier Tantric notions of a subtle physiology constituted by a complex network of energy centres (cakras) and the serpentine power of the kuṇḍalinī-śakti. For exponents of Śrī-Vidyā, it is the Goddess herself, Parāśakti, who becomes embodied in the subtle physiology as the kuṇḍalinī-śakti. It is she who assumes the form of the serpentine power coiled up at the base of the spine in the mūlādhāra cakra. And it is she who, when awakened, assumes the form of a blazing ire and ignites an alchemical transformation so profound that the human psychophysiology becomes the vehicle by which the Goddess accomplishes her highest aim: the transformation of the inite into the ininite. This she accomplishes through uniting the female half of her bipolar being with the male half, the Śiva principle, situated in the sahasrāra cakra at the crown of the head. Unlike their Vedāntin counterparts, who seek to transcend the body in states of contemplative gnosis, Śākta tāntrikas seek to harness the body’s powers through yogic practices designed to awaken the kuṇḍalinī-śakti at the base of the spine. Once awakened, the kuṇḍalinī-śakti transforms the individual into a living embodiment of the Goddess, thereby collapsing any illusory distinctions between micro- and macrocosmic realities. Whether looking within himself in meditation or gazing outward upon the world, the fully realized sādhaka sees the same thing: the blissful projection of the Self-as-Goddess. This radical bifocal vision, born of sādhanā, conirms that the Śākta universe is the holographic projection of the Goddess’s I-consciousness. Like Indra’s net, all points of the projection contain the totality of consciousness. Although but one localized point in this projection, the microcosmic tāntrika is simultaneously the entirety of the projection and the source from which the projection arises. For these three elements — point, projection, and source — are animated by the same I-principle (ahantā), Tripurasundarī, the wholeness of consciousness. 50 See Dirk Jan Hoens’s comparative and synthetic discussion in “Transmission and Fundamental Constituents of the Practice”, in Hindu Tantrism, ed. Sanjukta Gupta et al., Leiden/Koln: E.J. Brill, 1979, pp. 47-70. The goddeSS eMbodied : TripuraSundarī and The TricoSMoS | 31 Śrī-Vidyā paddhatis unanimously announce that meditation on Tripurasundarī is the cause of the production of powers (tripurasundarī-dhyāna-siddhi-bhava-hetu). Realization of the Goddess as one’s innermost Self produces supreme power as a consequence of the recognition of the non-distinction between all cognizers, all cognitions, and all objects cognized. As we continued our walk through Paśupatinātha Temple on that night of Mahāśivarātri, Timalsina relected with me on the paradox of power in Śrī-Vidyā. For the tāntrika the mystery of being human is that we create God just as he creates us. You talk about power [and the issue of] whether it comes from God or whether it is created by humans. I say, what does it matter? What is the difference? If I am to be true to my gurus, then I have to believe that I am Tripurasundarī. If I am Tripurasundarī, how can I even ask the question of whether or not I create power if power comes from divinity? Ultimately, “I” am every thing.51 In Śrī-Vidyā the ontological shift from the constructed realm of truth (saṁvṛtisatya) to the unconditioned state of liberation (mokṣa) occurs through a systematic engagement in ritual and yogic practices by which the Śākta practitioner, who is Tripurasundarī-in-a-state-of-concealment,52 awakens to the Goddess within in the form of the kuṇḍalinī-śakti and to the Goddess without in the manifold play and display of the phenomenal world. This bifocal vision culminates in that uniied awareness in which the duality of microcosm and macrocosm is subsumed in the wholeness of consciousness. Mesocosmic Forms of the Goddess: The Śrī-Yantra In Śrī-Vidyā Tripurasundarī, the supreme Devī who projects the cosmos as her macrocosmic form and kuṇḍalinī-śakti as her microcosmic form, is also celebrated as manifesting three mesocosmic forms that serve as aids on the sādhaka’s path to liberation. She assumes a gross form (sthūla-rūpa) as an anthropomorphic icon, a subtle form (sūkṣma-rūpa) as the Śrī-Vidyā mantra, and a transcendent form (parā-rūpa) as the aniconic Śrī-Yantra.53 In this section we will focus on Śrī-Vidyā representations of the Śrī-Yantra as the supreme form of the Goddess that is the supreme means to liberation. 51 Oral communication, Deopatan, Nepal, 23 February 1997. 52 As described by Siddhi Gopal Vaidya. Oral communication, Patan, Nepal, 11 October 1997. 53 Brooks, 1992, op. cit., chaps. 4-6. 32 | the Goddess Within and Beyond the three Cities For the Śrī-Vidyā sādhaka, the Śrī-Yantra is the transcendent form of Tripurasundarī. This geometric embodiment of the Goddess unfolds from the central point (bindu), at the heart of the inner triangle (trikoṇa), and expands outward in a series of interlocking triangles (eight minor triangles, two sets of ten minor triangles, fourteen minor triangles), which are encompassed by two sets of lotus petals (eight and sixteen), three circles, and four gateways (see ig. 1.1).54 The Śrī-Yantra, as the body of the Goddess, Parāśakti, is the form of supreme power (parāśakti-rupiṇī), its interlocking triangles representing the complex conigurations of divine energy. The Śrī-Yantra, as the body of the Goddess, is also the body of the cosmos, for, as discussed earlier, the phenomenal universe is the macrocosmic form of Devī. In this context the Śrī-Yantra is revered as the cosmic blueprint on which are mapped the structures and processes of all levels of creation and all categories of being. The centre of Śrī-Yantra is the I-principle, the ahantā-bindu. It is the site of Tripurasundarī’s subjecthood, the Self. All other points of the Śrī-Yantra are the objects of Tripurasundarī’s self-expression. However, Tripurasundarī never loses sight of the fact that her I-ness and the manifest universe are eternally united in non-duality. From this perspective the Śrī-Yantra is Viśvarūpa Devī — the form of the Goddess whose form is the universe. From the centre point of the Śrī-Yantra, as Viśvarūpa Devī, all forms arise, and to its centre point all forms return. The Śrī Tantra-Hṛdgahvara of Timalsina declares: The whole world, differentiated as knower and known, is the external body of bindu. And the bindu, which is I-ness, is mahābindu, which reveals cakra [ŚrīYantra]. Cakra is that which cuts the fetters and reveals the Self. . . . As the sun is relected in a ine mirror, so prakāśa is relected in vimarśa. This relection creates the primal triad, which form is the triangle [at the heart of the ŚrīYantra]. Starting from this triad and descending to bhūpura [the outer square], all manifestation is rooted in duality.55 Commenting on this passage — which derives its understanding not only from classical texts of the Śrī-Vidyā canon, but also from numerous Nepalese paddhatis — Timalsina emphasized that while the Goddess’s subjecthood is rooted in the 54 See ibid., pp. 115-46. Cf. Madhu Khanna, 1986, “The Concept and Liturgy of the Śrīcakra Based on Śivānanda’s Trilogy”, PhD dissertation, Oxford University, Oxford, pp. 119-37. 55 ŚTH 2.1. The goddeSS eMbodied : TripuraSundarī and The TricoSMoS | 33 bindu, the dualistic awareness present in the outer dimensions of the Śrī-Yantra is also imbued with the non-dual awareness that is the essence of bindu.56 The central triangle of the Śrī-Yantra, the trikoṇa, as the triadic heart of the Goddess, is invested with multiple meanings in Śrī-Vidyā. The trikoṇa is understood as the fusion of the triadic powers of will, knowledge, and action (icchā-jñāna-kriyā-śaktyātmaka-devī). When hypostatized, these three powers are identiied as the three goddesses of the Trika Kaula — Parā, Parāparā, and Aparā — yet one more example of the intimate interconnections between the Śrī-Vidyā and Trika Kaula lineages. On an epistemological level, the three lines of the trikoṇa are identiied as the subject (pramātṛ), object (prameya), and means of knowing (pramāṇa). They are also equated with the classical Hindu triad (trimūrti) of Brahmā, Viṣṇu, and Śiva; with the three strands of material reality (guṇas); and with a multiplicity of other triads. In sum, the trikoṇa signiies the myriad triadic relationships that determine the luctuations of a divinity that is ultimately beyond (parā) all luctuation. Timalsina remarked: The inner trikoṇa is the mystery of the revelation of the Āgamas and Tantras, the revelation that consciousness contains a triadic heart57 capable of manifesting this universe within itself. The trikoṇa represents the universal cognitive process unfolding within each of us simultaneously. We are each Tripurasundarī yielding our three powers, embodying the subject, object, and process of knowing within ourselves through the projection of the ifty mātṛkās — the seeds of our own consciousness — upon our self-created canvas.58 On one level, the trikoṇa is the geometric embodiment of a linguistic register, one that plays with elaborate theories of language that equate word (śabda) with ultimate reality (Brahman). At the phonic level, the triangle represents the phone e, which is the source and product of the three phones that constitute the three lines of the triangle — a, ā, and ī. These three phones in turn correspond to the three goddesses Vāmā, Jyeṣṭhā, and Raudrī, the icchā, jñāna, and kriyā-śaktis. And, as the embodiment of these goddesses-who-are-power, this triangle also represents the light-wave formations of divine energy. In this way, the Śrī-Yantra 56 Oral communication, Valmiki Sanskrit College, Kathmandu, Nepal, 4 March 1997. 57 Here, Timalsina is intentionally referring to Müller-Ortega’s analysis of God’s triangular heart in his Triadic Heart of Śiva. 58 Oral communication, Valmiki Sanskrit College, Kathmandu, Nepal, 4 March 1997. 34 | the Goddess Within and Beyond the three Cities serves as a synthetic emblem that encapsulates cosmological, epistemological, linguistic, and aesthetic speculations. David White remarks: The theoreticians of post-tenth-century Ce high Hindu Tantra (i.e. the later Trika and Śrī-Vidyā traditions) were especially innovative in their integration of aesthetic and linguistic theory into their reinterpretation of earlier theory and practice. As such, the acoustic and photic registers lie at the forefront of their metaphysical systems, according to which the absolute godhead, which is effulgent pure consciousness, communicates itself to the world and especially to the human microcosm as a stream or wave of phosphorescent light and as a “garland” of the vibrating phonemes of the Sanskrit language. And, because the universe is brought into being by a divine outpouring of light and sound, the Tantric practitioner may return to and identify himself with the pure consciousness by meditatively recondensing those same photons of light and phonemes of sound into their higher principles.59 A perfect symbol of Śrī-Vidyā’s heart, the trikoṇa represents the low not only of pure sound and light, but also of the menstrual and sexual juices of human bodies. For at another level, the trikoṇa is understood to be the yoginī-vaktra (literally, the “lower mouth”), the female sexual organ, which is the womb (bhaga) of consciousness from which all phenomena arise. Phonic, photic, geometric, and sexual, this triangle is the blissful, erotic manifestation of a female godhead whose cosmogonic act is the projection from her lower mouth of an emission of pure sound–light-orgasm. Padoux writes: Owing . . . to its form [the trikoṇa] is . . . associated with . . . the energy of bliss, ānanda . . .: due to its being shaped like an inverted triangle, it takes on a very signiicant meaning for a Tantric or even simply an Indian mind, as conveyed by Jayaratha [TĀ 3.94, comm. (pp. 103-04)]: “By [the term] trikoṇa is indicated [or hinted at] the aspect of place of birth, in other words of the ‘mouth of Yoginī’ (yoginīvaktra) of this [phone].” The place in question, evidently, is the yoni, that is, both the maternal womb and the feminine sexual organ. “From this place,” adds Jayaratha, “is born the supreme Energy, as has been said: ‘When She comes forth, curved, out of the triangular seat’ and: ‘the triangle is called bhaga [that is: vulva], secret maṇḍala, abiding in the sky, its angles being will, cognition, and action.’”60 59 David Gordon White, 1998, “Transformations in the Art of Love: Kāmakalā Practices in Hindu Tantric and Kaula Traditions”, History of Religions, 38(2) (August): 174. 60 Padoux, 1990, op. cit., p. 266. The goddeSS eMbodied : TripuraSundarī and The TricoSMoS | 35 The mystery of the inner triangle, the heart of Śrī-Yantra, Tripurasundarī’s body, is that its multiple registers are embodied as the lower mouths of all women. In one of her ininite forms (ananta-rūpiṇī), Tripurasundarī is the “mistress of speech” (Vāgīśvarī), comprising the totality of syllables, replete with ininite power (pūrṇa-bharita-śakti-ātmaka) and the cosmogonic capacity to manifest ininite worlds within her own body (ananta-vaicitrya-bhāva-rūpitā). The mystery of this divine body writ large as ininite bodies, each containing the totality within itself, is that Tripurasundarī, as the supreme godhead, is a bipolar being who encompasses both female and male, Śakti and Śiva, akula and kula. Cosmogenesis can be understood from this perspective as an erotic love play fuelled by the power of eroticism (kāma-śakti). At the time of creation the Goddess projects her male half, Śiva, as kula, the embodied cosmos, and at the time of dissolution she withdraws her beloved male counterpart back into herself in blissful union. This macrocosmic erotic play is recapitulated on the microcosmic plane when the kuṇḍalinī-śakti, the female serpentine power seated in the mūlādhāra cakra at the base of the spine, rises up and unites with her male half, Śiva, in the sahasrāra cakra at the crown of the head. It is Tripurasundarī who assumes the role of Kāmakaleśvarī (mistress of the arts of love), and wields her kāma-śakti as the power that both ensnares and liberates beings from bondage. The structure of the Śrī-Yantra, as the transcendent form of Tripurasundarī, relects this erotic power at the heart of the Goddess. The kāma-kalā, that which has erotic love as its digit, pulsates at the heart of the Śrī-Yantra. The kāma-kalā is the seed (bīja) at the heart of the yantra and the centre point from which all worlds arise. As the lower mouth of all women, the kāma-kalā is the seed of supreme power, the locus of omnipotent, omniscient, omnipresent, consciousness, and the still point from which all lux is born. And it resonates with the sound-syllable (bīja) that is the luminous vibration of Tripurasundarī. White writes: It is then a phosphorescing (sphurad) drop of sound (bindu) that animates this cosmogram [i.e. the Śrī-Yantra] and the universe and into which the mind of the person who meditates on it is reabsorbed. . . . The kāmakalā is a “close-up”, as it were, of this drop. When one zooms in on it meditatively, one sees that it is composed of three or four elements whose interplay constitutes the irst moment of the transition, within godhead, from pure interiority to external manifestation, from the pure light of effulgent consciousness (prakāśa) to 36 | the Goddess Within and Beyond the three Cities conscious awareness (vimarśa).61 White goes on to explain that at the heart of the interlocking triangles surrounding the bindu is the grapheme īṁ, which is the kuṇḍalinī-śakti, the embodied power of consciousness situated at the base of the spine, and the centre of the Śrī-Yantra. When asleep, this grapheme-serpentine-power resides in the subtle physiology as an internalized Śrī-Yantra whose centre is the base of the spine. When the kuṇḍalinī is awakened and fully risen, this centre point “stretches out” and forms a three-dimensional yantra whose apex is at the crown of the head where illumined consciousness realizes the union of Śakti and Śiva. The Śrī-Yantra is thus celebrated in Śrī-Vidyā Śākta Tantra as the divine form (īśvara-rūpa) that serves as the supreme means for the attainment of embodied liberation (jīvanmukti-prāpti-uttama-upāya). As will be discussed in Chap. 3, by the twelfth century in Nepal the Śrī-Yantra had risen to the status of a supreme emblem of power (śāktyuttama-liṅga) wielded by kings to legitimate both their private sādhanā and their political sovereignty. The interlocking triangles of this supreme power wheel (parāśakti cakra) came to be recognized as a geometrically perfect62 template for religious, cultural, and political formation. Śrī-Vidyā delineates a system of sādhanā, of ritual and yogic practices, by means of which the practitioner — whether he be a king or a street sweeper, a tablā player or a Kathak dancer, a man or a woman — may harness the power of the Śrī-Yantra and transform his or her own body into a laboratory for the transmutation of humanity into divinity. It is to this process of transmutation — this process by which Tripurasundarī reveals herself to herself through elaborate mechanisms of puriication and metamorphosis — that we now turn in order to discern the mechanisms through which the discourse of non-duality is inscribed in the body through religio-cultural practices. 61 White, 1998, op. cit., p. 177. 62 This geometry of perfection is found in a number of interrelated Nepalese sciences, including astrology, astronomy, and musicology, all of which — as will be seen in more detail below — have drawn heavily from and inluenced Tantric discourse and practice. 2 Tantric Sādhanā Harnessing the Powers of Śakti Enduring bodily pain and even the destruction of the country, [the sādhaka swears], “I will never reduce my practice.” Keeping this vow, one should recite as long as one is capable of surviving. Then the sādhaka attains innumerable fruits.1 — Artharatnāvalī Śiva revealed the multiple forms of Tantra for the perfection of all the stages of sādhanā, for revealing all paths, and for showering grace on all.2 — Ṛjuvimarśinī ManiFestinG reality from within herself, Tripurasundarī embodies the paradox of creation: the one becomes the many through the internal projection of itself as ininite monads, each containing the whole. Each point within the universal form is itself viśva-rūpa (form of the universe). Within the Śākta Tantra ontology there is only one form: the form of supreme consciousness-power. Although miniscule in comparison to the ininite grandeur of the universe, each human being is a monad, a microcosmic embodiment of Devī that contains the totality of consciousness-power in the depths of the innermost Self. In November 1997, as we approached the house of the dīkṣā-pūjārī3 of Paśupatinātha Temple, Timalsina remarked on Tripurasundarī’s locus in the depths of human consciousness: 1 AR on NṢA 5.6: vratastha parameśāni tato ’nantaphalaṁ labhedityasya rāṣṭrabraṁśadehapīdādinā kadācidapi japahnāsaṁ na kuryāmiti saṅkalpapūrvakaṁ japed yāvajjīvādhikāram A tato ’nantaphalaṁ labhediti bhāvaAA 2 ṚjV on NṢA 1.1: sarvānugrāhakaṁ tantraṁ sarvopāyāvabhāsakaṁ A sarvādhikārasamsiddhyai bahavātārayacchiva AA 3 The dīkṣā-pūjārī is responsible for initiating all of the priests at any given temple. For this reason, he must be trained in all of the āmnāyas. 38 | the Goddess Within and Beyond the three Cities Tripurasundarī has become this manifest universe. Dwelling within man as his soul, Tripurasundarī gazes out through all eyes upon her own internally projected being. Tripurasundarī looks out through all these eyes, but she is gazing within. We are in her being. There is nothing outside of Tripurasundarī. As a tāntrika, when I go for the darśana of Lord Śiva I don’t think to myself that this is a particular god worshipped by the Pāśupatas or some other [Śaivite cults]. No, I remind myself that this is myself, which is Tripurasundarī, embodied in one of her ininite forms staring back at me with the same perfect I-awareness (pūrāhantā-vimarśa) that enables me to cognize her as a Śivaliṅga or any other of the forms of the gods. Maintaining this non-dual awareness, what Utpala[deva] calls śiva-dṛṣṭi, the vision of Śiva — a tāntrika kindles his kuṇḍalinī-śakti, Tripurasundarī’s internalized form, as it rises through the body, transforming into the Śrī-Yantra, replete with all mantras, beings, and worlds.4 With these words we reached our destination: the doorway of Padma Prasad Bhatta, the initiating priest (dīkṣā-pūjārī) of Paśupatinātha Temple, a man invested with the authority to sustain the lineage of Paśupatinātha Temple priests (pūjārīs) (Fig. 24). Padma Prasad not only has an encyclopaedic grasp of Nepalese paddhatis and Tantras but is also widely recognized as an accomplished sādhaka of the Kāpālika, Śrī-Vidyā, and Guhyākālī Kaula traditions. During the course of our two-hour conversation, he revealed many important facets of the interconnections among various Tantric communities in Nepal and also discussed the Tantric practices that transform the human body into what he called the “mega-powerful body of Śiva-Śakti”, that is the seat of all the gods. Padma Prasad explained: In Tantra gods do not have an external abiding place. They dwell within the centres of the body. We generate them internally and then instill them in external images. Afterwards, we reabsorb them into ourselves. In this way we perfect and empower our body and thereby become the Absolute. This is the essence of Tantra.5 Timalsina later commented on Padma Prasad’s statement: The statement “gods do not have an external abiding-place” is great. Only a Kaulin like Padmaji could know these things. People either naïvely think that the gods live in some other world, or they are sceptical and suppose that the 4 Oral communication, Deopatan, Nepal, 10 November 1997. 5 Oral communication, Paśupatinātha Temple, 10 November 1997. TanTric Sādhanā | 39 gods don’t exist at all. But the gods surely exist. The gods are the forms of the syllables and the syllables are the basis of creation. However, this creation is our creation. There is no other who created us. We created ourselves as all that is here before us. We placed creation within ourselves as ourselves. And so in our daily pūjās and meditative visualizing we manifest the powers of Tripurasundarī to project creation externally from within herself by constructing the gods from our mantra recitation, installing them in images, and then reabsorbing them into ourselves at the end of our practice. In this way, like — or rather as — Tripurasundarī, we create, sustain, conceal, destroy, and liberate universes.6 In this chapter we will examine various aspects of Tantric sādhanā, the specialized ritual and yogic practices by means of which the tāntrika transforms his or her psychophysiology and awakens to his or her true identity as that divine consciousness-power which resides within the innermost depths of the Self. The Regressive Power of Sādhanā: Reversing the Cosmogonic Process In the highly-coded environs of Tantric practice the inal aim is the realization that the body of the sādhaka and the body of divinity are united in a holographic universe7 whose constituent parts contain within themselves the whole, “this all” (sarvaṁ idaṁ). The Śiva Saṁhitā, a Nāth Siddha guide to haṭha-yoga (c. tenth century), describes the body of the yogin as the seat of the entire universe. In your body is Mount Meru, encircled by the seven continents; the rivers are there too, the seas, the mountains, the plains, and the gods of the ields. Prophets are to be seen in it, monks, places of pilgrimage and the deities presiding over them. The stars are there, and the planets, and the sun together with the moon; there too are the two cosmic forces: that which destroys, that which creates; and all the elements: ether, air and ire, water and earth. Yes, in your body are all things that exist in the three worlds, all performing their prescribed functions around Mount Meru; he alone who knows this is held to be a true yogī.8 6 Oral communication, Kathmandu, Nepal, 11 November 1997. 7 See Ken Wilber’s discussion in The Holographic Paradigm and Other Paradoxes, Boulder: Shambhala, 1982. Cf. Paul Müller-Ortega, 1992, “Tantric Meditation: Vocalic Beginnings”, in Ritual and Speculation in Early Tantrism: Studies in Honor of André Padoux, ed. Teun Goudriaan, Albany: SUNY Press, pp. 227-29. 8 Śiva-Saṁhita 2.1-2.5. Quoted by Jean Varenne in his Yoga and the Hindu Tradition, Chicago: University of Chicago Press, 1973, p. 155. 40 | the Goddess Within and Beyond the three Cities As discussed in Chap. 1, in Śrī-Vidyā Śākta Tantra the Goddess is celebrated as manifesting simultaneously on the macrocomic plane as the universe and on the microcosmic plane in the human psychophysiology. In Tantric traditions this twofold manifestation is at times described as a “double concealment” in which divine consciousness conceals its true nature. Sanjukta Gutpa remarks: Tantric philosophy says that ultimately the unconscious bits of the universe, like stones, are also God and hence consciousness that has decided to conceal itself (ātma-saṁkoca). Here we come to the double concealment which God decides on: irstly, He conceals the fact that His true form is identical with the individual soul; and secondly, he conceals His true nature as consciousness to manifest Himself as unconscious phenomena.9 The Absolute’s contraction as the universe is understood in this context as the outward projection of its inner nature.10 In this non-dual perspective, the universe is not a limitation of the godhead. Rather, it is the pristine relection of its ininite creative powers (ananta-kalā-śakti). Timalsina, in his Śrī TantraHṛdgahvara, explains: Truly speaking, this universe is the inseparable relection of consciousness. While relecting in a mirror the sun neither loses light nor heat. In the same way, while the supreme Mother (Parāmba) relects as, and into, the universe, she loses no lustre.11 The godhead becomes the universe and all beings in it, enfolding12 itself into an ininitely varied cosmic dance. However, once manifested as all living beings, the godhead in each case conceals its true nature (svarūpa-saṁkocana). Tantric ritual and yogic practices provide the tools for the sādhaka to awaken to his or her true nature as that supreme consciousness-power which is the source and goal of all creation. The key to achieving this realization is initiation into a Tantric lineage of perfected ones (siddha-sampradāya) stemming directly from the mouth of 9 Sanjukta Gupta, 1988, “The Maṇḍala as an Image of Man”, in Indian Ritual and Its Exegesis, ed. Richard Gombrich, Delhi: Oxford University Press, pp 32-41. 10 Utpaladeva, Īśvara-pratyabhijñā-kārikā 4.1, tr. with commentary by B.N. Pandit, New York: Agama Press, forthcoming. 11 ŚTH 1.3: Pratibimbena sūryena na mlānirna ca śitatā; tad avad eva parāmbāyā na kṣaya pratibimbanātA 12 I adopt this terminology from Paul Müller-Ortega’s discussion in “Tantric Meditation”. TanTric Sādhanā | 41 the godhead (divya-mukha) and capable of revealing the technologies of selfperfection. Initiation includes training in the specialized ritual and yogic procedures that produce transformations in consciousness as a result of the manipulations of the luids of the physical body and the energies of the subtle body. Across sectarian divisions, Tantric systems of sādhanā share certain common features. In each case, the aim is to reverse the process of cosmogenesis and return the godhead’s projected manifestations back to their unmanifest source. During sādhanā the practitioner encodes in his or her microcosmic form the various parts of the godhead’s macrocosmic form: divinities (devatās), phones (mātṛkās), graphemes (kāras), elementary principles (tattvas), worlds (lokas), and I-cognizers (pramātṛs).13 In this way, the sādhaka reproduces the process of cosmogenesis within his or her own psychophysiology. He or she then reverses this process by harnessing the regressive power of the visarga-śakti14 and awakening the kuṇḍalinī-śakti seated at the base of the subtle physiology. Once awakened, the kuṇḍalinī-śakti ascends through the central channel, its ascent representing the dissolution of the universe in which all manifest forms are absorbed back into their unmanifest source in Paramaśiva at the crown of the head. The mechanics of the sādhaka’s reversal of the cosmogonic process and return to the godhead function according to an internal–external dialectic in which modalities of external worship (bahir-yāga) are mirrored by internalized visualizations and yogic practices (antar-yāga).15 The template that mediates this dialectic is the yantra, the mesocosmic device that is imparted by the guru at the time of initiation (dīkṣā).16 As discussed in Chap. 1, the yantra — and more speciically 13 14 Gupta et al., Hindu Tantrism, pp. 184-85. Cf. Pandit, 1993, Speciic Principles of Kashmir Śaivism, pp. 39-52. Müller-Ortega, 1990, “Power of the Secret Ritual”, p. 44. 15 NṢA 5.6: dhyātvetyādiA bāhyārcanāntarārcaneti dhyāne yoge ’nāhata-prasphurat-pūjācakrarājācakrarājasannihitaṁ paradevatāṁ yathāvadārādhya prāguktaphalāptaye japet. For a detailed discussion of this internal/external dialectic see Gavin Flood’s discussion in his Body and Cosmology in Kashmir Śaivism (1993). Cf. Vrajavallabha Dviveda, “Having Becomes a God, He Should Sacriice to the Gods”, in Ritual and Speculation in Early Tantrism, p. 127. 16 See Alexis Sanderson, 1986a, “Maṇḍala and Āgamic Identity in the Trika of Kashmir”, in Mantras et diagrammes rituels dans l’hindouisme, ed. André Padoux, Paris: Editions du CNRS, pp. 169-207. Cf. Dirk Jan Hoens, 1979, “Transmission and Fundamental Constituents of the Practice”, pp. 80-83. 42 | the Goddess Within and Beyond the three Cities the Śrī-Yantra in Śrī-Vidyā — is the geometric embodiment of the divine that functions simultaneously as the image of the divinity, the image of the universe, and the “image of man”.17 The Śrī-Vidyā sādhaka employs this mesocosmic device, the Śrī-Yantra, in both external ritual worship (pūjā) and internal meditative practice as a means of tracing the unfoldment of the cosmogonic process (sṛṣṭikrama) from the bindu in the centre to the outer circuits of the yantra’s periphery and, conversely, as a means of reversing the cosmogenesis by tracing the process of dissolution (laya-krama) starting from the periphery and moving inward to the centre (bindu). The adept’s external ritual actions are mirrored by an internal movement of consciousness in which he or she moves from an extrovertive state of multiplicity represented by the yantra’s outer circuits to an introvertive state of undifferentiated uniied awareness represented by the bindu in the centre. In the advanced stages of sādhanā, this movement in consciousness is accompanied by the movement of the kuṇḍalinī–śakti from the mūlādhāra-cakra at the base of the spine to the sahasrāra-cakra at the crown of the head, which is identiied with the bindu. Once the kuṇḍaliṇī reaches its inal destination and becomes permanently established in the sahasrāra-cakra, the practitioner becomes a siddha, enters the “non-way” (anupāya), and transcends the need for any further form of practice.18 The Transgressive Power of Sādhanā: Harnessing Śakti In order to understand the deining characteristics of Tantric sādhanā, we must irst consider the deining characteristics of Hindu Tantra more generally. A number of eminent scholars of Tantra, including Teun Goudriaan,19 André Padoux,20 and Douglas Brooks,21 have developed lists of descriptive criteria to characterize Hindu Tantra. Brooks in particular argues for a “polythetic” 17 This is Sanjukta Gupta’s terminology. See her, “The Maṇḍala as an Image of Man”. 18 B.N. Pandit, 1993b, “Yoga in the Trika System”, in Speciic Principles of Kashmir Śaivism, p. 99. See also Deba Brata Sensharma’s overview of sādhanā practice in his The Philosophy of Sādhanā, New York: SUNY Press, 1990. Here again, we ind parallels with cosmogenesis: depending on one’s perspective God’s appearance as the universe is either a hierarchical and linear unfolding or an instantaneous self-manifestation. See B.N. Pandit’s discussion in his, “Theistic Absolutism and Spiritual Realism”, in Speciic Principles, pp. 15-28. 19 Gupta et al., 1979, Hindu Tantrism, pp. 3-12. 20 André Padoux, 1981b, “Hindu Tantrism”, in Encyclopedia of Religion, 14: 272-80. 21 Douglas Brooks, 1990, The Secret of the Three Cities: An Introduction to Hindu Śākta Tantra, Chicago: University of Chicago Press, pp. 55-72. TanTric Sādhanā | 43 approach in which, drawing upon the earlier work of Goudriaan and Padoux, he characterizes Hindu Tantra with reference to ten core features: 1. “extra-Vedic” canon; 2. specialized forms of yoga and spiritual discipline; 3. incorporation of theism and philosophical non-dualism with speculations concerning correspondences between the macrocosm and the microcosm; 4. elaborate speculations on the nature of sound and ritual use of mantras; 5. ritual use of aniconic yantras and maṇḍalas; 6. emphasis on the authority of the guru; 7. bipolar symbolism; 8. secret and expeditious techniques to attain worldly empowerment (bhoga) and liberation (mokṣa); 9. use of prohibited substances and engagement in atinomian practices; and 10. initiation (dīkṣā) based on criteria other than caste (jāti) or gender (liṅga). 22 Although a useful heuristic device for locating “family resemblances” among various sects that may otherwise seem quite unrelated, Brooks’s polythetic approach rests on the assumption that there is no single deining feature of Hindu Tantra and that consequently we must caste our taxonomic net very wide if we are to capture the slippery ish that is Tantra. However, using Brooks’s wide polythetic net one inevitably reels in not just Tantric tunas, but a variety of other ish in the sea of Indian religio-philosophical traditions, ranging from early Vedic traditions to contemporary Bhakti movements. Among scholars who have objected to Brooks’s polythetic approach, Mark Dyczkowski in particular characterizes Brooks’s approach as potentially “meaningless” and offers instead a concise deinition of a tāntrika (practitioner of Tantra), as “one who has received initiation into a set of practices linked with a textual tradition proclaiming itself to be ‘Tantra’”.23 This deinition links the sādhaka to dīkṣā, to sādhanā,24 and to textual traditions that are 22 Douglas Brooks, 1990, op. cit. 23 Oral communication, Benares, India, 15 January 1997. 24 Jean Filliozat writes that Tantrism is “only the ritualistic technical aspect of religion”, quoted in Padoux, 1981a, “Hindu Tantrism”, p. 273. 44 | the Goddess Within and Beyond the three Cities self-identiied as Tantric. Dyczkowski thus reduces Brooks’s list to three components: initiation, practice, and text. I would argue, however, that we need to deine more precisely the speciic nature and goal of Tantric practice. In this context, I favour David White’s deinition of Hindu Tantra as the salviic pursuit of power (siddhi) through transgressive practices in which the bodily energies and luids are manipulated, channelled, and/or exchanged, either externally through mystico-erotic rituals25 or internally26 through specialized visualization and body-control techniques. It is this pursuit of power through transgressive practices that distinguishes Hindu Tantra from India’s other religio-philosophical traditions. Any attempt to deine Hindu Tantra is further complicated when, in contrast to Brooks, one views Tantric traditions through a diachronic lens.27 In this context one must distinguish between the older mystico-erotic forms of Tantra found in the early Kaula traditions and the later sanitized forms of high Hindu Tantra found in Trika Kaula Śaiva traditions and Śrī-Vidyā Śākta traditions.28 The Kaula cults, originating as early as the seventh or eighth century, were centred on antinomian rituals in which the luids of the body served as the means for the attainment of empowering knowledge (jñāna-siddhi).29 Gathering at Kaula temples, cemeteries, and other sites outside the pale of the orthodox Brāhmanical tradition, the yoginīs and siddhas of the Kaula traditions engaged in ritualized sex and exchanged bodily luids as a way of demonstrating their links to a shared 25 David White irst coined the apt phrase “mystico-erotic” practice in a “provisional working deinition of tantrism” submitted to members of the AAR’s Tantra Consultation, 1996. However, it was Jeffrey Kripal who introduced the term more broadly in his groundbreaking and controversial book, Kali’s Child: The Mystical and the Erotic in the Life and Teachings of Ramakrishna, Chicago: University of Chicago Press, 1998. 26 Here I am allowing for the inclusion of dakṣiṇācāra and samayācāara practices in which bodily energies are channelled through complex visualization techniques and yogic practices. However, such practices are only “Tantric” if the visualizations are explicitly sexual. 27 For a classic example of a diachronic approach to the interpretation of Tantrism, see Alexis Sanderson’s brilliant essay, “Meaning in Tantric Ritual”, in Essais Sur le Rituel III, ed., AnneMarie Blondeau and Kristofer Schipper, 1995, Louvain-Paris: Peeters, pp. 15-95. David White also adopts this approach, paying special attention to the evolution of practices. See White, 1996, Alchemical Body, “Introduction”. 28 Sanderson, 1995, “Meaning in Tantric Ritual”, passim. 29 White, “Yoga in Early Hindu Tantra” (unpublished manuscript). TanTric Sādhanā | 45 spiritual tradition (kula) through which the clan nectar (kula-dravya, kulāmṛta)30 served to produce a radical form of empowerment. Such mystico-erotic circles were linked by the sharing of bodily luids that were understood to have their ultimate origin in the Goddess, Śakti, she who is the source of all power. “The life and structure of the Tantric family or clan (kula),” writes White, “is deined by the life- and immortality-giving low of the clan essence (kulāmṛta) that is transmitted, concretely and in the form of sexual luids, in tantric initiation and worship rituals.”31 In these erotically charged environs, ritualized sexual intercourse and its products were the means to power. I would argue that it is this transgressive body-based system of soteriology and practice that remains at the heart of Hindu Tantra even in its later classical formulations when it was sanitized in the complex theological systems of Trika Kaula and Śrī-Vidyā.32 But why would the great exponents of Trika Kaula and Śrī-Vidyā traditions — such as Abhinavagupta and Bhāskararāya, who were both observant brāhmaṇas — incorporate into their systems the mystico-erotic practices of earlier Kaula traditions? Tāntrikas answer this question by declaring that such transgressive activities as ritualized sexual union and the ingestion of forbidden substances are necessary for breaking the bonds that bind the sādhaka to the endless cycle of birth and death. Brooks remarks: Tantrics engage the forbidden to transcend mundane restrictions and to experience directly the inherently blissful (ānanda) nature of the ultimate in the form of certain worldly (and often forbidden) pleasures (kāma). More interested in how these convention-transcending methods bring about these experiences than in how others might react, Tantrics are unapologetic, preferring secrecy to explanation.33 “Engaging of the forbidden” enables the tāntrika to attain a state of liberationwhile-living (jīvanmukti) predicated on the harnessing of desire (kāma) for the 30 White, 1996, op. cit., pp. 137-38. 31 Ibid., p. 138. 32 See Alexis Sanderson’s (1986b) discussion in “Purity and Power among the Brahmans of Kashmir”, in The Category of the Person: Anthropology, Philosophy, History, ed. Michael Carrithers, Steven Collins, and Steven Lukes, Cambridge: Cambridge University Press, pp. 190-215. 33 Douglas Brooks, 1993, “Encountering the Hindu ‘Other’: Tantrism and the Brahmans of South India”, Journal of the American Academy of Religion, LX(3): 406. 46 | the Goddess Within and Beyond the three Cities purpose of spiritual and worldly empowerment.34 The tāntrika understands salvation to be achieved when he or she realizes that vibrant dynamism of consciousness-power (cit-śakti) which is the source and basis of the universe. Brooks writes: The universe, according to Hindu Tantrism, is nothing but power (śakti), which is creation’s material and eficient cause and its immanent and transcendent 35 form. Understanding his or her own psychophysiology to be an exact replica of the macrocosm, the tāntrika realizes his true nature as the microcosmic embodiment of consciousness-power. The pursuit of spiritual and worldly empowerment necessitates that the tāntrika transgress the Brāhmanical boundary lines delineating the pure and the impure, for power is often perceived to lie most potently in those places that are beyond the pale of conventional norms: in sexual luids, prohibited substances, dead bodies, and the like. For this reason, the early yoginī and siddha exponents of Kaula traditions practised their liberating mystico-erotic practices in cemeteries and other non-Brāhmanical zones. Engaging in ritualized sexual union, they sought a caste-defying awakening through which they could tap the deepest reservoirs of power. While early Kaula traditions were often promulgated by lower castes, the later Trika Kaula and Śrī-Vidyā traditions were often formulated by brāhmaṇas. In the case of Kashmir, as Sanderson astutely points out, the brāhmaṇas adopted Tantric practices as a means of incorporating their purity-bound self within a tāntrika self that viewed the former as its lower nature.36 Such double encoding enabled these brāhmaṇas to remain pure in social spheres while secretly harnessing the impure powers of the Kaula goddesses of the Krama and Trika. Abhinavagupta provides two explanations for the necessity and eficacy of antinomian Tantric practices. First, notions of purity and impurity are not absolutes but are rather 34 Madeleine Biardeau writes, “to place kāma (desire) in every sense of the term, in the service of deliverance . . . not to sacriice this world but to reintegrate it in one way or another within the perspective of salvation”. Quoted by Brooks (1993, op. cit., p. 411) who himself is quoting Padoux’s (1981b: 351) quoting of Biardeau. 35 Brooks, 1993, op. cit., p. 412. 36 Sanderson, 1986b, “Purity and Power” p. 191. TanTric Sādhanā | 47 self-imposed and self-limiting social categories. Second, the ingestion of wine and meat, ritualized sexual intercourse, and other transgressive activities condoned by the Tantras serve as stimulants for the harnessing of śakti and the “dualitydevouring expansion of consciousness”.37 One of the deining characteristics of high Hindu Tantra, as formulated by Abhinavagupta and later exponents of Trika Kaula and Śrī-Vidyā traditions, is the exegetical strategy of veiling heterodox Kaula practices within a corpus of practices and doctrines that adorned the face of a sophisticated orthodoxy. This exegesis of dissimulation38 enabled the tāntrika to maintain an appearance of Brāhmanical purity in public even as he or she transgressed such boundaries through secret rites of Tantric empowerment.39 High Hindu Tantra thus arose as the exegetical and ritual capacity to relect on “an otherness within”40 — the Kaula or Kālī-self 41 — in an effort to transcend the limitations imposed by dualistic, caste-bound notions of purity and impurity. A contemporary instance of this purity-power dialectic is found in Tamil Nadu among Smārta brāhmaṇas who adopt Śrī-Vidyā practices as part of their own complex strategy to relect on an internalized otherness. We ind a similar instance today in Nepal among both Parbatīya and Newar brāhmaṇas, who simultaneously maintain both Vedic and Tantric traditions in their daily pūjās and sādhanās, thereby disguising a Tantric self behind a social mask of Brāhmanical conformity.42 These examples reveal that Brāhmanical tāntrikas consider the rewards of Tantra to be worth possible infractions of the purity codes upheld by the brāhmaṇa self. For these brāhmaṇas the acquisition of spiritual and worldly power is an end that justiies the heterodox means necessary for its attainment. 37 Sanderson, 1986b, op. cit., p. 198. 38 The historical rise of this exegetical system of dissemblance is traced most carefully by Alexis Sanderson. See, in particular, Sanderson, 1995. 39 Sanderson, 1986b, p. 203. 40 Brooks, 1993, p. 408. Here, Brooks is paraphrasing William Scott Green, 1985, “Otherness Within: Towards a Theory of Difference in Rabbinic Judaism”, in To See Ourselves as Others See Us”: Christians, Jews, “Others” in Late Antiquity, ed. Jacob Neusner and Ernest S. Frerichs, Chicago: Scholars Press, p. 50. 41 I borrow this term from Sanderson, 1986b, “Purity and Power” p. 198. 42 I observed the mechanisms of this double encoding on numerous instances during my ield research in the Kathmandu valley. 48 | the Goddess Within and Beyond the three Cities If we now return to Brooks’s tenfold taxonomy, I would argue that the last three features are the most important distinguishing characteristics of Hindu Tantra: 8. secret and expeditious techniques to obtain worldly empowerment (bhoga) and liberation (mokṣa); 9. use of prohibited substances and engagement in antinomian practices; and 10. initiation (dīkṣā) based on criteria other than caste (jāti) or gender (liṅga). These three features are the essential deining elements of Hindu Tantra and its project of harnessing the liberating, intoxicating powers of Śakti. The Transformative Power of Mystico-Erotic Practices: The Secret Rites of Tantra As the term tantra denotes the sense of “weaving”, so the aim of Tantric traditions is to interweave philosophical speculations and ritual and yogic practices into a single body-based system focused on the pursuit of liberating power. This system, as discussed earlier, involves the manipulation and exchange of bodily energies and luids through external mystico-erotic rituals and internal meditative practices. The religious use of sexual imagery and practices in South Asia is not the exclusive province of Tantric traditions but can be traced back to as early as the Vedic period. In certain Vedic ritual practices, we ind explicit suggestions of the importance and power of sexual transactions. At the culmination of the Aśvamedha sacriice, the king’s irst consort was instructed to copulate with the immolated horse, which was itself the embodiment of the king’s virility. As Mircea Eliade points out, this sexual union is a ritual coincidenta oppositorum that replicates the cosmogonic moment. Sexual union thus transforms the 43 king and queen into the divine pair. Jan Heesterman observes that this symbolism also carries through to other Vedic Śrauta sacriices in which “the patnīsaṁyāja offerings made to the wives in the gārhapatya [ire] are explicitly equated with sexual union”.44 Sexual symbolism is also connected 43 Mircea Eliade, 1973, Yoga, Immortality and Freedom, tr. Willard R. Task, Princeton, NJ: Bollingen, pp. 256-57. 44 J.C. Heesterman, 1993, The Broken World of Sacriice: An Essay in Ancient Indian Ritual, Chicago: University of Chicago Press, p. 56. TanTric Sādhanā | 49 with the araṇis (Vedic ire drills). The friction created from the churning of these sticks is equated with the sexual act.45 In the context of Vedic sacriice, sexual symbolism is often conjoined with asceticism. The yajamāna, the patron of the sacriice, must undertake a series of ascetic practices, including sexual abstinence, during the course of ritual. The sexual aspects of the rites are thus charged with the power of tapas,46 providing an early model for the Tantric notion that pleasure (bhoga) must be fused with restraint (yoga). This fusion of pleasure with restraint is particularly emphasized in the mahāvrata rites. The entire ifteenth book of the Atharvaveda is devoted to a discussion of the mysterious Vrātyas, who practised an early form of yogic asceticism. At a critical juncture in their mahāvrata rite a prostitute (puṁścalī) unites with a brahmacārī.47 As Eliade explains, the exact purpose of this union is not clear. However, several scholars have suggested that the Vrātyas were precursors of later Śaiva traditions, and thus their mahāvrata rites might be the precursors of the later antinomian Tantric rituals that utilize the ive prohibited substances and activities (pañca-makāra) — meat, ish, wine, intoxicating grain, and illicit coupling. Certain Upaniṣads interpret the Vedic Śrauta sacriice with reference to sexual symbolism, with the sacriicial ire representing the female sexual organ into which the male seed is deposited. Eliade writes: From the Bṛhadāraṇyaka Upaniṣad on, the belief becomes prevalent that the fruit of “works” — the result of a Vedic sacriice — can be obtained by a ritually consummated marital union. The identiication of the sacriicial ire with the female sexual organ is conirmed by the magical charm cast on the wife’s lover. . . . A ritual detail of the union, when it is wished that the woman shall not conceive, suggests certain obscure ideas concerning the reabsorption of semen.48 Eliade goes on to quote a passage from the Bṛhadāraṇyaka Upaniṣad: He should irst exhale, then inhale, and say: “With power, with semen, I reclaim 45 J.C. Heesterman, 1993, op. cit., p. 94. 46 Walter Kaelber, 1989, Tapta Mārga: Asceticism and Initiation in Vedic India, Albany: SUNY Press. Cf., White, 1996, pp. 269-70. 47 Eliade, 1970, pp. 103-04. 48 Eliade, 1970, p. 255. 50 | the Goddess Within and Beyond the three Cities 49 the semen from you!”. Thus she comes to be without seed. This important passage suggests a Vedic antecedent to the yogic technique of semen reabsorption, vajrolī-mudrā, which is so central to later Tantric practices. What is interesting about this practice is that it might also be viewed as a technique of ingestion, in which the male practitioner eats the sexual food cooked in his wife’s vaginal oven. Later Tantric texts suggest this model when 50 they speak of the genital organs as lower mouths (adhovaktra). This language is important because it recalls the gastronomic practices of early Tantric traditions in which the ingestion of sexual luids (kula-dravya) is the sine qua non of spiritual empowerment. As early as the ifth century Ce we ind substantial epigraphic, textual, and architectural evidence51 to substantiate the existence of radical Yoginī cults centred on the consumption of human lesh and luids, which served as fuel for the Yoginīs’ magical lights. These Yoginīs gathered at night at temples uniquely designed for orgiastic rituals that culminated in ecstatic lights. The Vedic ire pit is embodied in these rituals in the ferocious mouths and iery intestines of proto-Tantric female sādhakas who demanded the products of human anatomy as their sacriicial offerings. White quotes an important passage from the eighthcentury Mālatī-Mādhava of Bhavabhūti: Beholding [paśyantī] by the power of reabsorption [layavasāt] the eternal [nityam] Supreme Spirit [ātmānam] in the form of Śiva [śivarūpiṇaṁ] {who}, superimposed upon my six members [and] placed in the six cakras [nyasta-ṣaḍaṅgacakranihitaṁ], manifests himself in the midst of the heart lotus [hṛtpadmamadhyoditaṁ], here I have now come [iyamahamidānīm . . . abhyāgata] without experiencing any fatigue from my light [aprāpta-patana-śrama] by virtue of my extraction of the ive nectars [pañcāmṛtākarṣaṇād] of people [jagata], {which I have effected} by the gradual illing of the channels [nāḍīnāmudayakrameṇa].52 49 Bṛhadāraṇyaka Upaniṣad 6.4.10; tr. Hume, Thirteen Principal Upaniṣads, p. 169. Quoted in Eliade, 1970, p. 255. 50 White, 1996, p. 256. 51 See Vidya Dehejia, 1986, Yoginī Cult and Temples: A Tantric Tradition, New Delhi: National Museum, pp. 11-38, 53-77. See also Thomas E. Donaldson, 1986, “Erotic Ritual on Orissan Temples”, East and West, September, 36: 137-82. 52 White, “Yoga in Early Hindu Tantra”, unpublished manuscript. p. 10. TanTric Sādhanā | 51 In these late night Yoginī gatherings (yoginī-melapas), which seemed to fascinate popular imagination,53 sexual transactions appear to take a back seat to digestion. However, the early literature also speaks of Siddhas and vīras (potent male practitioners) who offered their virile semen as high-powered Yoginī rocket fuel.54 Who were the perfected male heroes? They were most likely initiates of the various Kula traditions that were present in the same regions where the Yoginī cults lourished. These were the Kāpālikas, Pāśupatas, Lakulīśas, and other proto-Tantric traditions that centred their antinomian practices in the cremation grounds. Early accounts of these traditions suggest that sexual union, maithuna, igured in their shamanistic efforts to acquire siddhis.55 It is not unrealistic, then, to assume that the Yoginīs coupled with these potent Kula adepts, seeing their yoga-reined seed as the most potent power-substance. While the textual sources speak of the eating of these substances, we cannot dismiss the possibility that this eating occurred through the lower mouth during acts of ritualized sex, which culminated in the Yoginīs and Siddhas ascending together into the sky.56 While the early associations between the Yoginī and Kula traditions are hard to determine, by the time of the eighth-century Kaulajñānanirṇaya of Matsyendranātha the two traditions have been fused into a Yoginī–Kaula synthesis. Here sexual transactions are brought to the forefront as the means through which the clan knowledge (kula-jñāna) is transmitted from the Goddess to human practitioners through the lower mouths of Yoginīs. The haṭhayoga techniques of the Nātha Siddhas are injected with a solid dose of the feminine such that sexual union becomes the means for the elevation of the kuṇḍalinī through the body’s subtle physiology, which is mapped as the locus of Yoginīs, Ḍākinīs, and Sākinīs who abide at the various cakras awaiting the proper bodily offerings.57 The kuṇḍalinī is itself the supreme Yoginī who lies upward towards the cranial vault, powered by “oblations of wine and vital luids”.58 53 Dehejia, 1986, op. cit. pp. 14-16. 54 White, “Sexually Transmitted Messages”, unpublished manuscript, p. 15. 55 David N. Lorenzen, 1972, The Kāpālikas and Kālāmukhas: Two Lost Śaivite Sects, Delhi: Motilal Banarsidass, pp. 89-90. 56 White, “Yoga in Early Hindu Tantra”, unpublished manuscript. p. 11. 57 White, “Yoga in Early Hindu Tantra”, pp. 5-7. 58 Ibid., p. 10. 52 | the Goddess Within and Beyond the three Cities Inheritors of the earlier Yoginī and Kula traditions, the Yoginī–Kaulas viewed maithuna, ritualized sexual union, as the means not to a literal light, but rather to an internal ascent within the body’s central meridian, the suṣumṇā. No longer blasting off from cremation ground launching pads, the Kaula yogins and their yoginī consorts exchanged sexual luids for the purpose of bringing about the ultimate union — the union of Śiva and Śakti — within their own subtle physiologies. Thus by the time of the Yoginī–Kaula traditions of the tenth century, sexual imagery had been mapped onto the subtle physiology, and the raison d’être of sexual transactions was now to propel internal lights. The inal step in the development of Tantric sexual practices was the overlaying of the sexual body with photic and acoustic registers such that it became veiled behind a discourse of consciousness as pure light and sound. This sanitized discourse nevertheless remained predicated on the exchange of luids as the means to tapping the ininite powers of light and sound dwelling within the body’s vital centres. Shortly after the rise of the Yoginī–Kaula synthesis, Abhinavagupta, the great Kashmirian exegete, formulated his own Trika Kaula system in which the discourse of luids is incorporated in a discourse of consciousness that includes both photic and phonic valences.59 On the grid of highly complex yantras, the sādhaka is to perceive the expansion and contraction of consciousness as consubstantial with his own limbs, luids, and breaths, which are themselves nothing but pure consciousness. Mantras and breaths are offered into the ire pit of consciousness in order to produce a radical awakening.60 The horriic leshconsuming Yoginīs are poetically represented in this discourse as metaphors for the unfolding of a self-projecting Absolute.61 Abhinavagupta’s discourse of consciousness tactfully conceals the more ancient Yoginī–Kaula practices that lie at the core of his system. For what fuels the ultimate ascent into divine realization in this system is sexual union with the dūtī through whose Yoginī mouth (yoginī-vaktra) lows the highest knowledge (para-jñāna). In this context the bliss of orgasm is the revelation of 59 White, “Sexually Transmitted Messages”, p. 1., unpublished manuscript. Cf. Sanderson, 1986b, pp. 191-216. 60 Silburn, 1988, Kuṇḍalinī: Energy of the Depths, pp. 151-55. 61 This process of internalization of the Yoginīs is most clearly laid out in the Krama-Kaula. See Sanderson 1995, pp. 15-95. TanTric Sādhanā | 53 the sādhaka’s innate divinity and the means for propelling the kuṇḍalinī to its inal destination in the sahasrāra-cakra. This Kaula practice is discussed in the twenty-ninth chapter of Abhinavagupta’s Tantrāloka.62 It is referred to as the rahasya-vidhi (secret rite) and the kula-yāga. This rite is accessible only to those Tantric heroes (vīras) who have mastered the irst three stages (upāyas) of the Trika Kaula path and are ready for inal release. Seated in a circle with the guru at the centre,63 the qualiied sādhakas prepare for union with the guru’s dūtīs, whose vulvas are ire pits in which all ignorance is burned and through which lows liberating awareness. The sacriicial offerings are the three forbidden makāras — māṁsā (meat); madya (intoxicating drink); and maithuna (ritualized sexual union) — which fan the ire of consciousness. The products of maithuna, semen and vaginal discharge, are captured in a chalice and offered to the guru as the kulāmṛta, the clan nectar that bestows immortality. Veiled behind a sanitized discourse of consciousness, sexual transactions are thus the hidden ire that fuels the highest stages of Abhinavagupta’s system of sādhanā, producing Siddhas who unite male and female within themselves through union with Tantric consorts empowered by the sexual luids of their masters. In Kaula Śrī-Vidyā practices the sādhaka engages in the mystico-erotic rites of the kāma-kalā both on the level of internalized meditative practices (antaryāga) and on the level of external ritual practices (bahiryāga). The Śrī-Yantra serves as the vehicle for the internalized visualization of the sādhaka, for, as discussed in Chap. 1, the kāma-kalā pulsates at the heart of the Śrī-Yantra. The kāma-kalā is the centre point of the two innermost triangles of the Śrī-Yantra, which symbolizes the union of Śiva and Śakti. At the apex of each of the triangles are inscribed the bīja-mantras — a and ha — which are the sound-forms of Śiva and Śakti, respectively. The grapheme īṁ, which is inscribed graphically at the centre of these triangles, is the sound-syllable of the supreme Goddess Tripurasundarī, who is none other than the kuṇḍaliṇī-śakti.64 The Śrī-Yantra thus depicts the dialectic between manifestation (Śakti) and transcendence (Śiva), a dialectic embodied and overcome within the sādhaka’s own subtle physiology through 62 Silburn provides a translation of this important chapter in her Kuṇḍalinī: Energy of the depths, 1988, pp. 177-205. Cf. Flood, 1993, op. cit. passim. 63 Masson and Patwardhan offer a brief discussion of this rite in their Śāntarasa and Abhinavagupta’s Philosophy of Aesthetics, 1969, p. 40. 64 White, 1998, “Transformation in the Art of Love” p. 179. 54 | the Goddess Within and Beyond the three Cities the awakening of the kuṇḍalinī. In his commentary on the Nityāṣoḍaśikārṇava, entitled Artharatnāvali (c. twelfth century), Vidyānanda describes the process by which the sādhaka visualizes and awakens the īṁ-as-serpentine power from within the root cakra: Thus in the ire of consciousness, residing inside the triangular ire pit, arising inside the lotus of the mūlādhāra, by the ladle of mind through the channel of suṣumṇā, with the ghee of the luid of supreme Śiva, harnessed within the lotus of the supreme sky, reciting the mūlavidyā, making the oblation, one should offer the activities of the senses, including the totality of good and bad actions as well as pain and pleasure, into this power [ = īṁ].65 In Kaula Śrī-Vidyā circles such internalized visualizations of the Śrī-Yantra are but preparations for unlocking the rich symbolic valences embedded in the kāma-kalā. The vīra, the Tantric hero, perceives the interlocking triangles as the united phallus and vulva of the divine pair, Śiva and Śakti. In the advanced stages of sādhanā, the interlocking triangles are correlated with the anatomy of the vīra’s Tantric consort, with the apexes of the triangles corresponding to her yonī, breasts, and face. After visualizing this image within himself during antaryāga, the adept sādhaka then engages in external ritualized union (maithuna) with his Tantric consort. This bahiryāga produces the clan nectar, and it is the ingestion of this divine luid at the culmination of an elaborate ritual process that establishes the practitioner in a “state of Śiva” replete with “ininite awards”.66 The Journey to the Summit: The Nepalese Sarvāmnāya System Nepalese Śrī-Vidyā Śākta Tantra represents itself as the culminating synthesis of the Trika Kaula, Krama, and Śrī-Vidyā traditions that were brought to Nepal from India. As discussed earlier, Nepal’s Sarvāmnāya system represents itself as an encompassing system that incorporates and integrates the six streams 65 AV on NṢA 5.6: tathāhi—mūlādhāra-kamalāntar-udyattrikoṇa-kuṇḍāntarullasitacidagnau manasā srucā suṣumṇāvartmanā parākāśa-kuśeśayānta-spandiparamaśiva-sudhājyena mūlavidyām uccarannājyāhutiṁ vidhāyānantaraṁ sakaladharmādharma-suckhaduḥkhākṣa-vṛttīruhuyāda yathāśaktītyarthaḥA 66 AV on NṢA 5.5: tatastāvanmātraniyutenanānantaphalamuktyavirodhi sadbhaktipurassaraṁ svarasaparamānandaprobodhātmakaṁ śivapadaṁ labhateA TanTric Sādhanā | 55 of Āgamic revelation, or six transmission schools (ṣaḍ-āmnāyas): the eastern (Pūrvāmnāya), southern (Dakṣiṇāmnāya), western (Paścimāmnāya), northern (Uttarāmnāya), lower (Adhāmnāya), and upper (Ūrdhvāmnāya) transmissions. Understanding that Tripurasundarī, who is Paramaśivā, has revealed herself in the form of the six faces of Śiva and their corresponding scriptural sources, the Nepalese Śrī-Vidyā tāntrika seeks initiation into each of these schools. The Nepalese Śrī-Vidyā system of sādhanā thus incorporates aspects of the practices of these various schools in its own distinctive corpus of practices. The Sarvāmnāya system appears to be the unique formulation of Nepalese Tantra, shared alike by Newar and Parbatiyā practitioners. The major study of the āmnāya traditions — Mark Dyczkowski’s brilliant and extensive The Canon of the Śaivāgama — does not discuss Nepal’s Sarvāmnāya system. Likewise, Slusser,67 Tofin,68 Gellner,69 and Levy70 — all prominent scholars of Nepalese society and culture — appear unaware of this unique tradition and its prominent position in Nepalese religious and social practices. My own limited study of the Sarvāmnāya system is based primarily on ethnographic sources, although I have also undertaken a preliminary investigation of textual sources, drawing on a variety of manuscripts at Nepal’s National Archives. According to Divakar Acarya, the Nepalese Sarvāmnāya system is rooted in the Siddhayogeśvarīmata-Tantra (c. eighth century) and related Krama-Kaula texts, which seek to subsume a number of groups of goddesses into one system that equates them with aspects of the one Great Goddess, who is identiied with supreme consciousness. Divakar explain: Once you get this tendency, then you have the seeds for the growth of the Sarvāmnāya. We have the seven Mātṛkās, the eight Mātṛkās, the nine Durgās, the sixteen Nityās — all these groups of goddesses, each with their own set of texts, practices, and historical origins. Yet by the time of Abhinavagupta these distinct 67 Mary Shepard Slusser, 1982, Nepal Mandala: A Cultural Study of the Kathmandu Valley, 2 vols., Princeton: Princeton University Press. 68 Gerard Tofin, 1993a, Le Palais et le Temple: La function royale dans la vallé du Népal, Paris: CNRS Editions. 69 David N. Gellner, 1992, Monk, Householder, and Tantric Priest: Newar Buddhism and Its Hierarchy of Ritual, Cambridge: Cambridge University Press. 70 Robert Levy, 1990, Mesocosm, Hinduism and the Organization of Traditional Newar City in Nepal, Berkeley: University of California Press. 56 | the Goddess Within and Beyond the three Cities groups are understood mystically as aspects of one godhead. So while in India the āmnāyas were understood to be rooted in particular regions and connected with particular texts and deities, in Nepal we synthesized these traditions into one tradition that incorporated them all. This was only logical. The āmnāyas all arise from the mouth of Śiva. Śiva may be depicted with multiple mouths, but Śiva is one. For a practitioner, the Śāstras of the different āmnāyas are related. They represent stages in the evolution of man back to God. So as we receive initiation, step by step, into each āmnāya, we move closer and closer towards the goal of Tantric practice — the realization that we ourselves are omnipotent.71 Although the exact date of origin of the Sarvāmnāya system is uncertain, it was established by the time of King Sri Pratap Singh Shah Deva (c. 1751-77). Himself an initiate of the Sarvāmnāya tradition, King Pratap Singh is widely recognized by contemporary Sarvāmnāya sādhakas for integrating a wealth of paddhatis in his work entitled the Puraścaryārṇava. This compilation not only provides important historical testimony to the prominence of Tantric practices in the lives of Nepal’s kings, but it also provides textual evidence that by the eighteenth century the primary āmnāyas with their associated deities and texts had been fused into a single, integrated system of practice. This voluminous (1,230 pages) text contains the puraścaraṇas (modes of worship) for each of the major Tantric deities of the valley. As a single paddhati comprising a multitude of paddhatis to the various Tantric deities of Nepal-Maṇḍala, the Puraścaryārṇava exempliies textually the uniied state of consciousness that the sādhaka systematically constructs through sequentially traversing the paths of the various āmnāyas. The Puraścaryārṇava symbolizes the Viśvarūpa Devī, the Goddess who, as the wholeness of consciousness, unites all forms and all deities within herself in a uniied totality. Timalsina explained: We don’t see the Puraścaryārṇava simply as a composite of many different ritual texts — although it is this too. Rather, we see it as a map for making it back to God by uniting all the different deities and their mantras within myself. . . .72 71 Oral communication, Valmiki Sanskrit Campus, Kathmandu, Nepal, 21 May 1997. 72 Timalsina’s mixing of third and irst person pronouns here relects not only the fact that English is his second language, but more interestingly, that he links his subjectivity with the greater tradition which contains him. When Staneshvar uses a third person referent — he refers to himself from within the Śrī-Vidyā paramparā. When he uses a irst person referent he refers to a self which contains his lineage. TanTric Sādhanā | 57 Personally, I do not depend on the Puraścaryārṇava. The Nityāṣoḍaśikārṇava accomplishes [this same goal]. But, this text [the Puraścaryāṇava] is very important for helping us understand Nepalese Tantra and the extent to which it was impacted by the non-dual wisdom of the Śrī-Vidyā and related traditions.73 Timalsina’s statement highlights the movement towards interiorization at the heart of Nepalese Śākta sādhanā. It is this movement towards the realization that all beings reside within one’s own Self (svātma-sarva-bhūta-antarvāsin-jña) that characterizes the esoteric dimensions74 of the Sarvāmnāya. The Sarvāmnāya system of sādhanā transformed the perfected adept into the repository of all treasures, all knowledge, and all forms of power. It is no wonder, then, that such a tradition would be supported so extensively by Nepal’s kings. Engaged in the practices of the Sarvāmnāya, kings like Pratāp Singh transformed their own bodies into the locus of all beings and all worlds and thereby meditatively and ritualistically ruled the cosmos. In this context, the enacting of the king’s power upon the social stage was understood as simply an outer manifestation of the low of power already realized within himself. In the esoteric interpretation of the Sarvāmnāya system, the six āmnāyas correspond, respectively, to the cakras in the subtle physiology. Thus as the sādhaka is initiated sequentially into each of the transmission schools, he awakens the kuṇḍalinī-śakti in the mūlādhāra-cakra and then activates in turn each of the cakras, causing the kuṇḍalinī to ascend successively through the cakras to the thousand-petalled lotus (sahasrāra-cakra) at the crown of the head. According to Siddhi Gopal Vaidya, the ascent of the kuṇḍalinī is like a journey to the top of Mount Everest. The goal of this journey, Everest’s summit, is the abode of Tripurasundarī. This highest position can be reached only by passing through the stages that precede it, just as Sir Edmund Hillary could reach the world’s highest point only by gradually passing through the multiple terrains that led to the summit. It was for this reason that Siddhi Gopal gave me a look of bemusement when, in our irst meeting, I informed him I had come to discuss 73 Oral communication, Patan, Nepal, 15 May 1997. 74 As Gellner, Levy, and others have astutely pointed out, Nepalese Tantra operates simultaneously on both an esoteric and exoteric level. While to some extent Chaps 3 and 4 in this book attempt to incorporate the exoteric dimensions of Tantric ideology and practice, the primary aim in this chapter is to understand how the elitist practices and ideologies of high Tantra are embedded in the Sarvāmnāya traditions within Nepāla-Maṇḍala. 58 | the Goddess Within and Beyond the three Cities Śrī-Vidyā theology and practice with him. Siddhi Gopal (Fig. 18) remarked: You must understand Tripurasundarī in relation to the other goddesses and lineages within our [Sarvāmnāya] system. [Tantric] sādhanā should be understood sequentially, like the stages of a journey. If you are hoping to reach the peak of Mount Everest, then irst you have to reach base-camp. How can you get to the peak without irst going through base-camp? In this mystical journey Tripurasundarī is the summit and the mūlādhāra is the base-camp.75 This mystical journey is the inward ascent of the kuṇḍalinī-śakti through the suṣumṇā, beginning in the mūlādhāra-cakra at the base of the spine and then moving upward through the other ive cakras: the svādhiṣṭhāna (genital region), maṇipūra (navel), anāhata (heart), viśuddha (throat), and ājñā (between the eyebrows). Situating his or her awakening consciousness in this penultimate region of power, the advanced sādhaka prepares for the inal ascent to “Everest’s summit”, the sahasrāra-cakra, which is the abode of Tripurasundarī. Situated in this highest place of power (parama-śāktapīṭha-sthita), the sādhaka — whether a king, priest, or peasant — realizes his or her identity with Tripurasundarī, she who is within and beyond the three cities. According to Siddhi Gopal, sādhanā in the Sarvāmnāya system begins with meditation on the goddess of the “base-camp”, Hāṭakeśī,76 “the golden mistress”, who resides in the mūladhāra. He explained to me: Hāṭakeśī bestows all wealth. You please her by meditating on the mūlādhāra region. When you feel either heat, cold, or spanda (trembling) then know that she is pleased. When she is pleased, these following signs will manifest in your outer life: great material wealth, success in all your endeavours, a voice like thunder that will command the respect of all, and perfect health. What more could there be than this? Having attained the prosperous blessings of Hāṭakeśī, why would you want to continue on from the base-camp? The answer is: mukti. The blessings of Hāṭakeśī are ultimately illusory. Although success in yoga cannot be won without her blessings, ironically, those blessings must be renounced. And this makes sense. If I am a poor man and renounce a Rolls Royce, is this true renunciation? No, only when I have the wealth to own a Rolls Royce do I 75 Oral communication, Patan, Nepal, 5 June 1997. 76 Hāṭakeśī is the śakti of Śiva as Hāṭakeśin, “the Lord of Gold”, whose liṅga is rooted in the mūlādhāra-cakra. According to Timalsina, this goddess is also described in the KubjikāmataTantra, personal communication, 17 November 2000. TanTric Sādhanā | 59 have the power to renounce. If I am rich and renounce wealth, then I am a true renunciant. In the same way, we must irst obtain the wealth that Hāṭakeśī has to offer. Then, we must develop the viveka (discrimination) to perceive such wealth as illusion and continue our journey towards the summit.77 As the goddess of the lower transmission (Adhāmnāya), Hāṭakeśī represents the irst stage in the Nepalese Sarvāmnāya system of sādhanā, beginning at the base in the mūlādhāra-cakra. The next stage of the journey, in which the kuṇḍalinī-śakti moves from the mulādhāra to the svādhiṣṭhāna, is facilitated by initiation into the eastern transmission (Pūrvānmāya), whose root goddess is Pañcamukhī (the ive-faced one). At this stage of the journey, the sādhaka begins to develop the discrimination that allows him or her to move beyond the desire for material gain. In the next stage, following initiation into the southern transmission (Dakṣināmnāya) and meditation on Kālī, the sādhaka’s kuṇḍalinī ascends to the maṇipūra-cakra in the navel region. From there, the kuṇḍalinī ascends to the anāhata in the heart region, facilitated by initiation into the Kubjikā traditions of the western transmission (Paścimāmnāya). The sādhaka then raises the kuṇḍalinī to the viśuddha in the throat region by taking initiation into the northern transmission (Uttarāmnāya) and practising the sādhanā of Ugra Tārā (Fig. 8). From this elevated internal position, the tāntrika then prepares to move on to the ājñā-cakra, situated between the eyebrows. This penultimate phase of the journey is made possible through initiation into the upper transmission (Ūrdhvāmnāya), which in Nepal is centred on the Goddess Tripurasundarī. This is the inal initiation in Nepal’s Sarvāmnāya system. The fact that Tripurasundarī occupies the position of the highest Goddess in this system reveals much about the status of Śrī-Vidyā in Nepalese Śākta Tantra and also provides clues as to the identity of the patroness Goddess of Nepal’s kings, Taleju, the “Goddess on high” (Fig. 11), whom we shall discuss more fully in Chaps. 3 and 4.78 77 Oral communication, Patan, Nepal, 23 June 1997. 78 This description of the Sarvāmnāya was irst given to me from Siddhi Gopal and later conirmed by both Timalsina and Kedar Raj Rajopadhyaya. The description of the correlation of the goddesses to āmnāyas differs signiicantly from the standard lists given in canonical works like the Kubjikāmata-Tantra. See Mark Dyczkowski’s Canon of the Śaivāgama, 1990, pp. 66-92. The reason for the distinction is that the Sarvāmnāya is a unique Nepalese attempt at synthesizing the various āmnāyas according to the interests of dynastic lineages that favoured the Kubjikā and Śrī-Vidyā schools. 60 | the Goddess Within and Beyond the three Cities While the accounts of various Nepalese sects may differ on the exact relation of the cakras to the āmnāyas, nearly all informants conirmed that in the Sarvāmnāya context Tripurasundarī is positioned at the level of the ājñā-cakra. This is not to say that a Kubjikā sādhaka does not perceive Kubjikā as his or her “Goddess on high”. On the contrary, Nepalese Kubjikā sādhakas view their iṣṭadevatā as Taleju, the king’s chosen Goddess, and as the ūrdhvāmnāya-śakti residing within the highest power centres of the body. The same is true for sādhakas of the Guhyeśvarī, Siddhi Lakṣmī, and Mahādurgā traditions. Sthaneshwar attempted to address this apparent conlict. There is no contradiction here. In the ājñā there are two feet. One is white. The other is black. These are the grace-bestowing feet of divine consciousness. The white foot is Tripurasundarī. The black foot is Kālī, who is also called Kubjikā, Guhyeśvarī, Durgā, and Siddhi Lakṣmī. To advance to the sahasrāra, one must receive initiation into the lineages of both of these goddesses. Tripurasundarī and Kālī are the twin sisters of liberation. They are the two halves that constitute Taleju.79 The Nepalese Sarvāmnāya system thus serves to weave together the multiple Goddess clans (kula) that have entered the Kathmandu Valley since the eighth century and to organize them into a system of yogic practice that results in the transformation of consciousness through the raising of the kuṇḍalinī-śakti. To achieve this end, the Sarvāmnāya system roots itself in the Śrī-Yantra, which functions as a template for weaving together the macrocosm with the microcosm. As such it is also the ideal map for constructing notions of space and power in the Kathmandu Valley. As we shall discuss in the next chapter, the Śrī-Yantra has been employed by Nepalese kings since at least the thirteenth century as the power grid that links the esoteric cultures of the Siddhas and Yoginīs to the political aspirations of Nepal’s heads of state. In this way, the Śrī-Yantra comes to embody a paradox of power that rests at the heart of the Nepalese sociocultural complex. 79 Oral communication, Patan, Nepal, 1 July 1997. 3 The Maṇḍala-Hologram Centres, Peripheries, and the Dance of Power The religion of the inhabitants of the Kathmandu Valley . . . is thoroughly rooted in the Tantric traditions . . . — Mark Dyczkowski 1 Kathmandu Valley is a Tantric valley. —Nepalese sādhaka, 10 May 1997 A maṇḍala is a . . . mystic diagram . . . [which] in ancient Indian usage [also] signiied an administrative unit or a county. From at least the sixth century ce, in conjunction with the word “Nepal”, it signiied to the Nepalese the Kathmandu Valley and surrounding 2 territory. — Mary Slusser The initiated Śrī-Vidyā sādhaka views the Kathmandu Valley as Tripurasundarī’s body. Just as the Goddess has gross, subtle, and transcendent forms, the valley itself is trirūpa (consisting of three forms). The valley’s gross body is immediately visible as the rolling hills, rich rice paddies, intersecting river systems, and other geographical features that mark the body of the Goddess. The tourist arriving on Royal Nepal Airlines’ regular light from Bangkok immediately appreciates this aspect of the Goddess as his or her light descends into Nepal’s international airport. However, the valley’s beautiful natural topography is considered but a coagulation of the subtle energy blueprint3 at its core. This blueprint is the Śrī1 Mark S.G. Dyczkowski, “The Sacred Geography of the Kubjikā Tantras with Reference to the Bhairava and Kaula Tantras”, unpublished Manuscript, p. 2. 2 Mary Slusser, 1982, Nepal Mandala: A Cultural Study of Kathmandu Valley, quote from preface material. 3 I borrow the term “blueprint” from Barbara Holdrege who uses the term in her comparative analysis of the “transhistorical dimensions” of scripture in Veda and Torah, Transcending the Textuality of Scripture, Albany: SUNY Press, 1996, esp. pp. 108-12. While the Śrī-Yantra is not a scripture, it is, like the Veda, the subtlest energy and sound resonance of divine power 62 | the Goddess Within and Beyond the three Cities Yantra, the geometric power-body of the Goddess, which reverberates on a subtle level perceptible only to those whose eyes have been trained to see beneath the façade of material appearances. At the centre of the Śrī-Yantra is the bindu, its causal source, the ultimate power point and supreme body (parā-rūpa) of the Goddess. From the perspective of the initiate (dīkṣitā), it is this power point that produced and continues to regenerate the valley.4 In this chapter we will examine the multiple levels at which the maṇḍala — and more speciically the Śrī-Yantra, the cosmic blueprint of Śrī-Vidyā Śākta Tantra — functions as a template for imagining and constructing spaces within Nepāla-Maṇḍala. In doing so, it might be helpful to adopt the visual analogy of the hologram, a laser-generated three-dimensional image that contains within itself its own reduplication at each of its constituent points.5 Nepal is a maṇḍalacontaining within itself the seeds (bīja) of all creation. 4 This understanding of the Kathmandu Valley as a materialization of the Śrī-Yantra is preserved in the oral traditions of Kathmandu and was conirmed to me on separate occasions by Nutan Sharma (interview on 15 April 1997), Timalsina (interview on 11 May 1997), Siddhi Gopal Vaidya (interview on 3 June 1997), Mukunda Raj Aryal (interview on 8 July 1997), and Kedar Raj Rajopadhyaya (interview on 9 August 1997). It is interesting to note here that these men, all respected scholars and/or jñānīs, align themselves with different āmnāyas. Although not an initiate, Mr Sharma comes from a lineage of Kubjikā tāntrikas; Timalsina is an initiate of Śrī-Vidyā; Aryal and Siddhi Gopal are initiates of Kālī Tantrism; and Kedar Raj is a former purohita of the Siddhi Lakṣmī Temple in Bhadgaon. Their mutual conirmation of the Śrī-Yantra as the blueprint for the valley highlights the pervasiveness of this symbol and the interconnectedness of the Nepalese āmnāyas. 5 The analogy of concentric circles might also be a helpful heuristic device for understanding the constructive imagining of the lived-reality as an esoteric symbol within Nepāla-Maṇḍala. The largest circle would be Nepal. Within that circle, the next largest would be the Kathmandu Valley. Within that circle would be three circles of equal diameter representing Kathmandu, Bhaktapur, and Patan. Within these circles would be still smaller, multiple interlocking circles representing architectural structures — houses, temples, palaces. The smallest circle and centre point of this conceptual framework would be the individual, the microcosmic nucleus containing the Śrī-Yantra within its subtle body. Surrounding all of these circles, and of ininitely greater diameter would be the macrocosm, the body of the Devī, the primal blueprint for the construction of social space in Nepāla-Maṇḍala. In a sense, the Śrī-Yantra is both a hologram and a coniguration of concentric geometric patterns. Each point of the Śrī-Yantra contains the totality of the entire yantra, just as each constituent element (tattva) contains all of the other thirty-ive elements within itself. The The Maṇḍala-holograM | 63 hologram: itself imagined in the form of a maṇḍala, each of its constituent parts — the Kathmandu Valley; the three cities of Kathmandu, Bhaktapur, and Patan; the temples in those cities; and, inally, the citizens worshipping at those temples — are all considered three-dimensional reduplications of the maṇḍala. The maṇḍala thus reduplicates itself on multiple levels: on the level of the entire country of Nepal, on the level of the Kathmandu Valley as a whole, on the level of the three most important cities in the valley, and on the level of the particular temples in those cities. Finally, the maṇḍala is mapped onto the subtle physiology of the individual human being, who constitutes the microcosmic embodiment of the Goddess, Devī. When all of Nepal is considered a maṇḍala, and more speciically the ŚrīYantra, this Nepāla-Maṇḍala is represented as a complex coniguration of circles and triangles converging on a centre-point (bindu). The bindu of the NepālaMaṇḍala is the political and cultural nexus at the heart of the inner triangle (antar-trikoṇa) whose three points are Kathmandu, Bhaktapur, and Patan, which for the last two millennia have been the seats of political power and cultural production in Nepal. Continuing to imagine all of Nepal as a Śrī-Yantra, the interlocking triangles immediately surrounding this central triangle, can be understood as the other regions of Śrī-Vidyā worship within the Kathmandu Valley, including the important shrine of Lokanthalī. Outside of these idealized areas we begin to approach the periphery. Within Nepal, the periphery takes us to several sites of Śrī-Vidyā worship — including Dolakha, Devaghat, and Gorkha, Goddess is everywhere equally present at all levels of her self-projection into the universe, which as we saw in Chap.1 is the Śrī-Yantra. At the same time, the Goddess has a centre and a periphery, and multiple “circles” in-between the centre and the boundary, and so there is a notion of the hierarchization of space in terms of proximity to the centre. Within the subtle physiology of all human beings, the centre is understood by tāntrika to be the crown centre (sahasrāra-cakra) in the head, while the periphery is identiied as the root centre (mūlādhāracakra) at the base of the spine. In the context of sādhanā, the aim to move upwards towards the centre, reintegrating the peripheries in their origination source, the transcendent place of Tripurasundarī at the apex of human body, understood to be a three-dimensional yantra whose centre is simultaneously its apex. Similarly, Nepāla-Maṇḍala has a centre point, which is the valley itself, and particularly the three cities of Kathmandu, Bhaktapur, and Patan, which for the last two millennia have been the seats of political power and cultural production. If all of Nepal is a Śrī-Yantra, then its bindu is the cultural and political nexus at the heart of a triangle whose three points are Kathmandu, Bhaktapur, and Patan, identiied mystically with the powers of will, knowledge, and action which comprise the triadic self. 64 | the Goddess Within and Beyond the three Cities all important sites for understanding the dynamics of power in Nepāla-Maṇḍala and the ways in which the theology of Śrī-Vidyā Śākta Tantra — in the form of the Śrī-Yantra — serves as a template for constructing spatial relations.6 The mapping of Nepāla-Maṇḍala in this way inevitably challenges our conceptual categories, at least to some degree. Śrī-Vidyā Tantra theology operates from a kind of “inside-out” perspectivalism which, much like an Escher painting, challenges us to rethink our presuppositions. We tend to think of the centre as the place in the middle, the place of central importance. Similarly, we tend to think that the so-called “objective” world is outside of us. Śrī-Vidyā challenges us to consider that the centre is at once everywhere. The centre is anywhere the Śrī-Yantra is, which is everywhere, or at least anywhere the cognizing agent is located. In other words, the ultimate frame of reference in Śrī-Vidyā is the consciousness of the cognizing agent. Consciousness is the Devī. The Śrī-Yantra is an aniconic image of that consciousness, which is the Devī. In saying that Nepal is a Śrī-Yantra, the tāntrika is in effect stating that his or her country is a projection or reduplication of consciousness, constituted of selfillumination (prakāśa) and self-referential awareness (vimarśa). In so doing, he or she is acknowledging that he or she is situated in a world that is an external projection of his or her own consciousness. The world that the tāntrika perceives is an external mirroring of internal space, which is ultimately the Śrī-Yantra. In other words, the tāntrika moves within himself or herself, in the sense that his or her true Self is the entire manifest cosmos. When he or she travels by bus from Kathmandu to Gorkha, as I did with Timalsina, he or she moves from the centre to the periphery from a certain perspective. However, at the same time, the centre is always an internal space and that space is always present within the tāntrika, wherever he or she is located. Thus, the centre is a shifting, relational, yet ever-present spatial-organizing principle. The tāntrika trains one to see his or her own centre projected everywhere as the Devī’s ininitely reduplicating, everpresent consciousness. As such the outside is always the inside, and the inside is always the outside. And, like an Escher painting, the centre and periphery, the top and the bottom are always relative to the perspective of the cognizing agent, the tāntrika. When in Dolakha, from the perspective of the tāntrika, the centre is Dolakha, for that is where the Śrī-Yantra is experienced as a projection 6 This spatial coniguring is my own creative reconstruction of the textual and ethnographic sources I encountered in the valley. The Maṇḍala-holograM | 65 of his or her own consciousness. The critical question is what does this kind of inside-out, holographic perspectivalism tell us about the construction and maintenance of power in Nepāla-Maṇḍala? Why would one want to see the outer world as a projection of the inner world? Whose interests are served by the notion that the cognizing agent is the ultimate point of reference? There is ample evidence to demonstrate that the Nepalese habitus is deeply informed by Śrī-Vidyā Tantra, and thus we can justify an in-depth exploration of these constructions of space as a means for understanding certain aspects of Nepalese culture. However, as Bourdieu points out, habitus is always geospeciic and historically contingent.7 The habitus is shaped by a society’s unique construction of knowledge at a particular moment in time. If episteme is the accepted, unquestioned mechanisms of “truth” shared by a culturally related group of people, then habitus is the instinctive, even subconscious, orientation toward this truth that operates according to the “logic of practice”. Habitus is crafted through the daily activities that place bodies in a series of complex negotiations among self, other, and society. These negotiations impart a practice-based logic and instill power relations that, for the most part, go unquestioned. Critical theorists like Bourdieu challenge us to question these unquestioned power relations, rooted as they are in historical constructions of truth that are politically motivated. Constructions of Nepal as a maṇḍala-hologram offer a fascinating test case to consider such post-structuralist critiques. But irst we must learn to see as the native does; or rather, as Ninian Smart would say, we must walk in the shoes of the Nepalese tāntrikas, and thereby come to appreciate the view from the inside.8 If we begin by accepting the ideologies of Western scholars, then we risk the danger of imposing these ideologies on the traditions under consideration. Ideologies are maps. They not only are not territory, as J.Z. Smith reminds us, they often do not even match territory, especially when the maps are made in France and then applied to Nepal. This is not to say that the ideo-grids of the critical theorists have no relevance. However, I would argue that their relevance can only come 7 See Richard Jenkings discussion of habitus in “Practice, Habitus and Field”, chap. 4 in his Pierre Bourdieu, Key Sociologists Series, New York: Routledge, 1992, pp. 66-102. 8 According to Ninian Smart, this act of emphathetic, non-judgemental analysis is the primary task of the historian of religions. See his The Religious Experience of Mankind, 3rd edn, New York, 1984. 66 | the Goddess Within and Beyond the three Cities to light if there is an engaged dialogue between the emic perspective and the etic critique. In this chapter we will be concerned in particular with the emic perspective of the Nepalese elite — religious specialists, kings, and bureaucrats — and the ways in which they used the maṇḍala as a template for constructing the religious, social, political, and geographic landscapes of Nepal. We will seek to understand the mechanisms through which the religious and political elite of Nepal appropriated this post-Abhinavagupta Tantric ideology and wove it into a complex cultural ibre that reveals itself in architectural codes, iconographic images, ritual practices, city layouts, regal insignia, and a host of other artefacts of material culture that stamp Nepal as a Tantric culture. Bearing this in mind, let us now turn to the greatest of the Śrī-Yantra’s concentric circles, the land itself. Nepal as a Maṇḍala One of the most encompassing of the maṇḍala’s manifestations is as the entire land of Nepal. Visualizing their surroundings as a maṇḍala, the Nepalese Śrī-Vidyā sādhakas situate themselves in a sanctiied space. They do so by mentally mapping the Śrī-Yantra on top of the country’s natural topography.9 This mental practice transigures the mundane into the sacred and trains the sādhaka to recognize the topography as the gross manifestation of the subtle blueprint of the Śrī-Yantra. Through this process the sādhakas weave together the microcosmic and macrocosmic spheres into one tightly knit perception of non-dual awareness: all forms become the Śrī-Yantra. Through this process the sādhakas see themselves — the microcosms — and the surrounding topography of Nepal as well as the entire universe itself — the macrocosm — as manifestations of the Śrī-Yantra. In this way, they actively see all levels of creation as encoded with the Śrī-Yantra. From the tāntrikas’ perspective, the Śrī-Yantra is the DNA of reality, replicating itself ininitely on all levels of creation.10 Tāntrikas situate 9 This practice was described to me by both Mukunda Raj Aryal and Timalsina, who both claimed it a common part of Nepalese Tantric practice. I have not yet found paddhatis that describe the practice, but I have been assured that they exist. 10 Here, I turn to the theories of the physicist David Bohm for an analogous way of categorizing the Tantric world-view. In his theoretical writings on cosmogenesis Bohm has described the universe as a holo movement in which each part of the whole is a replication of the creative principle, which Bohm calls Insight-Intelligence, that gives rise to creation. The universe unfolds by reduplicating itself. All parts mirror their source. This is Indra’s net expressed in the complex language of contemporary physics. Bohm’s theories can be further clariied The Maṇḍala-holograM | 67 themselves within a holographic universe whose self-replicating parts are viewed as manifestations of consciousness, the Devī. In this way, Śākta adepts control their perceptual ields, transforming all cognitions into a Tantric sacred geography that links topographies to deities to the internal topography of the adepts’ subtle physiologies. “[The sādhaka] simply reproduced,” writes Dyczkowski, “the sacred sites and the original wayfaring life in his imagination by means of symbolic representations that were projected into himself and the sacred space he created for himself to perform the prescribed rituals and yoga. Accordingly, the sacred geography of such cults lay close to the edge of redundancy and was subject to considerable transformation and assimilation into the greater encompassing geography.”11 Dyczkowski has pointed out that Nepalese Tantric traditions are largely devoid of the complex metaphysical speculations found in the works of Abhinavagupta and other systematizers of high Tantric ideology. Rather than Tantras and philosophical compendia, we ind in the private collections of Nepalese sādhakas ritual manuals (paddhatis), texts that focus on ritual action (karman) rather than metaphysical knowledge (jñāna). Nevertheless, all of my primary informants were acutely aware of the non-dual metaphysics that underlie the numerous Tantric rituals performed daily by sādhakas in Nepāla-Maṇḍala. They also were all familiar with the long-standing tradition that the ideal form of Nepal is as a maṇḍala. The notion that Nepal is a maṇḍala is closely connected to institutions of kingship and has formed an integral part of Nepalese royal ideology since as early as the eighth century Ce, as evidenced by numerous royal inscriptions. The earliest inscription is that of King Jayadeva (c. Ce 720), who used the ideal of Nepāla-Maṇḍala to promote his royal prerogatives. Jayadeva writes: Oṁ, hail! From Kailāsakūṭa palace, the divine lord, king of kings, conducting his virtuous rule unblemished strikes the sound of well-being (bhavanāda pratihata). . . . Śrī Jayadeva after asking the people of Nepāla-Maṇḍala of their welfare issues the following orders to the people: . . . with . . . you, the highest in the hierarchy of castes, divinities of the earth who have been guiding their by reference to the hologram, a three-dimension image generated by lasers. Each molecule of a hologram is an exact replica of the whole. See Bohm’s Wholeness and the Implicate Order, reissue edition, New York: Routledge, 1996. 11 Dyczkowski, “The Sacred Geography of the Kubjika Tantras with Reference to the Bhairava and Kaula Tantras”, unpublished manuscript.”, pp. 1-2. 68 | the Goddess Within and Beyond the three Cities followers according to the tenets for the whole body of sacred traditional beliefs and practices and having desired that these beliefs and practices would continue to hold ground also in [the] future . . . we have ixed the boundaries of the areas concerned . . . to the east of the said area.12 This inscription provides an important starting point for understanding the sacred geography of Nepal, its relationship to the institution of kingship and to the textual and ritual traditions, and the polyvalent dynamics of power that link microcosm and macrocosm in the uniied perceptual ield of the accomplished sādhaka. From the very outset, Jayadeva describes himself as a divine being. He is no mere mortal. He is, within the conceptual and political system over which he is king, by deinition divine. His powers are not solely of the earth. His kingdom is then a divine kingdom, the extension of his own divine nature. The status of his divinity is supported by the fact that he proclaims his edict “to the people” in conjunction with the brāhmaṇas, the “highest in the hierarchy of castes” (varṇottama) and “gods of the earth” (bhūmidevas) who guide their people according to the “body of sacred traditional beliefs and practices” (sasmārta śāstrāṇām). The edict brings together several interrelated elements: the powers of a king, the body of sacred texts and practices, and the land itself. The purpose of the decree is to proclaim that the boundaries of the king’s domain (maṇḍala, viṣaya) have been established and that this political act is itself an act of divine will. In order successfully to establish this position, Jayadeva must align himself with the vast body of authoritative religious texts and practices promulgated by the Brāhmanical elite. These texts and practices, rooted in the Veda, and including the numerous other traditions that fall under the rubric of authoritative tradition (śāstra), provide the ideological discourse by which a king can proclaim himself divine and his domain (viṣaya) a sacred sphere (maṇḍala). Such traditions accept that human existence is innately paradoxical and mysterious, grounded in the paradox of power. When we talk about kings, edicts, and the establishment of territory, we are, it would seem, talking about the human construction of power in very concrete, material terms. The godhead did not directly establish the boundaries of Nepāla-Maṇḍala. Rather, Nepāla-Maṇḍala was established by Jayadeva and his Licchavian ancestors as self-proclaimed representatives of the divine. However, long before the time of 12 D.R. Regmi, 1983, Inscriptions of Ancient Nepal, vol. 1, New Delhi: Abhinav Publications, p. 155. This translation is a modiied version of Regmi’s (vol. 2, p. 99). The Maṇḍala-holograM | 69 Jayadeva there was in operation in South Asia a discourse of non-duality that, when taken seriously, signiicantly alters how the relationship of divinely-given and humanly-constructed categories of power is perceived. This discourse of non-duality, stemming from the time of the Upaniṣads and culminating in the Nityāṣoḍaśikārṇava and other texts of the high Tantra, represents the subject and object as two poles in a uniied spectrum of consciousness. The godhead, humanity, and the world are one. Just as the godhead projects the world as an objectiication of the Self, so the yogin experiences freedom by recognizing the world as a projection of the Self. The outer world (jagat) and the internal perceptual ield (viṣaya) are conceived as one. This is why a king’s territory is called a viṣaya, for the king — who like the godhead is a yogin — cognizes and thereby establishes his domain, knowing that it is non-distinct from his perceptual ield. In a Hindu kingdom operating according to Hindu conceptual categories, the construction of power by a human king is thus ultimately viewed as a manifestation of the divine power of consciousness. The key for understanding this process is, again, the maṇḍala. It is no accident that the Nepalese kingdom is called a maṇḍala. The maṇḍala is the body of godhead — the macrocosm — and the maṇḍala is also the body of the individual yogin — the microcosm. Finally, since the outer world is non-different from the perceptual ield (viṣaya), the maṇḍala is also the world. When a Nepalese king like Jayadeva establishes a kingdom, he binds these microcosmic and macrocosmic realms in a political act that reveals the intimate links between South Asian politics and a Tantric non-dual discourse that was highly developed by the eighth century Ce.13 That mode of non-dual discourse, expressed in the Tantras and Āgamas, is elaborated captured fully in the ideologies, symbol systems, and practices connected with the Śrī-Yantra, which are contained in the Śākta Tantra traditions known as Śrī-Vidyā. David White has offered a deinition of Tantra that ascribes a central voice 13 Gerard Tofin’s many writings on the city/kingdom as a cosmogram offer an excellent analysis of the relationship between city-construction, kingship, and ideology. See his “Les aspects religieux de la royaute newar au Nepal”, in Archives de Sciences Sociales des Religions, 48(1): 53-82. See, also “Urban Space and Religion: Observations on Newar Urbanism”, in Man and His House in the, Himalaya, New Delhi: Sterling Publishers, 1991, pp. 71-80. Cf. Clifford Geertz, 1980, Negara, The Theatre State in Nineteenth-Century Bali, Princeton: Princeton University Press, esp. pp. 98-120. 70 | the Goddess Within and Beyond the three Cities to the maṇḍala as a polyvalent symbol that weaves together the multiple worlds of the sādhaka. He writes: Tantra is that Asian body of beliefs and practices which, working from the principle that the universe we experience is nothing other than the concrete manifestation of the divine energy of the godhead that creates and maintains that universe, seeks to appropriate and channel that energy, within the human 14 microcosm, in creative and emancipatory ways. White astutely observes that the means for appropriating the “divine energy of the godhead” is the maṇḍala. As such, it was not just a means of spiritual empowerment but was also from its inception “directly related to royal power”. The notion of the king as cakravartin — as both he who turns (vartayati) the wheel (cakra) of his kingdom or empire from its centre and he whose chariot wheel has rolled around its perimeters without obstruction — is one that goes back to the late Vedic period in India. A cognate ideology of the emperor, the “son of Heaven”, as centre was already in place in China in the same period. Basic to these constructions of kingship is the notion that the king, standing at the centre of his kingdom (from which he also rules over the periphery) mirrors the godhead at the centre of his realm, his divine or celestial kingdom. However, whereas the godhead’s heavenly kingdom is unchanging and eternal, the terrestrial ruler’s kingdom is only made so through the “utopia” of the maṇḍala. As such the idealized “constructed kingdom” of the maṇḍala is the mesocosmic template between real landscapes, both geographical and political (the protocosm) and the heavenly kingdom of the godhead (metacosm), with the person of the king as god on earth constituting the idealized microcosm. Ruling from his capital at the conceptual centre of the universe, the king is strategically located at the base of the prime channel of communication between upper and lower worlds, which he keeps “open” through the mediation of his religious specialists. This royal ideology of “galactic polity” (Tambiah 1976: 102-31) or the “exemplary centre” comprising the king, his deity, and the capital city, has been mediated by the maṇḍala in nearly every premodern Asian political system. In India, the practice of the maṇḍala is tantamount to the royal conquest of the four directions (digvijaya) which, beginning with a ire sacriice (homa), has the king process 14 David White, 2000, “Tantra in Practice: Mapping a Tradition”, in Tantra in Practice, ed. David G. White, Princeton: Princeton University Press, p. 9. The Maṇḍala-holograM | 71 through the four compass points, around the theoretical perimeter of his realm, before returning to his point of origin, which has now been transformed into the royal capital and the centre of the earth (Sax 1990: 143, 145). This last detail is an important one, because it highlights the king’s dual role as pivot between heaven and earth. On the one hand, he is the microcosmic godhead incarnate, ruling from the centre; on the other, he is the protocosmic representative of Everyman, struggling against myriad hostile forces that threaten him from the periphery. It is here that, in terms of the maṇḍala and Tantric practice in general, the king constitutes the link that binds together elite and non-elite 15 practitioners and traditions. White’s observations bring to light a number of important points regarding the royal construction of space as a maṇḍala and its relationship to Tantric practice and to broader theoretical issues of power. White observes that the king situates himself at the centre of his mesocosmic maṇḍala — which is his kingdom — in the same way that the godhead situates himself at the centre of the universe. As such the king is the microcosmic embodiment of divinity and thus of extraordinary status. However, at the same time he is also the “protocosmic representative of Everyman” and thus “the link that binds together elite and non-elite practitioners and traditions”.16 The king, through the agency of the mesocosmic maṇḍala, links not only the macrocosm and the microcosm, but also the elite and the non-elite, locating himself “at the base of the prime channel of communication between upper and lower worlds”. The king is thus an elite incarnation of godhead, while at the same time he is also Everyman. As such — and here my interpretation perhaps differs from that of White — the king’s own relationship to his territory offers a paradigm for interpreting how the individual can understand himself in relationship to the world. As the paradigmatic citizen, the king offers an exemplary model, rooted in Tantra, which emphasizes that the world is a maṇḍalic extension of one’s own consciousness. The outer is within. This is the inversion paradigm of Tantra. With respect to the Nepalese king’s role as a link between elite and nonelite traditions, it is important to note that while much of the royal political ideology and practice have been shaped by the elite traditions of Śākta Tantra, they have also been inluenced by the non-elite practices of Himalayan shamanic 15 White, 2000, op. cit., p. 25. 16 All of these quotes are from the larger quote I pulled from White (2000: 9). 72 | the Goddess Within and Beyond the three Cities traditions, which lie, so to speak, at the borders of the maṇḍala. Among the king’s religious specialists one inds not only purohitas and rājagurus, but also shamanic healers called jhankris. The relationship of the elite traditions to these shamanic traditions is a relationship that binds centre to periphery, Kathmandu to Dolakha, Tantra to shamanism. Among the primary links in this relationship are music and possession (āveśa), which are central to both Tantric and shamanic practice and, by inevitable extension, to the ritual affairs of state. The role of music in particular is emphasized in Jayadeva’s inscription. In this important eighth-century document Jayadeva not only proclaims himself to be divine and his kingdom to be a maṇḍala, legitimated and maintained by his religious specialists, he also powerfully invokes sound, nāda, as a central strategy for harnessing political and spiritual forms of power. In the second line of the inscription, he describes the proclamation of his edict as the “striking of the sound of well-being” (bhavanāda), which can also be understood as the “sound of creation”. In this way he invokes a body of textual traditions that equate the godhead with sound vibrations and a body of related yogic practices that utilize sound syllables (bīja) as the means for acquiring psychophysical powers and ultimately liberation (mokṣa).17 To proclaim an edict is to create a universe, which is the maṇḍala. To create a maṇḍala is to emit a sound body. It is no accident that royal edicts are accompanied by the beating of drums and the playing of multiple instruments. It is no accident that shamans seek to be possessed by Tripurasundarī in drumming-induced states of altered consciousness. It is no accident that the Nityāṣoḍaśikārṇava is a manual for instilling sound vibrations within the body. These are related traditions that all low into the king and back into his extended body, Nepāla-Maṇḍala, which is viewed by elites and non-elites alike as a divine maṇḍala. The notion that Nepal is a maṇḍala has thus formed an integral part of Nepalese royal ideology since at least the eighth century. As White’s observations indicate, this royal ideology coincides with constructions of kingship found throughout premodern South Asia, in which the maṇḍala was utilized to “legitimate royal authority and power”. 18 A number of eminent scholars of Tantra have recently debated the political dimensions of Tantra and the extent to which Tantric 17 One of the best studies of Nāda Yoga literature is Guy Beck’s Sonic Theology: Studies in Comparative Religion, University of South Carolina Press, 1993. 18 White, 2000, op. cit., p. 26. The Maṇḍala-holograM | 73 symbol systems and practices — and in particular symbolic structures such as the maṇḍala — have served as political instruments to authorize institutions of kingship. At one end of the spectrum, scholars such as Ronald Davidson, John Powers, and Charles Orzech have argued that Tantric devices such as the maṇḍala have irst and foremost served as means of legitimating royal authority. On the other end of the spectrum, scholars such as Douglas Brooks and Paul MüllerOrtega have argued that Tantric symbols and practices cannot be reduced to ideological instruments devised to perpetuate the hegemony of kings.19 As an exponent of the political roots of Tantra, Ronald Davidson concludes that the origins of Buddhist Tantra are to be found not in metaphysical principles, but in the institutions of kingship in early medieval India. He writes: [W]e only need read the texts and examine the rituals to determine that Tantra has built into it a sustaining metaphor, one which has incredibly been ignored by both traditional and modern scholars, despite evidence on virtually every one of the tens of thousands of folios available for inspection. The central and deining metaphor for all esoteric Buddhism is that of an individual assuming kingship and exercising dominion. Tantra here means, irst and foremost, power acquired and exercised through a combination of ritual and metaphysical means. Based on this power, all forms of understanding and every variety of personal relationship serve the purposes of the person becoming the overlord (rājādhirāja). As we begin to explore the central forms in some depth — consecration, self-visualization, maṇḍalas, the esoteric acts — we will see that many had their origin elsewhere. In its coalescence, though, esotericism drew from and redeined many ritual and meditative structures. The consequence is that the different practices were synthesized into a nexus whose overarching narrative is that of divine kingship.20 His analysis goes on to explain that terms in Tantric literature invariably carry a bivalence that refers to both esoteric practices and political agendas. He cites the following parallel texts, comparing the initiation of a Tantric monk with the consecration of a king:21 19 The debates among these and other scholars of Tantra were the focus of a recent Tantric Studies Seminar on “Social and Political Dimensions of Tantra”, at the 1999 Annual Meeting of the American Academy of Religion in Boston, Massachusetts. 20 Ronald Davidson, 1999, “The Political Dimension of Indian Esoteric Buddhism”, paper presented at the American Academy of Religion Annual Conference, 21 November. 21 Ronald Davidson, 1999, op. cit., p. 15. 74 | the Goddess Within and Beyond the three Cities The monk obtains consecration (abhiṣeka) from his preceptor (vajrācārya) so that he takes pride in himself as a divinity (devatābhimāna) and will be given dominion over a circle of divinities (maṇḍala), of different families (kula). He comes into the company of yogins with spells (mantrin) so that he can employ their secret spells (guhyamantra). He is protected by Vajrapāṇi, the Lord of Esoteric Literature (tantrādhipati). He becomes authorized to engage in ritual behavior (karma) which varies from pacific (śāntika) to destructive (abhicāraka). The prince obtains coronation (abhiṣeka) from his priest (purohita) so that he is recognized as composed of fragments of divinity (devāṁśa) and will be given dominion over a circle of vassals (maṇḍala) of different lineages (kula). He comes into the company of his counsellors (mantrin) so that he can make use of their confidential counsel (guhya-mantra). He is protected by the head of the army (tantrādhipati). He becomes authorized to engage in royal behaviour (rājakarma) which varies from pacific (śāntika) to ritually destructive (abhicāraka).21 The debate among scholars of Tantra concerning the political dimension of Tantric traditions relects a split not only in the ield of Tantric studies, but also in the human sciences at large, concerning the historical and political contingency of all truth claims as productions of power. This debate highlights a deeply embedded dualism that pigeon-holes much Western scholarly discourse into an either/or framework. By the logic of dualism, Tantra is either an anthropocontingent power discourse linked to the political agendas of the kings or it is a theo-contingent power discourse linked to the mystical agenda of India’s yogins. However, the discourse of Tantra itself does not operate according to such dualistic parameters. Rather than adopting an either/or dichotomy, Tantra speaks a both/and discourse that allows for apparently contradictory statements to both be true. One common example of this kind of both/and discourse is the notion that the world is simultaneously the realm of suffering (saṁsāra-kṣetra) and the realm of blissful freedom (bhogamokṣa-kṣetra). By this same kind of nondualistic discourse, tāntrikas such as Timalsina and my other informants view the relationship of Tantra to politics as an occasion for understanding how two apparently contradictory aims can indeed coincide. A king who is a Tantric yogin can simultaneously seek political ends (artha) and spiritual freedom (mokṣa) The Maṇḍala-holograM | 75 through the same means. In this light, the maṇḍala can be understood as a tool for the realization of each of the four aims of life (puruṣārtha) delineated in classical Hindu traditions. As an image of the union of Śiva and Śakti, the maṇḍala serves as a template for the consummation of desire (kāma) in uniied consciousness. As an idealized map of any kingdom, it serves to facilitate the establishment of political power and the low of wealth (artha). As a grid of the cosmic order, it is the embodiment of the ideal social and moral order (dharma). And as an instrument for meditative practice, it is the means to liberation (mokṣa). In all of these ways, it is the ideal template for both a king and a yogin, and in particular for kings who are yogins. Kings were sponsors of Tantric ideology and practice, and they often used these traditions for their political ends. But this does not mean that Tantric traditions were solely political instruments wielded by kings. A king might use Tantra to circumscribe his kingdom while at the same time engaging in Tantric practices to activate the kuṇḍalinī-śakti and attain spiritual realization. On such issues, Timalsina expressed his own perspective: You see, I am no fool. I know the Tantras and Āgamas were used by powerful leaders for their own personal ends. But this does not take away from the power of these texts. Kings relied on these texts precisely because they could make them powerful. . . . But ultimately what does it matter if a king is using Tantra for his personal ends. In the end there is only Parāśivā acting out her play.22 Timalsina’s comment of course relects the emic perspective of a tāntrika, and hence from the etic perspective of cultural criticism he is so inscribed by the Tantric discourse of power that he is not capable of perceiving the level at which that discourse operates as a self-legitimating mechanism for reafirming an elite class’s imaginative construction of power-relations. A critical theorist such as Catherine Bell would argue that Timalsina is not capable of recognizing the degree to which he has been inscribed by the doctrines and rituals of his Tantric practice. Raised within the discursive ield of Tantra, he accepts as intuitively obvious what is in actuality a politically-driven discourse, rooted not in “truth” but in strategies of hegemonic positioning.23 However, Timalsina’s own response 22 Oral communication, Kathmandu, Nepal, 16 March 1997. 23 Catherine Bell’s classic study, Ritual Theory, Ritual Practice, New York: Oxford University Press, 76 | the Goddess Within and Beyond the three Cities to this type of post-structuralist critique is that such theorists have never practised Tantra and hence do not know what it means to be “inscribed” by the tradition. While he inds their theories fascinating and in places useful, he does not consider them to be an adequate appraisal. He remarked: These Western paṇḍits have a good understanding of the binding nature of language. But language has another side: language also liberates. This is why sūtra 1.2 of the Śiva-Sūtra states that knowledge is bondage and sūtra 2.9 states the opposite: that knowledge is liberation. Both of these statements are true. Both conditions are created by the Goddess, who is language (vāc). When we are in a limited state of understanding, then she binds us and we operate only according to our limited interests. But when we are in an expanded state of understanding, thanks to the awakening of kuṇḍalinī-śakti, then we are liberated by language.24 Operating within this both/and non-dualistic logic of Tantric discourse, a maṇḍala is thus understood as both a grid for mapping political power and a grid for obtaining expanded self-awareness. Kathmandu Valley as a Śrī-Yantra The understanding of the entire country of Nepal as a maṇḍala operates on the abstract, idealized notion of a king’s territory as his extended, divinized body, with little direct one-to-one correspondence between actual maṇḍalas and the geographical features of Nepal. The Kathmandu Valley, in contrast, has been represented in great detail as a maṇḍala — and more speciically as the Śrī-Yantra — with the sacred sites and geographical features of the valley correlated with speciic aspects of the Śrī-Yantra. One of the earliest representations is a thirteenth-century painting of the Kathmandu Valley as the Śrī-Yantra, which is currently on exhibit at the Bhaktapur National Museum (see ig. 3.1). In this uniquely Newar image, we ind the Śrī-Yantra designed meticulously according to the description of the 1992, not only summarizes the history of discourse on ritual, but eloquently expresses the author’s own theory of “ritual encoding” which is markedly similar to Foucault’s relections on bodies and power. Cf. Robert R. Alford and Roger Friedland (eds.), 1985, Powers of Theory, Capitalism, the State, and Democracy, Cambridge: Cambridge University Press. 24 Oral communication, Kathmandu, Nepal, 18 February 1997. The Maṇḍala-holograM | 77 Nityāṣoḍaśikārṇava and other Śrī-Vidyā paddhatis. Each of the triangles in the image contains a deity who is situated in relationship to particular temples and power seats (śākta-pīṭhas) within the valley itself. According to one of my informants, the Nepalese artist Narayan Citrakar, who lives behind the Tripura Bhairava Temple in Bhaktapur and who claims direct ancestry to the original painter of this image, there are manuals that explicitly relate each part of the Śrī-Yantra to their corresponding points within the valley (Fig. 17). Furthermore, these manuals teach the painter to meditate on the Śrī-Yantra within himself and thereby link his own Self (ātman) with the divinities in the valley. In this way, the act of painting becomes a yogic act that links the microcosm to the macrocosm via a process of systematic identiication with a sanctiied landscape, identiied as the macrocosm. Narayan Citrakar explains: For me, painting is yoga. Before painting, I meditate on the deity I am painting. In the case of the Śrī-Yantra, I meditate on Tripurasundarī, understanding the many other deities of the yantra to be forms of her. Each of these deities corresponds to a sound-syllable. I must repeat these syllables as I paint those parts of the painting. Additionally, we understand each triangle, each lotus, each deity to be identiied with a particular sacred place in the valley. In other words, for us this ŚrīYantra is many things at once. It is an image of our goddess, a guide for meditation, and a map of our home.25 When I asked Narayan to correlate the various deities in the Bhaktapur National Museum painting with actual sites in the valley, he replied that this was dificult to do in all cases, but that he would tell me what he could. His analysis of the painting coincided with the analysis of Mukunda Aryal, my other informant. The four gates (bhūpura) of the Śrī-Yantra are the four Narayana temples located in the four quadrants of the valley. The eight Bhairavas of the outer square are situated at the borders of the valley, together with the sixteen Yoginīs as the ierce protectors of “Nepāla-dharma”, the religion of Nepal. Moving towards the centre, one comes to two concentric circles, both containing the sixteen Nityās, or manifestations of Tripurasundarī as Caṇḍeśvarī, the goddess of the moon. These deities are represented by the numerous goddess shrines that line the valley and also correspond to the sixteen wooden struts at Cāṅgu Narayana 25 Oral communication, Bhaktapur, Nepal, 22 May 1997. 78 | the Goddess Within and Beyond the three Cities Temple in the village of Cāṅgu. Moving still inward, we come to the concentric rings of triangles, beginning with the outer ring of fourteen. Regarding these fourteen, Mukunda commented: Do not try to connect these goddesses [in the painting] with temples in the valley. They do have their temples, but they are also in all of the temples and beyond the temples. These deities, whose names are found in paddhatis like Vidyānanda’s Jñānadīpavimarśinī, are the powers that ill us when we pray and worship the Goddess. They, like the two inner circles of ten are emanations of the second to last circle of eight [triangles], which correspond to the eight Mātṛkās, the primary goddesses whose temples are found in numerous sites throughout the valley.26 Finally, we come to the innermost triangle. The three points of this central, downward-facing triangle are Kathmandu (upper left), Bhaktapur (upper right), and Patan (lower apex). These are the three cities (tripura) at the heart of the valley-maṇḍala. The bindu, explained Narayan, is the Goddess who links the three cities. He called her Taleju and explained that I should talk to the musicians for an explanation of why. When I expressed my surprise at why Tripurasundarī was not in the centre since this was her yantra, he replied, “I didn’t say that she wasn’t in the centre”, then smiled and would not discuss it further. We will return to a consideration of the relationship of Taleju to Tripurasundarī later on in this chapter. Understanding that Nepalese initiates of Śākta Tantra utilize the Śrī-Yantra as a blueprint for positioning themselves within their geo-locale, I heeded Narayan’s advice and sought out tāntrikas who were also musicians in order to learn more about the complex connections between the Śrī-Yantra, Kathmandu Valley, and music. I visited Pandit Shambu Prasad Mishra, the senior most authority on tablā in Nepāla-Maṇḍala, at his home in Kathmandu city (Fig. 16). As a Śākta Tantra initiate, Shambhu was well-aware of the Śrī-Yantra. His understanding of this image gives us more clues regarding the relationship of Tantra to the traditions of music and reveals why a king like Jayadeva would “strike the sound of creation” as a means for establishing the borders of his kingdom. He explained: This image shows us the interrelationship of the different rhythms. Sixteen is the most important rhythm. This is the outer circles. Next comes fourteen 26 Oral communication, Kathmandu, Nepal, 17 April 1990. The Maṇḍala-holograM | 79 triangles. Next ten, then eight, then three, which is also six and twelve, and inally, the ultimate rhythm, which is one. All of these numbers can be connected mentally when you play, so from these rhythms all other rhythms are possible. It’s ininite. You feel this when you play. . . . I have a friend, Sambadev Mishra, an extraordinary harmonium player. He is perfected (siddha). When he plays, people are always illed with joy and peace. He is a master of mood (rasādhirāja). This is because he had a great teacher who taught him to see the music as light emanating from his mouth. The sounds he makes take the form of light and project themselves into space. So he literally sees the music that comes out of 27 him. Shambhu’s description of Sambadev Mishra’s “visual music” reminds us of White’s description of the maṇḍala as simultaneously an acoustic and a photic register for mapping consciousness.28 It also again suggests that when seeking to understand the discourse of power in Nepāla-Maṇḍala, one must simultaneously examine the multiple cultural productions — theological traditions, ritual traditions, traditions of yogic practice, architectural formations, musical traditions, and so on — which together form an inseparable nexus that is integral to the constructions of power. In seeking to understand the relationship of the Śrī-Yantra to Nepalese imaginings of lived space, I had been led to an eightysix-year-old tablā player, Shambhu Prasad Mishra, who in turn directed me to an eighty-ive-year-old harmonium player, Sambadev Mishra. The latter’s title of Siddha was, as I was soon to learn, intimately linked to the fact that he was a Śākta initiate. I irst met Sambadev in November 1989. It was Ekādaśī (eleventh day) of the dark fortnight. As on all Ekādaśīs, so on this day, many of Nepal’s greatest classical musicians would meet in Narayanathān, the temple courtyard at the royal palace. That night, Sambadev sang last, around 10:00 p.m., a time when it is appropriate to begin singing the rāgas of the deep night, such as Mālkauṅsa, Kauśi Kāṇṛā, and Darbār Kaṇṛā. Sambadev sang Darbār Kaṇṛā, a rāga that evokes the power and nobility of the monarch. From the moment Sambadev began his alāpana (opening movement), the small crowd of Nepalis and foreigners, mostly 27 Oral communication, Kathmandu, Nepal, 18 June 1997. 28 i learned from Gregg Johnson, an initiated disciple of Taranath Rao of the Pharukabad tablā gharānā, that Taranath practised a similar sādhanā of witnessing his tablā rhythms as maṇḍala patterns. He even taught this technique to his Western students. 80 | the Goddess Within and Beyond the three Cities musicians, were transixed. As the piece developed, I found myself entering a very deep state of peace and joy. For the entire forty minutes of his performance no one moved. When he inished, Sambadev smiled at every one and with tears in his eyes, said, “This music is our country (yas saṅgīt hamro deś ho). It is our king and our god. Let us save it. Let us never stop playing our music.”29 In the face of the political hurricane then approaching Nepal’s political and cultural shores, these words were pregnant with meaning and urgency that I only recognized in retrospect. Within two years following Sambadev’s musical performance, the People’s Movement would leave numerous dead and wounded, a political system on its head, and a millennium-old cultural nexus on the verge of extinction.30 When Sambadev sang that night he sang with the awareness that his singing could save his country, Nepāla-Maṇḍala, a fact that again highlights the intimate links between microcosmic and macrocosmic realms in the minds of Nepalese Śākta tāntrikas, whether they be Parbatiyās like Sambadeva and Timalsina or Newars like Kabijananda and Siddhi Gopal Vaidya.31 After Sambadev sang that night in November 1989, I was introduced to him by my tablā teacher, Homnath Upadhyaya. Sambadev (Fig. 16) looked me in the eye for some time and then said, “I can’t even get my own grandchildren 29 Oral communication, Nārāyanthān, Kathmandu, 17 November 1989. 30 For an account of this revolution, see David N. Gellner, 1997, “Caste, Communalism, and Communism: Newars and the Nepalese State”, in Nationalism and Ethnicity in a Hindu Kingdom: The Politics of Culture in Contemporary Culture, ed. David N. Gellner, Joanna Pfaff-Czarnecka and John Whelpton, Studies in Anthropology and History, vol. 20, Netherlands: Hardwood Press, pp. 151-84. 31 Again, I remind the reader that the story we are tracking here is that of the Devī and her role in the lives of Nepalese Śākta tāntrikas, past and present. The emerging story mixes the ideal and mythical with real and actual in the same way that any religious ideology is an attempt to bridge the ought with the is. The story we are hearing is largely that of a specialized, highly educated, segment of Nepalese society. Their story is not the only story unfolding in Nepāla-Maṇḍala, but it is a story that has directly crafted the multivocal narrative that is the complete epic of Nepalese history. And it is a story running out of bards to tell it. The previous statement is not just an expression of mere sentimentalism on the part of an author with strong afinities for the Sanskritic and indigenous cultures of Nepal. It is also an accurate assessment of the political and cultural forces currently at work. The reality of the imminent death of the maṇḍala in the lives of contemporary Nepalese is something we must take into account when attempting to interpret its purport and structure. What is given through death? What is irrevocably lost? What will take its place? The Maṇḍala-holograM | 81 to listen to these songs. Where will they live after I have left?” At that time I grasped the depth of his sadness at the fact that his art was not being passed on to younger generations. However, I would not understand the literalness of his dwelling-metaphor until I spoke with him again, nearly ten years later in 1997 at Homnath’s house in Hadigaon, concerning the notion of projecting music as a maṇḍala. Listen little brother, the rāgas are alive. The rāgas are goddesses. When you practise them, they enter you and take up residence. Your body becomes their home. So you have to keep the body clean and pure. No one wants to live in a dirty home. If the mind and body are impure, and especially if you don’t practise, the rāgas will leave you. The union of all the rāgas is Śrī-Yantra. This is learned from my teacher. When I sing I see this image. It comes out of my mouth and stands before me. There are times when I’m singing that the audience disappears and all I see is the Śrī-Yantra.32 When I asked Sambadev whether he was aware of the use of the Bhaktapur National Museum Śrī-Yantra as a map of the Kathmandu Valley, he replied that he was and that this was the same image that he sees when he sings. The resonances between Sambadev’s description of the Śrī-Yantra as a musical projection, the Tantric practice of projecting the maṇḍala onto imagined and actual spaces, and the widespread understanding of the Kathmandu Valley as a Śrī-Yantra reveal the profound impact of esoteric textual and yogic traditions on the formation of Nepalese self-identity. Circles within circles, maṇḍalas within maṇḍalas — the effort to track the stories of the Devī led me through a cultural hologram whose indivisible units were replications of the Śrī-Yantra. Everywhere I turned I found the maṇḍala. Moving from the outer edges to the centre, understanding that the Śrī-Yantra was a map for imagining the geographical contours and cosmopolitan spaces of the valley, I now set my sights on the triangle at its centre, the three primary cities, once three independent kingdoms — Kathmandu, Bhaktapur, and Patan — that for centuries have formed the cultural heart of Nepāla-Maṇḍala. 32 Oral communication, Harigaon, Nepal, 13 July 1997. 82 | the Goddess Within and Beyond the three Cities Bhaktapur as a Navadurgā Yantra Among the three cities of the Kathmandu Valley that form the three points of the inner triangle at the centre of Nepāla-Maṇḍala, Bhaktapur in particular has been represented as a maṇḍala, and more speciically as a Navadurgā Yantra. Bhaktapur is connected historically and culturally to another great city of the subcontinent — the ancient city of Benares — which, like Bhaktapur, is represented as a maṇḍala. In her groundbreaking analysis of Benares as the “city of Śiva”, Diana Eck relects on the signiicance of envisioning the city as a maṇḍala. In a religious sense, a maṇḍala is a sacred circle that represents the entire universe, its powers, its interrelations, and its grounding centre. A maṇḍala may be painted on canvas. . . . It may be drawn in the dust of the earth. . . . A maṇḍala may be constructed in architecture. . . . And a maṇḍala may be envisioned in the divine plan of a city, as in [Benares]. All such maṇḍalas share a common symbolic structure. They show the plan of the entire universe, with its galaxies and its gods. The borders of the universe are guarded by fearsome protective deities. The orientation of the world is emphasized by the presence of the four or the eight directions, who stake out its farthest limits. And at the centre of the maṇḍala is a particular god or a particular Buddha who, like the still centering-point of the architect’s compass, grounds the ever-turning, everchanging multiple worlds of the periphery. The city of Kāśī [Benares], with all its divine inhabitants, is such a maṇḍala. The radius of its sacred circle is a distance of ive krosas, about ten miles, and around its borders are a multitude of guardian deities. Within this outermost circle are increasingly smaller concentric circles, having Śiva as their common centre, especially Śiva as he abides in the city’s inner sanctum, Viśvanātha Temple. The orientation of the city is emphasized by the presence of the eight directional deities, who are said to have become directional guardians here, at the source and centre of all space. . . . To an outsider and, indeed, to most Hindus, the city may appear as a disordered, crowded jungle of temples. But to those Hindus whose vision is recorded in the māhātmyas of Kāśī — those who see the city as a maṇḍala — these temples are all part of an ordered whole, a structured universe with its own divine functionaries and its own constellations of deities. And their 33 vision is embodied in the sacred geography of the city. Eck’s analysis of Benares as a maṇḍala emphasizes the importance of vision. 33 Diana L. Eck, 1982, Benares: City of Light, Princeton: Princeton University Press, pp. 145-47. The Maṇḍala-holograM | 83 Benares is a sacred “ordered whole” for “those who see the city as a maṇḍala”. For those who do not it is “disorderly, crowded”. Vision is the transformational element. How does one learn to turn disorder into order, an earthly city into a cosmic blueprint? Who demands that a city be built as a maṇḍala? Who ascribes meaning to such a structure, who maintains this ascribed meaning, and who beneits from this maintenance? Who are the inhabitants that live within the symbolic totality expressed through a maṇḍala? Seeking answers to these and related questions, I turn to an examination of representations of the city of Bhaktapur as a maṇḍala, which present fascinating examples of the intimate links between esoteric Tantric culture and modes of power in Nepāla-Maṇḍala. My analysis will draw on indigenous Nepalese chronicles and cultural productions, including paintings and dance performances. My discussion of Bhaktapur as a maṇḍala will also draw on the earlier work of leading European and American scholars — including Niels Gutschow Bernard Kolver (1975), Gerard Tofin (1981, 1991), Robert Levy (1990), Mary Slusser (1982), and Jeanne Tielhet (1978) — as well as recent writings by a distinguished young Nepalese scholar, Purushottama Sreshtha. One of the earliest representations of Bhaktapur as a yantra is the Navadurgā Yantra, a painting that, like the Bhaktapur National Museum Śrī-Yantra, derives from the thirteenth century Ce (Figs. 2 & 3). In his brilliant analysis of Bhaktapur, Levy describes the Navadurgā Yantra: The diagram shows Bhaktapur’s boundary as a circle, a maṇḍala, a pervasive South Asian representation of a boundary and its contained area within which “ritual” power and order are held and consecrated. The circumference of the maṇḍala separates two very different worlds, an inside order and an outside order, and suggests the possibility of various kinds of relations and transactions between them. Within the maṇḍala in the drawing is the yantra, “a mystical diagram believed to possess magical or occult powers” (Stutley and Stutley 1977: 347), typical of Bhaktapur’s imagery, here made up of two overlapping triangles, representing the relation of opposites, of male and female principles, uniied in a point at the centre of the diagram. At that central point is written the name 34 of one of Bhaktapur’s nine protective goddesses [Navadurgā], Tripurasundarī. This Navadurgā Yantra presents us with an idealized conceptualization of space 34 Robert Levy, 1990, Mesocosm, Hinduism and the Organization of Traditional Newar City in Nepal, pp. 153-54. 84 | the Goddess Within and Beyond the three Cities that has been concretely mapped out as the civic space of the city of Bhaktapur. In Bhaktapur the “ought” of the Tantric texts is actualized in medieval cosmopolitan design. As Levy notes, Bhaktapur is a mesocosm, a mediating sphere consciously designed to link the microcosm and the macrocosm, the earthly and the divine. Levy writes: For people living in Bhaktapur, the city and its symbolic organization act as an essential middle world, a mesocosm, situated between the individual microcosm 35 and the wider universe as they understand it. In its functions as a civic mesocosm, Bhaktapur is not unique. We ind similar 36 37 patterns in Hindu communities throughout South and Southeast Asia, in which urban centres are designed according to the polyvalent symbols embedded in esoteric texts that are normally reserved only for the inner circles of initiates. What does it mean to take the secret and make it public? How does a city embody an icon understood to be the body of a Goddess? Why would a king employ his civic architects to construct his city as a Tantric symbol? These questions lead us yet again to a consideration of the complex issues of power, how it manifests and is constructed in Nepāla-Maṇḍala. And they also lead us to a consideration of the people who walk the streets of Bhaktapur, who have internalized the maṇḍala by living in it everyday. For them, the maṇḍalic pattern of their city is a routinized spatial orientation that links them directly to the wisdom (vidyā) and power (śakti) of Śrī Devī. There is general consensus that Bhaktapur was established as a royal city in the twelfth century by King Ānanda Deva of the Malla dynasty (c. 1147-56).38 It was at the centre of Bhaktapur that Ānanda Deva built his palace and established a nearby temple. The name he gave to his palace was Tripura. Slusser speculates on the signiicance of this title: 35 Levy, 1990, op. cit., p. 32. 36 Dennis Hudson, 1993, “Madurai: The City as Goddess”, in Urban Form and Meaning in South Asia: The Shaping of Cities from Prehistoric to Precolonial Times, ed. Spode and Srinivasan, Washington, DC: National Gallery of Art, pp. 125-42. 37 I am reminded here again of Clifford Geertz’s brilliant analysis of the little (buwana alit) and big worlds (buwana agung) in his study of ritual, politics, and religion in nineteenth-century Bali. See Geertz (1980), esp. pp. 107-08. 38 Slusser lists her dates as Ce 1147-66. See Slusser, 1982, p. 124. The Maṇḍala-holograM | 85 Widely employed in Indian mythology, the word Tripura signiies many things, any one of which may have inluenced Ānanda Deva’s choice of the name. It is the name of a palace made of gold, iron, and silver whose demon occupants Śiva destroyed; it signiies the city in which dwelt the Brāhmanical triad, Brahmā, Śiva, and Viṣṇu; and as Tripurasundarī, the Fair Goddess of Tripura, it is a name applied to Durgā. The name Tripura may have been chosen with an eye to all these Brāhmanical associations, just as was probably the name Bhaktapur, City 39 of Devotion, in which it stood. According to Sreshtha, the link to Tripurasundarī is a strong and direct one. Ānanda Deva, he argues, was an initiate of Śaiva Tantra who worshipped Tripurasundarī as the śakti of Śiva. Receiving direct instructions from this Goddess, he established the eight Mātṛkā power-seats (śākta-pīṭhas) at the city’s peripheries and Tripurasundarī at the centre, thereby creating a Navadurgā Yantra in which the city was divided into nine units corresponding to the nine goddesses in the maṇḍala. In each of these units one inds a śākta-pīṭha, a “deity house” (deocheṅ) where a portable iconic image of the corresponding goddess is stored, a Bhairava temple, and a Gaṇeśa temple. The Mātṛkās for each of the octants are Brahmāṇī in the east, Māheśvarī in the south-east, Kaumārī in the south, Bhadrakālī in the south-west, Vārāhī in the west, Indrāṇī in the northwest, Mahākālī in the north, and Mahālakṣmī in the north-east. Tripurasundarī is at the centre. The centrality of Tripurasundarī in the twelfth-century construction of Bhaktapur as a goddess maṇḍala is of particular interest. Levy writes: The central goddess Tripurasundarī is . . . the proper kind of dangerous goddess to be at the centre of the maṇḍala’s power. She is a “full” goddess, and the peripheral forms are partial and more specialized. She is represented at the centre of the lotus or maṇḍala where power is concentrated and at its maximum, and sometimes to similar effect as a point sending out rays of power in each of 40 the eight directions of the compass to each of the eight pīṭhas at the boundaries. In this description, Levy captures the Tantric understanding of the maṇḍala as a śakti-cakra (power wheel), which presents the low of power emanating from a central Goddess out through a ring of goddesses understood to be members of 39 Slusser, 1982, op. cit., p. 125. 40 Levy, 1990, op. cit., pp. 167-68. 86 | the Goddess Within and Beyond the three Cities her kula and ultimately projections of her own divine nature. The establishment of Tripurasundarī at the heart of the Bhaktapur maṇḍala indicates that she was the lineage goddess of King Ānanda Deva and the means through which he would establish his power and protect his city. It is for this reason that the Newari word for “king,” juju, is often found next to Tripurasundarī in local diagrams.41 By the twelfth century, Tripurasundarī had become an epithet for that divine power which poured through the king from his palace of Tripura. The twelfth century is a watershed for Tripurasundarī traditions in NepālaMaṇḍala. In addition to the establishment of Bhaktapur as a Navadurgā Yantra with Tripurasundarī at the centre, we also ind an important Tripurasundarī paddhati, dated 1187, which demonstrates with certainty that this form of the Goddess had established herself in the Kathmandu Valley.42 From this point on, Tripurasundarī assumes a position of prominence in the pantheon of Nepalese goddesses. Yet her exact importance has been a source of confusion for most Western scholars. Slusser writes: The choice of Tripurasundarī as the ninth [and central] Durgā and [hence] Sovereign of the maṇḍala is of considerable interest. It may provide the terminus a quo for the institution of the Navadurgā maṇḍala in Bhaktapur, and therefore perhaps elsewhere in the Kathmandu Valley. The exclusion of Taleju as the maṇḍaleśa suggests that the Navadurgā complex predates the burgeoning of her cult in the fourteenth-century Nepal; the installation of Tripurasundarī in the maṇḍala’s inner sanctum, a place corresponding to the location of the Tripura palace complex and seat of [the] Tripura lineage, suggests a possible twelfthcentury date. This accords with the traditional view that on the instruction of the Navadurgā themselves, Ānandamalla (that is Ānanda Deva I, Ce 1147-66) set up the images “to ensure the security and protection of the town internally and externally. . . .” At Bhaktapur, despite the central schematic position of Tripurasundarī, the goddess now seems to be peripheral to the cult. When asked to specify the Nine Durgās, informants invariably have the most dificulty in recalling her name, if they do at all. Tripurasundarī’s current low proile, coupled with limited trafic to a shoddy shrine amid the rubble of the old palace, explains why Auer and Gutschow43 supposed the nearby, magniicently enshrined, Taleju 41 Levy, 1990, op. cit., p. 168. 42 Trirpurasundarī-Paddhati, NNA, 1-235. 43 Slusser is referring to their early study, Bhaktapur: Gestalt, Funktionen und religiose Symbolik The Maṇḍala-holograM | 87 to be the ninth and central goddess.44 While Slusser is accurate in positing that the Bhaktapur Maṇḍala provides a starting point for the rise of Tripurasundarī traditions in the Kathmandu Valley, her comments are indicative of a common scholarly confusion regarding this goddess’s centrality within the city’s power-wheel. The confusion arises, on the one hand, from the fact that most Western scholars of Nepalese religions are anthropologists or sociologists with little textual background in the sources of Tantra and, on the other hand, from a widespread misunderstanding concerning the relationship of Tripurasundarī to the Goddess Taleju. The Nepalese scholar Purusottama Sreshtha does not share this confusion. At an interview at his home in Bhaktapur in 1997, he explained: Ānanda Deva was a Śaiva who worshipped Tripurasundarī as the power of Śiva. He enlisted her help to protect the nation. His palace, Tripurā Rāj Darbar, is the dwelling place of Tripurasundarī, who protects the nation from the centre. There is much evidence for this. . . . In a paddhati called the Nava-caṇḍa-nāyikā, Tripurasundarī is called Tripuravāsinī, “she who dwells in Tripura [palace]”. She was the Āgan deity of the king. The palace itself is an Āgan, or sacred god house. For this reason, the king must be an initiate. Thus, divine power and political power are connected. . . . To protect the nation one must have divine power. . . . As for the relationship of Tripurasundarī to Taleju: Taleju is her Tantric form. Kumārī is her mātṛkā form. In this regard she is connected to Caṇḍeśvarī. As Śakti she is Lalitā Māheśvarī. Her consort is Tripura Bhairava, also known as Lalita Maheśvara. The Taumāḍhī Ṭol inscription makes this clear.45 In this brief description Sreshtha situates Tripurasundarī — who is identical with Taleju — as the king’s tutelary deity at the heart of his province, the maṇḍala that is his extended selfhood. As such, the multiple deities of the power-wheel eiener nepalischen Stadt im vorindustriellen Entwicklungsstadium, Darmstadt: Technische Hoschschule, 1974. 44 Slusser, 1982, op. cit., pp. 346-47. 45 Oral communication, Bhaktapur, Nepal, 16 November 1997. During this interview, Purusottama Sreshtha was mostly pulling data from his forthcoming book, based on his dissertation, entitled Bhaktapur Raj Darbhar. I was fortunate to receive an unpublished manuscript. His other relevant publications include “Bhairava Cokakā Kalākutiharu”, Bhaktapur Monthly (1988), 133: 6-8; and, “Bhaktapur Nagarako Vikāsakrama: Aitihāsika Sandarbhamā”, Bhaktapur Monthly (1997), 116: 1-7. 88 | the Goddess Within and Beyond the three Cities are to be understood as aspects, or emanations, of the Goddess at the centre. In this way, Tripurasundarī functions as an epithet to refer to the supreme Goddess who takes multiple forms. Such maṇḍala systems have a totalizing impact in that they transform all things into manifestations of the same thing, just as a king seeks to incorporate all peoples and cultural traditions within his domain as extensions of himself.46 Building upon the theoretical ediice laid out by his teacher Paul Wheatley, David Carrasco has posited that the kings of traditional ceremonial centres function as high-level shamans, administering affairs of state through magicoreligious practices that establish, construct, and demonstrate the alliance of the king with the divine powers that support him. This Wheatley–Carrasco model, as Carrasco himself terms it,47 works well as an emic description of kingship in Bhaktapur. Ānanda Deva transformed his political domain into a symbolic centre replete with textual and ritual formations of power by constructing Bhaktapur as the yantra of his clan deity, Tripurasundarī. By doing so, he aligned himself with a deity whose roots are traced in multiple directions. Ānanda Deva’s royal project constituted a critical aspect of the broader project through which Śrī- Vidyā Śākta Tantra became established as a dominant ideology in Nepal in the twelfth and thirteenth centuries. The success of both of these projects hinged to a certain extent on the ability to link the centre of Nepāla-Maṇḍala to the periphery, to connect the three cities of the Kathmandu Valley — Bhaktapur, Kathmandu, and Patan — with the peoples outside the borders of the valley, peoples whose ongoing participation in Nepāla-Maṇḍala’s socio-economic web made them crucial players in the ongoing drama of social and political stabilization. These peoples — representing a mixture of Indic and Himalayan ethnicities — had access to a number of goods and skills that up to the present day remain critical to Nepal’s delicate economy. They were a constant reminder that as abundant as its centre was, the maṇḍala’s vitality depended upon cohesion, harmony, and 46 This has led Fabio Rambelli to posit that Tantric doctrines of non-duality are linked with ideologies of tyranny. This neo-Marxist reading, however, perhaps fails to appreciate the alternative forms of power that can be generated within and through the Tantric maṇḍala. 47 I had the good fortune of studying under Prof. Carrasco as an undergraduate in religious studies at the University of Colorado, Boulder. His seminar, City as Symbol, was foundational in shaping my understanding of the ceremonial centre. The Maṇḍala-holograM | 89 balance between the Kathmandu Valley and its borderlands. One primary means for establishing this balance was through the blending and amalgamation of the classical forms of Indic Tantra with the indigenous shamanistic traditions that were spread throughout Nepal. The result was a uniquely Nepalese form of Tantra that speaks with the multiple Nepalese and Indian voices that constitute it. Consequently, one inds Nepalese Śrī-Vidyā Śākta Tantra not just in the classical texts and ritual patterns characteristic of Indian Śrī-Vidyā, but also in the cultural productions of the Newars and other Nepalese ethnic groups.48 The complex interweaving of these elements reminds us that religions are multivocal, diversiied, and ever-changing. 49 This intermingling of traditions in Nepal is vividly illustrated in cultural performances such as the Navadurgā dance, which occurs annually in Bhaktapur at the time of Dasain in September/October (Fig. 19). This tradition, well-established by the ifteenth century, provides an intriguing example of the appropriation and transformation of Indianized Tantric themes by the indigenous actors inhabiting Nepāla-Maṇḍala. Moreover, the tradition of the Navadurgā dance reminds us that the notion that Bhaktapur is a maṇḍala is not simply an esoteric doctrine embedded in Tantric texts and historical 48 When we speak of the relationship of the centre to the peripheries we refer not only to the relationship of the three cities of the valley to Dolakha, Manakamana, Gorkha and other regions outside the valley (a relationship that will be addressed below), but also the relationship of those at the apex of power (bear in mind that the Śrī-Cakra is also Mount Meru and that its central point is a point of ascension) to those below that apex. Historically, we are referring to the relationship of Indianized and often Indian-based sovereigns and their religiocultural traditions to the peoples and traditions indigenous to Nepal. This exchange between the centre/apex and borderland/base suggests that power is found at all points of the sociocultural maṇḍala. If Tantra came to Nepal from India, then that tradition was so effectively appropriated and transformed by the local peoples that they quickly became the authorities and, even, creators of Nepalese Tantra. An alternative perspective is that the tradition developed simultaneously throughout India and Nepal. A third and popular perspective among Nepalese Śākta tāntrikas is that Tantra originated in Nepal’s Himalayan peaks. 49 It is for this reason that Barbara Holdrege reminds us to speak not of religions as monolithic entities, but rather as numerous, interrelated, and historically speciic traditions. Holdrege deines herself as a scholar of Hinduism in the plural, and not Hinduism in the singular, to note that religious traditions speak through multiple voices and embody multiple perspectives simultaneously. 90 | the Goddess Within and Beyond the three Cities chronicles, it is also a living cultural ideal that has been inscribed in the plan of the city, instantiated in its architectural structures, represented in paintings, and enacted in dance performances. Our study of the Navadurgā dance takes us to the heart of Bhaktapur’s maṇḍala and prepares us to look out towards the hinterlands where we will ind similar manifestations of Tantric practice that are rooted in what Mircea Eliade terms shamanic techniques of ecstasy. On the ground, Himalayan shamanistic traditions and Śākta Tantra traditions begin to look like “birds of a feather”. They both employ technologies of sound, rhythm, and dance whose purpose is to facilitate possession (āveśa) by the deity. Once possessed, the shaman or tāntrika functions as a repository of a supranatural power and wisdom that makes him or her a direct link to the divine and an embodiment of the reality of Devī’s power. As civic spectacle, the dance of the Navadurgā brings these technologies of ecstasy to the forefront of city life and announces to all through choreographed, highly-encoded ritual gestures that Bhaktapur is irst and foremost the home of the Navadurgā, the nine goddesses. It is they who mark and protect the city’s centre and periphery by abiding in their respective “seats of power” (śākta-pīṭhas), and it is they who disperse their power by dancing throughout the city’s streets and thereby possessing civic space and its inhabitants.50 One myth of origins regarding the Navadurgā dance — which was conveyed to me by both Surya Lal Karmacarya, the head priest of Tripuraundarī vidyāpīṭha, as well as by Kedar Raj Rajopadhyaya, former head priest of the Nyatapola Temple — states that in days past human sacriice was offered at a place north-east of Bhaktapur called Navadurgā Ṭhol. At this site human sacriice51 was offered 50 I refer the reader to several excellent studies on the Navadurgā dances. Niels Gutschow’s recent work, “The Aṣṭhamātṛkā and Navadurgā of Bhaktapur: Notions about ‘Place’ and ‘Territory’”, in Wild Goddesses in India and Nepal: Proceedings of an International Symposium Berne and Zurich, November 1994, ed. Alex Michaels et al. Studia Religiosa Helvetica Jahrbuch, vol. 2, Berlin: Peter Lang 1996, pp. 217-51, provides an excellent discussion of the role of the nine goddesses as territory markers and compliments his earlier study, “The Navadurgā of Bhaktapur: Spatial Implications of an Urban Ritual”, in Heritage of the Kathmandu Valley: Proceedings of an International Conference in Lubeck, June 1985, ed. N. Gutschow and A. Michaels, Sankt Augustin: VHG Wissenschaftsverlag, pp. 105-34. Jehanne H. Teihet’s ine anthropological study, “The Tradition of the Nava Durgā in Bhaktapur, Nepal”, Kailash, VI(1): 81-98, offers an important discussion of caste in relationship to the creation of the Navadurgā masks. 51 G. Tofin notes that a history of human sacriice in conjunction with the worship of the The Maṇḍala-holograM | 91 regularly to the nine goddesses. One day a tāntrika was engaged in his daily rites when Tripurasundarī appeared before him and demanded his life. Through the powers cultivated from Tantric practice the tāntrika was able to capture the goddess in his ritual vessel (kalaśa). He took the bound goddess back to his home and began to worship her. Once at his home she appeared before him and said that she would teach him the dance of the nine goddesses and that through his dancing the goddesses would enter his heart. The myth of Navadurgā ends with the theme of possession through dance. Tripurasundarī pledges to enter the heart of the tāntrika when he dances. She does not tell him that he must learn anything, that he must study this or that text. Rather, he must dance. He must open himself to possession. Praxis, not doctrine, is central here. Yet the tradition of the Navadurgā dance is inseparable from a great body of Nepalese ritual texts that are themselves informed by the Āgamas and Tantras. The dance performance gives dramatic expression to the esoteric knowledge known only to the kings and other initiates of Śrī Vidyā Śākta Tantra. In this way, the dance operates on multiple levels simultaneously. For the dancers themselves it is a medium for pyschosomatic alteration as the dance transforms them into the goddesses.52 For the non-initiates the dance demarcates social hierarchies delineating the various castes in their respective sections of the city and situating them in relationship to the divine hierarchies that they mirror.53 For the initiates, including the Kramācārya priests who bless the Navadurgā masks, the dance symbolizes the awakening of the power-wheel, which transforms the civic space of Bhaktapur into the ecstatic stage of Devī’s dance. This level of the enactment is the great secret (mahārahasya), known only to those who engage in the dance. Navadurgā is also found in the Newar village of Theco, located at the southern end of the Kathmandu Valley. See his “A Wild Goddess Cult in Nepal, The Navadurgā of Theco Village (Kathmandu Valley)”, in Wild Goddesses (1996). 52 One dancer told Jeanne Tielhet, “When I wear the face of Bhairava or Mahākālī [sic] I feel different. I feel that I am a part of Bhairava and sometimes I will go mad. . . . When I am dancing, I will not see anybody. I dance for myself and the Navadurgā gods and goddesses.” Quoted in Teilhet (1978) “The Tradition of Navadurga in Bhaktapur”, p. 94. 53 See Robert Levy, “How the Navadurgā protect Bhaktapur: The Effective Meanings of a Symbolic Enactment”, in Heritage of the Kathmandu Valley, pp. 105-34. Cf., Levy, 1990, op. cit. pp. 231-34, 501-71. 92 | the Goddess Within and Beyond the three Cities Of my informants only Timalsina would break the silence and reveal to me the secret. He did so because he believed that our careful reading of the Nityāṣoḍaśikārṇava made me ready to listen (adhikārin), even though I had undergone no formal rites of initiation. He and I visited Bhaktapur in 1997 on the ninth day of Dasain, also known as Mohanī in Bhaktapur. During this ten-day festival — which is celebrated throughout the subcontinent as both the victory of Lord Rāma over the demon king Rāvaṇa and the victory of the Goddess over the forces of darkness — the multiple forms of the Goddess are worshipped in Bhaktapur through the Navadurgā dance. Timalsina chose to attend the ninth day of the festival because this is the climactic day when the Kumārī gives a public darśana and the nine goddesses appear in the form of the masked dancers (Fig. 4). Each of the previous eight days of Dasain is dedicated to the worship of one of the eight Mātṛkās at her respective śākta-pīṭhas. By the ninth day, each of the eight mothers of the periphery — Brahmāṇī, Māheśvarī, Kaumārī, Bhadrakālī, Vārāhī, Indrāṇī, Mahākālī, and Mahālakṣmī — has received her day of worship. On the climactic ninth day, the focus turns towards the centre of the maṇḍala, the place of Tripurasundarī, whose śākta-pīṭha and deity-house (deocheṅ) stand at the heart of Bhaktapur marking the site of the original royal palace, where Bhaktapur’s founding kings ruled, empowered by their lineage deity, the Goddess of Tripura. Our day began with a processional movement towards Tripurasundarī’s “crossing-point” (tīrtha) at the Khware River, just outside Bhaktapur. In Bhaktapur each of the goddesses has her own śākta-pīṭha, usually marked by a small shrine enclosing a rock that embodies the Goddess; deocheṅ, where the iconic image is stored; and tīrtha, which symbolically represents the transitionpoint from this world to the celestial worlds. Worship of the goddess links these three sites — the śākta-pīṭha, deocheṅ, and tīrtha — through jātrā, the act of walking to and worshipping at each site. In this way, major festivals like Dasain create movement within the city as human actors move towards the sacred points of the maṇḍala. As we watched the devotees bathe in the waters of the Khware River, reciting verses from the Devī-Māhātmya, Timalsina relected on the esoteric meaning of the ritual bathing we were observing. Many people here today do not know why they are here. They participate in these events because this is what they are taught to do. However, for me, there is deep meaning in their actions. We begin today’s worship of Tripurasundarī The Maṇḍala-holograM | 93 with a bath because this is the proper way to begin Tantric sādhanā. First, we bath ourselves, then we prepare to worship the Goddess. Through this worship one day Tripurasundarī will carry us across. We will cross over to the other shore of liberation.54 From the Khware River we moved towards the śākta-pīṭha and adjacent deocheṅ. On this ninth day of Dasain, the iconic image of Tripurasundarī remained sealed behind the locked doors of the deocheṅ (Fig. 25). However, according to Surya Lal Kramācārya, Tripurasundarī’s oficiating priest, the goddess is fully present in the aniconic small rock that marks her śākta-pīṭha (Fig. 2). I had previously had an opportunity to view the iconic image of Tripurasundarī when I had visited this shrine earlier in the month of April during the festival of Biskā Jātrā, the one time of the year when the image (mūrti) is brought out of the deocheṅ and worshipped with blood sacriice atop the śākta-pīṭha stone and in the presence of the district’s own Kumārī. Although Tripurasundarī is a beneicent deity throughout most regions of India, in Nepal she manifests the ferocious side of the Goddess, demanding animal and even human sacriice from her devotees,55 a ubiquitous Nepalese Śrī-Vidyā practice that again demonstrates the links between Śākta Tantra and the shamanic borderlands on Nepāla-Maṇḍala. The iconic image of Tripurasundarī in the deocheṅ is made of brass and gold and stands about twelve inches high. Like many of the valley’s images this one is a replacement of the original, which was stolen and sold on the international market and now most likely lives in a museum somewhere. However, the replacement is said by local authorities to be an accurate duplicate of the original, constructed according to Nepalese canonical sources such as the Tripurasundarī-Paddhati. The image depicts Tripurasundarī as Ardhanarīśvarī, half male and half female. She stands with one foot on a lion and the other on a deer. Mukunda Aryal commented on the meaning of these two divine vehicles (vāhanas). The deer is a vehicle of Śiva. The lion is a vehicle of Devī. It [the lion] is a symbol 54 Oral communication, Bhaktapur, Nepal, October 1997. 55 There are, however, several classical sources — including the Kathāsaritsāgara, Lalitāmāhātmya, and Māhātmyakhaṇḍa from the Tripurarahasya — that provide textual justiication for Tripurasundarī manifesting her ugra, or horriic, form. See an excellent study by Silvia Schwarz Linder, 1996, “The Lady of the Island of Jewels and the Polarity of her Peaceful and Warring Aspects”, in Wild Goddesses in India and Nepal, ed. Axel Michaels et al., pp. 10522. 94 | the Goddess Within and Beyond the three Cities of power and is associated with the king. Tripurasundarī is the supreme form of śakti (parāśakti). She is both male and female. She is the giver of enlightenment 56 and the source of power. She liberates and she conquers. In three of her four hands, this important image of Tripurasundarī — situated at the heart of the Bhaktapur maṇḍala — holds a trident (triśūla), water bowl (pātra), and jewelled rosary (mundra-mālā). The fourth is raised in the abhaya-mudrā, signifying liberation born from fearlessness. In her posture and iconography, the Bhaktapur Tripurasundarī resembles Vajrayoginī, one of the seven goddesses of the Sarvāmnāya system and a primary deity of the Tibetan Buddhist pantheon. As a deity within the syncretic Newar Sarvāmnāya tradition, Vajayoginī is identiied with the northern transmission (Uttarāmnāya)57 and is said to reside within viśuddha-cakra. As Mark Dyczkowski accurately points out, her association with Tripurasundarī is no accident. Like Tripurasundarī, Vajrayoginī is characterized as a feminine embodiment of supreme wisdom and power. It is for this reason that she is identiied with Guhyeśvarī, the “mistress of the secret”, whose śāktapīṭha is found at the Paśupatinātha complex.58 Such associations between Hindu and Buddhist deities are common throughout Nepāla-Maṇḍala.59 The fact that a tutelary deity like Tripurasundarī is linked with a Tantric Buddhist Yoginī is consonant with Alexis Sanderson’s thesis that high Tantra arose as a synthesis of the Buddhist and Hindu lineages of goddess-centred cremation-ground practices.60 I discussed the signiicance of Tripurasundarī’s speciic manifestation in 56 Oral communication, Kathmandu, Nepal, 16 October 1997. 57 Vajrayoginī’s association with the Northern Transmission is perhaps associated with her point of origin, north of Nepal in the Tibetan Himalaya. The religiocultural links between Newar and Tibetan culture stretch back well over a millennium and continue today with the presence of Tibetan gompās throughout the valley, particularly at Bodhnātha stūpa, northeast of Kathmandu city. 58 Alex Michaels (1996) in collaboration with Nutan Sharma, “Goddess of the Secret, Guhyeśvarī in Nepal and Her Festival”, in Wild Goddesses in India and Nepal, p. 317. 59 See my discussion of “Nepalese Syncretism and the Buddhist Myth”, in Vishvarupa Mandir: A Study of Changu Narayan, Nepal’s Most Ancient Temple, New Delhi: Nirala Press, 1996, pp. 7182. 60 Alexis Sanderson, 1988, “Śaivism and the Tantric Traditions”, in The World Religions, ed. St. Sutherland et al., London: Routledge, pp. 660-704. The Maṇḍala-holograM | 95 Bhaktapur with Śrī Bhakta Tvaynay, a tāntrika who is a member of the Kasain caste. The Kasain caste is associated with irreputable occupations such as street sweeping, public execution, and supervision of cremation grounds,61 and thus male Kasain are considered prime candidates for left-handed Aghora Tantra practice. Śrī Bhakta spoke eloquently of Tripurasundarī’s motivation for choosing to reside at the centre of Bhaktapur’s maṇḍala. Here in Bhaktapur, Tripurasundarī is surrounded by the Aṣṭamātṛkā [eight Mātṛkās]. This is why she came. Who knows how long she has been here. She is mentioned in the Nepāla-Māhātmya as the slayer of demons. I don’t know the story [he claims, but then proceeds to explain]. A demon loves the Goddess and tries to capture her. A war ensues. The demon is killed by the Aṣṭamātṛkā. At this site she prevents diarrhoea and cholera. Long, long ago, before the establishment of the Goddess [in Bhaktapur] many people — say six or seven per day — were dying of diarrhoea and cholera. That’s why in this locality there is less diarrhoea and cholera in comparison to other areas. When people are stricken by these 62 ailments in Bhaktapur, they come to do kṣamapūjā. Śrī Bhakta’s account demonstrates his knowledge of the classical sources that link Tripurasundarī with Mahādevī Mahiṣāsuramardinī, the great Goddess who is celebrated in the Devī-Mahātmya as the slayer of demons and sum total of the powers of all the gods and goddesses. At the same time, he refers to the speciicity of her form at the Bhaktapur Tripurasundarī śākta-pīṭha and deocheṅ where she demonstrates her power through the healing of such widespread illnesses as diarrhoea and cholera. The Goddess distributes her parāśakti in the form of a kind of spiritual medicine experienced concretely by her devotees as the curing of ailments. As Mahādevī she is a universal warrior goddess, the mistress of the king of kings (Rājarājeśvarī) who protects the maṇḍala from its central point, seated in the heart of the king as his inner controller (antaryāmin). As a local goddess administering speciically to the needs of the people of Bhaktapur she exhibits medicinal powers that produce everything from much-needed sons and daughters to wealth and well-being. Whether she is celebrated as a universal warrior goddess or a local goddess 61 Slusser, 1982, op. cit., p. 340. 62 Oral communication, Bhaktapur, Nepal, 24 August 1997. Kṣamapūjā, also known as samay, refers to the rites of the ive forbidden substances (pañcamakāra), which in the Nepalese Sarvāmnāya system are meat, dried rice, ginger, black soybean, and wine. 96 | the Goddess Within and Beyond the three Cities of healing, Tripurasundarī’s principal and highest gift is liberation (mokṣa). An inscription on the eastern bell of the Bhaktapur vidyāpīṭha, dated Nepal Saṁvat 1015 (= Ce 1896), reads: On the eighth day of the bright half of the lunar month of Pauṣa, Nepal Saṁvat 1015 (= 1894), my dying father, Indra-Narayana Kramācārya, who lived at the Vidyāpīṭha of Tulācheṇ Ṭol, the Tripurasundarī District of Bhaktapur, put forth the intention (saṅkalpa) of offering a bell. On the sixth day of the dark half of the lunar month of Śrāvaṇa in the same year his wife, my mother, Dhana Thakū, died. On the eighth day of the bright half of the lunar month of Pauṣa of Nepal Saṁvat 1017 (= 1896), Monday, their son, Āśānanda Kramācārya, offered this bell [to Tripurasundarī] in the name of his deceased parents. May all be well.63 On the western bell is a second inscription, written in both Devanāgarī and Newari scripts: Oṁ, salutations to the Goddess of the three cities, always pleasing her devotees. I bow to you, the Goddess of kula, mistress of the wheel. With the passing of Nepal Saṁvat 1019, in the month of Śrāvaṇa, on the eighth days of the bright half of the month, on Viśākhā and Vajrayoga,64 on Monday, according to Karṇa and Muhūrta, while the sun is in Cancer and the moon is in Scorpio, the eldest son Kāji and younger son offered this bell in the name of their father, Mānvīra Kramācārya, and mother, Lāni Thakū, desiring that they may dwell in the realm of the lord (īśvaraloka-vāsa). The numerous astrological coordinates embedded in these two inscriptions remind us that Tripurasundarī is a goddess of the stars, which are identiied as the ininite phones that comprise her cosmic body. The constellations and signs of the zodiac are the heavenly formations of her permanent Śrī-Yantra — the night’s sky. As the goddess of the Upper Transmission, Tripurasundarī’s maṇḍalic self is permanently etched across the vault of the heavens. The macrocosmic form of her Śrī-Yantra is thus the ever-shifting pattern of interrelated constellations whose movements directly impact the movements of the actors inhabiting the mesocosmic sphere of Bhaktapur, where the decisions of the king and his subjects alike are enacted in consultation with the jyotiṣas, those who can read 63 Author’s translation. See the complete translation with transcribed lipi in Appendix C. 64 Viśākha and vajrayoga refer to speciic constellational transits. The Maṇḍala-holograM | 97 the stars. Festivals like Biskā Jātrā and Dasain place the mesocosmic yantra of Bhaktapur into motion in a way that mirrors the movements of the macrocosmic Śrī-Yantra. In this sense, the Navadurgā are the Navagraha, the nine planets that dance throughout the heavens moving through different galactic territories and thereby transmitting powers that concretely shape human destinies. Mary Slusser remarks: Not only do the Mātṛkās guard the compass points but they are also regarded as regents of the sky. As the Navadurgā they are equated with the Navagraha, the male personiications of the so-called Nine Planets, that is, ive planets (Saturn, Venus, Mars, Jupiter, Mercury), the sun, the moon, and the moon’s ascending and descending nodes (Rāhu and Ketu).In Nepali dogma, each Mātṛkā has a deinite association; for example, Cāmuṇḍā with Saturn, Indrāṇī with Venus, and Vaiṣṇavī with Sūrya, the sun. Each also presides over speciic days of the lunar calendar. In Hindu–Buddhist thought the astral bodies are conceived as exercising a direct inluence on human affairs. They can “possess” individuals —hence their collective name, “Seizers” — and when angered they cause wars, epidemics, and other baleful visitations. Thus the Navagraha are regularly propitiated to render them favourable, and are worshipped with special rites in time of danger. Given the similarity of name and the correspondence of number and malevolent disposition, it is little wonder that the Navagraha and 65 Navadurgā came to be identiied as one manifestation. This correspondence between the Navadurgā as regents of civic space and the Navagraha as regents of cosmic space again highlights that for the Nepalese tāntrika the art of life is to bring into alignment the microcosm with the macrocosm through the multiple mediating templates available to him or her. The aim of this process of alignment is liberation, the attainment of the realm of the godhead (īśvara-loka) beyond the lux of human existence. The Navagraha inluence an individual’s fate, yet by understanding their movements the sādhaka can learn to shape his or her destiny and thereby attain transcendence. As we observed the pilgrims offering sacriice on the ninth day of Dasain at Tripurasundarī’s śākta-pīṭha in Bhaktapur, Timalsina commented: 65 Slusser, 1982, op. cit., pp. 344-45. While accurately noting that the movements of the Navadurgā corresponds with those of the Navagraha, Levy inaccurately concludes that these “astrological associations [have] no contemporary meaning”. See Levy, Mesocosm, pp. 265-66. In actuality, the contemporary meaning, especially for initiates is very strong. 98 | the Goddess Within and Beyond the three Cities As the Goddess within the three cities, Tripurasundarī takes the form of the Navagraha and dictates human life from her heavenly seat. As the Goddess beyond the three cities, she is the means and principle of transcendence. These bell inscriptions [at the śākta-pīṭha] acknowledge her in both of these capacities.66 As the principle of immanence and transcendence, Tripurasundarī is the sovereign of Bhaktapur maṇḍala. It is for this reason that she is worshipped on the climactic ninth day of Dasain. Although her deocheṅ is considerably smaller than that of Taleju, whose shrine is found at the site of the Malla royal palace, and despite the fact that she does not have her own mask in the Navadurgā troupe, Tripurasundarī’s importance should not be underestimated. Commenting on the ritual map of Bhaktapur described earlier, Tofin concludes — mistakenly, from my perspective — that the centrality of Tripurasundarī is merely a result of her antiquity.67 He reaches this conclusion despite his own research on the Newar town of Panauti,68 where Tripurasundarī is again given a status of centrality “situated just by the side of . . . what remains of the old royal palace.”69 The centrality of Tripurasundarī is no accident of antiquity. Rather, it is testimony to the Goddess’s status as a goddess of kings, positioned historically, symbolically, ritually, and architecturally at all points within NepālaMaṇḍala. Tofin continues his relections on Tripurasundarī by mistakenly concluding that “in Kathmandu and Patan, Tripurasundarī worship seems to be unknown”.70 In making this statement, Tofin demonstrates his lack of awareness of the hundreds of Kathmandu- and Patan-based Tripurasundarī paddhatis housed at Nepal’s National Archives. He also demonstrates that he has failed to identify Tripurasundarī’s most prominent form — that of the ŚrīYantra — which appears at multiple places and on multiple levels throughout each of the Kathmandu Valley’s three cities. In addition, he reveals his confusion 66 Oral communication, Bhaktapur, Nepal, October 1997. 67 As Niels Gutschow and G. Auer came to a similar conclusion in an early study in which they mistakenly identiied Taleju as the central goddess of the maṇḍala. See their Bhaktapur, Gestalt, Funktionen and religiöse Symbolik einer nepalischen Stadt im Vorindustiellen entwicklungstadium, Darmstadt: Technische Hocshule, 1974. 68 Gérard Tofin et al., 1981, Panauti: une ville au Nepal, Paris: Berger-Levrault. 69 Gérard Tofin, 1991, “Urban Space and Religion, Observations on Newar Urbanism”, in Man and His House, ed. G. Tofin, p. 78. 70 Ibid. The Maṇḍala-holograM | 99 regarding the relationship of Tripurasundarī to Taleju and the Kumārī. Finally, he demonstrates an absence of understanding regarding the Tantric notion of Parāśakti’s supreme form as great emptiness (mahāśūnyatā). As transcendence personiied, Tripurasundarī often reveals herself through an apparent absence. Yet, as the source of all forms, her perceived absence as a particular form only reveals a confusion in the perceiver: the Goddess of the three cities is everpresent within her maṇḍala. Power does not need to be visible to be potent. Secrecy and disguise are often the primary modalities of the powerful. I myself remained perplexed by a number of questions as I watched along with Timalsina the Navadurgā dancers dance near the Tripurasundarī shrine on the ninth day of Dasain. Earlier in the week the dancers had gone to Taleju’s shrine for a blessing. Why was Tripurasundarī not among the Navadurgā dancers? Why did they receive empowerment from Taleju if Tripurasundarī is the heart of the maṇḍala? Who is Taleju? Who is the Kumārī? When I asked Timalsina these questions, he replied: There is much that you do not understand. Why should Tripurasundarī be among these dancers? She is these dancers. She is their sum total. If you are looking for Tripurasundarī, then you will ind her as all of these dancers. Where do you ind Tripurasundarī within the Śrī-Yantra? She is at all points and at all times. As for Taleju and Kumārī, this is a great secret. But the answers lie within the 71 Nityāṣoḍaśikārṇava. Before your study is done, you will understand. As Timalsina was talking, a band of musicians approached the śākta-pīṭha. They were playing a tyen kāl, a pair of cymbals, and a dyaḥkhī, a Newar drum, which produces the sound, bhat thvã. Their music functioned as the medium through which Mahādevī invigorated the maṇḍala with her acoustic body (Fig. 20). The inebriated musicians were clearly in an altered state of consciousness. “They are possessed by the goddess”, Timalsina commented. Writing on this point in the Navadurgā performance, Gutschow remarks: Tyen kāl, the sound of a pair of small cymbals, is highly pitched and of an extremely clear quality, resembling a crystal or a diamond as symbols of permanence and immutability. The sound permeates urban space, it virtually takes gradual possession of it. . . . The sound radiates from the procession and thus creates a space of acceptance and assurance. The main message could be 71 Oral communication, Bhaktapur, Nepal, October 1997. 100 | the Goddess Within and Beyond the three Cities said to be that of assurance: The gods are present; they have come again to bless the territory of the urban community. Hearing that striking sound, people invariably stop what they are doing and, even from afar, honour the gods and goddesses with the gesture of namaskāra. The sound is unique, only heard in Bhaktapur and played exclusively by the musicians of the Navadurgā. As the troupe or the Eight Mother Goddesses represent identiiable places, and collectively the urban space in its totality, the accompanying unique sound seems to represent the temporary aspect of the latter. Sound emerges, spreads evenly to all directions and vanishes. Transformed into syllables and words, tyen kāl imitates the pair of cymbals, while bhat thvã, the following sound of the “drum of the gods”, the dyaḥkhī, is understood as the pub (bhati) where beer (thvã) is served. Such a gloss serves to indicate that the Navadurgā are of this world, part of daily life. The gods, indeed, are not propitiated only symbolically, the bearers of the mask being fed with beer, liquor, and even blood. They absorb these liquids (which bear qualities like ire, creativity, and life) to such an extent that they may collapse at any moment, ready to sleep anywhere until the sound of tyen kāl signals the 72 next stage of their ritual journey. All of the elements of Nepalese Śrī-Vidyā Śākta Tantra are embedded in Gutschow’s description. We have the microcosmic actors, the dancers themselves, moving through mesocosmic space, themselves functioning as mediating spheres that link the people of the Bhaktapur maṇḍala with the divine actors who inhabit the macrocosmic maṇḍala. The technology for linking these worlds is based on the production of sounds and consumption of luids and a variety of other techniques that transform human agents and their constructed spaces into conduits of divine power. Maṇḍalas within maṇḍalas, humanly constructed spaces inhabited by divine and human agents, dancing together in an ongoing civic drama that actualizes idealized conceptions of space through the medium of ritual performance. On the ninth night of Dasain I left Bhaktapur and travelled to the hinterlands of the maṇḍala where I would again encounter Tripurasundarī as a goddess linked to space, sound, sacriice, and possession. My destination was the Newar town of Dolakha, home of an important thirteenth-century Tripurasundarī deocheṅ. On this ninth night of Dasain, Thami shamans would spend the night in the waiting 72 Gutschow, “The Aṣṭamātṛkā”, pp. 212-13. The Maṇḍala-holograM | 101 room, just outside the womb chamber (garbhagṛha) and worship Tripurasundarī with goat sacriices, drinking the blood and becoming possessed by the Goddess beyond the three cities. As our taxi drove away from Bhaktapur, I relected on my journey. Following the tracks of the Devī, intrigued by questions of power, I had journeyed to the centre of the maṇḍala, the place of Tripurasundarī’s power-seat next to the old royal place, at the heart of Bhaktapur, one of the three points of the civic-trikoṇa at the centre and apex of Nepāla-Maṇḍala. Tripurasundarī’s presence there at the heart of Navadurgā Yantra was concrete proof that certain Nepalese kings were tāntrikas who sought to instantiate their Tantric vision in constructions of civic space. For them the ideal formation of space was one that replicated the esoteric diagrams found in the Śākta Tantra texts that had entered — or perhaps even arisen in — Nepal as early as the eighth century. I had attained a clearer picture of indigenous Nepalese perceptions of Tripurasundarī and her place in the creation of sacred space and the maintenance of power. However, the picture was not complete. Further clues would be discerned in the borderlands of Nepāla-Maṇḍala. Dolakha: A View from the Periphery Dolakha is east of the Kathmandu Valley, although well west of the Sunkosi River. While there are numerous Tripurasundarī temples in western Nepal, Dolakha is the only eastern site of her worship, a fact that suggests that Śrī-Vidyā entered Nepal predominantly from Kashmir and other western sites of Śrī-Vidyā worship. Although today only a small Newar village, Dolahka was once a major site of trade, facilitating trade between Tibet and the three cities of the Kathmandu Valley.73 As far back as the Licchavi period, Dolakha was an important peripheral site of royal power. According to the Gopālarāja-Vaṁśāvali, King Harisiṅhadeva of Mithilā (fourteenth century) died at Dolakha while on his way to Bhaktapur. It is widely claimed that it is he who brought Taleju to the valley and who also established a temple to her at Dolakha. Interestingly, the existing temple, called Devīkoṭṭa, the “goddess fort”, is to Tripurasundarī, not Taleju. We have no concrete evidence that the Devīkoṭṭa — which I visited while at Dolakha — was actually established by Harisiṅhadeva of Mithilā. However, architectural evidence suggests that parts of the deocheṅ date back to roughly the thirteenth 73 The best source on Dolakha is Dhanvajra Vajrācārya and Tek Bahadur Sreshtha’s Dolakhādo Aitihāsika Rūparekhā, Kirtipur: Institute of Nepal and Asian Studies, vs 2035. 102 | the Goddess Within and Beyond the three Cities century, making it contemporaneous with Harisiṅhadeva. The door to the temple is adorned with the eyes of Tripurasundarī, painted in red and gold colour, replete with the all-knowing third eye, much like the Kumārī is decorated (Fig. 13). Moving inside the temple, on the second loor in the room outside the garbhagṛha, I found numerous images of Durgā as Mahādevī, particularly as the slayer of the buffalo-demon, Mahiṣāsura. Most scholars identify Taleju as a form of Durgā, so perhaps the Devīkoṭṭa Temple was a site of Taleju worship. Yet the temple priest assured me that, no, this was the deocheṅ of Tripurasundarī. A temple dedicated to Tripurasundarī, with Durgā on the temple walls, that is at the same time purported by some to be the site of Taleju: I was beginning to detect a pattern here. Before exiting the temple I noticed an image of Śrī-Yantra, etched in pencil, framed on a pillar by the southern window. On the ninth night of Dasain I stayed at the home of Sukh Bahadur Joshi, near Devīkoṭṭa Temple. Around 10:00 p.m., two Thami jhankris, Man Bahadur and Ratna Bahadur, entered the temple and ascended to the second loor waiting room, just outside the inner shrine room. All night they would worship Tripurasundarī through drumming, chanting, and blood sacriice. While the jhankris worshipped Tripurasundarī in Devīkoṭṭa, two other Thamis spent the evening at the nearby temple of Bhīmsenthān. These young men were naris, mediums purportedly selected by Tripurasundarī herself to be the vehicles of an annual ritual of public possession that would take place the next morning. In his study of Dolakha shamanism the social anthropologist, Casper Miller, describes this process of selection: How are the [nari] chosen? The goddess Tripurasundarī, whom the Thamis usually refer to simply as Devī or Mahārānī, does the choosing. A few days after the death of a nari she moves into the new man of her choice. This is manifested 74 by a state of trembling in the chosen one. The next morning, the tenth day of Dasain, the two naris and the two jhankris gathered at a shelter adjacent to the temple. Around 10:00 a.m. they were summoned to the image of Gaṇeśa, just south of Devīkoṭṭa Temple where a large crowd was gathered. The naris stripped their clothes down to a small loincloth, already beginning to tremble. A Kasain brought a buffalo and laid it down before 74 Casper J. Miller, 1997, Faith Healers in the Himalaya: An Investigation of Traditional Healers and Their Festivals in the Dolakha District of Nepal, Delhi: Book Faith India, p. 67. The Maṇḍala-holograM | 103 them. The naris bent down in front of the buffalo, with mouths open, preparing to receive the spray of blood that would come from its severed neck. With a yell the Kasain slit the throat and released a powerful stream of blood, which shot into the naris’ mouths for a few seconds before they turned away and rinsed their mouths with water. At this point they began to tremble even more noticeably. A second time they turned to the buffalo and allowed its lowing blood to enter their mouths. After rinsing their mouths again, it was clear that they had entered a deep trance. They were assisted in taking a third drink, which completed the rite. The naris had become the Goddess and drunk the blood of the buffalo-demon on her behalf. Tripurasundarī had conquered the forces of darkness represented by the buffalo. All was well in Nepāla-Maṇḍala. The next day was Ekādaśī, the day of Khaḍgā Jātrā, when the Thamis paraded the heads of the sacriiced buffalo through Dolakha, wearing the khaḍgā (battle sword), a symbol of royal power. The city of Kathmandu was designed as a khaḍgā in the tenth century by King Guṇakāmadeva (942–1008).75 The presence of this symbol on this inal day of Dasain suggests that the periphery is linked to the centre, where the king yields his sword of power through rituals of identiication with his divine mistress, the goddess of the three cities, whose temples and images are found throughout all reaches of Nepāla-Maṇḍala. The case of Dolakha provides an interesting opportunity to relect further on the dynamics of power within Nepāla-Maṇḍala, particularly when we consider the complex interrelationships between the Thamis and the Dolakha Newars. The Devīkoṭṭa pujārī, who is a Newar, is the only one allowed to enter the garbhagṛha. Even on the ninth night of Dasain the Thami jhankris must stay outside the inner sanctum. However, the Thamis have the power and privilege of being the mediums of the Goddess. No one would dispute the power of the naris, whose blood-drinking and trembling demonstrate their ability to become Tripurasundarī’s ritual vessels. Yet the naris do this as a service for the Dolakha Newars, who annually request them to come, respecting their power but at the same time calling them blood-drinking demons (betāla). Matters become even more interesting when one takes into account that Thamis consider themselves to be descendants of the original people of Mithilā, who came with Harisiṅhadeva to Dolakha in the thirteenth century. According 75 B. J. Hasrat, 1970, History of Nepal, as Told by Its Own and Contemporary Chroniclers, Hoshiarpur: V.V. Research Institute Book Agency, p. 46. 104 | the Goddess Within and Beyond the three Cities to Casper Miller there is linguistic evidence to corroborate this claim.76 If this is indeed the case, then perhaps it is the Thami people who brought Tripurasundarī to Devīkoṭṭa and who are directly linked with the lineages of royal power that propagate her worship. Yet, as evidenced from the Thamis’s exclusion from the inner sanctum, it is clear that the indigenous Newars have at least to some extent usurped the Devī’s power. Where does a goddess come from? Who owns and controls her? These are complex questions whose answers are multi-levelled and paradoxical. As I contemplated this paradox, looking for a simple answer, I noticed that one of the jhankris was wearing a crystal Śrī-Yantra around his neck. I had seen the image within the Devīkoṭṭa Temple. Here it was again, around the neck of this Thami shaman, whose unique relationship with Tripurasundarī linked him in complex ways to the religious and cultural web I had traced here from Kathmandu Valley. While it was rapidly becoming apparent that I would need to heed the reality of differences, it was also true that in tracking the Devī from the centre of Nepāla-Maṇḍala to the periphery, I had discovered a certain number of persistent elements: the Śrī-Yantra, sacriice, techniques of possession through ritual consumption and music, and complex dynamics of power linking human bodies to divine bodies in various constructions of architectural and ritual space. The Maṇḍala’s Ubiquitous Ever-Present Centre We began this chapter by considering Nepalese constructions of space as analogous to the hologram, a laser-generated image whose constituent units are replications of the whole. For Nepalese Śrī-Vidyā Śākta tāntrikas, the country of Nepal as a whole is a maṇḍala and each smaller division within that maṇḍalicnation again takes the form of a maṇḍala, which is the geometric power-body of the Goddess. Within Nepāla-Maṇḍala the Kathmandu Valley is more speciically represented as the Śrī-Yantra, with temples and other sacred sites in the valley placed at strategic points that correspond with the painting of the Śrī-Yantra housed at Bhaktapur National Museum. Within the Kathmandu Valley, the three cities of Kathmandu, Bhaktapur, and Patan are identiied as the three points of the Śrī-Yantra’s inner triangle (antar-trikoṇa). As such they reside at the apex of power within an idealized maṇḍala that Timalsina and other Nepalese tāntrikas daily visualize in meditation as superimposed on the actual topography of their 76 Casper J. Miller, 1997, Faith Healers in the Himalaya, pp. 116-17. The Maṇḍala-holograM | 105 land. This act of seeing the nation as a maṇḍala dates back to at least the time of King Jayadeva in the eighth century, a period during which such practices arose throughout the subcontinent in Hindu and Buddhist contexts alike. In Nepal the idealized vision of space as a maṇḍala was actualized concretely in the twelfth century, when King Āndanda Deva employed his artisans and craftsmen to construct the city of Bhaktapur as a Navadurgā Yantra, with his kuladevī, Tripurasundarī, at its centre. During the thirteenth century, King Harisiṅhadeva of Mithilā went to Dolakha in the eastern borderlands of Nepāla-Maṇḍala, and brought with him his iṣṭadevī, a Tantric form of Devī identiied variously as Taleju, Tripurasundarī, and Durgā. During the thirteenth and fourteenth centuries a crop of Tripurasundarī temples also began to emerge in western Nepal, in Devaghāṭ, Dolpa, Dading, Baitadi, Sallyan Koṭ, and throughout Karnali in the far western district of Nepal. At each of these sites, spatial conigurations and power relations were determined with reference to Tripurasundarī, whose vibratory essence is depicted as the Śrī-Yantra. The maṇḍala provides a basis not only for visualizing the country of Nepal and constructing its cities, it also provides an architectural template for the construction of Newar temples. As Bernier77 and Lidke78 have shown, the Newar pagoḍā temple is constructed as a three-dimensional maṇḍala, beginning from the bindu seated in the heart of the central image in the garbhagṛha and moving out to the four gates of the yantra, symbolized by the temple doors. Wherever one inds a Newar temple — which is in thousands of places throughout the Kathmandu Valley and beyond — one inds the maṇḍala. Maṇḍalas within maṇḍalas, replicas within replicas — architecturally, culturally, religiously, and politically, Nepal is a maṇḍala-hologram whose multiple manifestations in texts, cities, temples, paintings, meditation practices, sacriices, music, dance, and other cultural productions are grounded in the maṇḍala and more speciically the Śrī-Yantra. On an esoteric level, this image of the Śrī-Yantra points to the unity of the tāntrika with the divine body of Tripurasundarī. As a map of the divine body, the Śrī-Yantra serves as a grid through which the tāntrika maps the Goddess’s form onto his or her own body and thereby transforms himself or herself into 77 Ronald Bernier, 1979, The Nepalese Pagoda: Origins and Style, New Delhi: S. Chand and Co. 78 Lidke, 1996, Viśvarūpa Mandir, esp. pp. 25-43. 106 | the Goddess Within and Beyond the three Cities the divine. As such the Śrī-Yantra is a mesocosm, linking the microcosmic individual to the macrocosmic Goddess. In this capacity, the Śrī-Yantra is an instrument of power, capable of harnessing the kuṇḍalinī-śakti and unleashing the omnipotence of divinity within the individual. It is precisely for this reason that Nepalese kings adopted the symbol as the template for constructing and governing their domains. The Śrī-Yantra became the seal of authority of the royal lineages, which was imprinted throughout the centre and periphery of their kingdoms — as central as the Taleju temple in Kathmandu’s royal palace and as remote as Tripurā-Koṭ in far western Nepal. Everyday a sandal paste ŚrīYantra is constructed on top of the upper face of Lord Paśupatinātha’s central liṅgam in Deopatan (Fig. 22). Until the end of the Nepalese monarchy in 2008, a handful of this paste was carried as a divine blessing (prasādam) to the kings of Nepal, who were initiates of Nepalease Śākta Tantra. Lokhanthalī Temple in Lokhanthalī was constructed as Mount Meru, culminating in a three-dimensional Śrī-Yantra as its roof. Inside the temple a black marble Śrī-Yantra Meru sits at the base of an image of the mighty Guhyeśvarī, a deity who entered Nepal from Kashmir and is linked with the Kālasaṅkarsinī whom Abhinavagupta worshipped as the transcendent fourth principle beyond the triad of Parā, Parāparā, and Aparā. At Viśvarūpa Temple, within the Paśupatinātha complex, an enormous image of the Śrī-Yantra is found at the base of the golden image of Viśvarūpa Guhyakālī, a deity King Jayaprakāśa Malla evoked in his efforts to defeat Tibet. Each of these sites is directly and intimately linked to the seat of royal power. The presence of the royal seal — the Śrī-Yantra — at each of these sites, along with many other sites, reminds us who sits at the apex of power. The ubiquitous presence of the Śrī-Yantra also reminds us that power is diffused, ever-present, and negotiable within the maṇḍala-hologram. The Navadurgā dancers in Bhaktapur and the Thami jhankris in Dolakha willingly became possessed by the Goddess, thereby linking themselves directly to the centre by choice. In their states of possession they are called servants of the Goddess (devīdāsa). Does this not make them servants of the king, the master of the religio-cultural web? But is the king himself not a servant? Does not his position at the centre of the system by default mean that he is its institutionalized slave? Does he really have power? Or is his body simply the central conduit through which the dominant discourse establishes itself throughout NepālaMaṇḍala? In short, is there human agency within the maṇḍala-hologram, or is The Maṇḍala-holograM | 107 this system, rooted in the esoteric texts of Śrī-Vidyā Śākta Tantra, and deeply embedded in the Nepalese habitus, so total that its subtle modes of operation escape conscious awareness? Does a king liberate himself by encoding the Śrī-Yantra in his subtle physiology, or does he thereby shackle himself to the discursive practices and institutions that perpetuate the symbol? While such questions concerning constructions of space and the concomitant web of power relations are important, I wonder if they can ever be answered by those who do not immerse themselves in the multiple ields of meaning at play within the maṇḍala. Perhaps it is the case that the view from within is blind to the selflegitimating technologies of the dominant discursive system. But is it not also the case that the view from without is incapable of fathoming that practice-based logic which makes sense of the system through the encoding of meaning within human agents who come to understand by means of that immersion? 4 The Reverberating Goddess The Kumārī and the King The fruit of virgin worship cannot be told by me. All this [universe] movable and immovable belongs to Kumārī (virgin) and Śakti. If one young damsel be worshipped, seen only in spirit, then actually all the high goddesses will be worshipped without doubt. . . . In time, by Kumārī worship the worshipper attains Śivahood. Where Kumārī is worshipped, that country puriies the earth; the place all around the ive crores will be most holy. There one should do Kumārī Pūjā: there breaks forth great light . . . — Yoginī-Tantra1 Power is established on death’s borders. — Jean Baudrillard2 On 20 September 1997, the inal day of Indra Jātrā, the festival of the divine king, I was fortunate to witness an annual event that subsequently ended in 2008 with the death of Nepal’s dynastic lineage. In 1997, however, kingship was still very much alive and on that memorable day, Nepal’s monarch, Śrī Pañca Mahārāja Birendra Shah Deva, upheld a centuries-old tradition by visiting the home of the virgin (Kumārī Ghar) in Indra Chowk, the site of the old royal palace in Kathmandu. His purpose was to receive prasāda (divine blessing), from Nepal’s living goddess, the virgin Kumārī. While a crowd of several thousand Nepalis and tourists waited outside the seventeenth-century Newar temple that houses the young virgin Kumārī, King Birendra was escorted into the inner chamber that serves as the Goddess’s living quarters and site of worship. Although only the king’s closest aides and the Kumārī herself can verify exactly what happened at that point, there is one tangible barometer that is used to judge the success of the encounter: the king has thus far maintained his sovereignty. The textual and 1 Quoted by Michael Allen in The Cult of Kumari, 3rd rev. edn, Kathmandu: Mandala Book Point, 1996, pp. 97-98. 2 Jean Baudrillard, 1994, “Political Economy and Death”, in Symbolic Exchange and Death, tr. Iain Hamilton Grant, London: Sage Publications, p. 30. the reverBeratinG Goddess | 109 oral traditions of Nepalese Śākta Tantra claim that the king’s reappearance from the sanctum sanctorum of the living Goddess indicates that he has been bestowed with the power (śaktipāta) to continue his rule. Texts like the eighteenth-century Kumārīpūjā-Paddhati3 maintain that if the Kumārī disfavours the king during this critical annual meeting, he will fall from power. Conversely, by favouring the king, the Kumārī empowers him to reign over the kingdom of Nepal for another year — a “transcendent” bestowal of governance inseparably linked with the social institutions and practices constructed by Nepal’s kings over the last millennium. Arising out of a long tradition of virgin worship, the Kumārīpūjā-Paddhati and other esoteric texts proclaim that the Kumārī is actually the living embodiment of śakti (divine power). While to the uninformed the Kumārī may seem to be only a seven-year-old Nepalese girl, Tantric initiates — such as Nepal’s former kings — see in her an instantiation of that very power which is the source of all creation and whose ultimate seat resides in his own heart as his inner Self (antarātman) and inherent nature (svabhāva). From the perspective of Śākta Tantra, the purpose of a king visiting the Kumārī is to have a “seeing” (darśana) of the Goddess and thereby directly contact that supreme power that grants both worldly gain (bhukti, artha) and inal emancipation (mukti). A blessing from her bestows both political legitimation — in that it publicly proclaims divine ratiication of the king’s sovereignty — and spiritual legitimation. This mysticopolitical relationship between a king and the virgin Goddess highlighted an ancient and deeply imbedded tradition of religious ideology that until recently had fundamentally informed the Nepalese socio-political complex and made tangible the inseparable connection between divine and political power in Nepal. It was a ritual which announced clearly that in a Hindu nation the powers of state derived directly from a Goddess who, although transcendent in her essential nature, revealed herself most prominently in the lesh, bone, and — most importantly — clan luids (kulāmṛta) of young virgin girls. Understanding that power resides most potently in secrecy, Nepal’s regal 3 Along with the Ritual Guide to the Worship of the Kumārī (Kumārīpūjā-Paddhati) Nepal’s National Archives contains over several hundred paddhatis dedicated to the worship of Kumārī, and thousands more that describe Tantric ideology and practice. Primary among these are the Kumārī-Tantra, NNA E 28/7; Kumārītarpaṇātmaka, NNA E 50/07; Kumārīdhyāna-Paddhati, NNA E 2029/17; Kumārīpūjaṇabalidānavidhi, NNA E 2770/12; and, the Kumārīpūjā, NNA D 31/35. 110 | the Goddess Within and Beyond the three Cities tāntrikas have traditionally taken a cue from Abhinavagupta and have veiled their esoteric practices behind the façade of mainstream Hindu devotionalism. Like his predecessors, the king of Nepal during the primary years of my research, Birendra Shah Deva, publicly proclaimed himself to be an incarnation (avatāra) of the god Viṣṇu. However, like the founder of the Shah dynasty, Prthivi Narayan Shah, Birendra was secretly an initiate of Śrī-Vidyā Śākta Tantra. Although politically displaced by the upheavals and transformations that resulted from the People’s Movement in the early 1990s, King Shri Birendra Shah Deva remained at the centre of an elaborate ideological and ritual complex — informed predominantly by Śākta Tantra — that linked the divine body to the king’s body to the immediate social body, which was constructed and maintained as the Goddess’s universal form (devī-viśvarūpa). In this realm, densely coded Tantric ritual was the catalyst that transforms civic space into a vibrant seat of power. The King and Śākta Tantra: A Historical Perspective As discussed in Chap. 3, the identiication of maṇḍalas, and more speciically Tantric yantras, with the socio-political territory of kings relects important historical links between Śākta Tantra and Nepalese kingship. By at least the twelfth century (Malla period) — and probably as early as the eighth century (Licchavi period) — Nepal’s kings were becoming initiates of Hindu Tantra. For them the maṇḍala was both a template of their kingdom and a spiritual device for identifying themselves with the body of their chosen Goddess. In this way, the maṇḍala has functioned dyadically as an instrument for obtaining both mundane and transcendent modes of power. The temple of Cāṅgu Narayana, situated atop Dolādrī Hill some 13 km outside of Bhaktapur, remains an important site for investigating the historical roots of the relationship of Nepalese kingship to Śākta Tantra traditions. This famous temple site, dating back to at least the ifth century of the common era, stands at the eastern rim of the Kathmandu Valley. Although most famous for its beheaded image of Narayana, this temple site is also home to Chinnamastā and the ten Mahāvidyās. The relationship of these goddesses to the central image of Narayana epitomizes the status of Śākta Tantra in the lives of Nepal’s kings. The Kumārī is worshipped as the secret power of the king, who is commonly identiied with Narayana. Similarly, at the Cāṅgu Narayana complex, Chinnamastā is worshipped as Narayana’s secret power (rahasya-śakti) and the vehicle through the reverBeratinG Goddess | 111 which he exhibits his universal body (viśvarūpa-deha).4 Here, as in many sites in Nepal, while the male god is front and centre, female power is the secret core of divine power. The Gopālarāja-Vaṁśāvalī states that King Mānadeva (c. ifth century) took as his iṣṭa-devatā the Goddess Māneśvarī.5 This goddess, whose name means “mistress of the mind”, was regarded as a form of Durgā and later came to be identiied with Taleju, the tutelary deity (kula-devatā) of the Malla kings.6 The fact that Mānadeva appropriated a form of the goddess as his personal deity suggests that the association of kings with powerful Goddesses is one that spans nearly ifteen hundred years of Nepalese history. It is not unreasonable to think that this Māneśvarī was linked with traditions of proto-Tantrism. Mukunda Aryal posits that Mānadeva also constructed the temple to the headless goddess Chinnamastā at Cāṅgu Narayana.7 With respect to other historical evidence, an important inscription from the Mānadeva era (464–507)8 describes the Mātṛkā Sārvānī surrounded by a circle of other mother goddesses. This description indicates strongly that early Śākta traditions had established themselves in the Kathmandu Valley by as early as the ifth century. By the eleventh-century Sārvānī igures prominently in the Krama–Kaula traditions of Kashmir.9 The circa seventh-century temple to Jaya Vāgīśvarī in Deopatan presents another historical instance of an early Tantric presence in the Kathmandu Valley. An important section of chapter four of the Nityāṣoḍaśikārṇava10 identiies Vāgiśvarī with Tripurasundarī, an identiication conirmed by many of my 4 See my discussion of Chinnamastā in Viśvarūpa Mandir (1996), pp. 134-38. 5 Folios 20b-21a. 6 Slusser, 1982, Nepal Mandala: A Cultural Study of the Kathmandu Valley, p. 317. 7 This is a highly disputable assertion. However, Prof. Aryal is an art historian of international repute. 8 See my Viśvarūpa Mandir (1996) for further discussion of the important Cāṅgu Narayana inscription, esp. pp. 58-62. 9 Oral communication, Kathmandu, Nepal, 4 September 1997. 10 NṢA 4.17-18a: vāgīśvarī jñānaśaktirvāgbhave mokṣarūpiṇī A kāmarāje kāmakalā kāmarūpā kriyātmikā AA 4.17 a-b AA śaktibīje parā sāktir icchaiva śivarūpiṇī A 4.18a. A 112 | the Goddess Within and Beyond the three Cities informants. Vāgīśvarī is more speciically identiied as the goddess of the vāgbhava section of the ifteen-syllable (pañca-daśākṣarī) mantra of the Kāḍī tradition of Śrī-Vidyā. Consisting of the ive seed-syllables (bījākṣaras) ka, e, ī, la, and hrīṁ, this particular kūṭa (section) of the mantra is said to reside in the lowest cakra of the body.11 It is for this reason that contemporary Śrī-Vidyā tāntrikas identify Vāgīśvarī, the “mistress of speech”, as divine sound to be harnessed within the body. In interpreting Kathmandu city as a maṇḍala, tāntrikas understand this Vāgīśvarī Temple to be complemented by other shrines embodying the other two sections of the ifteen-syllable mantra. The issue of the Vāgīśvarī Temple’s antiquity is of particular interest in our attempt to reconstruct the history of the relationship between Śākta traditions and kingship in Nepāla-Maṇḍala. At irst glance, the small temple to the mistress (iśvarī) of speech (vāc), located at the Chabahil crossroad in Deopatan, appears to be only “an ordinary Malla Period Newar-style temple”.12 However, as Slusser aptly notes, there is more to this temple than irst meets the eye. Slusser writes: [A] closer look reveals antique foundations incorporating thresholds decorated with lions peering out from rocky caves. The worn doorstep is the halved plinth of a Licchavi caitya. . . . Peering through the latticed door way into the dim cellar, one can discern the cult image itself, worshipped there since the 13 late ifth or early sixth century, when it was “commissioned by Guhasomā”. It is important here to take note of the name Guhasomā, which means “elixir (soma) of the secret place (guha)”. In Tantric circles, guha-soma is one of many appellates for the clan luids, called kula-dravyas, that are exchanged and consumed during the course of esoteric rituals. At a microcosmic level kuladravya is the serpentine power of the kuṇḍalinī-śakti, whose awakening and ascent is the medium by which the tāntrika is united with the godhead. At a 11 Brooks, 1992, Auspicious Wisdom, p. 90. 12 Slusser, 1982, op. cit., p. 178. 13 Slusser, Nepal Mandala, p. 178. Slusser notes in footnote 86 on this page that the historian G. Vajracarya dates an important Licchavi inscription from this temple as early as 450 Ce. Both Mukunda and Timalsina assert that the central image is the original one and that it has, since its origin, been worshipped as Vāgīśvarī. The inscription itself only reveals that its patron was a woman who “desired no longer to bear the suffering of [being] a woman.” (Regmi, Inscriptions of Ancient Nepal, p. 8). As Slusser notes, this shrine was also one of the last stops for Satis who up until only a few decades ago made their way to the burning ghāṭs of Paśupatinātha temple. the reverBeratinG Goddess | 113 mesocosmic level kula-dravya takes the form of the bodily discharges that are exchanged in the context of the secret ritual in which initiates of the same clan consume luids for the purpose of empowerment. At the macrocosmic level kuladravya is the unending low of Devī’s divine bliss. At the level of absolute reality, kula-dravya is the undifferentiated I-awareness, residing equally at all times, 14 in all places, and all people. Was the Guhasomā who commissioned the Jaya Vāgīśvarī aware of the multiple meanings of her name? Was she an initiate of one of the many proto-Tantric cults that by even the ifth century were engaged in the cultivation and exchange of secret elixirs (guha-soma) for the purpose of cultivating various psychophysical powers (siddhis) such as magical light? Was she a Tantric messenger (dūtī) for the king? Did King Aṁśuvarman, referred to in the inscription, erect the Vāgīśvarī shrine as a testimony to his associations with these cults? While the partially damaged inscription itself does not answer these questions, the nearby temple of Guhyeśvarī provides strong evidence that Śāktism has long held a favoured place among the kings of Nepal. Secrets Revealed: The Identity of the Goddess of the Secret Guhyeśvarī Temple is located on the left bank of the Bāgmatī River, at the north-eastern edge of the Paśupatinātha Temple complex. In his study done in collaboration with Nutan Sharma, the German anthropologist Axel Michaels has uncovered signiicant information about this important temple and the 15 goddess who abides at its centre. As Michaels’s study documents, the Guhyeśvarī complex is replete with material testimony to the devotion of Nepalese kings to this “goddess of the secret”. The temple itself is rather recent, having been 16 established by King Pratāp Malla (1641-71) in the year Ce 1645. However, the present form of the temple is but a more modern marking for an ancient powerseat (śākta-pīṭha). The fourteenth-century Gopālarāja-Vaṁśāvalī points to the early history of the Goddess Guhyeśvarī: In the course of time, with the advent of the Kali Yuga, in the kingdom of 14 AR on NṢA1.8. 15 Michaels and Sharma, 1996, “Goddess of the Secret, Guhyesvari in Nepal and Her Festival”, pp. 303-42. 16 An event that is described at some length in the chronicles. See Daniel Wright, 1993, History of Nepal, with an Introductory Sketch of the Country and People of Nepal, tr. from the Pabatiyā by Munshi Shunker Singh Pandit Shri Gunanand, New Delhi: Asian Educational Services, pp. 21-218. 114 | the Goddess Within and Beyond the three Cities Yudhiṣṭhira . . . the main deity Śrī Bhṛṅgāreśvarī Bhaṭṭārikā emerged in the land. . . . Situated in the lap of the Himalaya, it was at irst covered with a dense forest. Thereafter, Gautama and other sages came to live here. . . . In the meantime, when Śrī Bhṛṅgāreśvarī Bhaṭṭārikā was roaming about the Śleṣmāntaka forest, the Gopālas [= irst kings] came [to the valley]. A brown cow, Bahuri by name, belonging to the cowherd named Nepa, went daily to the bank of the River Vāgmatī to worship at a hole by letting her milk low. The cowherd saw the spot where his cow worshipped with milk. On digging at the spot, Śrī Paśupati Bhaṭṭāraka emerged.17 As Michaels has demonstrated,18Śrī Bhṛṅgāreśvarī (goddess in a lask) is an early epithet for Guhyeśvarī. If this is indeed the case, then the chronicle suggests that it was not Śiva, Viṣṇu, or any of the other male deities, but the Goddess who irst came to the valley. After her arrival, Lord Śiva (Śrī Paśupatī Bhaṭṭāraka) emerges in the same Śleśmāntaka forest that now houses both the Paśupatinātha and Guhyeśvarī Temple complexes. An important verse in the circa eighth-century Niśisañcāra-Tantra19 links these two divinities together as national deities: “I seek the lord of beasts [Paśupati], the god seated in Nepal, united with the mistress of the secret”.20 Another important early reference to Guhyeśvarī comes from the Kālīkulakramārcana of Vimalaprabodha. In a personal communication to Michaels, Sanderson cites a manuscript dated Ce 1002 that mentions Guhyeśvarī and concludes that “The tradition of Guhyeśvarī as rāṣṭra-devī is then deinitely pre-1000 Ce.”21 Sanderson’s conclusion coincides with that of Divakar Acarya, 17 Gopālarāja-Vaṁśāvalī, Folios 17a-b. Translated by Dhanavajra Vajrācārya and Kamal P. Malla, The Gopālarājavaṁśāvalī, Nepal Research Centre Publications 9, Weisbaden: Franz Steiner Verlag, 1985, p. 121. 18 While Dhanavajra and Malla’s edition of the Gopālarāja-Vaṁśavalī reads śrī bhṛṅgareśvara bhaṭṭāraka, suggesting a male deity, Michaels argues that it should be read as śrī bhṛṅgāreśvarī bhaṭṭārikā, meaning “goddess in a lask”, which is a common ritual vehicle for Guhyeśvarī. See Michaels and Sharma, 1996, p. 315. 19 As Michaels notes in footnote 17 on page 316 of “Goddess of the Secret”, Abhinavagupta makes several references to this important Tantra in his Tantrāloka. 20 Niśisañcāra-Tantra, 9th paṭala: fol. 31v-32r. Quoted by Michaels, “Goddess of the Secret”, p. 316: nepāla saṁsthitam devaṁ paśunāṁ patir iṣyate A guhyeśvarīsāmāyuktam sthānapālasamavitam A 21 Cited in Michaels and Sharma, 1996, “Goddess of the Secret”, p. 315. the reverBeratinG Goddess | 115 who maintains that the traditions of Guhyeśvarī were established in the irst millennium Ce. Why is this important? And what does it tell us about Tripurasundarī, the Goddess who is the focus of this study? To answer these questions we must irst investigate further the identity of Guhyeśvarī. In Nepal the Goddess Guhyeśvarī (Fig. 9) assumes multiple identities and is known by many names. Some Hindus call her Satī, the wife of Śiva. Hindu sādhakas know her as Durgā, Kālī, Kālikā, Guhyakālī, Kubjikā, and Taleju, all epithets for the chosen deities of Nepalese kings. Buddhist sādhakas identify her as Nairātmyā, the consort of Hevajra.22 With respect to Guhyeśvarī’s identiication with Satī, the Nepāla-Māhātmya identiies the current site of the Guhyeśvarī Temple as the place where Satī’s “secret part” (guhya) fell to earth after she had committed satī.23 What is the secret part? It is the genitalia of the Goddess, the lower mouth (adhovaktra) and womb (yoni) from which lows the highest power (parama śakti) of divinity. As the site of Devī’s secret part the Guhyeśvarī śākta-pīṭha is regarded by many Nepalese tāntrikas to be a power seat of the highest order. At this site, where the Goddess is represented by a hole in the ground, tāntrikas worship divinity in its full potency as the ultimate sexuality of the godhead.24 The various epithets of Guhyeśvarī point to her identification with Tripurasundarī, the Goddess who infuses the king with her secret power. The Tripurasundarī-Paddhati, an important ritual text housed at Nepal’s National Archives that is dated Ce 108925 contains the earliest known reference to Tripurasundarī in Nepal. The paddhati is bound together with a manuscript of the Nityāṣoḍaśikārṇava dated Ce 1388 which strongly suggests that the Tripurasundarī worshipped in the paddhati is the same goddess who was already being worshipped at that time by Śrī-Vidyā Kaulikas from Kashmir and Tamil Nadu. In order to understand more fully the identity of Tripurasundarī as Guhyeśvarī, we must turn to an examination of another goddess with whom 22 Michaels and Sharma, 1996, op. cit., p. 319. 23 Nepāla-Māhātmya 1.38: tavāṅgaṁ patitam guhyaṁ vāgmatītaṭinītaṭe A mṛgasthalyām udīcyāṁ tu tat pīṭhaṁ paramaṁ mahat AA 24 Levy, 1990, Mesocosm, Hinduism and the Organizations of Traditional Newar City in Nepal, p. 231. 25 NNA, Śaiva Tantra 164, reel no. B 28/2. 34 Folios. 116 | the Goddess Within and Beyond the three Cities she is at times identiied: Taleju, the mysterious “goddess on high”, and the proclaimed iṣṭa-devatā of many Nepalese kings. The importance of this goddess is captured by Anne Vergati. Before 1768, the three towns of Kathmandu Valley had separate kings [and] each ruler had the same tutelary divinity: Taleju. It is only after the arrival of Taleju, in the fourteenth century, that a blueprint for the organization and hierachization of the entire society of his kingdom — Buddhist as well as Hindu — was drawn up by Jayasthiti Malla. If Taleju occupies a position close to or within the Royal Palace in each of the three towns, the cast hierarchy is relected in the settlement pattern which encircles the palace: the higher castes live closest to the palace, the others further away in roughly concentric circles. The divinity occupies, so to speak, the central position in a social maṇḍala.26 Why did the kings of the three cities of the valley — Kathmandu, Bhaktapur, and Patan — all take Taleju as the their chosen deity? Vergati suggests that the answer is linked, at least in part, to the “historical context in which Newar society evolved into its present form”.27 In the Newar pantheon, the only divinity constantly linked with royalty is Taleju. According to Newar oral tradition, this divinity came from India to Nepal in the middle of the fourteenth century with Harisiṁha Deva who was a king of the Karnatak dynasty, which originated from Ayodhya. He reigned in the Terai, as Simraongarh, not far from present-day Simra. After a battle between Harisiṁha Deva and Ghiyas-ud-din Tughlaq, the former had to lee into the mountains and entered Nepal. He brought with him a new form of Devī.28 This “new form of Devī” brought with her to Nepal a rich history of secrecy, relected most immediately in the multiple obscure forms of her name, which has been rendered in different contexts as Tulasī, Tulajā, Talagu, and, of course, Taleju.29 One common account of the Goddess’s origins traces her back to the events narrated in the Rāmāyaṇa. It is said that the goddess was captured by the 26 Anne Vergati, 1995, “Taleju, Sovereign Deity of Bhaktapur”, in Gods, Men and Territory: Society and Culture in Kathmandu Valley, New Delhi: Manohar and Cenre de Sciences Humaines, p. 85. Cf. Slusser, 1982, op. cit., pp. 316-20. 27 Vergati, “Taleju,” p. 86. 28 Ibid. 29 Sylvain Lévi, 1905, Le Népal, Etude historique d’un royaume hindou, vol. I, pp. 378-79, quoted in Vergati, “Taleju”, p. 86. the reverBeratinG Goddess | 117 demon Rāvaṇa but eventually escaped and was later found by King Rāma who installed her at Ayodhyā. From there the Goddess made her way to Simraongarh and became the tutelary divinity of King Harisiṁha Deva. A competing account, noted by Vergati, states that Taleju was the secret deity of Rāvaṇa, worshipped by him because she bestowed such great power. Knowing that Taleju was the source of Rāvaṇa’s strength, Rāma captured the image of this goddess and drowned it in the Sarayū River. Hundreds of years later a prince of Simraongarh, named Nānya Deva, was advised by his astrologer that at the Sarayū riverbank he would ind an object that would empower him to establish a kingdom north of Simraongarh. Following this advice, he found the image and carried it with him until he reached the site of Bhaktapur, which at that time was covered with jungle. There he established a kingdom and built a temple for Taleju. Neither of these two accounts is accepted by most historians. Rather, historians are generally in agreement with the Gopālarāja-Vaṁśāvalī, which states that King Harisiṁha Deva died on his way to Bhaktapur from Dolakha, east of the Kathmandu Valley. Whatever the case may be, by the time of Jayasthiti Malla (Ce 1382-95) Taleju, the mysterious goddess on high, had been selected as the king’s personal protectress and object of worship. Her power was so great that a Tibetan militia even sought to take her by force.30 The question remains, who is this goddess? Bronwen Bledsoe remarks that “There is still no deinitive answer to this question, at least none openly spoken”.31 In his devotional public poem, Sarvāparādhastotra, King Pratāp Malla addresses her as Caṇḍikā, Ambikā, Durgā, and Bhavānī.32 However, she has other identities that link her with goddesses whose names were once uttered only behind closed doors in sanctiied ritual domains that not only allowed but encouraged the transgression of the sacred codes of moral conduct. Such transgressions were seen as the means to awakening a divine power capable of granting all desires, mundane and transmundane. In these circles, Taleju’s name was rich with multiple nuances. The Newari tale, meaning “higher or upper”, combined with the honoriic ju renders Taleju the “goddess on high”, perhaps referring to the high temple. Or, in a domestic context, Taleju can refer to the family goddess situated 30 Sylvain Lévi, 1905 Le Népal, Étude Historique d’Un Royaume Hindou, pp. 378-79. 31 Bronwen Bledsoe, 2000, “An Advertised Secret: The Goddess Taleju and the King of Kathmandu”, in Tantra in Practice, ed. David White, pp. 195-205. 32 Sarvāparādhastotra. 118 | the Goddess Within and Beyond the three Cities on the upper loor of the traditional Newar house in its āgancheṁ (shrine room). In Sanskrit tal has the opposite meaning of “bottom, lower, or foundation”, and is related to adhas, as in Adhāmnāya, the “transmission of the base”. And eju, based on the root ej, means “to tremble, vibrate, or stir”. Rendered in this way, Taleju is the “goddess who trembles/stirs at the foundation”. As such, Taleju recalls Kubjikā, the “coiled one”, whose serpentine form as the kuṇḍalinī-śakti resides at the foundation of the microcosm, coiled three- and one-half times, replete with liberating potentiality. The association of Taleju and Kubjikā, as Dyczkowski points out, links Taleju to the traditions of the western transmission (Paścimāmnāya) and such central texts as the Kubjikā-Mata.33 However, the Goddess does not always stay rooted in the foundation. Upon initiation from a competent teacher (ādhikārī guru), a sādhaka’s kuṇḍalinī-śakti awakens and rises through the body’s central artery until established at the top (tale), where the goddess of the foundation, Kubjikā-Devī, reveals her form as the goddess of the heights (tale-ju). Situated in the sahasrāracakra, at the upper reaches of the tri-cosmos, Taleju assumes the transcendent form of Parā, whose name literally means “beyond, above”. It is for this reason that Taleju is addressed by Pratāp Malla as sarvā-parā-adha, the “Goddess who is both the supreme height (parā) and foundation (adha) of all things (sarvā)”.34As Parāśakti, Taleju is linked with the upper transmission (Ūrdhvāmnāya) and with its clan deity (kula-devī), Tripurasundarī; its authoritative text, the Nityāṣoḍaśikārṇava; and its central aniconic symbol, the Śrī-Yantra. In sum, Taleju is the embodiment of all goddesses. Although a deity shaped strongly by geospeciic histories, Taleju functions as Nepāla-Maṇḍala’s Mahādevī, the feminine embodiment of absolute, non-dual, consciousness. The symbolism and rituals connected with her synthesize each of the six transmissions and fuse them into a centralized, all-encompassing system, the Sarvāmnāya, whose function is to link Nepāla-Maṇḍala directly to the maṇḍala of liberating energies within the microcosm and in turn their ultimate source, the Devī herself, who is both within and beyond the maṇḍala. The disclosure of the location of the treasure is meaningless without a 33 Mark Dyckowski, “Kubjikā, Kālī, Tripurā, and Trika”, unpublished manuscript given to me by the author. 34 An interpretation not noted by Bledsoe. the reverBeratinG Goddess | 119 map detailing the means to access it. We may know the identity — or at least partial identity — of Taleju, but such disclosure leads nowhere if it is devoid of a description of the means by which disclosed secrets become sources of liberating illumination. As the goddess of the secret, Taleju functions as a metaphor for heightened states of awakened consciousness linked with the highest, non-verbal modes of speech, parā-vāc.35 These states are produced through the highly secretive yogic disciplines detailed in the primary texts of each of the āmnāyas.36The paddhatis apply the doctrines and techniques of these primary texts and translate them into the personal, civic, and state rituals that invigorate Nepāla-Maṇḍala with the powers of Taleju, she whose secret identity encompasses the triad Guhyeśvarī, Kubjikā, and Tripurasundarī as well as the deities encompassed by them. The project of interpreting Taleju requires a multilevelled investigation. First, one must read the root classical texts (mūla-śāstras) connected with the various goddesses that she encompasses. Second, one must read the colophons of these goddesses’ respective paddhatis. Third, one must understand Taleju’s relationship to the king’s patron god, Bhairava, and this deity’s associated texts. Fourth, one must understand that as a national goddess, Taleju derives her power from the esoteric practices, linked to the luids and subtle energies of the mūlādhāra-cakra — at the base of whose vibratory lotus sits Kubjikā, the coiled one, wrapped around her lord’s supreme form as para-liṅga. This rich imagery is etched in stone at the Paśupatinātha complex where the Vasukinātha Temple represents the kuṇḍalinī-śakti as a material image (arca), at the feet of the central image of Lord Śiva as paraliṅgam. In the Taleju temple complex at the site of the old Malla royal palace in Kathmandu, Taleju is depicted as the eighteen-armed slayer of the buffalo demon, Mahiṣāsura. Taleju’s iconic form suggests that hers is a body of total power — royal and yogic alike — linked simultaneously to the root, centre, and apex of each of the tri-cosmos. As Kathmandu’s civic bindu, the city’s esoteric heart, Taleju — she whose transcendent aspect (parā-kalā) is embodied in Śrī- Vidyā and whose foundational aspect (mūla-kalā) is embodied in the Kubjikā Vidyā37— 35 KMT, 14-16. 36 Bledsoe, 2000, op. cit., p. 199. 37 Timalsina explained to me that Nepalese Śrī-Vidyā tāntrikas view Kubjikā and Tripurasundarī as the inseparable poles of the Godhead, linking Kubjikā with the power of initiation and 120 | the Goddess Within and Beyond the three Cities is the ultimate goal of any quest to track Nepal’s Devī. In her awesome supreme form she is the eighteen-armed slayer of all the enemies of the tri-cosmos: those microcosmic enemies who cause illness and hinder spiritual growth; those mesocosmic enemies who might attempt to dethrone the king either from within or without Nepāla-Maṇḍala, and those macrocosmic forces who would seek to cause harm to Devī and her ininite universe. Ultimately Taleju conquers death, granting eternal liberation to those who awaken her from her divine slumber and excite her to leave the foundation (mūlādhāra-cakra) in search of Bhairava at the transcendent heights of the cranial-vault (sahasrāra)which is Mount Meru’s sacred peak, situated at the transcendent centre-point of the universe. Of course, from the perspective of post-structuralist critical theory, such discourse of a transcendent centre point of the lord of the maṇḍala (maṇḍaleśa) points to the earthly ruler who propagates such discourse for the purpose of selflegitimation. Taleju, in this perspective, shines as another icon of institutional bondage, relecting those discursive strategies by which a nation becomes bound to its own geospeciic constructions of nation and selfhood. And so we return to where we started: face-to-face with paradox. Taleju is the bottom and Taleju is the top — the beginning, the means, and the end. From the emic perspective of the tāntrika, she embodies the subcontinent’s great quest for freedom from all forms of bondage, even the bondage of the cycle of birth and death. From the etic perspective of the critical theorist, she is inseparable from the causes of bondage. She is the epistemic icon whose state-sponsored discursive formations38 become Tripurasundarī with the power of realization. 38 Discursive formations instantiate power. For tāntrikas, no discursive formation is more powerful than Sāham, “I am She”. In Tantra, the answer to the question, Who am I, is synonymous with the question, who is my deity? Ultimately, the tāntrika is to learn that the I-awareness of his deity is his own I-awareness, reverberating as the consciousness-vibration that pulsates within his initiation-mantra. Taleju, as the chosen deity of Nepalese kings since at least the fourteenth century, is the esoteric identity of Nepal’s kings. As the king is the lord of his Nepāla-Maṇḍala, his I-identity stamps and permeates all sections of the maṇḍala. From an esoteric perspective, all citizens within Nepāla-Maṇḍala are Taleju. She who is powers of the foundation (adhośakti) and of the transcendent heights (parāśakti). Clearly, the establishing of the king’s I-identity into his citizens would be an effective mode for coercing people to serve. You instinctively do what’s best for a king if you see him as yourself. If the king is your god, or goddess, then his decision to tax you is divine, hence beyond reproach. In this way a sovereign conceals from you his political agendas behind a complex the reverBeratinG Goddess | 121 habitus through the network of rituals that transmit the logic of practice. Can these two apparently opposite perspectives be reconciled? Can Taleju, who is the supremely powerful (anuttama-śakti) Mahādevī, be at once the cause of bondage and the means to its transcendence? Can Śākta Tantra ideologies and practices perpetuate the institutions that are characteristic of any political system while also serving as a means for release from all shackles (sarva-pāśa-muktopāya)? To answer this question, I turn to an examination of the institution of the Kumārī, that ritualized government-sponsored worship of pubescent girls as the virginal yet sexually-charged embodiment of Parāśakti. The fascinating history religious system that translates political agendas into symbolic forms that one misidentiies as the ways of the gods, so to speak. If this is indeed the case, then the duty of the scholar is to expose such subtle modes of ideological domination, and reveal, as Brian K. Smith puts it, the Oz behind the curtain (Smith 1994). In my case, the situation is dificult, because I see in the institutionalized ibres of Nepāla-Maṇḍala a system that functions simultaneously on multiple levels. The oppression of Nepalese people throughout the years by multiple dynastic heads is well-known, carefully documented, and indisputable (particularly evident during the reign of Nepal’s most recent and perhaps inal king). The sins of the current king, like his forefathers, are public knowledge. And the events of 1990-91 were witnessed throughout the world. I would be blind to say simply that the inner essence of the king is transcendent consciousness and that therefore he is beyond morality. At the same time, I would also be doing a great disservice to the people and culture of Nepāla-Maṇḍala if I simply reduced their religiocultural network to a neo-Marxist critique on the subtle modes of institutionalized power. Faced with this dilemma I chose a middle path between the extremes of the emic and etic perspectives, a path that places these two ways of seeing reality in dialogue with each other, seeking a place of “truth” wherein the ought and the is, the ideological and the everyday reality, the doxa and the praxis, the ground (adha) and sky (parā, “that which is above”) form an axis point of intersecting perpendicular truths whose juncture demonstrates that the oppositions innate within paradox can ultimately be united. This hermeneutical stance is of value, I believe, because it enables the voice of others to be heard as potentially equal and even, perhaps, superior to the scholar’s own voice, which regardless of any attempts to bracket subjectivity inevitably superimposes itself upon the ield of scholarly inquiry. While I may have the critical training and even personal motivation to expose Nepal’s Oz, I believe this approach would too strongly reveal my own ideological biases and training. Further, after several years of living and studying in Nepāla-Maṇḍala, I’ve come to see that their way of understanding themselves and their cultural network is as sophisticated and insightful as any critical scholarly theory I have ever read. Bearing this in mind, I turn again and again to the site of Kathmandu’s royal Kumārī who resides at Kumārī Bahā in Hanumān Dhokā. 122 | the Goddess Within and Beyond the three Cities and intricate complexities of this institution relect the nuances of Nepalese constructions of selfhood and the relationship of these constructions to the multiple dynamics of power operating simultaneously at the individual, civic, and national levels of Nepāla-Maṇḍala. The King and the Kumārī: A Historical Perspective “The Kumārī institution,” writes Slusser, “is of special interest. . . . It underscores the remarkable religious syncretism characterizing the Valley.”39 To probe into the institution of the Kumārī is to probe into the soul of the complex multi-ethnic nation of Nepal. Just as the current Kumārī spends most of her days in the dark, sequestered Newar home built especially for the Kumārī in the seventeenth century, so the institution’s history is largely veiled. However, just as the Kumārī occasionally reveals herself even to non-Hindus, so there are critical junctures in Nepal’s history in which the Kumārī institution has stepped onto the national stage and revealed the multilevelled structures of power that sustain it. If the institution of the Kumārī dies, then the idealized vision of Nepāla-Maṇḍala will die with her. Hers is the microcosmic body through which the entire sociopolitical system orients and regenerates itself. Kings bow before her. A nation awaits her every gesture, seeking in each a sign of fortunes to come. The Kumārī is celebrated as the Viśvarūpa Devī of the paddhatis, the Goddess of the universal form, in whose virginal body is contained the entirety of being.40 In her inner courtyard, to the Hevajra shrine where Kumārī reveals her identity as Nairātmya Yoginī, the selless Yoginī whose ultimate form transcends description. This goddess resides in the space of realization, where words dissolve into the stillness of a mind trained in the arts of conquering the inner enemies. The Kumārī is often identiied with Kālī, the warrior goddess who is capable of killing any enemy that threatens her power-wheel. And so too she is Kālī’s secret self, Guhyakālī, Kālī of the hidden place, which is the yoni, the seat of sexual and spiritual power, worshipped on the Kumārī as a Śrī-Yantra. As Guhyakālī the Kumārī is ultimately identiied with Tripurasundarī, the Goddess of the three cities, patroness of the Trika Śāstra, which has been cultivated in Nepāla-Maṇḍala since at least the twelfth century, the date of the earliest Vāmakeśvara-Tantra 39 Slusser, 1982, op. cit., p. 311. 40 kanyārūpasarvabhūtā pūrakadehinī devī — TSP 21.3-21.5. the reverBeratinG Goddess | 123 manuscripts.41 The links between the institution of the Kumārī and Nepalese kings can be traced back to as early as the beginning of the twelfth century. According to the Gopālarāja-Vaṁśāvalī, in Ce 1192, King Lakṣmīkāmadeva, “thinking that his grandfather had acquired so much wealth and conquered the four quarters of the world through the aid of the Kumārīs, resolved to do the same. With this intention he went to the . . . [palace] of Lakṣmī-barman, [where] he erected an image of Kumārī and established the Kumārī-pūjā.”42 This important passage from the Nepalese dynastic chronicles highlights three important aspects of the relationship between the king and the Kumārī. First, the Kumārī is to be worshipped for the acquisition of material gain (artha). Second, King Lakṣmīkāmadeva, a king of Hindu descent, strategically selected a girl from a Buddhist Newar caste to be his Kumārī. Third, worship of the Kumārī empowers the king to conquer the “four quarters of the world”. With respect to the irst point, that a king would worship the Kumārī for the procurement of wealth clearly points to the association of the Kumārīs with the attainment of material ends. With respect to the second point, from a certain perspective the king’s choice of a Buddhist girl was an effective political strategy since the majority of his subjects were Buddhists. The institutionalized relationship between an eliteIndian-Hindu-male-king and a lower caste-Newar-Buddhist-female-virgin girl clearly exempliies what Catherine Bell calls “redemptive hegemony” in that such an institution serves to perpetuate asymmetrical relations of power.43 The Kumārī thus serve as the locus for social productions of power. However, in her links to 41 These manuscripts form a central textual basis from which Nepalese Śākta tāntrikas construct through praxis a triadic episteme on power. This triad links individual agents to an intermediary set of interconnected social spheres that are in turn linked to an overarching interpretation of reality that makes each of these realms mirrors and containers of each other. Maṇḍalas within maṇḍalas, replicas of a divine template, all contained within the principle of I-awareness, the power of self-identity invigorates the nation and its citizens through establishing an identity of transcendence that can be actualized by any citizen who operates according to the wisdom and means (vidyopāyakṛtā) within the maṇḍala. 42 Daniel Wright, 1972, History of Nepal, p. 157. 43 See Catherine Bell, 1992, Ritual Theory, esp. pp. 114-17. Viewing Nepalese Tantra through the lens of social-constructivism a culture-critical analyst like Bell could quickly and deftly identify the ritualistic procedures by which power relations are inscribed upon the bodies of not only the king and queen, but all those inhabiting the discursive ields in which the institution of Nepalese kingship plays itself out. 124 | the Goddess Within and Beyond the three Cities the esoteric traditions of Tantra she also becomes, for the adept, the instantiation of transcendent power. This aspect of the Kumārī’s role is highlighted in Lakṣmīkāmadeva’s proclamation that the Kumārī is to be worshipped in order to conquer the four quarters of the world. This important statement conveys a double entendre that alludes to both political and spiritual aims. The metaphor is clearly drawn from political conquest. Yet Lakṣmīkāmadeva’s grandfather, although successful, was no Alexander the Great — his conquered domain was only the relatively small territory of Nepāla-Maṇḍala. This statement also alludes to the spiritual conquests attained through worshipping the Goddess, which enable the sādhaka to conquer the four quarters of the world in internalized visualizations.44 Śākta texts such as the Devī-Māhātmya often use the metaphor of conquest to describe kings who are both world emperors (cakravartin) and spiritually awakened (Buddha/Siddha).45 After the reign of King Lakṣmīkāmadeva we continue to ind inscriptions mentioning the worship of Kumārīs by kings. Both the Kaumārī-Pūjā (Ce 1280) and Kumārī-Pūjā-Vidhāna (Ce 1285) describe the worship of the Kumārī by the king46 and equate the Kumārī with the king’s iṣṭa-devatā.47 This equation of the Kumārī with king’s “chosen deity” is critical, as it reveals that the Kumārī was both the king’s political servant and his revered deity. Trailokya Malla, who reigned in the independent kingdom of Bhaktapur from 1562–1610, is credited with establishing the institution of the Kumārī in each of the three Malla kingdoms. The accounts of this historical event are illuminating, as they highlight the institution’s links to mystico-erotic traditions of Tantra, which view sexual union (maithuna) as an integral aspect of the Tantric path. Paralleling the classical mythology of Śiva and Pārvatī, we are told that Trailokya and the Goddess were playing dice. The king longed for intimate contact with his iṣṭa-devī, who consequently scolded him and said that he could only communicate 44 In the earliest literature on the Devī we ind this term “conqueror of the four regions of the world”, which points to the Tantric homologous perspective that equates the microcosm with the macrocosm. Cf. David White, 1996, The Alchemical Body: Siddha Traditions of Medieval India, pp. esp. 15-23. 45 Thomas B. Coburn, 1996, “Devī: The Great Goddess”, in Devī: Goddesses of India, ed. Hawley and Wulff, pp. 31-48. 46 Allen Michael, 1975, Cult of Kumārī, p. 16. 47 Ibid. Cf. Slusser, 1982, op. cit., Nepal Mandala, p. 311. the reverBeratinG Goddess | 125 with her through a girl of low caste.48 Perhaps the most signiicant historical example is King Prthivi Narayan Shah (1723-75). In the historical accounts of his life, we ind the intimate relationship of Tantra to kingship and the ways in which the institution of the Kumārī, while clearly embodying an anthropo-contingent power dimension, also comes to symbolize theo-contingent power. While king of Gorkha, a region in western Nepal, Prthivi Narayan arduously practised the Tantric yoga of Bālā Tripurasundarī. After he had practised Tantric sādhanā for twenty-ive years, this child goddess appeared to him and granted him the boon that he would conquer and unite the Kathmandu Valley.49 Prthivi Narayan and his troops entered Kathmandu on the day of Indra Jātrā, the occasion when the Kumārī bestows her divine approval upon the king. At the time of Prthivi Narayan’s surprise attack, the then king of Kathmandu, Jayaprakāśa Malla, was preparing to receive the Kumārī’s blessing. Swiftly, and unexpectedly, Prthivi Narayan rode into the royal courtyard and bowed before the Kumārī, who unhesitatingly blessed him. In that moment, popular legend goes, the king of Gorkha became king of Nepal in a swift act of power that was the result of both political strategy and divine grace won through years of arduous devotion to the Goddess. Turning to an examination of the events that preceded this historic event, we again ind elements that suggest a conjoining of anthropo-contingent and theo-contingent forms of power. As king of Gorkha, Prthivi Narayan placed himself under the protection of the eponymous saint Gorakhnāth, who was held to be an incarnation of Śiva and founder of the Kānphaṭā sect.50 In addition to taking refuge in a powerful semi-divine being, Prthivi Narayan also sought the assistance of a living member of Kānphaṭā tradition. This was Bhagavantanāth, whose yogic prowess is described in the Yogī-Vaṁśāvalī.51 Bhagavantanāth was 48 Malla kings equated their deity with the long-held tradition of Śākya Kumārī. Jayaprakāśa Malla built an oficial Kumārī residence in Basantapur and worshipped the Goddess to fend off impending Gorkha attack. 49 Dibya Upadesh., tr. L.F. Stiller as Prithvinarayan Shah in the Light of the Dibya Upadesh, Kathmandu: Himalayan Book Centre, 1989, pp. 40-41. 50 Véronique Bouillier, 1991, “The King and His Yogī: Prithvi Narayan Śāh, Bhagavantanāth and the Uniication of Nepal in the Eighteenth Century”, in Gender, Caste, and Power in South Asia, Delhi: Manohar, pp. 3-21. 51 Véronique Bouillier, 1991, op. cit., p. 4. 126 | the Goddess Within and Beyond the three Cities recognized as a Siddha, or perfected master of Tantric yoga, who was endowed with psychophysical powers (siddhis).52 In this way, Bhagavantanāth placed his spiritual powers in the service of his king’s political agendas. Bouillier writes: We see Bhagavantanāth using the prestige proper to a holy man, the magical powers gained through his practice of haṭha-yoga, and his strategic knowledge, in support of, or even as a means to inciting the conquests of Prthivi Narayan. He represents the spiritual element in the quest for power, and is thus a guru whose ield is artha. He does not follow the dharma of the brāhmaṇa or the saṁnyāsī renouncer, but acts in accordance with the aim of artha, of power and worldly success.53 By aligning himself with a Tantric Siddha and appointing Bhagavantanāth his political advisor and Tantric guru, Prthivi Narayan sought to realize both spiritual and worldly pursuits. Even before his meeting with the powerful, mysterious Bhagavantanāth, there were signs that Prthivi Narayan was no ordinary king. His father was considered to be a great Siddha, and his mother Kauśalyāvatī was held to be an incarnation of the Goddess Mānakāmanā.54 As a young boy, Prthivi Narayan was visited by the great Siddha Gorakhnāth, who gave him initiation by dropping curds onto his feet and claiming that he would become a great ruler of all lands that he walked on.55 As a young man, Prthivi Narayan spent time in Bhaktapur. Even then his Tantric sādhanā was already bearing fruit, as one day, instead of blessing the king, the Kumārī gave prasāda to Prthivi Narayan — an event that was later interpreted to be an indication that Prthivi would one day conquer the Kathmandu Valley.56 52 Here, the relationship of Tantric yogin to (Tantric) king highlights a fusion of political and spiritual power not found in the classical model of king and brāhmaṇa priest in which the brāhmaṇa’s ritual purity stands in dialectical opposition to the king’s secular power. See Louis Dumont, 1966, Homo Hierarchicus: An Essay on the Caste System, tr. Mark Sainsbury. Cf. J.C. Heesterman, 1985, The Inner Conlict of Tradition, Essays in Indian Ritual, Kingship and Society. 53 Bouillier, 1991, op. cit., p. 16. 54 The equation of queen with mother Goddess is also found in south Indian traditions. See Hudson (1993). 55 Sri Prasad Ghimire, The Life and Rule of Prthivi Narayan Shah (unpublished manuscript shared with author). Cf. White, 1996, op. cit., pp. 310-11. 56 During his military outings Prthivi Narayan would consult the Svarodaya, a Tantric manual that correlates the rhythms of the king’s breath with potential for military success. Understanding his own body to be inseparable from the body of his deity, and by extension, his army, Prthivi Narayan proceeded into battle according to the rhythms of his breath. the reverBeratinG Goddess | 127 Through his inal conquest of the valley Prthivi Narayan demonstrated that his twenty-ive years of internalized worship of the Kumārī through Tantric yoga was the means to conquering and uniting Nepal. In his historical account of Prthivi Narayan, Sri Prasad Ghirmire writes Conquering the world within through internalized union with his chosen deity, he was thereby empowered by her to transform this mystical power directly 57 into the political domain. In the moment that he entered the royal courtyard of Jayaprakāśa Malla and bowed before the Kumārī, thereby usurping the throne, Prthivi Narayan became the locus for the conjoining of anthropo-contingent and theo-contingent power — for in that pivotal Janus-faced moment, marking as it did both death and birth, the Goddess Tripurasundarī bestowed her grace in the context of a socio-political conquest that had been so carefully constructed by this Tantric king. The Kumārī as the King’s Servant Although functioning ideologically as immortals, Kumārīs paradoxically return to mortality. On average, Kumārīs serve their post for approximately eight years, from about age four until their menses. During this time, the Kumārī is considered the multi-levelled embodiment of Devī. Before and after this time she is simply a female human being from the Buddhist Newar Śākya caste. Her brief term as the goddess does not eradicate the reality of her humanness. And, from a certain perspective, she remains human even while divine. In this light, the Kumārī, although a goddess, has always been little more than a servant to the king. She is a citizen in his kingdom, a young girl of Newar descent in a position of subservience to an elder Hindu man of Indian descent. The process of selecting a Kumārī is extensive. The selection committee is composed of the royal astrologer (rāja-jyotiṣa), the king’s religious adviser (rājaguru), and several Newar Buddhist and Hindu priests. Their function is to ensure that the humanity of the selected girl will not be a hindrance to her functioning as a divinity for the king and his subjects. Her body must be in perfect condition. All parts are examined. A single blemish can result in the dismissal of an otherwise worthy candidate. At the time of my initial ield research in 1996, the Kathmandu Royal Kumārī was chosen in 1991 at the age of two. At that 57 Ghimire, The Life and Rule of Prthivi Narayan Shah. 128 | the Goddess Within and Beyond the three Cities time the royal committee investigated her to ensure that she had the thirty-two physical perfections of a goddess, which include everything from clear skin to perfectly formed genitalia. Apart from her family, the little girl Goddess has lived over two years in isolation in the ornate, recently restored eighteenth century Kumārī-Ghar. Her daily schedule varies little. Attendants set her hair in a ritual bun, her eyes are rimmed with kohl, extending like a Zen painter’s stroke to her temples, while her forehead is distinctively painted with a vermillion red, black, and golden all-seeing “ire-eye”, and each day she sits on her lion throne for two or three hours. At this time a priest from the nearby Taleju temple performs a puriication rite using objects said to cleanse each of the ive sensory organs: lour for the ears, rice for the mouth, incense for the nose, a lamp for the eyes and red powder for touch. The Kumārī receives up to a dozen faithful devotees everyday. “Many people come to see the Kumārī”, the Kumārīmā, a small elderly woman explained. “Some come with medical problems, especially illnesses related to bleeding. Many government oficials visit, hoping her blessings will ensure promotion.” She must remain solemn and silent, sitting cross-legged in her gilt-canopied lion throne while the line of worshippers shufles through her private chamber, each person touching the loor with his or her hand and laying down offerings of money, fruit and lowers. To her followers, every movement the child makes is deemed a sign from the Goddess Taleju. If she receives a petition in unmoved silence, it will be fulilled; should she laugh, cry or rub her eyes, the supplicant will fall ill or even die. Anita Sakya, now in her early twenties, was the royal Kumārī seven years ago. Shy and reserved, as most ex-Kumārīs are known to be, she told me a sad story. “I was just a little girl. Once a sick man came to be blessed. He was so sick he coughed and a touch of spit landed on my toe. My attendants gasped. He died the next day. I felt very sad. I believed I was 58 responsible for his death.” This amazing testimony by an ex-Kumārī reveals the human element beneath the façade of the institution, while also pointing to a kind of transmundane power that is often spoken of in association with the living Kumārīs. The living Kumārīs are a paradox. They are servants of the state, illing an institutional position whose function is to provide a focal point for the legitimation of state power. As such they are encoded with the elaborate symbol systems of Śākta Tantra. They 58 V. Carroll Dunham, 1997, “Nepal’s Virgin Goddesses”, in Hinduism Today (June): 27. the reverBeratinG Goddess | 129 become servants to a state-sponsored ritual structure that transforms them from little Śākya-caste girls into the living repository of the king’s chosen deity. Their mortal frames become the sight of the joining of both horizontal and vertical axes of power. Herein lies a paradox and a conlict. The Kumārī as the King’s Goddess and Consort In her daily pūjā the Kumārī’s body is worshipped as the abode of all the worlds. In her reside all gods and goddesses. She is the receptacle of all, the ininite being of time (ananta-kāla-rūpiṇī) in whom all beings meet their end, the place where sky meets the earth, beyond all opposites as the ultimate source of existence.59 As such she is the king’s iṣṭa-devatā, his chosen divinity, the supreme form of Taleju, who is the object of his longing for all forms of power and enlightenment.60 In this context she inverts the hegemonic order and turns the king into a servant of the Goddess (devī-dāsa), just as the Kumārī chose Prthivi Narayan Shah to be her royal servant and thereby initiated him into the centre of Nepāla-Maṇḍala. As Taleju’s incarnate-form (avatārīsvarūpiṇī), the Kumārī is linked at all levels to the daily events and annual rituals of the king.61 As Kubjikā she wears a serpent necklace symbolizing the kuṇḍalinī-śakti. As Guhyeśvarī she receives worship of her genitalia, the site of her lower-mouth and the medium of divine wisdom. The fact that the Kumārī’s yoni is worshipped as Śrī-Yantra reveals that the place of secrecy is a virgin’s sexual organs, the microcosmic site of purity and its transcendence inscribed with a nation’s self-identity. In this function, the Kumārī becomes the king’s lover, Rājarājeśvarī, who unites with him for the purpose of shattering the illusions of duality and exchanging the liberating luids born of union. Secrecy is the abode of power. The secret of the virgin’s relationship to the king is that she is his consort and lover. What makes the Kumārī powerful is that her virginity is blended with the raw sexuality of the Goddess. It is for this reason that she wears the passionate colours of red. How ironic, then, that Kumārīs are removed from their position at the time of their menses. 59 Kumārīpūjanabalidāna-Vidhi, NNA Reel no. E 1406/2, fol. 24-27. 60 Bālasundarī-Kavaca, NNA Reel no. E 207/19, fol. 6.4-8.2. 61 See Mukunda Aryal (ed.), 1991, The Kumārī of Kathmandu, Kathmandu: Heritage Research. 130 | the Goddess Within and Beyond the three Cities In the inal analysis the symbolism of the Kumārī as the king’s goddess and the symbolism of the Kumārī as the king’s consort are intimately connected, for the king himself is viewed as a divinity and hence the Kumārī is his female divine counterpart, his consort. The king and Kumārī unite as a god uniting with his goddess. The sexual imagery associated with this relationship, in which the king receives prasāda from the worship of the Kumārī’s yoni, evokes the multilayered history of sexual imagery and sexual transactions in Tantric traditions, which was discussed at length in Chap. 2. The Kumārī as the King’s Innermost Self The inal stage of the king’s sādhanā is his permanent cognition (nityāvṛtti) that the Kumārī is his inner self (antar-ātman, antar-svabhāva, svarūpiṇī-devī). In addition to his extensive training in Western institutions,62 the former king of Nepal, Birendra Bir Shah Deva, was, as previously noted, a respected Śrī-Vidyā Śākta tāntrika. It is for this reason that he daily received the blessed offering (prasāda) generated from the construction of a Śrī-Yantra Meru Cakra on top of the uppermost face of the central liṅga at Paśupatināth Temple. And this is also the reason that his wife, Queen Lakṣmī Devī took the Śrī-Yantra as her regal insignia. The wisdom (vidyā) of the Vāmakeśvara-Tantra informed this royal couple’s political, social, and religious activities. It is for this reason also that Timalsina, a Parbatiyā brāhmaṇa and initiate of Śrī-Vidyā, was given the chair of Tantra Studies at Balmiki Sanskrit College in his early twenties, an academic award that acknowledged both his intellectual and religious qualiications. In Nepāla-Maṇḍala, Tripurasundarī, the Goddess of the three cities, stands at the elevated centre of a cultural power web that derives its life breath from the ideologies and practices of Śākta Tantra. In Nepal Śrī-Vidyā maintains the position of the most revered school of esoteric knowledge. Nepalese Śākta tāntrikas regard the Śrī-Yantra as the totality of Tantric revelation and the Kathmandu Valley as the “ield of the three cities” (tripura-kṣetra), that is the instantiation of the Śrī-Yantra, as discussed in Chap. 3. This does not mean that the Kubjikā and Guhyeśvarī sampradāya are any 62 The king’s Oxford degree is a well-known fact among Nepalese literati. For some it is a sign of the king’s betrayal of traditional values; but, for others it is a model of the warrior engaged in the skilful deployment of his art. For tāntrikas, King Birendra is the receptacle of power through which the Goddess disseminates her seeds of power (śaktibīja). the reverBeratinG Goddess | 131 less signiicant than that of Tripurasundarī. The interlocking triangles of the Śrī-Yantra all equally embody the power and wisdom (śakti-vidyā-samasta-rupiṇī) of the supreme godhead, and each of these triangles is linked to a particular goddess with her own name and attributes.63 For this reason, contemporary sādhakas often laugh when asked whether Tripurasundarī, Kubjikā, Guhyeśvarī, Kālī, or Durgā is in reality Taleju. At the end of my last stay in Nepal in 1997, Siddhi Gopal Vaidya referred again to his discourse on Taleju: Listen, when you irst asked me about Śrī-Vidyā I told you that you were like a climber who wanted to reach the summit without actually ever making the earlier stages of the journey. In the meantime, I’ve demanded that you study the scriptures and spend time with Timalsina. Your time here is limited. So although you are not ready, I am going to tell you a great secret. Its true meaning will not come to you until you are inished with this project, which, as you have noted in previous conversations, will be several years from now.64 Even then you won’t really understand. If you want to understand as Timalsina understands, then you will have to return and you will have to live here, with this land, her people, and her gods and goddesses. Until then your understanding of Nepāla-Maṇḍala will be limited. Nevertheless, I will tell you the secret: all āmnāyas are united. Just as the base of Mount Everest is united with its peak, so Bhūvaneśvarī [in the mūlādhāra] is united with Tripurasundarī [in the sahasrāra]. The foundation and the summit are one. Both are pervaded by the energy of the supreme Goddess (parāśakti), who has been called by many names. . . . Listen little brother (hernos bhai), I call God Mā Kālī. This is because I am an initiate of Kālī Vidyā. However, Timalsina is an initiate of Śrī-Vidyā, and so he calls God Mahātripurasundarī. Kālī and Tripurasundarī are not distinct. The lineages are distinct, but the being who is the focus of these traditions is not different. Many different trekking expeditions climb Mount Everest. But for all of them the goal is the same, the mountain is the same. They may take different routes. They may call the mountain by different names, but the mountain still is what it is. So Devī is one. Taleju is Devī. Taleju is Kālī. Taleju is Kubjikā. Taleju is 63 Each line of the yantra resonates uniquely as a particular sound vibration. There is distinction. Yet, every line, intersection, pulsation, and vibration of this cosmogram is non-distinct from the centre point that generates it. Similarly, the high goddesses of Nepal’s royal pantheon are all equal manifestation of the one, supreme consciousness that is the goal of Śākta Tantra practice. 64 Timro pahile boleko re ki yesko kām siddhaunlai ailebāta dherai samāy lagcha. 132 | the Goddess Within and Beyond the three Cities Guhyeśvarī. Taleju is Siddhīlakṣmī. Taleju is Tripurasundarī. Taleju is Parāśakti. All of these are names for that one reality that is, as Śaṅkarācārya so beautifully states, beyond all names. Those so-called paṇḍits who quibble over the “true identity” are missing the point. They are lost in political tensions and don’t understand what our own paddhatis make so evident: all of these belong together in one system because all of these goddesses are ultimately the same. . . . And there is one more thing to say. You and Timalsina talked to me about the perfect I-consciousness (pūrṇa-ahaṁtā), which is mentioned in the Nityāṣoḍaśikārṇava. This term captures the secret of our Sarvāmnāya system. Think about this deeply. And remember, the Kumārī lies at the heart of this secret.65 During the several years that have elapsed since this inal conversation, I have continually contemplated Siddhi Gopal’s statement, “This term pūrṇohaṁtā captures the secret of our Sarvāmnāya system”. What does perfect I-consciousness have to do with the Kumārī, who “lies at the heart of this secret?” How does this philosophical concept — perfect I-consciousness — inform the socio-political and religious traditions of Nepāla-Maṇḍala and more speciically the institution of the Kumārī? The Kumārī is Taleju. No one identiies her as perfect I-consciousness. Or do they? In the end I discovered that contemporary Śākta tāntrikas do indeed identify the Kumārī as perfect I-consciousness, for the Kumārī, as both Tāleju and Taleju, is the unbroken continuum of pure unbounded consciousness that is the supreme Goddess. The Kumārī is Taleju; she is considered the human embodiment of the King’s chosen goddess. Taleju has been the patron deity of Nepalese kings since the time of Jayasthiti Malla in the thirteenth century. Architectural, epigraphical, and textual evidences demonstrate that this goddess is identiied with Tripurasundarī, Kālī, Durgā, Tārā (Fig. 8), and the other goddesses of non-dual Śākta Tantra. She is then a meta-symbol comprising the multiple discursive representations that constitute these other goddess traditions. In Nepal Taleju is an ocean of meaning fed simultaneously by the multiple streams of the Sarvāmnāya. As Nepalese tāntrikas have historically favoured practice over discourse, there are not a lot of philosophical treatises housed at Nepal’s National Archives. However, paradoxically, this fact demonstrates precisely the opposite of what it appears to indicate. The absence of such texts is a cultural display of dissemblance: in Nepal tāntrikas have veiled their knowledge of non-dual Śākta traditions behind the 65 Oral communication, Patan, Nepal, October 1997. the reverBeratinG Goddess | 133 ritualized institutional structures that are themselves the culmination of such a discourse. The evidence for this claim lies in at least two signiicant places: the oral traditions of contemporary Śākta tāntrikas, and the numerous versions of the Nityāṣoḍaśikārṇava and related non-dual Śākta texts found throughout the Kathmandu Valley, many of which date back to the thirteenth century. Tāntrikas like Timalsina, Divakar, Mukunda, and Siddhi Gopal all understand that ultimately Devī is perfect I-consciousness. Each of them made this assertion to me on separate occasions. And for each of them this understanding is rooted in the classical textual sources that inform their practices. Of these sources, Nityāṣoḍaśikārṇava is primary. As Timalsina said to me, “The Nityāṣoḍaśikārṇava is our great paddhati. All other paddhatis are based on it.” Nepal was largely unscathed by the Muslim invasions that spread across the subcontinent from as early as the eleventh century, and Nepāla-Maṇḍala thus offered a safe haven for the numerous cultural and religious traditions of the inhabitants of its borders. Kashmir, Benares, and Bengal were the primary entry points through which Śākta traditions were carried into Nepal in the form of texts, deities, and the traditions of worship associated with them. The very presence of these traditions in Nepal, particularly in the form of the institution of the Kumārī, testiies to the presence of the doctrine of perfect I-consciousness (pūrṇohaṁtā) that is central to Śākta Tantra theology and practice. As Lakoff and Johnson have powerfully articulated, when the symbol is embodied, the philosophical system is inherently implied.66 We would be mistaken to conclude that Nepalese tāntrikas are unaware of the subtle metaphysics developed by the exegetes of Kashmir and other regions of India. Instead, we must read these metaphysics back into the symbol system that is so intricately mapped out within Nepāla-Maṇḍala. Doing so, we return to our focus on the institution of deifying virgin girls and the rich web of ritual practices — at the heart of Nepāla-Maṇḍala — that daily demonstrate the divinity of these girls to the king and his people. This cultural nexus is, at its esoteric core, the ritual demonstration of the apex of Śākta Tantra theology: namely, the radical claim made so eloquently by Abhinavagupta that all of existence is the internal projection of I-consciousness within the ininite body of the godhead. The inal stage in the Tantric King’s sādhanā is the realization 66 George Lakoff and Mark Johnson, 1999, Philosophy in the Flesh, the Embodied Mind and Its Challenge to Western Thought, New York: Basic Books. 134 | the Goddess Within and Beyond the three Cities that the Kumārī whom he worships as Taleju ultimately resides within him as his innermost Self, the continuum of perfect I-consciousness. Perfect I-consciousness is the culmination of non-dual Śākta Tantric practice. As the Nityāṣoḍaśikārṇava explains, when the kuṇḍalinī-śakti is established in the sahasrāra at the apex of the central channel, the sādhaka’s mind becomes permanently established in the awareness that there is only one subject, the Goddess of the three cities, whose ininite Self is present everywhere, in all things and at all times. Perfect I-consciousness is the sādhaka’s realization of his or her identity with the Goddess, the mantra that is her vibratory essence, the yantra that embodies her, the teacher who awakened this realization, and the universe at large, which are all seen as the Self. At this level of yogic realization, the tāntrika has gone beyond Arjuna in the Bhagavadgītā, in that he or she recognizes the Viśvarūpa as the Self. Having mastered kuṇḍalinī’s ascent, having returned discourse to its source, the realized sādhaka has trained his or her mind to see as the godhead sees. In this condition of embodied liberation (jīvanmukti), he or she views the multiple levels of reality dissolving and re-emerging within the continuum of Being. The Final Secret: The Kumārī, Taleju and Music The theology of Nityāṣoḍaśikārṇava thus serves to illumine the relationship between the Nepalese king and the virgin Newar girl who is at once his servant, goddess and consort, and ultimately his innermost Self. But what does the doctrine of perfect I-consciousness tell us about the recently eliminated tradition of rituals of royal devotion to the Kumārī? I turn now to my notes from an interview in 1997 with Tara Bahadur, personal secretary to then King Birendra, at his home at the northern rim of Kathmandu: I tell you these things because Timalsinaji informs me that you have respect for our traditions and some knowledge of kula-vidyā. Nepal is a land of Siddhas and holy people. This is a land where people come for spiritual insight. It is a ield for liberation (mukti-kṣetra). And what is liberation? As Dhanaśamaśera says in his Kulārṇava-rahasya, liberation is the understanding that the world, the Self, and the deity are one. This is why it is so important that we maintain our cultural traditions — the temples, rituals, and festivals that are our lifeblood and the means by which we, as a people, achieve liberation. . . . If I understand you correctly, the questions that drive your research project are these: Who is Tripurasundarī, the Goddess of the three cities? What is her relationship to our national goddess (rāṣṭra-devī), and in turn to the king and Kumārī? These are the reverBeratinG Goddess | 135 important questions. Their answers are at once simple and profound. I’m telling you these things because I trust your integrity. Tripurasundarī is a name we give to the ultimate [reality] to identify that is as both beyond and within this visible world. When I address the divine in this way I acknowledge her simultaneous presence and transcendence. Another name for this divine principle is Taleju, or Tāleju. As Taleju the divine manifests as the root or foundation (ādhāra). As Taleju the Goddess is Bhūdevī, the very soil we walk on. And within our bodies she abides in the mūlādhāra as the kuṇḍalinī-śakti. As Taleju she is the goddess of the heights, Mahādevī, who is forever beyond this realm of the three guṇas. Within our bodies Taleju is the supreme mistress residing in the sahasrāra, known only through initiation. This is why Pratāp Malla and other great kings took initiation. They wanted to witness within themselves the transformation of Taleju into Tāleju. When the goddess of the foundation becomes the goddess of the heights, then your journey is complete. Then you see that the Goddess within the three cities is also beyond (purā) those realms and you become free. As a society, we seek this freedom as our ultimate goal. Ultimately, everyone within the maṇḍala seeks to rise from Taleju to Tāleju and in so doing to see their absolute identity. All aspects of the maṇḍala are linked. The foundation is the height. What is needed for this realization to occur is a means. For us that means is sound, nāda. In yoga we receive mantras that empower us to raise the kuṇḍalinī. As a society, we use music (saṅgīta), to elevate us as a community. And this is because the goddess of the heights is also the one who makes us stir (eju) through rhythm (tāla).67 Clearly, Tara Bahadur, as the king’s secretary, speaks with the voice of a well-read, educated, upper-class Nepalese politician. As a Nepalese citizen his statements can be taken as both authoritative and, to some degree, representative. Tara Bahadur is a cultural śāstrakārin, an embodiment of cultural doctrines whose authority abides in the fact that he speaks for and from the ideologies and practices that have formed him. His statements leave us with much to ponder. Tara Bahadur’s own ideology clearly reflects a tri-cosmos model for understanding the relationship of the divine to the Self and society. Taleju/ Tāleju, the nation’s symbolic core, is central to this understanding. On the macrocosmic level, Taleju/Tāleju is at once the transcendent principle beyond the manifest world and also the foundation that is this world. She is, in Tara Bahadur’s words, “the very soil we walk on”. On the microcosmic level, she 67 Oral communication, Kathmandu, Nepal, 17 November 1997. 136 | the Goddess Within and Beyond the three Cities situates herself simultaneously at the base and at the heights of the yogin’s subtle physiology. As Taleju she abides in the mūlādhāra. As Tāleju she abides in the lotus of the sahasrāra, as Tripurasundarī, the beautiful Goddess beyond the three cities. On the mesocosmic level, she is the foundation and pinnacle of the rich social and cultural complex that is Nepāla-Maṇḍala. And, as the Goddess who makes her people stir through music, she spreads herself from the centre to the periphery of the maṇḍala via the multiple sound-based technologies that are so central to all aspects of Nepalese religiocultural traditions. From the shamans of Dolakha to the high priests of Kathmandu’s central Taleju temple, the Goddess who is both the foundation (tala) and the heights (tāla) inspires (eju) her people through rhythm (tāla). As the patron goddess of the kings of Bhaktapur, Patan, and Kathmandu, this Taleju is the Goddess of the three cities. Taleju, the patron goddess of the three cities, is the foundation, means, and goal of Tantric practice in Nepal. She is the centre and periphery of the microcosm, the macrocosm, and the mesocosm and the vibratory thread that weaves them all together. She is spanda, the divine pulsation that on the macrocosmic level rhythmically stirs the cosmos and on the microcosmic level produces the kuṇḍalinī’s ascent. Musicians and shamans alike worship her as the foundation of all creativity. My tablā teacher, Homnath Upadhyaya explained: I have not read the Nityāṣoḍaśikārṇava and the other texts that Timalsinaji knows so well. However, I understand the power of rhythm.68 If you look at certain images of Mahādeva,69 you see that he uses his right hand to keep count. This is because he is controlling his breath by doing prāṇāyāma. The count he’s using is in the sixteen beat cycle of tīn tāl. This is because sixteen is for us the number of perfection. A great tablā player likewise coordinates his breath with the strokes of the drum. In this way, he gains a deep understanding of time.70 When I went on to ask Homnath about the relationship of tīn tāl to Tripurasundarī in her aspect as sixteenfold (ṣoḍaśī), he noted that this was a sign that she was complete, without blemish. That same day I was present at a very interesting 68 ma ta tālko śakti barimā bhūjcchu. 69 Homnath is referring to images of Śiva as a lord of yoga (yogeśvara) which depict him practising breath control atop Mount Kailāsa. In these images, Śiva is seen with his right hand in a counting posture, the thumb pressed to the digits of his hand the way a musician keeps count. 70 Oral communication, Hadigaon, Nepal, 18 April 1997. the reverBeratinG Goddess | 137 discussion between Timalsina and Homnath in which they discussed the interconnections among the paths of music and Tantra. Homnath: “Guruji, please give me a mantra that I can recite while I do my daily practice.” Timalsina: “Why do you need a mantra from me? You have everything in your practice. You sit in yoga posture and you create worlds with your hands. This is magic. I have nothing to offer you. However, let’s do one thing. For both of us, sixteen is the foundation of our practice. You teach me how to play tīn tāl, and I’ll teach you the sixteen-seed syllables of the Goddess. This way we will both beneit!”71 When I later asked Timalsina about this exchange, he explained that the classical musical traditions are inseparable from Tantra. He even declared that the highest essence of Tantra is found in performance-based texts like the Nāṭyaśāstra. “It is no accident,” he concluded, “that Abhinavagupta took such pleasure in the arts.” These sentiments were articulated on several other occasions during my research in Nepal and India in 1996 and 1997. One such occasion was in April 1997 as I prepared to leave the Benares home of Homnath’s beloved teacher, Ramji Mishra, the son of Paṇḍit Anokhe Lal. In tablā circles Ramji is, like his father, regarded as one of the great players in the history of the tradition. That night I learned something about Ramji that is less known: he is an initiate of Śākta Tantra. As we said our parting words, Ramji directed my gaze towards his hands, which he had formed into a mudrā. His inal words were, “There is no separation of music and Tantra. Both have the same goal.”72 What struck me about this exchange was not only the insight that he was offering on the relationship of music to Tantra, but also that I found myself in a near trance state for several long minutes after walking away from his house. Gazing into his hands and hearing these words had noticeably altered my state of consciousness and made me ponder about the numerous legends about great musicians who, like yogins, are acclaimed for their psychophysical powers. As I fell asleep that night, I felt that I was hot on the heels of the Devī (Fig. 23). A month later I visited the home of Drubhesh Regmi, a renowned sitarist of the Benares tradition whose great grandfather brought the sitār tradition 71 Oral communication, Deopatan, Nepal, 16 September 1997. 72 Oral communication, Benares, India, 16 April 1997. 138 | the Goddess Within and Beyond the three Cities to Nepal. Sitting in his home in Kathmandu across from the royal palace, I had the pleasure of meeting with his father, widely acknowledged as the premier sitarist of Nepal. I was impressed to learn that he is an initiate of the Sarvāmnāya tradition and that Tripurasundarī is his iṣṭa-devatā. As I left his house that night he, like Ramji, put his hands in a mudrā and imparted nearly the same message concerning the union of music and Tantra. A week later I had an interview with Shambhu Prasad Mishra, the eighty-six-year-old tablā maestro who, like Ramji, is a Śākta Tantra initiate. His statements again suggested that Taleju is the nexus at the heart of Nepāla-Maṇḍala, linking centre to the periphery and serving as the vibratory means for human freedom. Since you are an initiate of our tabla tradition,73I’ll answer your question about the relationship of rhythm to Taleju. In my family line we have many texts about the Goddess, Mahādevī. One is the Lalitā-Sahasranāma. This is the most beautiful poetry. Here we address the Goddess by so many names. But all of these names speak to just one being. There is only one Goddess, just as there is only one rhythm, right? Don’t you know this? (Smiling.) Listen, little brother, at irst I started to play tablā because it was my duty. I come from a lineage of tablā players. However, during my irst cila74 my attitude shifted. During my cila Devī Bhagavatī appeared before me and gave me her darśana. I asked her who she was and she said, “I am you. Keep playing and you will understand.” At irst I was bewildered. But I followed her advice and returned to my practice of tablā. Several hours went by. I was practising [the tablā strokes] tirakiṭataka. Devī’s words kept coming back to me, “I am you”. I had no idea what this could mean. Then I remembered my teacher had told me that the soul (jīva) and the Goddess are not separate. And so, as I played I realized that I was Mahādevī. And I understood that I would remember this when I played. So for me Taleju is the goddess of rhythm.75 Shambhu’s statements on the unitary nature of the Goddess and her relationship to music correlate with the perspectives of Tara Bahadur, Ramji, and Homnath. Among contemporary oral traditions we thus find some members of the Nepalese community who link the esoteric deity Taleju — who is identiied with 73 hamro tablā gharānābāta auedekhi. 74 A cila is an intense period of tablā training during which the student seals himself or herself off from society for forty days doing nothing but constant riyāẓ (tablā practice). 75 Oral communication, Kathmandu, Nepal, 23 April 1997. the reverBeratinG Goddess | 139 the Kumārī — to the musical traditions. The basis for this linkage is supported historically by the fact that King Nānyadeva of Mithilā (1097–1154) wrote a very important commentary on the Nāṭyaśāstra called Sarasvatīhṛdayālaṁkāra, “Ornamentations on the Heart of Sarasvatī”.76We know from inscriptional evidence that Nānyadeva’s tutelary deity was Taleju, also known as Dwimāju,77the goddess of the loya (Maithilī).78 I discovered a copy of this manuscript in the private collection of the young albino sarodist, Suresh Vajracarya. Although I have not read this important document, Suresh told me that it was through this text that he became aware of the links between Taleju, Tantra, and music. While these links could be Newar interpolations, they are no less helpful in pointing to the identity of Nepal’s patron goddess and her position within Nepāla-Maṇḍala. But where does this discussion of Taleju as a goddess of rhythm take us in terms of our inquiry on the nature of power in Nepāla-Maṇḍala? I would argue that it takes us three places at once: to the texts, to the people, and to the musicians. If we are to understand the Śrī-Yantra as a template for power, then we have to become aware of the multiple interlocking discursive ields and practices that it encompasses. Of these many systems, music is, like Tantra, primary. Music is the sound-body (nādarūpa) through which the Goddess invigorates her maṇḍala. It is the spanda (subtle vibration), that invigorates the microcosm, the macrocosm, and the mesocosm. It is for this reason that rituals to the Kumārī are always accompanied by music — a fact of which I became acutely aware when I visited the Patan Kumārī in Ha Bāhā.79 Traditionally, the Ha Bāhā Kumārī comes from a lineage of Kumārīs who once served as royal mistresses for the kings of Patan (Fig. 12). Although no longer recognized as a royal Kumārī, the Ha Bāhā Kumārī still carries symbolic power as the Taleju of Patan. On the day I visited the Patan Kumārī in 1997, I was, thanks 76 Emmie Te Nijenhuis, 1977, “Musicological Literature”, in A History of Indian Literature, vol. VI, fasc. 1, ed. Jan Gonda, Wiesbaden: Otto Harrassowitz, p. 10. 77 “Floya” is Newar for “Maithilī”, and māju is Newar for “Mother Goddess”. In abbreviated form this becomes either lo-māju or Dvi-māju, all meaning “The Mother Goddess of the Maithili People.” 78 Bikrama Jit Hasrat, 1970, History of Nepal as told by Its Own and Contemporary Chroniclers, pp. 50-54. Cf. Slusser, 1982, op. cit, p. 318. 79 Formerly the site of Patan’s royal Kumārī, Ha Bāhā is also known as Haka and Hātko Bāhā. 140 | the Goddess Within and Beyond the three Cities to Mukunda Aryal, able to witness, photograph, and record the daily worship (kanyā-nityā-pūjā) performed to her by the Ha Bāhā Kumārī priest, Bajracarya Sharma. During the thirty-minute ceremony Sharma read from his own copy of Kumārī-Pūja-Paddhati. This text, which he let me see but not photograph or copy, was illed with important textual references that linked Taleju to Tripurasundarī and Vajrayoginī and a host of other Hindu and Buddhist equivalents of Parāśakti, the feminine embodiment of supreme power who is the ritual lifeblood of Nepāla-Maṇḍala. All of these deities were equated with Kumārī, this seven-yearold girl, as the living embodiment of the Viśvarūpa-Devī. In the inner sanctum of Ha Bāhā, Bajracarya did as he had done everyday for nearly all of his adult years: he worshipped a prepubescent girl he understands to be the microcosmic embodiment of the universal form of the Goddess. From the moment he that rang his Tibetan bell (ghaṇṭā) and formed a mudrā with the vajrā — a Tibetan Buddhist symbol of the adamantine yet empty self — Bajracarya was in the presence of the supreme form of the Goddess, according to his own testimony. “To the eyes of the non-initiated,” he explained, “she still looks like just a girl; but, to us [referring to himself and Mukunda Aryal] she becomes Viśvarūpa-Devī.”80 In other words, the ritual is the medium of transformation. Through ritual a human girl becomes the microcosmic embodiment of the Goddess. However, the veil of illusion, the façade that makes her seem like just a girl is removed only if the ritual is linked to initiation (dīkṣā). In this way, as Sanderson has noted, ritual makes the impossible possible.81 The Tantras, Āgamas, and paddhatis that constitute the Nepalese Śrī-Vidyā Śākta Tantra canon all emphasize that without ritual practice there is no possibility for production of knowledge and power. Such production is bodybased. Without inscribing the body with the ritual mechanisms that disseminate Śākta Tantra wisdom (vidyā), there is no way for the maṇḍala to encode itself within the individual. The maṇḍala is the synthesis of Nepalese cultural values, which have been developed and transformed over centuries of fermentation and exchange with the multiple Asian cultural traditions that have passed into the Kathmandu Valley from one of the many intersecting routes of the Silk Road. The maṇḍala is at once Newar and Parbatiyā, Hindu and Buddhist, folk and classical. 80 Oral communication, Patan, Nepal, 21 November 1997. 81 Sanderson, 1986a, p. 210. the reverBeratinG Goddess | 141 Despite strict caste restrictions that have preserved distinct ethnic and racial identities, the bodies of the inhabitants of Kathmandu Valley have been inscribed with multiple value systems that are synthesized, organized, and hierarchized by the maṇḍala — a symbol of the esoteric traditions of Tantra that has been preserved and disseminated by the royal and religious elite in the valley for at least the last twelve-hundred years. When Bajracarya worshipped the Kumārī that day, as he had on every other day for more than twenty years, he afirmed through ritual that he acknowledges this Tantric discourse, that he lives in it as it lives in him. Through the transformative power of ritual he brought into the microcosmic body of a virgin the macrocosmic Śakti for deployment at the mesocosmic level. The Kumārī is a medium through which Taleju disseminates herself throughout Nepāla-Maṇḍala, which is her body writ large as geopolitical space. For the tāntrika who has been initiated into the system of the maṇḍala, the entire country of Nepal is Devī’s body. This is because Nepalese tāntrikas operate, as discussed in Chap. 3, according to a kind of inside-out logic that situates the origin-point of “objective” space within the consciousness of the witnessing subject. Consequently, the initiated sādhaka does not have to wait for the Devī to reveal herself within the body of the Kumārī. Rather, projecting onto the Kumārī the maṇḍala constructed within his own mind during elaborate stages of ritualized meditation, the tāntrika wields the power to see the Kumārī at all times as the cosmic embodiment of the ŚrīYantra — the very image the virgin sits upon during her daily worship. For this purpose, Bajracarya — established in correct posture (āsana), breath controlled through the proper breathing regimen (prāṇāyāma) — began his daily worship of the Kumārī with the construction of an internalized image (dhāraṇā) and meditation (dhyāna). The image he constructed in his mind was the ŚrīYantra. Once constructed, he meditated on the bindu in its centre, witnessing śakti low out from each of the points of the triangle and ill the entire maṇḍala with grace. Then, through nyāsa, he began to instill the beings and powers of this internalized maṇḍala in his own limbs, inscribing himself with the wisdom of the maṇḍala (maṇḍala-vidyā) and making himself a worthy vessel to worship the Goddess. After thus encoding his body, he opened his eyes and received the darśana of the Kumārī as Taleju–Mahiṣāsuramardinī–Tripurasundarī– Kālasaṁkarsinī, the beautiful one who is the supreme power of the three cities. In this moment the low of transformation was bi-directional. The ritual agent 142 | the Goddess Within and Beyond the three Cities projected onto the Kumārī his own ritually transformed vision, and in the same moment she was possessed (āveśa) by Taleju and thus transformed. Her transformation, made possible through the ritual, was considered real. Yet the priest had constructed it through the regimen of an internalized vision that he controlled entirely. From that point the priest Bajracarya proceeded to worship the feet of the Goddess, receiving from them the prasāda that was once carried daily directly to the Patan king for his consumption (Fig. 28). Here the tradition of transmitting sexual luids, at the basis of Tantric practice for at least twelve-hundred years, has been displaced onto an eating ritual that links ingestion to a supreme power whose source is identiied as the vulva of Nepal’s virgin goddess. After visually mapping the Śrī-Yantra across the entire body of the Kumārī, the priest then, without disrobing her, focused this image speciically on the genital area. This is the site of secrecy, the place of ultimate feminine power, where Taleju reveals herself as Guhyeśvarī, the mistress of the secret place. And here, as the place of supreme power, the Goddess’s maṇḍala-body is the Śrī-Yantra — the pre-eminent symbol of Śākta Tantric traditions, the emblem of Nepal’s queen, and the model of territorial organization and spatial construction that links Nepalese citizens directly to a transcendent Goddess whose ultimate abiding place is within their own bodies. Having transformed the Kumārī into Taleju by projecting his internalized vision of the Śrī-Yantra onto her microcosmic form, the Tantric priest received the blessings of her transformed divine presence. The consumption of prasāda in the form of eggs, sweets, and other food items was the ritual documentation that this reciprocal transformation had indeed occurred.82 Through this blessed food, the power generated by this insideprojected-outside transformation of perceptual space is disseminated into social space as the mesocosmic conduit of a power rooted in the yogic realization that the “objective” world is simply an external projection of the internal continuum of consciousness. Through this process of ritual consumption the Goddess creates a stirring, 82 This “ritual documentation” states that the Nepalese tāntrikas have profoundly understood Abhinavagupta’s dictum that the stages of ritual mirror are the stages of unfolding consciousness. For just as Parāśakti brings forth creation by projecting within herself the wheel of power that is her true being (śakticakra-sadbhāva), so the tāntrika internalizes himself to his own projection by viewing the Kumārī as the embodiment of the goddess-maṇḍala he worships and views within himself during the course of his own meditation practice. the reverBeratinG Goddess | 143 or vibration, within the microcosmic bodies of the ritual participants as well as within the mesocosmic plane of social space. This stir is her spanda, the subtle vibratory pulse that is manifested as the acoustic body of the maṇḍala. As the power of cosmic emission (visarga-śakti), this pulse makes possible the projection of the Goddess onto her own screen as the Śrī-Yantra. As the power of individual-awakening (śakti-pāta), this pulse stirs the dormant kuṇḍalinī-śakti and brings about the internal ascent of the Goddess within the body of the yogin. As the power that stabilizes and invigorates the social-maṇḍala, this pulse stirs through the various ritual performances and musical traditions that serve as conduits for disseminating the Goddess’s acoustic body. This is why Bajracarya sings his ritual litany with the accompaniment of a small drum. This is why all of Nepal’s festivals are accompanied by music. This is why classical musicians play in the court of the king and why their musical tradition is guarded through initiation and secrecy. This is why the Nityāṣoḍaśikārṇava is not a philosophical treatise but rather a guide for instilling mantras within the body. Finally, this is why Tripurasundarī, the patron goddess of the Kathmandu Valley, is known as Taleju, for it is through her subtle vibratory pulsations that she transmits her supreme power, awakening and enlivening simultaneously the tri-cosmos, causing all aspects of the maṇḍala to tremble with the rhythms of her innate blisspower. Through her rhythmic sound body, the Goddess enlivens the maṇḍala. The Thami shamans of Dolakha worship Tripurasundarī as Taleju, seeking possession by the Goddess through the sounds generated by their drumming and the repetitive chanting of her many sacred names. The Ha Bāhā priest of Patan, Bajracarya, worships the Kumārī as Taleju, seeking the divine blessings of the Goddess through the ritualized sounds of his litany accompanied by drumming. In this way, the priest at one of the three primary centres of Nepāla-Maṇḍala links himself with Thami shamans situated at the maṇḍala’s periphery. He links himself with people whose orientation towards Taleju is disassociated from the Nityāṣoḍaśikārṇava and the other canonical works of the Śākta Tantra canon. The link is a pan-Asian technology of producing deity-possession through the ritualized production of sound. Such technologies of ecstasy have been extensively documented by Mircea Eliade and other scholars of Asian traditions of shamanism.83 In Nepāla-Maṇḍala the classical canonical traditions of the 83 Mircea Eliade, 1972, Shamanism: Archaic Techniques of Ecstasy, Princeton: Princeton University Press. 144 | the Goddess Within and Beyond the three Cities Tantra intermingle with indigenous shamanic traditions, interconnected through technologies of deity-possession rooted in the ritual performances that harness the transformative power of sound. In the end, then, Nepal’s divine Kumārī is many things at once, a foundation in many traditional senses. As a servant to the state, her work symbolizes commitment to the nation’s institutional complex, embodied most concretely until 2008 through her service to Nepal’s former kings, such as Birendra Shah Deva, whose initiation into Śrī-Vidyā Śākta Tantra qualiied him to practise Tantric sādhanā. Towards this end, the Kumārī became his divine consort, who unites the sexuality and groundedness of Guhyeśvarī with the transcendent beauty of Taleju, the goddess of the heights. As Taleju, established in the upper regions of the tri-cosmos, the Kumārī reveals herself as Tripurasundarī, the goddess who is both within and beyond the three cities and who ultimately resides within the king himself as his innermost Self, as the I-consciousness that underlies and unites the tri-cosmos. Conclusion Will the Devī’s Power Be Enough? In one generation traditional Nepalese culture will live only in museums and 1 our memories. — Mukunda Raj Aryal D urinG my years of research in Nepāla-Maṇḍala, I observed a rapid rise in population, pollution, commercialism, and neo-Maoist ideology and a concomitant rapid decline of traditional cultural and religious values and overall morale. I still remember, in 2000, the site of Nepalese school children — many not older than my four-year-old daughter — marching the streets of Nepāla-Maṇḍala’s three cultural centres — Kathmandu, Bhaktapur, and Patan — demanding the establishment of a neo-Maoist regime. Those political rituals, although enacted by actors too young to fully appreciate the consequences of their actions, appeared to signal the demise of the maṇḍala. For many years now, it has seemed as if the Goddess of the three cities has been decoding her mātṛkā-self and returning all of the constituent elements of her being to the transcendent source from which tāntrikas believe they originally emanated. If it is the case that the Goddess lives in the ideologies, institutions, temples, festivals, and social practices of the people of Nepāla-Maṇḍala, then it appears she no longer has many places left to inhabit. Is this fall of the Devī evidence that Śākta Tantra is, as some cultural critics would assert, merely an ideological product of a historically contingent, geospeciic community? Must the God and/ or Goddess of such communities inevitably die? If they do die, are we certain they were ever born? How does a community give birth to a God or Goddess? Finally, are Hindu deities also capable of resurrection? Our study of the Nityāṣoḍaśikārṇava reveals that Śrī-Vidyā theologians have developed a very sophisticated discourse of power that situates theo-contingent 1 Oral communication, Kathmandu, Nepal, 10 November 1997. 146 | the Goddess Within and Beyond the three Cities power in a dialectical relationship with anthropo-contingent power. Power comes from above and is also produced from below. It is both transhistorical and historical, unconditioned and conditioned. Tripurasundarī manifests the world and is manifested by the world. The sādhaka depends on her grace and also induces her grace to low. Nepāla-Maṇḍala is invigorated by the reverberations of Taleju while at the same time reinvigorating her expressions. Śrī-Vidyā is a cultural production and is also a divine revelation. The Devī is immortal. The Devī is dying. The tension between these apparently contradictory statements is the explosive centre point that both conceals and reveals discursive truth patterns. Śaṅkarācārya refers to this point as the “inexpressible” (anirvacanīya). Nāgārjuna calls it the two truths. Understanding that the nature of human experience is paradoxical, Nepalese Śākta tāntrikas have turned to ritualized performance as the principal means of connecting with the divine. They are not unique in this regard. Tāntrikas throughout all regions of Asia have developed elaborate ritual systems. However, Nepalese Tantra, although linked historically and doctrinally with the Tantric traditions of India and Tibet, is a unique expression of the species. The core of Nepalese Śākta traditions is the royal institution of the Kumārī, who is ritually worshipped as the human embodiment of the Goddess, Taleju, the patroness of Nepal’s kings. As Taleju, the Kumārī is revered as Tripurasundarī, the Goddess of the three cities, the beloved of the kings of Nepal since the twelfth century and the highest Goddess in the Sarvāmnāya system. And as Taleju, the Kumārī is the vibratory emission of power that enlivens the macrocosm, microcosm, and mesocosm, making possible the return to complete awareness of innate perfection. This Taleju is the Goddess who causes trembling through rhythm. She is the visarga-śakti who gives rise to creation, awakens the kuṇḍalinī-śakti, produces states of possession, and invigorates the sociocultural maṇḍala through ritual and cultural performances of music and dance. As Taleju, Kumārī is Kubjikā, the coiled serpentine power that when harnessed travels to the apex of the subtle physiology and dwells there as Tripurasundarī, the Goddess beyond the three cities. The Nityāṣoḍaśikārṇava is a central source for the ideologies and practices of this rich Nepalese sociocultural complex. But there is no mention in this text of what happens when the discourses and institutions of the Devī are dismantled by the manifold historical and cultural factors that are steadily transforming ConClusion | 147 Nepāla-Maṇḍala into another overgrown Asian cosmopolitan disaster. Does the Devī die when Kathmandu’s temple skyline is buried beneath a sea of Chinesestyle, multi-storeyed business and apartment buildings? Does she fade out when no one believes in her any longer? Does her existence depend on the people who worship her and write scriptures in her name? Does she live only in their cultural traditions? If slain in Nepal, could she migrate elsewhere? If she did, how would we detect her presence? Who is responsible for the construction of the religious and cultural traditions that constitute Nepāla-Maṇḍala? And who is responsible for their rapidly accelerating demise? Regarding the human originators of religious ideologies and practices, Brian K. Smith remarks: One of the inevitable tasks of the analyst of religion . . . is to pull the curtain back and reveal that the wizard of Oz is but a humbug from Kansas. Or, to phrase it more delicately, we are obliged to reveal what others have taken such pains to hide: the particularistic, subjective, intrinsically interested, and always human origins of all claims to “absolute truth”, “objective reality”, “transcendent authority”, “nature”, and the like. Questions and answers that are never posed or given by the religious need not be left mute by scholars of religion. Among the most important is “Says who?” To leave unsaid who said what was said is scholastically irresponsible and inappropriately pious. “Says who?” may alternatively be phrased as “To whose advantage?” or “In whose interests?” And religious discourse no less than other varieties always is to the advantage 2 and serves the interests of some more than others (or of some not others). The humbugs behind the traditional curtain of Nepāla-Maṇḍala are undoubtedly the kings of the Licchavi, Malla, and Shah dynasties. These humbugs have for the last eight-hundred years employed specialists of Śākta Tantra ideology and practice to construct a maṇḍala of socio-political identity that would justify the kings’ right to ultimate authority by linking them directly to the Goddess, the supreme power. The perpetuation of such a system of religio-cultural norms is clearly to their advantage and in their interests. However, the fact that Nepalese kings have employed Śākta Tantric traditions to promote and legitimate their royal authority does not mean that they are the creators of these traditions. Rather, it suggests that among the numerous discursive systems available 2 Brian K. Smith, 1994, Classifying the Universe: The Ancient Indian Varṇa System and the Origins of Caste, New York: Oxford University Press, p. 323. 148 | the Goddess Within and Beyond the three Cities to them, they chose Śākta Tantra as their political lingua franca. Moreover, I would argue that Nepalese kings, in their appropriation of Tantric symbols and practices, were not motivated solely by political ends designed to perpetuate their own hegemony. A number of these kings appear to have been dedicated practitioners of Tantric sādhanā, such as Prthivi Narayan Shah, who purportedly practised Tantric yoga for twenty-ive years. Nepalese kings have also been dedicated to preserving the textual, ritual, architectural, and artistic heritage of Tantra that is integral to the preservation of Nepalese religiocultural identity. It is these royal sādhakas who have built elaborate temple complexes to the Goddess and have expressed their devotion to her in hundreds of inscriptions. It is they who have supported the preservation of innumerable Tantric manuscripts that less than 1 per cent of the population will read and that have little connection to their status as kings. It is they who have sponsored public and private temple rituals, festivals, musical performances, and other cultural celebrations that are vital to the maintenance of Nepalese cultural integrity. In promoting such projects, are Nepalese kings simply humbugs disguised as benefactors who do not want the curtain pulled back and their interests exposed? I would caution us against such a reductionistic interpretation. The penultimate king of Nepal, Birendra Shah Deva, was educated at Oxford and was forward thinking in many ways. He supported the modernization of Nepal on multiple fronts, while at the same time he was concerned to maintain the rich textual, ritual, artistic, and architectural treasures of Nepāla-Maṇḍala. In my interview in 1998 with the king’s secretary, Tara Bahardur, I asked why his king simultaneously supported modernization and cultural preservation. Bahadur remarked: How can we not modernize? There are too many forces demanding us to do so. Our people want these new technologies, and we want them too. We are so dependent on foreign aid, outside investors. Now that we have opened our borders to the world, there can be no turning back. But we do not want to lose our identity. We cherish our beliefs. Without our religion we will be soulless. Somehow we must keep our culture and modernize. If we modernize without 3 keeping our culture we will be lost. When I asked Tara Bahadur what his culture contained that was so important, 3 Oral communication, Kathmandu, Nepal, 17 November 1997. ConClusion | 149 he replied that Nepalese culture contains the “wisdom” of the Goddess. When I pressed him to deine the nature of “wisdom”, he replied: This is a great question. This wisdom is something we feel very deeply. It moves us from within, like a deep intuition. I irst felt this wisdom as a little boy when I used to play near the Taleju temple in Hanumān Dhokā. I would often stop to watch the kramācāryas do their pūjās. As they rang their bells and recited their prayers I would feel as if the Goddess was talking to me, and I would be overcome with inexplicable feelings of joy and comfort. Once this happened I had deep conviction that all the temples and statues in this valley are alive, that they house living gods. Suddenly, and ever since, I have sensed that there is a kind of magic in this land that is very special. This magic is the wisdom I refer to. I want to see this magic preserved. If our children grow up in a Nepal 4 devoid of its gods, then they will have lost something very great. I then asked Tara Bahadur if he thought this “wisdom” or “magic” was something real, or if it was rather the creation of his own imagination or of his society as a whole. His answer revealed an impressive understanding of contemporary critical discourse in the West. I know what you’re implying with that question. I’ve read Marx and even some of the more recent Western philosophers. These writers would say that my understanding of the wisdom of the Goddess is created by the fact that my own background supplies me with the potential to experience and think such things. But I am not convinced. When I was a teenager I visited a Tripurasundarī temple in western Nepal, some shamans had come to offer a sacriice there. I had no idea what they were doing or why. But suddenly they started to play their drums and pray to Tripurasundarī as Taleju. In just a few moments I was possessed by some powerful force. I was completely overcome with an inexplicable ecstasy, and I started to tremble. I stayed in this state for quite some time. This was not my own doing. It had nothing to do with my social upbringing. This was possession by a deity, an experience that is very dificult to explain, but when 5 it happens you know it is real. . . . Believe me, these deities are real. If the deities are real, then why do they seem relatively powerless? As the supreme power, cannot Tripurasundarī correct what appears to be an inevitable low towards a materialist, neo-Maoist regime? When the neo-Maoists are in 4 Oral communication, Kathmandu, Nepal, 17 November 1997. 5 Ibid. 150 | the Goddess Within and Beyond the three Cities power the institution of the Kumārī will die. Why would an omnipotent deity allow this to happen? From a social-constructivist perspective the answer is simple: the deity is neither more nor less than the discursive construction of the ruling class. When that regime comes to an end, the deity dies with it. However, for the tāntrika such an explanation is not adequate to account for the deity’s demise. Timalsina explained: We are that Tripurasundarī who now burns in the lames lit by our own hands. She is us, and we are killing her. This is a kind of suicide, isn’t it? But this is how we must understand it. The God is not one thing and we another. The Nityāṣoḍaśikārṇava makes this very clear. There is only one entity. There is only the Goddess. So even now, as our culture slowly becomes a thing of the past, we have to understand that no second power has suddenly entered that is slaying the Devī. Ultimately it is all a part of her play, her līlā. She has perfect freedom. She is free to kill herself. Why she does this, I can’t understand. It is beyond the mind. She is in control, and yet because of ignorance we, these people in the streets, you and I — all of us are killing her. And so here is the paradox again: it 6 is her will that she die, and yet we have a choice on some level. We can save her. When I asked Timalsina what it would take to save the Goddess, he said, “Talk to the musicians and artists”. Therefore, I made a trip to the home of Narayan Citrakar, the Newar painter who is in the lineage of painters dating back to the original painter of the thirteenth-century Śrī-Yantra that is currently housed at the Bhaktapur National Museum. I told him of my conversation with Timalsina and asked him his thoughts. He replied: Timalsina’s thinking is very profound. You know, I think this way too. The Goddess is us. She is our breath. She is our soul. Without her we are nothing. And so when I see how our civilization is disappearing I ask myself why she would do this. And you know, I don’t know the answer. It is very mysterious and very painful. But I think there is hope. You see, I am an artist, so maybe I have some kind of prejudice, but I think the Goddess lives in art. And so I believe that as long as there is art — whether as painting, sculpture, music, dance, or whatever — then the Goddess will be there. So when students come to me I always teach them. It doesn’t matter if they are from Nepal, China, India, Europe, or America. I teach them all equally. I have taught several Western students who have now gone back home, and when they go I feel as if they are taking Nepal with them, 6 Oral communication, Kathmandu, Nepal, 1 December 1997. ConClusion | 151 7 keeping the Goddess alive through their art. In the voice of Narayan Citrakar, like Timalsina and Tara Bahadur, there is a clear sense of identity with the Goddess. She is their “breath”, their “soul”; she is not different from them. Each of these modern, educated Nepalese citizens expressed in his own words the non-dual theology of Śākta Tantra and applied it to the current demise of traditional culture in Nepal. For Nepalese Śākta tāntrikas the Devī is synonymous with power in all of its manifold aspects. And thus from their perspective it is the Devī who is now utilizing her power to destroy Nepāla-Maṇḍala. The macrocosmic body of the Goddess will one day implode into itself, bringing creation to an end. All of these microcosmic human bodies, whether in Nepāla-Maṇḍala or anywhere else on the planet, will one day perish. So too must the mesocosmic body that is the sociocultural nexus called Nepāla-Maṇḍala eventually perish. The Devī creates and destroys herself in constant collaboration with the multiple microcosmic relections of herself that inhabit the mesocosmic social sphere. The power of the Devī lies in this mirroring process. She is what she is perceived to be, and 8 yet she is also beyond that perception. The world is projected outward from the Self and onto the screen of consciousness, which ultimately is interior to the cognizing projector. There is no world, no deity, separate from the Self. The screen projected upon is blank, free of attributes. This is the true essence of the Devī, her svasvarūpa. And it is emptiness. Ultimately, the Goddess is the great 9 void (mahāśūnya) illed with ininite potential. She can become whatever the cognizing subject, her own Self, determines her to be. At this level she is the immanent Goddess, within the three cities, who is conditioned by the properties 7 Oral communication, Bhaktapur, Nepal, 22 May 1997. 8 At least this is what the ideological systems tell us. And, on some level, is not ideology reality? How can reality be other than how we perceive it? Is there anything outside the boundaries of the text? Is not Nepāla-Maṇḍala the construction of social space from a textual corpus that views reality as the maṇḍalic unfolding of the body of the Goddess? And is it not this way precisely because certain Nepalese and Indian citizens constructed reality as such sometime back around Ce 1200? However, in a non-dual Tantric context, it does not ultimately matter whether someone concocted reality or if reality is given. In the end, concoction and givenness are one. Concoction is the human construction of reality. Givenness is the divine construction of reality. Either way there is creation. In Tantra, the human being is the ultimate origin point of all reality. 9 MAR on NṢA 4.7-8a. 152 | the Goddess Within and Beyond the three Cities of material reality and whose power is relative, limited, and inite. Yet on another level, she is the transcendent Goddess, situated beyond the three cities, who is unconditioned, absolute, unlimited, and ininite. Ever stirring, dancing, and vibrating, through the power of spanda the Devī oscillates between the extremes of birth and death, creation and destruction, immanence and transcendence. As I witness the destructive power of Devī at work in contemporary Nepalese culture, what can I, as a scholar, do to help counterbalance this process? It is my hope that through this study I will have contributed in some modest way to the creative reconstruction and preservation of certain religiocultural traditions that are integral to the maintenance of Nepāla-Maṇḍala. First, I have sought to reconstruct the genealogy of Śrī-Vidyā Śākta Tantra in Nepal, with particular attention to the ways in which Śrī-Vidyā ideologies and practices in India and Nepal appropriate, inform, and transform certain Trika Kaula Śaiva traditions. Second, I have sought to illumine Nepalese constructions of space, in which the maṇḍala, and more speciically the Śrī-Yantra, manifests on multiple levels in the geopolitical landscape of Nepāla-Maṇḍala, in the structure of its cities and temples, and in painting, music, dance, and other cultural productions. Third, I have attempted to delineate the historical connections among Nepalese royal lineages, Śākta Tantric traditions, and the institution of the Kumārī. Fourth, throughout my study I have sought to record the insights and relections of contemporary Nepalese practitioners of Śākta Tantra. Finally, I have provided in the appendices my own translation of the Nityāṣoḍaśikārṇava, the authoritative text of Nepalese Śrī-Vidyā Tantra, as well as an index of several hundred Śrī-Vidyā paddhatis at Nepal’s National Archives. Through my historical investigations, textual translations and analyses, archival research, and ield research I have tracked the stories of the Devī as she dances down a multiplicity of self-created pathways that all lead in their triangular ways back to Nepal’s bindu, the cultural nexus of the paradox of power that reverberates at the heart of Nepāla-Maṇḍala. Appendix A Nityāṣoḍaśikārṇava An Annotated Translation of the Maṅgala Ślokas in Chapters 1, 4 and 5, along with the Commentaries by Śivānanda and Vidyānanda 1. Nityāṣoḍaśikārṇavaḥ Śivānanda-kṛtayā Ṛjuvimarśinyā Vidyānanda-kṛtayā Artha-ratnāvalyā ca saṁvalitaḥ The Ocean of the Sixteenfold Eternal Goddess Together with the Straight Awareness by Śivānanda and the Garland of the Jewels of Meaning by Vidyānanda Nityāṣoḍaśikārṇava 1.1 gaṇeśa-graha-nakṣatra-yoginī-rāśi-rūpiṇīm A devīṁ mantra-mayīṁ naumi mātṛkāṁ pīṭha-rūpiṇīm AA I bow to that Goddess who is [assuming] the form of the gaṇeśas, the [nine] planets, the [27] stellar conigurations, the yoginīs, and the twelve constellations, is of the nature of mantras, and who is the mātṛkā and the seat of power. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 1.1 sthitaṁ yatredam akhilaṁ yanmayaṁ cāsya bhāsanam A yataḥ samudayaścāsya tatsaṁvittipadaṁ numaḥ AA Wherein this all [i.e. the universe] abides, whose nature [manifests] the lashing forth [of this universe], and from which there is the arising of this [universe], to that position of [all-creative] consciousness we bow. 154 | the Goddess Within and Beyond the three Cities śivādikṣitiparyantaḥ ṣaṭtriṁśattattvasañcayaḥ A yasyormibudbudābhāsas taṁ seve cinmahodadhim AA I adore that great ocean of consciousness whose waves and bubbles emerge as the collection of thirty-six ontic principles beginning with Śiva and ending with earth. svātmānandamaheśānacaraṇāntenivāsinā A śivānandena muninā rasyate traipuro rasaḥ AA The essence of the Tripurā [tradition] is [herein] extracted by the sage Śivānanda, who abides close to the feet of the great lord, Svātmānanda. asamañjasatāṁ dṛṣṭvā vṛttīnām iha tattvataḥ A vyākaromi manāk śrīmannityāṣoḍaśikārṇavam AA Seeing that the commentaries [on the NṢA] are in reality disordered, I herein explain clearly the Ocean of the Eternal Sixteen [Deities] which is [connected with] the traditions of Śrī-Vidyā. sarvānugrāhakaṁ tantraṁ sarvopāyāvabhāsakaṁ A sarvādhikārasaṁsiddhyai bahvavātārayacchivaḥ AA Śiva revealed multiple forms of the Tantra for the perfection of all the stages of sādhanā, for revealing all paths, and for showering grace on all. śrīvāmakeśvaraṁ nāma śāstraṁ tatra prakāśitaṁ A śivena saṁvidaṁ devīṁ lakṣmīkṛtya nijātmikām AA Among these, the śāstra titled The Auspicious Beautiful Lord was revealed by Śiva for the purpose of the Devī, that pure consciousness who is [Śiva’s] own self. madhye śāstrasya tasyāsti nityāṣoḍaśikārṇavaḥ A sūtraiścatuśśatair yuktaḥ kaścid bhāgo rasāvahaḥ AA A certain section in the middle of this śāstra [i.e. the Vāmakeśvaraṁ] is the low of nectar [called] Nityāṣoḍaśikārṇava, consisting of 400 verses. sa ca pañcapaṭalyātmā karmapañcakabhāsakaḥ A pūjā prayogo mudrā ca vidyāvyāptir japastutiḥ AA And that [Nityāṣoḍaśikārṇava] consists of ive chapters which reveal the ive actions: ritual worship, six Tantric actions, gestures, mantra instillation, and mantra recitation. aPPendix a | 155 avāntarabhidaḥ santi katicittatra tatra ca A pradhānakarmaśeṣatvān na tā gaṇyā pṛthaktayā AA And therein [within the ive chapters] there are many internal sub-themes which are not counted differently since they are the remainder of the central theme. adhītya cācāryamukhācchāstraṁ vidyāpurassaram A gurūṇāṁ nyavasat pārśve śivānandamahāmuniḥ AA Having learnt this doctrine associated with vidyā practice from the mouths of the gurus, the great sage Śivānanda dwelled in the proximity of the teachers. kālena mahatā so ’yaṁ gurubhiḥ karuṇotkataiḥ A sthāpito ’nugrahavidhau sābhiṣekaṁ sahābhidhaṁ AA Over the course of a long time he [Śivānanda] was placed in the process of grace by teachers endowed with extreme compassion [and given] consecration together with a [lineage] name. tataḥ sampādayāmāsa śiṣyān ācārabhūṣitān A deśakālaviśeṣajñān bhaktiratnamahodadhīn AA Then [Śivānanda] gathered students adorned with righteous characteristics, learned in the particularities of space and time, and having a devotion that was like a great ocean of jewels. tataḥ śivānadamuniḥ śiṣyairabhyarthito bhṛśam A samyag vṛttividhānāya gambhirāgamabhāṣayā AA The sage Śivānanda was then repeatedly asked by his students to make a correct commentary in the profound language of the Āgamas. lopāmudrā1-kramāyātasampradāyād ayaṁ punaḥ A akarod āgamasya asya vyākhyām ṛjuvimarśinīm AA Therefore, this one [i.e. Śivānanda] wrote the Ṛjuvimarśinī commentary on the Āgama coming from the tradition that comes from Lopāmudrā. granthāḥ sahasraṁ triśataṁ pañcāśaccaiva pañca ca A madhurodārasandarbhā seyam ṛjuvimarśinī AA 1 Lopāmudrā is the legendary female sādhvī and wife of Agastya who is identiied in the Brahmāṇḍa Purāṇa as the irst practitioner of Hāḍī-vidyā. 156 | the Goddess Within and Beyond the three Cities And this very Ṛjuvimarśinī [consists of] 1,355 granthās2 [containing] sweet and open references. sau-3bhāgyaviṣayā4 vāṇī saumatyodayadāyinī A saugatyāpti-mahāpadyā5 sausthityaṁ labhatām asau AA This [commentary] is [that] speech whose sphere is prosperous, consisting of great verses on the attainment of enlightenment, and should lead one to the state of liberation. tatra pañcadaśatithyātmakanityākalānāmadheyopanyāsamukhena parāṁ vyāpikāṁ sarvatithimayīm akṣayāṁ śoḍaśīṁ nityākalāṁ paramāmṛtasyandinīṁ mahātripurasundarī-saṁjñāṁ vyācaṣṭe paramadeśiko mahādevaḥ A Therein [in the NṢA], Mahādeva, the supreme teacher, explains the meaning of Mahātripurasundarī by means of an introduction explaining the one called Eternal Portion (nityākalā) whose nature consists of the ifteen moon phases, who is transcendental, all-pervading, indestructible, comprised of all moonphases, who is the sixteenth [-kalā],6 the Eternal Portion, and who is a low of supreme nectar. yacchrutiḥ — “īśānaḥ sarvavidyānām” (TaiU 10.47.1) iti A ādito dvādaśabhiḥ ślokaiḥ samasta-vācyābhedamaya-samasta-vācaka-padākṣarābhinnaparaśaktirūpa-paraśivātmaka-mātṛkāmayīṁ “svara-vyañjanayoḥ kṛtsnalokavedāśrayaiva vāk” iti sthityā laukika-vaidika-tāntriketihāsa-purāṇadarśana-sārabhūtām āṇava-śākta-śāmbhavātmaka-mantrakoṭi-jananīm akṛtrimāhaṁ-parāmarśa-mayīm amṛtāṁ bhagavatīṁ vācaṁ vyācaṣṭe A As it says in the Veda — “The Lord [is the expounder] of all the sciences” (TaiĀ 2 One granthā = 32 letters or one anuṣṭubh verse. 3 There are three traditions (kramas) for the worship of Tripurasundarī, the Mahā-gaṇapatikrama, the Daṇḍinī-krama, and the Parā-krama, each have its own sequence of worship and seed mantras. By embedding the bīja-mantra “sau” ive times in this verse Śivānanda shows his connection with the Parā-krama lineage. 4 Saubhāgya-viṣaya is a reference to the saubhāgya-vidyā, that category of mantras which end with svāhā. 5 Mahā-padyā translates literally as “great prose”. For the initiate it can be read as the “state beyond ma, ha, and a”. Such a rendering would be consistent with Abhinavagupta’s own mystico-phonic renderings in his Parātriśika-vivaraṇa. 6 The sixteenth kalā is also called amṛta. aPPendix a | 157 10.17.1). Through the twelve beginning verses [of NṢA], [Mahādeva] expounds to the Goddess that Speech which is of the nature of mātṛkā, being non-different from all signiieds and [their] signiiers, being non-distinct from the letters [of the Sanskrit alphabet], being the supreme form of [both] Śiva and Śakti, proclaimed [by the wise] to be that speech which, as the vowels and consonants, is the foundation of the world and of the Veda, being the essence of worldly-, Vedic-, Tantric-, historical-, mythico-legendary-, and philosophical-[traditions], being the mother of the crores7 of mantras that constitute the āṇava-, śākta-, and śāmbhava-[systems of yoga], and which is the immortal, unconstructed I-awareness, [itself] Bhagavatī, the blessed Goddess.8 atha grantho vyākhyāyate — gaṇeśetyādi A rūpiṇīmiti padaṁ ganeśādibhiḥ pañcabhiḥ padaiḥ saṁbaddhyate, tattadrūpiṇīmiti A pūrvārdhena mātṛkāyāḥ prapañcātmakatā kathyate, uttarārdhena nijamasyāḥ svarūpam A gaṇeśāḥ śrīkaṇṭhādayo rudrāḥ, te viśvānujighṛkṣāparā gaṇeśāḥ sthitāḥ kecan rudrāvatārā marudgaṇā iva, “śrīkaṇṭho ’nanta” (PrSā 3.39) ityādi A yacchrutiḥ — “sahasrāṇi sahasraśo ye rudrā adhibhūmyām” (TaiS, 4.5.11.1) ityādi A Now the text is explained [word by word] beginning with the word gaṇeśa. The word “form” (rūpiṇīm) is connected with the ive words beginning with gaṇeśa [as a dvandva compound]. The irst half of the verse proclaims the manifest nature of the Mother [who-is-speech], the latter half, Her innate, true [unmanifest] form. The Gaṇeśas are [to be known] as the Rudras like Śrīkaṇṭha, etc., those [divine beings] inclined to bestow grace on all. Some Gaṇeśas are the Rudra-incarnations known as the “Marut group”. [As it says in the Prapañcasāra (3.39)] “Śrīkaṇṭha is ininite”. The Veda [says], “Thousands upon thousands are the Rudras in [those] worlds” (TaiS 4.7.11.1). This is the meaning (ityādi) [of the word gaṇeśa.] grahāḥ sūryādayaḥ, “svareśaḥ sūryo ’yam” (PrSā 4.25) ityādi A nakṣatrāṇi aśvinyādīni “ābhyāmaśvayūg” (PrSā 4.59) ityādi A yoginyo brāhmyādyāḥ A vakṣyati ca “vargānukrama-yogena” (1.11) iti A rāśayo meṣādayaḥ, “ādyairmeṣāhvayo rāśiḥ” (PrSā 4.34) ityādi A [The word] “planets” (graha) indicates (ityādi) the sun, etc. [It is said (PrSā 7 One crore is equivalent to 100,000. 8 Although declined only in the accusative case (dvitīyā-vibhakti), bhagavatīm is to be taken in both an accusative and a dative sense, as “Bhagavatī,” the Goddess, is both the topic (viṣaya) under discussion, as well as the one to whom the topic is addressed. Mahādeva is explaining the nature of the Goddess-who-is-Speech to the Supreme Goddess Herself. 158 | the Goddess Within and Beyond the three Cities 4.27).] “The sun is the lord of the vowels”. [The word] “stellar constellation” (nakṣatra) indicates Aśvin and the rest [of the twenty-eight constellations]. [It is said (PrSā 4.59) that] the Aśvayug [-constellation9] [arises] from [the union of the letters] “a” and “ā” (ābhyāmaśvayug). “Yoginī” indicates Brāhmī and the rest [of the sapta-mātṛkā]. And [this nyāsa method] will be illustrated [below] through [an explication of] the Yoga of the Sequence of Phoneme-Classes (vargānukrama-yogena). “Zodiac sign” refers to (ityādi) Meṣa10 and the rest [of the twelve zodiac signs]. “The zodiac sign Meṣa is at the beginning [of the zodiac]”, [says the PrSā 4.34]. devīṁ sargādi-krīḍā-parāṁ sarvotkṛṣṭatvād vijigīṣum akhila-vyavahārapravartikāṁ dyotamānāṁ stotavyām gantavyāṁ ca, dīvyateḥ krīḍādyarthatvāt A Since the root √div (divyateḥ) has [several] meanings, such as play, etc., [the statement “I honour-] the goddess” (devīṁ) [means]: [I honour that one] inclined towards the play of creation and the rest,11 [she who,] since she transcends all, is desirous to conquer, [who] sets in motion all conventional details, [who] is shining, [who] is to be praised, and [who] is to be known. mantramayīm akṛtrimāhaṁ-parāmarśa-mayīm A mātṛkāṁ parāvāgātmanā anāhata-bhaṭṭāraka-parama-śiva-svarūpāṁ ṣaṭ-triṁśat-tattva-prasaraṇahetubhūtāṁ parāṁ saṁvidamityarthaḥ A “Being-the-nature-of-mantra” (mantra-mayīm) indicates [that the Devī is] the nature of unconstructed I-awareness. The meaning of “Mother” (mātṛkā) is that [the Goddess] is of the nature of supreme-speech, being that sublime consciousness which is the cause of the emanation of the thirty-six tattvas, and whose form is that supreme Śiva [called] Anāhata Bhaṭṭāraka. taduktam īśvara-pratyabhijñāyām — sarvathā tvantarālīnānanta-tattvaughanirbharaḥ A śivaścidānandaghanaḥ paramākṣaravigrahaḥ AA (4.1.14) iti It is said in the Īśvara-pratyabhijñā, “Being a mass of consciousness and bliss, having a body comprised of the supreme-syllable, Śiva is illed to the brim with 9 Located in the head of Aries. 10 Meṣa corresponds to Aries. 11 Here, ādi — “etc.” or “and the rest” — refers to the ive acts: creation, sustenance, reabsorption, obscuration, and grace. aPPendix a | 159 the ininite mass of tattvas merged within [him] (4.1.14).” pīṭharūpiṇīṁ viśvacitrabhittibhūmim A uktaṁ ca — “svecchayā svabhittau viśvamunmīlayati” (PrHṛ 4) iti A abhiyuktavaco ’pi — svecchāvibhāvitānantajagadraśmivitānavat A naumi saṁvinmahāpīṭhaṁ śivaśaktipadāśrayam AA iti A “Comprised-of-the-[power-]seats” (pīṭha-rūpiṇīṁ) means [that Devī] is the foundation for the canvas of the painting of the universe. As it is said, “By [her] own will the Goddess measures the universe on her own screen (PrHṛ 4)”. vācīmā viśvā bhūvanānyarpitā (TaiB 2.8.8.4) iti rahasyamapi A One who is well-versed has likewise [said], “This speech gives rise to all these worlds”. Thus say the Upaniṣads12 [iti]. naumi viśvotkṛṣṭatvena parāmṛśāmi, nutyā vimarśamayyā tatkalpita-pramātṛpadanimajjanena tatsamāveśamayo bhavāmīti yāvat A “I worship” means I visualize that which surpasses all. By [that] worship [which is] imbued with awareness, the imagined states of the knower are submerged. Then, I become perfectly absorbed in That. atra mātṛkā-stutiḥ samāveśātmā prāpyatvena abhidheyā A mantramayīm iti cidvikāsāmarśātmakaṁ mantra-vīryaṁ tat-prāptāvupāya uktaḥ A Herein, the “Prayer to the Mother”, being [itself] the nature of perfect selfabsorption, is to be understood as that which is to be attained. It is said that the potency of mantra (mantra-vīryaṁ), being comprised of the awareness of the expansion of consciousness, is the means for that attainment. This is the meaning [of the word] “comprised of mantra”. devīmiti dyotanādisatattvaṁ viśvābhedasāraṁ ṣaḍadhva-sphāramayā ’kṛtrimapūrṇāhantā-prakāśaghanasaṁvittirūpaṁ phalamuktam A abhidheyopāyayor upāyopeyabhāvaḥ sambandha ityabhidheyopāyasambandha-prayojanāni cānena sūtreṇa sūcitāni A kiñca, devīmiti divyabhāvadāyikā dīkṣā sūcitā A mantramayīm iti cānuṣṭhānakramaḥ A naumīti samāveśātmā vidyāsiddhiḥ A mātṛkām iti ca sarvādhikāritā A [The verse says, “I bow] to the goddess” [who] is the nature of light, etc., [whose] 12 Rahasya here meaning that doctrine heard in secrecy while seated up near (upaniṣad) the silent teacher (muni-guru). 160 | the Goddess Within and Beyond the three Cities essence is non-distinct from the universe, [whose] nature is the expansion of the sixfold paths, [who] is [that] unconstructed I-awareness which is the body of luminous-mass-consciousness, [and who] is called “the fruit” [of the Tantric path]. The connection (sambandha) between the topic (abhidheyā) and the means (upāya) parallels that of goal and path (upāyopeyabhāvaḥ). In this way the verse introduces the topic, the means, the connection, and the utility [of the text at hand]. [With the word] “to the goddess” (devīṁ) [the verse] also suggests the initiation which grants the divine state. “Made-of-mantra” (mantra-mayiṁ) suggests the sequence of practice. “I bow” (naumi) suggests that perfection in [mantra-] science which is perfect self-absorption. And [the word] “Mother” (mātṛkā) suggests that all are eligible (sarvādhikāritā) [to enter this paramparā]. pīṭha-rūpiṇīm iti ca pāramparyakramaḥ A mahāvibhūti-samudayasthāne nityāṣoḍaśikārṇave yatpūrvair vyākartṛbhir vyākāriḥ, yaccāsmābhiḥ kiñcid vyākriyate, tatrāntaraṁ tyaktāvalepamātsaryāḥ svayameva vipaścito vicinvantu A “Being-the-form-of-the-[power-] seats” indicates the supreme lineage of teachers. That which has been explained by previous commentators [while expounding] the contents of the Nityāṣoḍaśikārṇava, that place of great power, is [likewise] explained somewhat (kiñcid) by us. The difference therein should be determined by wise ones who have themselves renounced pride and jealousy. Artharatnāvalī on Nityāṣoḍaśikārṇava 1.1 śrīman-mahāvana13-īśāna-pādapaṅkaruha-dvayam A yogīndra-madhupa14-vrāta-sevitaṁ sarvadā bhaje AA The lotus feet of the auspicious master Mahāvana are served by the assembly of nectar drinkers and the lord of yoga. I always adore them.15 13 Literally, “great forest”, Mahāvana was the teacher of Vidyānanda. However, mahāvana also refers to the sahasrāra cakra at the crown of the head in which dwells the lotus feet of the guru. 14 Madhu-pa (honey drinkers) refers literally to bees. However, in yogic circles, the “honey drinkers” are the adepts of khecarī mudrā. 15 Read alternatively as: “The lotus feet of the master [reside] in the sahasrāra cakra [where they] are worshipped by the swarm of nectar drinkers, the lords of yoga. I always adore them.” aPPendix a | 161 priyānandam ahaṁ vande sadānanda-prakāśitam A prapannajanatā-duḥkhadhvāntavicchedabhāskaram AA I revere Priyānanda, enlightened by Sadānanda who is a [spiritual] sun removing the darkness of pain [aflicting] the suffering masses. ādyaṁ mithunam ārabhya svagurvantaṁ krameṇa tu A vandegurvaughamīśānyāḥ karuṇātaruṇīprīyam AA I worship the sequence of the group of teachers beginning with primal pair and ending with [my] own teacher, who is the beloved of the mistress compassion. yat pādām bujasaṁbhūtaṁ rajo vimalayanmanaḥ A prasādaṁ tanute mahyaṁ taṁ ratneśaṁ guruṁ bhaje AA I honour that guru, Ratneśa, the purifying pollen of whose lotus feet graciously extends to me. yanmukhāmnāyam āsādya vidyāsiddhir abhūn mama A mahātripurasundaryāstaṁ ratneśaṁ guruṁ bhaje AA I revere Ratneśa, that master whose mouth established [me] in the tradition of Mahātripurasundarī and who produced my [state of] perfection in vidyā[mantra practice]. śivaṁ kāmeśvarīṁ siddhān trividhānapi dampatīn A kaṅkāla-prabhṛtīn vande gurūn kalyāṇarociṣaḥ AA I honour Śiva, Kāmeśvarī, the threefold [lineages of] siddhas [and their] consorts, [and] the gurus Kaṅkāla and the rest who are the light of compassion. gaṇanātham ahaṁ vande viśvavandyaiḥ prapūjitam A sarvavighnaughanāśārthaṁ sarvābhīṣṭaphalāptaye AA For the attainment of all desired fruits, I honour the Lord of the Hordes, [he whose] aim is the destruction of the mass of all obstacles, [and who is] revered by all the venerable ones. vaṭukaṁ yoginīvṛndaṁ bhairavān amitaujasaḥ A praṇamāmī iṣṭa-saṁpatti-saṁpādana-samutsukān AA I prostrate to Vaṭuka, the group of yoginīs, and the Bhairavas [who, like] the light of immortality, are desirous to grant all desired fortunes. 162 | the Goddess Within and Beyond the three Cities mantra-maṇḍala-varṇātma-rūpiṇīṁ karuṇā-parām A dhāma-saṁvit-svarūpāṁ tāṁ vande tripurasundarīm AA I salute that Tripurasundarī whose own form is the foundation for consciousness (dhāma-saṁvit), who is illed with compassion, and who is comprised of mantra, maṇḍala, and varṇa.16 sampradāya-dvayajñena vimalasvātmaśambhunā A kriyate ṭippaṇaṁ samyag vāmakeśvara-śāstragam AA A short exposition is correctly written in the Vāmakeśvara scripture by Vimalasvātma Śambhu, [he who] knows two traditions.17 artharatnāvalītyeṣā khyātā ’stu bhuvanatraye A bhuvaneśvari te bhaktyā kriyate ṭippaṇaṁ yataḥ AA O Mistress of Creation, since this exposition, named Artharatnāvalī, is written with devotion for you, let it be known throughout the three worlds! prāripsitasyāsya śāstrasyāvighnena parisamāptyarthaṁ viśiṣṭeṣṭalābhāya ca paramakāruṇiko bhagavān lokānugrahaṁ cikīrṣur bahurūpāṣṭakaṁ śātraṁ saṁkṣipya catuśśata-saṁkhyāparimitair granthais tatsāram uddhartu kāmas tac-chāstra-pratipādyāṁ varṇāvayavā mahātripurasundarīṁ mahatyā bhaktyā mahādevaḥ praṇamati — gaṇeśa-graha-nakṣatretyādinā A For the purpose of completing this scripture without hindrances, and for the attainment of special desires, the Lord, being supremely compassionate, desiring to bestow grace on the world, distills the essence of the eightfold scriptural tradition by means of four-hundred verses. Desirous to collect the essence of this scripture to be expounded, whose limbs are comprised of the letters, Mahādeva salutes with great devotion to Mahātripurasundarī, by saying, “[salutations to the goddess whose form is] the gaṇeśas, the planets, the constellations”, etc. gaṇeśāśca grahāśca nakṣatrāṇi ca yoginyaśca rāśayaśca gaṇeśagraha-nakṣatrayogiṇī-rāśayaḥ, te eva rūpaṁ yasyāḥ sā tathābhūtā A gaṇeśāḥ śrīkaṇṭhādayo rudrāḥ pañcāśatsaṁkhyākāḥ A gaṇā ādikṣāntā varṇāh, te pañcāśadvarṇātmakā iti yāvat A athavā gaṇā indrapramukhāḥ “indrajyeṣṭhā marud-gaṇāḥ” (ṚV 16 This verse refers to the ive meyas (objects) worshipped in the Kāḍī system of the Mahārtha paramparā, namely mantra, varṇa, maṇḍala (or cakra), dhāma, and saṁvit. 17 Vidyānanda was an initiate of both the Hāḍī and Kāḍī schools of Śrī-Vidyā. aPPendix a | 163 I.23.8) iti śrutyuktā marudgaṇāḥ pañcāśat A te ’pi varṇātmakā ityarthaḥ A The gaṇeśas and planets and planetary conigurations and yogins and twelve constellations comprise the dvandva-samāsa compound gaṇeśa-graha-nakṣatrayogiṇīrāśaya. The gaṇeśas are ifteen in number, beginning with Śrīkaṇṭha. The gaṇas are of the nature of ifteen letters. Indra is the foremost gaṇa. “Indra is foremost amongst the gaṇas”, states the scriptures. The gaṇas are ifteen. Moreover, they are of the nature of the letters. This is the meaning. grahāḥ sūryādayaḥ A te ’pi varṇasaṁbhūtāḥ A tatra svarebhyaḥ sūryaḥ A kavargāllohitaḥ cavargāt kāvyaḥ A ṭavargād budhaḥ A tavargāt suraguruḥ A pavargāt śanaiścaraḥ A yavargāt śītāṁśuriti saptagrahātmikā mātṛkā A athavā navagrahātmikā mātṛkā A tatra śavarga-ḷa-kṣa-prabhavau rāhuketū A The planets begin with the sun. They, too, are conjoined with the letters. Therein, the sun is [conjoined with] the vowels. The ka-phoneme is Mars. The ca-phoneme is Venus. The ṭa-phoneme is Mercury. The ta-phoneme is Jupiter. The pa-phoneme is Saturn. The ya-phoneme is moon. The mothers are of the nature of the seven planets. Otherwise, the mothers are the nine planets.18 Therein, Rāhu arises from the śa-class [śa, ṣa, sa, and ha] and Ketu from the letters ḷa and kṣa. nakṣatrarūpiṇītyatrāyam āśayaḥ — a-ā-bhyām aśvinī A ikārād bharaṇī A parato lipitrayāt kṛttikā A punas tatparāc catuṣṭayād rohiṇī A edaitormṛgaśīrṣārdre A o-au-bhyāṁ punar vasū A amasoḥ revatī A katas tiṣyaḥ A kha-gayor aśleṣā A gha-ṅa-yor maghā A cārṇāt pūrvā A cha-jayor uttarā A jha-ña-yor-hastaḥ A ṭa-ṭha-yoś citrā A ḍārṇāt svātī A ḍhaṇayor viśākhā A tathadair anurādhā A dhārṇād jyeṣṭhā A Here is the meaning of [the phrase] “Being the form of the constellations”: From a plus ā arises Aśvin. From the i-phoneme arises Bharaṇī. From the next three letters [ī, u, and ū] arises Kṛttikā. Then, from the four succeeding syllables [ṛ, ṝ, ÷i, and ÷ī] Rohiṇī arises. Mṛgaśīrṣa arises from e, and Ārdrā from ai. From the conjunction of o and au Vasū arises. From aṁ plus aḥ Revatī [arises]. From ka comes Tiṣya. From [the conjunction of] kha and ga Āśleṣā [is born]. Gha and ṅ produce Maghā. From the ca-letter Pūrvā [arises]. Uttarā [arises] from cha and ja, Hastā from jha and ñ. Citrā from ṭa and ṭha. Svāti [arises] from the ḍa-letter. Viśākhā arises from ḍha and ṇa. Anurādhā [arises from the combination of] ta, 18 This is the case with regard to Rāhu and Ketu. 164 | the Goddess Within and Beyond the three Cities tha and da; Jyeṣṭhā, from the dha-letter. na-pa-phair mūlam A bārṇāt pūrvāṣāḍhā A bhārṇād uttarāṣāḍhā A mārṇāt śravaṇaḥ A yarayor dhaniṣṭhā A lārṇāt śatabhiṣak A vaśayoḥ (pūrvā) prauṣṭhapadā A ṣasahebhyaḥ parā smṛtā A aṅ-aḥ-ḷ-kṣebhyo revatī A evaṁ nakṣatra-rūpiṇī mātṛkā A Na, pa, and pha [produce] Mūlam. From the ba-letter [arises] Pūrvāṣāḍhā, from the bha-letter, Uttarāṣāḍhā. From the ma-letter [comes] Śravaṇā, from ya and ra, Dhaniṣṭhā, the la-letter [produces] Śatabhiṣak. Va and śa [create] Prauṣṭhapadā. From ṣa, sa, and ha Parāsmṛtā [arises]. Revatī is from aṁ, aḥ, ḷa, and kṣa. These are the letters assuming the form of the constellations. yoginīrūpetyatrāyaṁ bhāvaḥ — avargaprabhavā brāhmī A kavargād māheśvarī A ca-vargāt kaumārī A ṭa-vargād vaiṣṇavī A ta-vargāt vārāhī A pa-vargād aindrāṇī A ya-vargāt cāmuṇḍā A śa-vargād mahālakṣmī A evaṁ yoginīmayī mātṛkā A Now, the forms of the Yoginīs arise as follows: Brāhmī comes from the a-phoneme. From the ka-phoneme Māheśvarī. From ca, Kaumārī; from ṭa, Vaiṣṇavī; from ta, Vārāhī; from pa, Aindrāṇī; from ya, Cāmuṇḍā; from śa, Mahālakṣmī. These are the letters whose nature is the Yoginīs. rāśirūpiṇī yathā — ādyāir i-kārāntair meṣaḥ A u-kārādyair ṛ-kārāntair vṛṣaḥ A tatastribhir yugmam A e-ai-bhyāṁ karkaṭaḥ A o-au-bhyām siṁhaḥ A amaḥ śavargaḷebhyaśca kanyā sañjātā A vaṇigādyā mīnāntā rāśayaḥ ka-ca-ṭa-ta-payebhyo yathākrameṇa sañjātā A evaṁ rāśisvarūpiṇī mātṛkā A The signs of the zodiac are formed in this manner: [the letters] beginning with a and ending with i [i.e. a, ā, i, and ī] [comprise] Meṣa. Vṛṣa is [comprised] by the letters beginning with u and ending with ṛ [i.e. u, ū, ṛ, and]. Kanyā is born from aṁ, śa-class, and ÷. The zodiacs beginning with Meṣa and ending with Mīna are produced sequentially from ka, ca, ṭa, ta, pa, and ya. These are the letters that form the zodiac signs. devīṁ mantramayīm ityādi A yat evam uktaprakāreṇa mātṛkāmayī, tat eva tatprasūta-sakala-mantra-mayītyarthaḥ A devī dyotanātmikā, prakāśaśaktir iti yāvat A māti A trātīti mātṛkā A svatejovijṛmbhitānugrāhyajīvarāśi māti trātīti mātṛketyarthaḥ A Now, [an explication of the phrase] “the goddess is comprised of mantras”. That aPPendix a | 165 which is the nature of the syllables, being described, is begotten from all the mantras. The goddess, being the nature of light is the power of light. As [the goddess] is a mother and a protector [she is called] mātṛkā. The multitude of souls to be blessed by the expansion of one’s own light. She is the measurer and bestower of the multitude of souls to be graced by the expansion of her light. This is the meaning of mātṛkā. pīṭharūpiṇīm iti A aṣṭapīṭhānyapi kāmarūpādi-devīkoṭṭāntānyaṣṭau aṣṭavargaprabhavāṇi A tanmayī mātṛketyarthaḥ A tāni coktānyuttaraṣaṭke — kāmarūpaṁ bhavet pūrve kollagiryaṁ tu dakṣiṇe A combhāraṁ paścime bhāge uttare coṇakaṁ bhavet AA malayaṁ cāgnidigbhāge nairṛtyāṁ tu kulāntakam A jālandharaṁ tu vāyavye aiśānye devīkoṭṭakam AA iti A “Being the form of the seats.” The eight seats emerge from the eight classes of letters as the eight [power spots] beginning with Kāmarūpa and ending with Devīkoṭṭa. The meaning is that the letters are the nature of these [sites]. These are mentioned in the Uttara-ṣaṭka, “Kāmarūpa ought to be in the west; Kollagiyaṁ in the south; Combhāraṁ in the western portion; Uṇakaṁ [= Oḍyāṇa] would in the north. Malayaṁ is in the south-east; Kulāntakam is in the southwest; Jālandhara is in the north-west; and Devīkoṭṭa in the north-east. athavā ojāpūkāsparśākhyapīṭhapañcakātmikā śarīrāntaḥ samullasantī mātṛketi pṛthivyaptejovāyvākāśānāṁ brahmaviṣṇurudreśvarasadāśivānāṁ nivṛttyādiśāntyatīta-kalānām īśānādi-sadyojātānta-pañcabrahmaṇāṁ prāṇādisamānānta-prāṇām ātma-mano-mantra-śivaśāktīnāṁ svarūpetyarthaḥ A evaṁ samasta-viśvajanana-hetu-mātṛkā-parikalpita-divyāvayavāṁ mahātripurasundarīṁ namāmīti yāvat A Or, of [the ive elements called] earth, water, ire, wind, and water, of the [ive gods called] Brahmā, Viṣṇu, Rudra, Īśvara, and Sadāśiva, of the [ive powers] beginning with nivṛtti and [ending] with śāntyātīta, of the ive brāhmaṇas, beginning with Īśāna and ending with Sadyojāta, of the [ive] breaths, beginning with prāṇa and ending with samāna, of the self, the mind, mantra, Śiva and Śakti, it is said that the mātṛkās shine forth [like] the hairs of the body as the ive power seats — Oḍḍiyāṇa, Jālandhara, Pūrṇagiri, Kāmarūpa — comprised of the letters ka to ma. The meaning is that this is her own form. I bow to the Mahātripurasundarī 166 | the Goddess Within and Beyond the three Cities the luminous one constructed by the letters as the complete cause of all beings. Nityāṣoḍaśikārṇava 1.2 praṇamāmi mahādevīṁ mātṛkām parameśvarīm A kālahallohalo19 llolakalanāśamakāriṇīm AA 1.2 AA I bow to the supreme mistress, the great Goddess Mātṛkā, the cause of the stilling of the shaking of the roaring waves of time. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 1.2 praṇamāmīti A mahādevīm devīmiti prāgvat A sā ca mahīyasī viriñcyādisargāder api hetubhūtatvāt A mātṛkām A At the outset I bow to the great Goddess. And she is exalted because she is the cause of the creation, maintenance, and destruction (sargādi) of Brahmā and the other gods (viriñcyādi). sarveśāmeva mantrāṇāṁ vidyānāṁ ca yaśasvinī A iyaṁ yoniḥ samākhyātā sarvatantreṣu sarvadā AA na vidyā mātṛkātulyā . . . A (PTriṁ 8-9) This beautiful one, recognized in all the Tantras at all times, is the sole source of all mantras and vidyās. Vidyā is not equal to the Mātṛkā. ityādyāmnāyasūcitaprabhāvām A parameśvarīm A paramā prakṛṣṭā paramaśivasvarūpā īśvarī mahāvibhūtimayī yā tām A kāletyādi A kālo ’vacchedakaḥ saṅkalanātmā paramarśo bandhanarūpāḥ A To she who is the nature of the great power, the Goddess whose true form is Paramaśiva, the supreme, transcendent excellence, the Supreme Goddess who is the power that reveals the āmnāyas, etc. taduktaṁ pratyabhijñāyām — kālaḥ sūrāydisañcārastattatpuṣpādijanma vā A śītoṣṇe vātha tallakṣyaḥ krama eva sa tattvataḥ AA (2.1.3) iti AA tantrāloke ’pi — eṣa kālo hi devasya viśvābhāsanakāriṇī A 19 Hallohala likely comes from the root hal and appears here in a Prākṛtic form. aPPendix a | 167 kriyāśaktiḥ samastānāṁ tattvānāṁ ca paraṁ vapuḥ AA (6.38) AA In the Īśvarapratyabhijñā-Kārikā (2.1.3) it is said, “[The concept] ‘time’ signiies either the changes in the position of the sun, etc.; or the growth of different lowers, etc. or heat and cold [i.e. atmospheric changes]; or, it is to sa, some sequence [of events] indicated by them.” And in the Tantrāloka (6.38): “This time of god’s is the kriyā-śakti, the supreme essence of all the tattvas and the creator of all manifestations.” tasya hallohalo lavādipralayānto vega iti sampradāyaḥ, tasyollolo mahonmeṣaḥ, tena kalanā bandhanam, grāhyagrāhakagrahaṇasaṁkṣobhātmā saṁsṛtir ityabhiprāyaḥ A tasyāḥ śamakāriṇīm kṣobhaśāntikarīm ityarthaḥ A kṣobhopaśāntiḥ paraṁ padam A The lineage is the stream whose destination is the dissolution of the fragmented parts of the roars [of time]. There is bondage due to the great arising of the waves of that [i.e. time]. Transmigration is the disturbance [of the unity] of the cognized, the cognizer, and cognition. This is the meaning. [I bow] to the maker of stillness, she who silences the disturbances of those [waves of time]. The highest state is the quiescence of agitation. This is the meaning. tad uktaṁ rahasya gurupravareṇa — “yadā kṣobhaḥ pralīyeta tadā syāt paramaṁ padam” (SpKā 1) iti A praṇamāmi īti dehādipramātṛtopaśāntyā prakarṣeṇa nirvyuthānaṁ samāviśāmīti yāvat A parāvāg vilāsaparāmarśena kaivalya-siddhir iti dyotitam anena padyena A It is said by the eminent teacher of the secret [teaching], “If disturbance were to disappear then that would be the supreme state” (SpKā 1). Thus, I honour [the Devī] having been supremely paciied by the cognizer within the body, etc. and thereby I enter the unshakable [state]. Supreme speech is the attainment of unity through recollection of the play of [consciousness]. To the one illumined by that state [I bow]. Artharatnāvalī on Nityāṣoḍaśikārṇava 1.2 praṇamāmi mahādevīm ityasya vyākhyā — praṇamāmi mahādeviṁ mahāprakāśavimarśarūpāṁ parāṁ śaktiṁ kadācidapyapracyutaśivasvabhāvāṁ samāviśāmīti yāvat A mātṛkā-padaṁ vyākhyātam parameśvarīṁ sakala-jagan-niyamana-hetuśaktim ityarthaḥ A Here is the meaning of the sentence “I bow to the great Goddess” — I bow to the 168 | the Goddess Within and Beyond the three Cities supreme power, the great Goddess whose form is universal light and awareness, being not at all distinct from the true being of Śiva. Thus I enter [that state]. The quarter verse on mātṛkā is explained. [I bow] to the supreme mistress, the causative power that measures all the worlds. This is the meaning. kālahallohaletyādi A kālasya hallohalaḥ kālahallohalaḥ, tasya ullolaḥ kālahallohalollolaḥ, ullolo yathābhūtas tena kalanā bandhaḥ, tasyāḥ śamaṁ karotīti A prakārāntareṇa — kālasya hallohalo vegaḥ, tasya ullola āvartavivartanam, cañcalībhāva iti (yāvat), tena kalanā bandhanam, tasyāḥ śamo nāśa ityarthaḥ A śamakāriṇīm iti A tasya śāntisampādanasvabhāvām A ayamarthaḥ — mṛtyuvaktrāt svabhaktam uttārayatīti A [The term] “wave” in the compound “the roaring waves of time” is [now explained]: as the wave is the power that causes bondage for beings, so from her [= Devī] peace is produced. Put differently — hallohalo is the tempestuous low of time. As the wave of that [low] whirls and whirls, creating a state of disturbance whose power produces bondage, so because of her [this disturbance] is destroyed [and there is] peace. This is the meaning. “Maker of peace” is explained. [I bow] to the one whose self-nature produces the paciication of that [wave of time]. This is the meaning — for the true disciple she produces escape from the clutches of death. Nityāṣoḍaśikārṇava 1.3 yadakṣaraikamātre ’pi saṁsiddhe spardhate naraḥ A ravitārkṣyendukanadarpaśaṅkarānalaviṣṇubhiḥ AA 1.3 AA From the attainment of whose one syllable alone, man is able to compete with the sun, Garuḍa, the moon, the god of love, Śaṅkara, Agni, and Viṣṇu. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 1.3 yadakṣareti A yadakṣaraikamātre yasyāḥ pūrṇāhantāyā mātṛkāyā ekasminnapyakṣare na kṣaraty aśnute veti niṣpanne samyagabhedena ahaṁ-parāmārśamayena siddhe ātmasātkṛte A naraḥ asau sādhako manuṣyatayā ’vabhāsa-mānaḥ samuttejitasahajaujaḥprakarṣādinā guṇena raviṇā saha spardhate, viṣamocanavegādinā tārkṣyeṇa, amṛtīkaraṇādindunā, saubhāgyādinā kandarpeṇa, śreyaskaratvādinā śaṅkareṇa, aujjvalyādinā ’nalena, mahāvibhūtirūpayogaiśvaryādinā viṣṇunā A evamekākṣarasiddhau tattadvaibhavena sarvadevatāvibhūtyutkarṣo bhavati A mātṛkāsiddhau punaḥ aPPendix a | 169 sarvadevatānāṁ svayam udayasthānaṁ bhavatīti tātparyam A “Whose form” is explicated: From whose perfect I-ness, the mātṛkā, even in one syllable, never perishes or is diminished. Or, alternatively: by means of that I-awareness that is perfectly whole there is the arising of the attainment of the singular self. This man is the luminous practitioner who, shining in his human condition, competes with the sun, which is greatly endowed with extraordinary power, innate virility, etc. with Garuḍa who is violent and takes pleasure in being wicked, etc. with the moon who is the creator of nectar, with Kāma who is endowed with charm, etc. with Śaṅkara who is the cause of well-being, with Anala who is endowed with brilliance, etc., and Viṣṇu who is a master of yoga and possessed of great might, etc. Thus, when there is the attainment of that one syllable, then by means of the power [attained] from that [a sādhaka] excels the powers of all the gods. Moreover, when there is the attainment of mātṛkā, one’s own arising place becomes the object of devotion of all the gods. Artharatnāvalī on Nityāṣoḍaśikārṇava 1.3 yadakṣaraikamātre ’pīti A yasyā mātṛkāyā akṣarāṇāṁ madhya ekākṣaramātre ’pi saṁsiddhe samyak-siddhiṁ prāpte sati naraḥ spardhāṁ karoti A raviśca tārkṣyaśca induśca kandarpaśca śaṅkaraśca analaśca viṣṇuśceti ravitārkṣyendu-kandarpaśaṅkarānalaviṣṇavaḥ A taiḥ saha spardhate A teṣāṁ tāṁ tāṁ śriyaṁ yugapad evāpaharatītyarthaḥ A “Whose syllable is one alone” is now explained. When there is the attainment of perfect power with regards to the single syllable situated in the middle of the imperishable phoneme of her [Devī] then the good man makes a competition. The sun, Garuḍa, the moon, Kāmadeva, Śaṅkara, Agni, and Viṣṇu — these are the ones with whom he competes. [I bow] to she who simultaneously disposes [all] of them. This is the meaning. ko ’abhipyāyaḥ? sūryasya prabhāvavat prathitayaśaḥprabhāvo bhavati A tārkṣyavad dṛṣṭipātamātreṇa sthirakṛtrim aśaṅkākhyaviṣopaviṣanāśako bhavati A induvat sarveśāṁ prāṇinām āhlādajanako bhavati A kandarpavat sarvāsāṁ sundarīṇāṁ vikṣobhako bhavati A bhūtapretapiśācānāṁ duṣṭacctasāṁ śaṅkaravadapradṛṣyo bhavati A analavadayujjvalo bhavati A viṣṇuvat sarveṣāṁ prāṇināṁ pālako bhavati A evaṁ tattadguṇagrāhitvāt taiḥ sūryādibhiḥ saha spardhāṁ karoti naro ’pītyuktaṁ bhavati A yadā akṣaraikamātrasyāpyevaṁ māhātmyaṁ prasiddham, tadā mātṛkāyāṁ saṁsiddhāyāṁ kiṁ vaktavyam iti mātraśabdārthaḥ A 170 | the Goddess Within and Beyond the three Cities What is the purport? One’s strength and splendour become like that of the sun. Being like Garuḍa by only looking down there arises [within the sādhaka] a power [derived] from a [potentially] lethal potion known as “being steadily established in fearlessness”. Being like the moon one becomes the source for the regeneration of living beings. Being like Kandarpa [Kāmadeva] one becomes the tempter of all beautiful women. Being like Viṣṇu one becomes the king of every one. Thus it is said that the practitioner rivals the sun, etc. due to the grace of this and that [practice]. To the extent that there is the glorious attainment of the one syllable, that is the perfection of the phoneme which is the meaning of the word mātra to be mentioned. Nityāṣoḍaśikārṇava 1.4 yad akṣara-śaśi-jyotsnā-maṇḍitaṁ bhuvanatrayam A20 vande sarveśvarīṁ devīṁ mahā-śrī-siddha-mātṛkām AA 1.4 AA I honour the universal mistress, the Goddess Mahā Śrī Siddhamātṛkā, who showers the three worlds with the moon-like light of her syllables. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 1.4 yadakṣaraśaśīti A yasyāḥ saṁvinmayyāḥ parāhantāyā madhyasthitānyakṣarāṇyeva vimarśadaśāyāṁ saṁsāratāpaharatvāt śaśirūpāṇi, teṣāṁ jyotsnā sphurattā, tayā maṇḍitaṁ tanmayībhūtam A “Whose syllables are moon-like” [means]: Of she who is transcendental I-ness comprised merely of consciousness, the letters in the middle ground,21 having a lunar form, [and being located] in the stage of awareness (vimarśa-daśāyāṁ) are the cause of the removal of the pain of cyclic existence. The light of these [syllables] expands, [and] by that [expansion the three worlds], being showered, assume the nature of That. grāhakādi-trikaṁ bhuvanatrayam A sarveśvarīm A viśva-poṣakaratvāt A mahā śrī siddhamātṛkām A deśa-kālākārair aniyantrita-svabhāvatvād mahatvam, viśvābhedamayatvāt śrītvam, śivādikīṭāntasyāhaṁrūpatvāt siddhatvam, ṣaṭtriṁśat-tattvollāsahetutvād mātṛkātvam A 20 The triad of subject, object, and means of knowing. 21 A reference to the madhyamā-vāk. Cf. PTV. aPPendix a | 171 “Three-worlds” [indicates] the epistemological triad. Because [she] provides nourishment for the universe [the goddess] is “mistress of all”. Mahāśrīsiddhamātṛkām [is expounded thus]: she is great (mahatvam) because her nature is uncontrolled by space, time, and form; she is prosperity (śrī) because she is not different from the universe; she is perfect because of having an I awareness that extends Śiva to cellular life [i.e. embraces the totality]; she is Mother because she is the cause of the emergence of the thirty-six tattvas. vande kṛtrimadehādyahantā-bhūmi-nyak-kāreṇa akṛtrima-pūrṇāhaṁtāparāmarśātmanā samāviśāmīti yāvat AA I pay reverence [to the Goddess] by abandoning those states of constructed I-ness based on [false notion of the] body, etc. and becoming perfectly absorbed in that supreme awareness which is unconstructed, perfect I-consciousness. Artharatnāvalī on Nityāṣoḍaśikārṇava 1.4 yadakṣaraśaśijyotsnetyādi A yasyā mātṛkāyāḥ, akṣarāṇyeva śaśirūpāṇi, āhlādahetutayā A ato ’kṣaraśaśijyotsnayā dīptyā maṇḍitam alaṁkṛtaṁ bhuvanatrayaṁ yayeti A The letters of the mātṛkā have the form of the moon, because they provide bliss (āhlāda). Thus, by the light — the rays — of the moon-like letters, the three worlds are decorated, or adorned. tāṁ siddhamātṛkāṁ śrīkaṇṭhādi-rudra-jananīm A namas-karomīty-arthaḥ A anyac ca mūla-vidyāyāṁ yāni yāni śaśyakṣarāṇi sambhavanti, tāni tāni prādhānyenoddhṛtya staumītyarthaḥ A The meaning is that I bow to Siddhamātṛkā who is mother of the Rudras like Śrīkaṇṭha. And another [meaning is]: I worship by selecting primarily those lunar-syllables22 placed in the root mantra [pañcadaśī-mantra]. atra ca śaśyakṣaraṁ sa-kāraḥ, sa tu dvitīya-tṛtīyabījayor anugataḥ, tasya mahimānaṁ mātṛkākṣara-stutivyājena darśitavānityarthaḥ A Herein, lunar syllable means sa, and that [syllable] is found in the second and third portions (bīja) [of the pañcadaśa-mantra], the glory of that letter is secretly shown here through this hymn to the syllables of the Mother. This is the meaning. 22 Lunar-syllable indicates sa-kāra. 172 | the Goddess Within and Beyond the three Cities yad vā akṣaraśaśīti śaśyakṣaraṁ candrākṣaram, 23 tasya jyotsnetyādi pūrvavadyojanā AA Or, the letter which is moon-like means lunar-syllable or syllable of the moon, and the interpretation. Nityāṣoḍaśikārṇava 1.5 yadakṣaramahāsūtraprotam etajjagattrayam A brahmāṇḍādikaṭāhāntaṁ tāṁ vande siddhamātṛkām AA 1.5 AA I bow to that Siddhamātṛkā, she who strings the three worlds — beginning with egg of Brahmā and ending at the cosmic saucepan — using the great string of letters. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 1.5 yadakṣaramahāsūtreti A yasyāḥ pūrṇāhantāyāḥ parāśakteḥ kalābhūtāni yānyakṣarāṇi tānyeva viśvasūcakatayā mahāsūtrāṇi, teṣu prakarṣeṇa tādātmyena otaṁ samullasitam, (etat) prāg vyākhyātaṁ jagattrayam A Which letters are the manifestational powers of the Supreme Śakti, she whose I-ness is perfect, those very letters are the great thread which suggests the whole. In them [i.e. the letters] [the three worlds] shine interwoven in the condition of extreme identity. The “three-worlds” were explained previously. kiṁ viśiṣṭaṁ jagattrayam iti? tadāha — brahmāṇḍādikaṭāhāntamiti A anāśritādikālāgnirudrāntam A tāṁ nissāmānya-prasiddha-vaibhavām A śiṣṭaṁ prāgvat AA What qualiies the three-worlds? It is said that they begin with the Brahmā egg and extend to the cosmic saucepan, from Anāśrita to Kālāgnirudra. To her who possesses unparalleled glory and power. The remainder [of the verse] is [to be understood] according to the previous [elucidation]. Artharatnāvalī on Nityāṣoḍaśikārṇava 1.5 yadekṣaretyādi A yasyā mātṛkāyā akṣarātmaka-mahā-sūtra-protam etajjagattrayaṁ bhāti, tāṁ siddhamātṛkāṁ vande A brahmāṇḍādi-kaṭāhāntaṁ jagattrayam A mūlādhārādi-brahmarandhrāntam ityarthaḥ A The three worlds are woven by the great thread of the Mother. To Siddhamātṛkā 23 Means ī-kāra. aPPendix a | 173 I bow. The three-worlds [are correlated with] the Brahmā egg at the beginning and the cosmic saucepan at the end. The sense is this: [the three worlds] originate at mūlādhāra [-cakra] and extend to brahmarandhra.24 idam api sūtraṁ mātṛkākṣara-mahimānaṁ sūcayati A siddhamātṛkāmiti A siddhāḥ pañcāśad rudrāḥ śrīkaṇṭhādayaḥ A tesāṁ jananīmityarthaḥ AA This verse also suggests the glory of the letters of the Mother. It is said, “[I bow] to the Siddha-Mother”. The ifty Siddhas are the Rudras beginning with Śrīkaṇṭha. The meaning is, [I bow] to [she who is the] mother of those [ifty Siddhas]. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 1.5 yadakṣaretyādi A siddhamātṛkāmityantena pañcamasūtreṇa vācyasya kalādyadhvatrayasya vācakena varṇādyadhva-trayeṇābhedaṁ darśayati A The ifth verse, ending with siddhamātṛkāṁ, shows the non-difference between the threefold path of signiiers — varṇa, etc. — and the threefold path of signiieds — times, etc. brahmāṇḍādi-kaṭāhāntāmiti kālāgnyādiśivāntaṁ mahāsūtra-protametajjagat-trayaṁ kalādyadhva-trayaṁ bhātītyarthaḥ A tāṁ siddha-mātṛkāṁ vande namaskaromīti A siddhamātṛkāṁ siddhi-prāptau mātṛkāṁ jananīmiti yāvat A tadadhvatrayaviśeṣaṇam A [The compound word] “beginning with the Brahmā-egg and ending with the cosmic saucepan” means “beginning with Kālāgni, ending with Śiva”. This [is the domain of] the three worlds, which shine as the threefold path of time, etc., strung on the great garland. I offer salutations to that Siddhamātṛkā. [She is the] mother in that she is the producer with regards to the attainment of siddhi. Hence [she is called] Mother of Siddhi. “That” [also] indicates the threefold path. asminnapi sūtre mūlavidyāyā hakārasya mahimā ’pi sūcito dṛṣṭavyaḥ A atrākṣara-mahāsūtra-padena viśvasūcako hakāro ’bhipretaḥ A In this verse the glory of the ha-phoneme in the root-mantra is shown. Herein, the word “great garland” means that the ha-phoneme is the universal signiier. tathā ca nāmasarge — “lakulī sarvasūḥ” iti hakārasya viśvasūcana-hetutayā sūtratvam uktam A sa ca ha-kāro bīja-traye ’pyanugata eveti sarvaṁ samañjasam A 24 This is the fontanelle at the peak of the sahasrāra cakra. 174 | the Goddess Within and Beyond the three Cities As it is said in Nāma-sarga — “Lakulī25 is the producer of all”. It is said [that] because it is the source of universal signiication of the ha-syllable it is the nature of the garland. And that ha-phoneme is placed in the triad of sections [in the root-mantra]. Thus is everything [in the verse correctly explicated]. Nityāṣoḍaśikārṇava 1.6 yadekādaśamādhāraṁ bījaṁ26 koṇatrayodbhavam A brahmāṇḍādikaṭāhāntaṁ jagadadyāpi dṛśyate AA 1.6 AA That seed which is the eleventh foundation, born of the three angles, is to be seen as the present world, beginning with the Brahmā-egg and ending with the cosmic saucepan. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 1.6 yadeketi A yadekādaśaṁ yasyāḥ pūrṇāhantāyā anuttarādiprasareṣu yadekādaśaṁ tadityarthaḥ A ādhāram adhikaraṇam A viśvasya kṣityādeḥ śivāvasānasya A bījaṁ viśvakāraṇam, sphurattātmā parāśaktiḥ A “Eleventh” indicates the eleventh [phoneme] in that sequence of [syllables] beginning with the a-phoneme which [arises] from she whose I-ness is perfect. Ādhāram means foundation. “Of the universe” means [the domain of the eleventh phoneme] is from the earth up to Śiva. “Seed-syllable” indicates that it is the source of the universe, being the supreme power which is the nature of expansion. yaduktaṁ mṛtyujidbhaṭṭārakeṇa — sā yoniḥ sarvadevānāṁ śaktīnāṁ cāpyanekadhā A agnīṣomātmikā yonistasyāḥ sarvaṁ pravartate AA (NeT 7.40) iti AA As it is said in the Mṛtyujid-bhaṭṭāraka, “She is the source of all the gods and ininite powers. Everything emerges from her womb, which is made of both agni and soma”27 (NeT 7.40). 25 The Lakula tree has branches resembling the ha-morpheme. Hence, it became associated with ha-kāra. 26 This is the reading according to Sthāneśvara’s lineage. This samāsa reading allows for numerous levels of interpretation. 27 “Containing agni (ire) and soma (luids) is not only a biological description of the female genitalia. More to the point, it reveals that the womb of the Devī contains and transcends all opposites: ire/water, destruction/life, etc. aPPendix a | 175 koṇatrayodbhavaṁ śaktitrayātmanā vā, vāmājyeṣṭhāraudryātmanā vā, anuttarānandecchāsaṁghaṭṭanena vā trikoṇāntarvibhatkam A Originated from a triangle28 being the form of three powers, being the form of Vāmā, Jyeṣṭhā, and Raudrī, as the amalgamation of a, ā, and i, divided within the triangle. taduktaṁ śrītrikaśāstre — anuttarānandacitī icchāśaktau niyojite A trikoṇamiti tatprāhurvisargāmodasundaram AA (TĀ 3.94-95) iti A This has been said in Śrī Trika-Śāstra, “When the anuttara and ānanda forms of consciousness are joined to icchā-śakti, that is called ‘the triangle’ which is the beauty of bliss in ejaculation” (TĀ 3.94-95). etaduktaṁ bhavati — anāśritādi-kālāgni-rudrāntaṣaṭ-triṁśat-tattvātmanā kāryaprasareṇa mahāśaktirūpeṇa bījātmanā cetthamubhayātmanā mahāyogibhir anubhavāparāṅmukhaiḥ29 sarvadā dṛśyata iti A sarvadetyukter adyāpyarthaśca kathitaḥ A It is said — in the form of the thirty-six elements, beginning with Anāśritā and ending with Kālāgnirudra,30 by means of the low of creation and as the form of the great power in seed form and both of these forms are always seen by those great yogīs who are not turned away from that experience. “Always” means present (adya), as well as past and future (api). uktaṁ ca śrīparātriṁśikāyām — yathā nyagrodhabījasthaḥ śaktirūpo mahādrumaḥ A tathā hṛdayabījasthaṁ jadadetaccarācaram AA (24) iti AA And it is said in Śrī Parātriṁśikā, “As a great tree abides in the seed of the pīpal tree in the form of creative potential, so this whole cosmos of sentient and insentient [beings] abides in the seed of the heart” (PTriṁ 24). Artharatnāvalī on Nityāṣoḍaśikārṇava 1.6 yadekādaśamityādi A yasyā mātṛkāyā ekādaśam akṣaram ādhāra-bījam A mūlādhārabījamityarthaḥ A koṇatrayodbhavam A trikoṇa-vinyāse kṛte 28 In the Śaradā script the syllable e was written as a triangle. 29 This phrase suggests the Bhairava state which is both immanent and transcendent. 30 It seems that there the word tattva incorporates the bhuvanas. 176 | the Goddess Within and Beyond the three Cities pūrvoktaikādaśam ekāramādhārabījaṁ bhavatītyarthaḥ A The eleventh letter of the Mother is the foundation-seed.31 The meaning is that it is the seed of the mūlādhāra. Origination from the triad of angle. With regard to the founding of the triangle, the previously mentioned eleventh [syllable], the e-syllable is the foundation seed. brahmāṇḍādi-kaṭāhāntaṁ jagadadyāpi dṛśyate A brahmāṇḍādikaṭāhāntaṁ kālāgnyādiśivāntaṁ jagad adyāpi idānīntanasthitikāle ’pi tasminneva parāyonimaṇḍale paridṛśyata ityarthaḥ A Brahmāṇḍādi-kaṭāhantaṁ means that the world beginning with Kālāgni and ending with Śiva is seen now in the present time of sustenance in that very circle of the supreme womb. uktaṁ ca śrīmatottare — “etattanmaṇḍalaṁ divyaṁ yatra viśvaṁ pratiṣṭhitam” iti A And it is said in the Śrī Matottara, “This is the divine circle wherein the universe is sustained”. apiśabdena sṛṣṭisaṁhārayorūpalakṣaṇam A ko ’bhiprāyaḥ? aparaparāpara-para-bhāvena sthita-trikoṇo-palakṣita-parāyoni-maṇḍale brahmāṇḍādikaṭāhāntaṁ jagad utpattisthiti-nāśām pratipadyata ityarthaḥ A anenāpi sūtreṇa mūlavidyādyabījāntargatasya ekārākṣarasya mahimānaṁ viśeṣato varṇitavā nityarthaḥ AA The term api signiies both creation and dissolution. What is the meaning [of this]? In the nature the lower, middle, and supreme stages the world attains creation, sustenance, and dissolution within the circle of the great womb, beginning with the Brahmā-egg and ending with the cosmic saucepan. Also by this verse, that which is inside the irst section of the root mantra, the glory of that e-phoneme, is speciically explained. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 1.6 yadekādaśamityādi dṛśyata ityantena ṣaṣṭhena sūtreṇa mātṛkāstutim abhivāñchatā parameśvareṇa mātṛkāsaṁkhyāne ekādaśasthānagatam ekārākṣaraṁ trikoṇātmakamasyāḥ paradevatāyā bāhyābhyantarabhedadvaye 31 Here the referent is the triangle in the mūlādhāra cakra, which is the geometric expression of the seed mantra e. aPPendix a | 177 ’pyādhāra-bījamāsanam iti pratipādayati AA By the sixth verse starting with “that syllable” and ending with “is seen” desiring to praise the Mother by Śiva, in the counting of the letters which is in the eleventh position, the e-syllable, in the form of a triangle, of the transcendental goddess, in both external and internal stages, is the foundation seed, this is explained. Nityāṣoḍaśikārṇava 1.7 akacādiṭatonnaddhapayaśākṣāravargiṇīm A jyeṣṭhāṅgabāhupādāgramadhyasvāntarvivāsinīm AA [I bow the Goddess] abiding in the heart, the belly, the tips of the ingers and toes, and the head [as the eight-] groups of letters beginning [respectively] with a, ka, and ca, and continuing through ṭa, ta, pa, ya, and śa. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 1.7 akaceti A praṇamāmītyuttaratra sambandhaḥ A jyeṣṭhāṅgam uttamāṅgam A agraśabdo bāhupādayoḥ sambaddhyate, bāhvagraṁ pādāgraṁ ceti A madhyaśabdena pārśvadvayapṛṣṭhanābhijaṭharāṇi lakṣyante A svāntaṁ hṛdayam A “I salute” is herein understood in connection with the succeeding [verse]. Jyeṣṭhāṅga is the upper-limb [i.e. head]. The word “tip” is applied to both the hands and the feet, in other words: tips of the hand and tips of the feet. The term “mid-section” indicates the two sides, the back, the navel region, and the abdomen. Svānta is the heart. ayamarthaḥ — ahaṁvimarśa-prathama-kalānuttara-prasarāṣṭavarga-sāmānyāṣṭāvayavatattadvargākṣara-rūpa-parāmṛṣṭa-tattadviśeṣāvayavām ittham akṣarātmikāṁ devīṁ mātṛkāṁ praṇamāmīti A The meaning is this — I honour that Goddess Mātṛkā, made of the letters, in the following way: the irst modiication of I-awareness is a from which lows eight [letter-] groups like the common eight limbs [of the body], and the forms of those groups [i.e. the individual syllables] are visualized [as residing] in speciic body-regions. sampradāyakrameṇa tattadvargasya parāmarśakramaḥ A taduktam abhiyuktaḥ — “akaca” (PrSā 1.1) iti “kānan” (PrSā 7.4) iti ca A 178 | the Goddess Within and Beyond the three Cities The sequence of visualization of those groups is [done] according to [one’s own] tradition. This has been stated [elsewhere] by a respected scholar — [in the verse beginning] akaca (PrSā 1.1) and [the verse beginning] kānan (PrSā 7.4). Artharatnāvalī on Nityāṣoḍaśikārṇava 1.7 akacādītyādi A akacaṭatapayaśādyairakṣarair bhedita-mātṛkāṣṭa-vargair viracita-mukha-bāhu-pāda-madhya-hṛdaya-pṛṣṭha-kaṭi-sarvāṅga-sundarīṁ mahātripurasundarīṁ praṇamāmītyarthaḥ A anenākṣarāṇāṁ nyāsasthānaṁ sūcitamiti tātparyārthaḥ AA I salute Mahātripurasundarī, the beautiful one whose every limb — face, hands, feet, mid-section, heart, back, and hips — are comprised of the eight distinct groups of letters, beginning [respectively] with the letters a, ka, ca, ṭa, ta, pa, ya, and śa. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 1.7 akacādiṭatonnaddhetyādi keśapādādivāsinīm ityantena saptamasūtreṇa varṇakramasya akacaṭatapayaśākṣara-bheditāṣṭa-vargātmaka-vaśinyādyāṣṭaśaktyadhiṣṭhāna-bhūtena śirobāhu-hṛdaya-pṛṣṭha-yoni-pādadvayākhyena puryaṣṭakātmanā devyāḥ svaśarīre ’vasthānamiti sūcayati A athavā ’kṣarāṇāṁ nyāsasthānaṁ sūcayatīti tātparyam A akṣarārthaḥ spaṣṭaḥ AA By the seventh verse, ending [with the words] “[to the goddess] dwelling in the hair, feet, etc.”, it is implied that the seat of the goddess is one’s own body, which is the foundation of the eight śaktis named Vaśinī, etc. is comprised of the eight distinct groups of letters [beginning respectively with] a, ka, ca, ṭa, ta, pa, ya, and śa, and is the form of the City of Eight, [whose individual gates are] called head, hands [2], heart, back, generative centre, and feet [2]. In other words, the intention [of the verse] is to indicate the [bodily] places for yogic-installation of the letters. The meaning of the letters is [now] clear. Nityāṣoḍaśikārṇava 1.8 tāmīkārākṣaroddhārāṁ sārātsārāṁ parāparām A praṇamāmi mahādevīṁ paramānandarūpiṇīm AA 1.8 AA aPPendix a | 179 More essential than the essence, higher than the highest,32 I bow to the Supreme Goddess, whose form is the supreme bliss, whose mantra is made of the ī-syllable.33 Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 1.8 tāmiti A īkārākṣaroddhārām icchāśaktikṣubhitarūpāyāḥ sphuṭavedyollāseneśanādi-bhūmikāyāḥ prakaṭībhāvo yatra tām A Herein [I honour] that one who selects the ī-phoneme which is the form of the agitator of icchā-śakti expansion of the clear objects where of the different stages known as īśāna, etc. they become visible. She is the essence of the essence. sārātsārām A mahāphalaprasarabhūmiṁ mantra-vidyākṣara-veda-śaiva-vāmakaula-trikādeḥ sākṣāt kāraṇatayā sāra-rūpām A She is the ground of the expression of the great attainments. She is directly the cause of the letters of the mantras and vidyās in the Vedic, Śaiva, Vāma, Kaula, Trika, etc.; thus, she is essential. parā ’parām kāraṇātmanā parām, kāryātmanā aparām A tādṛśīṁ svarasoditaparāśaktirūpāṁ śivātmikāṁ parāṁ vācamityarthaḥ A To that Goddess who, as the cause is transcendental, and as the effect is imminent. To that one, expressed within itself, in the form of the supreme power, to that transcendental speech in the form of speech. This is the meaning. taduktaṁ śrīpratyabhijñāyām — atrāparatvaṁ bhāvānāmanātmatvena bhāsanāt A paratāhantayācchādāt parāparadaśā hi sā AA (3.1.5 ) iti A As it is said in Śrī Pratyabhijñā, “When there is the appearance of non-self on the object, there is aparatva. And when the supreme I-ness is covered there is the condition of parāpara”. paramānandarūpiṇīm A indriyajanyavyaṣṭibhūtānandaviprūṣāṁ mahāsamudrasthānīyatvāt A yacchrutiḥ — “etasyaivānandasyānyāni bhūtāni mātrām 32 The idea is that Tripurasundarī transcends the triads. 33 The Sādi tradition is believed to be extinct and is absent from the Śrī Vidyārṇava Tantra. There are twenty-ive lineages of Śrī-Vidyā. The mantras of all the lineages are present in the sarvāmnāya-krama. 180 | the Goddess Within and Beyond the three Cities upajīvanti” A (BĀU 4.3.32) iti AA Of the drops of the limited bliss produced by the sense-organs she occupies the fundamental position like a great ocean. As the Vedas say: “The other worlds survive on a mere portion of this bliss”. Artharatnāvalī on Nityāṣoḍaśikārṇava 1.8 tāmīkāretyādi A tāṁ devīṁ praṇamāmītyanvayaḥ A kathambhūtām ityapekṣāyāṁ tadguṇān viśinaṣṭi — īkārākṣaroddhārām iti A īkārākṣare uddhāro yasyāḥ sā īkārākṣaroddhārā A The syntactical order of the words [in the verse] is thus: “To that goddess I bow”. With regard to the inquiry, “Of what kind?”, these [following] characteristics are deined: [she] is the bearer of the ī-letter. [In other words], with regard to the syllable of the ī-letter, she is the bearer of it, thus [she is called] “bearer of the ī-letter”. vyadhikareṇa bahuvrīhiḥ A tena īkāra uktaḥ A tena hi kimuktaṁ bhavati? īkārākṣaravinyāse kṛte tadupari māyāyāṁ racitāyāṁ sa eva īkārākṣara īkāro bhavatītyasāvīkārādkṣaroddhārā A With respect to the case relations, bahuvrīhi-samāsa [is to be applied]. By this [verse] the ī-letter is announced. Through this [announcement] what exactly is proclaimed? When the form of the indestructible i-letter is written, at its top the anusvāra is drawn and that ī-letter becomes the īṁ-letter so therefore she is called bearer of the ī-letter. sārātsāratarām iti A yo ’yamuddhṛto mahākāmakalākhyo bījānām api bījātmaka īkāraḥ, sa sārāṇām sārabhūtaḥ sakala-puruṣārtha-sādhakamantramahasāṁ janmabhūmiḥ A It is called “more essential than the essence”. That ī-letter, supported [by her], being the seed of seeds known as Mahā Kāmakalā,34 bears the essence of essences, the primal ground of the rays of mantras which fulil all [four] human aims. parāparāmiti A sthitirūpāmityarthaḥ A athavā parāṇāmaparāṇām kulānām 34 The kāma-kalā consists of the three bindus which represent the icchā-, jñāna-, and kriyā-śakti. In sarvāmnāya, one practises Śrī-Vidyā in the śukla-pakṣa and Kālī Vidyā in the kṛṣṇa-pakṣa and everyday one unites the two within one’s yantra. Kālīs are worshipped in sixteen forms as the Nityās. aPPendix a | 181 akulānāṁ viśrāmabhūmiḥ A paramānanda-lakṣaṇa-śivasvabhāvām ityarthaḥ A anyac ca, anena mūlavidyā-bījatrayaśirogatasya māyākṣarasya mahimānam upavarṇitavān ityarthaḥ AA The meaning of parāparā is that [the Goddess] assumes the form of [cosmic] sustenance. Put differently, [she] is the resting ground of the kulas and the akulas,35 of the parās and the aparās. In other words, [the goddess] is the essential nature of Śiva, characterized by supreme bliss. Finally, the greatness of that anusvāra [inscribed] at the end [of each] of the triad of bījas of the root mantra is being described by this [verse]. This is the [complete] meaning. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 1.8 tāmityādi paramānanarūpiṇīm ityantenāṣṭamasūtreṇa darśana-sarvabhūtakāmakalāṁ darśayati — With the eighth verse — beginning with “to her” and ending with “being the supreme form of bliss” — [Śiva] reveals the Kāmakalā as the visible cause of all life. Nityāṣoḍaśikārṇava 1.9 adyāpi yasyā jānanti na manāgapi devatāḥ A keyaṁ kasmāt kva keneti sarūpārūpabhāvanām AA 1.9 AA To this day, even the gods know not a thing about she who meditated on in both embodied and formless aspects — “What [is she]?”, “From where [did she arise]?”, “Where [does she reside]?”, “By what [was she created]” [the gods ask]. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 1.9 adyāpīti A yasyāḥ pūrṇāhantāyāḥ saṁvidātmanaḥ sambandhi sattopādānādhikaraṇasahakāryādi, manāg īṣat, dyotanātmakatvād devatāḥ karaṇānyucyante A Being being, being the material cause, being the foundation36 and being the instrumental means — these are the sambandhi of she whose perfect I-ness is 35 Kula = Śakti = aparā = consonants = phenomenality; while Akula = Śiva = parā = vowels = the transcendent. Bhairavayāmala-candrajñāna is cited as a core text for Śrī-Vidyā. Nine cakras are here described in association with the nine vyūhas. 36 Adhikaraṇa also refers to subject/predicate relations. 182 | the Goddess Within and Beyond the three Cities comprised of consciousness. Manāg indicates “a bit”. Due to their capacity to illuminate the sense-organs are called “gods”. anādau saṁsāre citprakāśātmano mahāsvāminaḥ sarvadā parikaratayā vartamānā apītyadyāpītyarthaḥ A yacchrutiḥ — “sahaiva santaṁ na vijānanti devāḥ” (TaiĀ 3.11.7) iti A In the beginningless cycle of transmigratory existence, living beings are always the slaves of the Great Lord, he whose form is luminous consciousness. As the Veda [states]: “Even though existing together with Truth, the gods know It not” (TaiĀ 3.11.7). kathaṁ na vijānantītyamumarthaṁ prakāśayati — keyam asyāḥ kā sattā A kasmāt kimupādānā A kva kimadhikaraṇā A kena sahakārikāraṇena udetīyam A How it is that [the gods] do not know this meaning is here illuminated. What is the existence of her? “From what” means “what is material cause”. “From where” means “what is [her] point of origin”, “By what” means “by what instrumental cause does this [goddess] arise”.37 sarūpārūpābhāvanām A sarūpabhāvanāmarūpabhāvanāṁ ca indriya-gocarāmanindriya-gocarāmubhayīm api sthitiṁ na jānantītyarthaḥ, yādṛk “uta tvaḥ paśyan” (ṚV X.71.4) ityādi A Meditating upon in embodied and formless aspects, those visible to the senseorgans and those imperceptible to the sense-organs, they do not know [her] in either aspect. Of this “Even when seeing [That is not seen, etc.]” . atra śloke ’syā bhūyasī vyākhyā samucitā A granthavistarabhītyā prastutapadārtha-vyutpatty-anupayogān mahārahasya prakaṭanabhītyā coparamyate A mahāmāheśvarāṇām antarmukhānāṁ mahāyoginām iyaṁ dvādaśaślokī mahānidhānam ityavaboddhavyam A The extensive exposition of the content in this verse [given thus far] is suficient. Due to the non-necessity for [elucidating] the etymologies of the presented word meanings and being concerned not to overextend the work [at hand], I stop here. For the great yogīs who are themselves the Great Lord, who are turned inward, 37 There are six causes (ṣaḍ-kāraka) in the grammarian traditions: subject (kartā), object (karma), instrumental (karaṇa naimittika), dative (sampradāna), ablative (upādāna), and loctative (adhikaraṇa). Three cosmogonic causes are: upādāna (material), nimitta (instrumental), and sahakārī-karaṇa (associated causes). This interpretation likely originated with Sāṁkhya. aPPendix a | 183 this twelve-verse [prayer] is the great treasure. This [fact] should be understood. atra vyākhyāne bahuśrutisaṁvādaḥ pradarśyate kartuḥ saṁmatam (taḥ) A tadvakṣyati ca “sarvavedamayam” (1.49) iti A In this exposition many references from the Vedas are shown to be in agreement with the views of the author. As it will be said [ahead], “Having the nature of all the Vedas”. āgamaśca dvividhaḥ — traivarṇikaviṣayaḥ, sarvavarṇaviṣayaśceti A atra kartraikye śrutisaṁvādaḥ A vedāgamarahasyāgamayoḥ kartraikyaṁ śrīrahsyagurubhiḥ prakāśitam — vedāgamaviruddhāya vedāgamavidhāyine A vedāgamasatattvāya guhyāya svāmine namaḥ AA (ŚiSt 2.7) iti “śrīmadvājasanīye śrīvīre śrībrahmayāmale” (TĀ 4.54) iti “aitareyākhyavedānte parameśena vistarāt” (TĀ 3.226) iti ca AA There are two types of revealed scriptures: those whose teachings are for the upper three castes and those which are for all castes. Herein [i.e. in the Nityāṣoḍaśikārṇava] there is agreement with the Veda since there is oneness of the author. The oneness of the Vedic scriptures and the secret scriptures is revealed by the secret guru: “Who is beyond the Vedas and Āgamas, but who [himself] made the Vedas and Āgamas, he who is the very essence of the Vedas and Āgamas, salutations to that hidden Lord” (ŚiSt 2.7). “In the Śrī Vājasanīye,38 Śrī Vīra,39 in Śrī Brahmayāmala” (TĀ 4.54). “The matter is elucidated by the great lord in the Aitareya Upaniṣad” (TĀ 3.226). Artharatnāvalī on Nityāṣoḍaśikārṇava 1.9 adyāpītyādi A devatā yasyāḥ svarūpārūpabhāvanāṁ na jānantītyarthaḥ A adyāpi sthitikāle ’pi darśanayogyadaśāyām api na jānanti A yadā tu nāmarūpātmakaprapañcasaṅkocavaśān manovāgatītaturyātītaśambhunā samarasadaśāmāḍhaukate, tadaināṁ na jānantīti kimu vaktavyam ityarthaḥ A The gods do not know the [methods for] the embodied and formless meditations on her. Even in the present phase of sustenance, when objects are visible, they [the gods] do not know [the Goddess]. Even when, by [her] will [she] contracts as 38 A Saṁhitā from the Śukla Yajurveda. 39 This refers to a Tantric text. 184 | the Goddess Within and Beyond the three Cities this universe of name and form, [they] do not know how to describe her, much less so when she approaches the state of equality with Śambhu who is beyond mind, speech, and even the turyā stage. This is the meaning. manāgapi svalpamapi A nāmāpīti mathitārthaḥ A devatā brahmopendraprabhṛtayaḥ A keyamiti nāma, kasmāditi kāraṇāt, kva iti deśe, kena hetunā ityuktaprakāracatuṣṭaye ’pyanabhijñā devā ityarthaḥ A prakṛṣṭajñānsampannair devair api yadeyaṁ durvijñeyā, tatkimutālpajñair naraiḥ A Manāgapi [means] “even a little”. “[The gods] know nothing”, is the churned meaning (mathitārtha). “Gods” indicates Brahmā, Viṣṇu, etc. “Who” asks [her] name. “By which” asks [her] source. “Where” asks [her] place-of-abiding. “By what” asks [her] cause. These are the four mentioned categories in regards to which the gods are ignorant. When she is unknown even by the gods who possess exceeding knowledge, then what to say about mankind, whose knowing capacity is limited? svarūpārūpabhāvanāmiti svarūpabhāvanā sakalopāstiḥ, arūpabhāvanā śaktiviśeṣānusandhānam A uktaṁ ca śrīmatottare — piṇḍaṁ kuṇḍalinī śaktiḥ padaṁ haṁsaḥ prakīrtitaḥ A rūpaṁ binduḥ samākhyāto rūpātītaṁ tu niṣkalam AA Svarūpabhāvanā indicates meditation on form, and arūpabhāvanā is the meditation on particular śaktis. It is said in the Śrī Matottare, “piṇḍa is kuṇḍaliṇīśakti. Pada is known as haṁsaḥ. By rūpa, bindu is indicated. Rūpātīta is beyond manifestation.” anyacca, samanantara-sūtrodita-caturthasvareṇa kāmakalākhyena parikalpitasakalaniṣkalaśarīrām enāṁ na jānanti devā ityarthaḥ AA Further, the meaning is that the gods do not know she whose form is envisioned in its form and formless [aspects], as indicated by the fourth vowel [the ī-letter], named Kāmakalā, which was expressed in the previous sūtra. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 1.9 adyāpītyādi bhāvanāmityantena navasūtreṇa kāmakalā-viniyogaṁ darśayati — By the ninth sūtra which starts with “even today” and ends with “meditation”, the placing of the kāmakalā is revealed. aPPendix a | 185 Nityāṣoḍaśikārṇava 1.10 vande tām aham akṣayyām akārākṣara-rūpiṇīm A devīṁ kula-kalollololola-prollasantīṁ parāṁ śivām AA 1.10 AA I worship that Goddess who is Supreme Śiva, whose form is the indestructible a-letter, manifesting the tides of the waves of the kulas. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 1.10 vande tāmiti A ahaṁ “nyakkṛtadehāhantārūpaḥ sarvaprāṇi-svasaṁvedanasvabhāvaḥ pūrṇāhaṁ-parāmarśa-vicchedaśūnyo ’ntarabhyupagamakalpo ’nanyamukha-prekṣitatva-lakṣaṇa-svātantrya-viśrāntirūpaḥ pratyavamarṣo ’ham” ityācāryābhinavagupta-pādāḥ A Master Abhinavagupta deines “I” thus, “I” is that awareness wherein body I-ness is overcome, whose essence is the self-awareness of all beings, free from that which severs the perfect awareness of the supreme I, a form of inner knowledge which resides in that perfect freedom characterized by awareness of none other [than one’s own self].” akṣayyām A pratiprāṇi pratyuccāraṇaṁ varṣeṣūtpannadhvaṁsiṣu samastavācakābhedamaya-svarasoditaparanādātmanā sadā bhāsamānām. taduktaṁ tantrāoke — yo ’sau nādātmakaḥ śabdaḥ sarvaprāṇiṣvavasthitaḥ A adha-ūrdhvavibhāgena niṣkriyeṇāvatiṣṭhate AA (3.113-14) eko nādātmako varṇaḥ sarvavarṇāvibhāgavān A so ’nastamitarūpatvād anāhata ihoditaḥ AA (6.217) iti A “Indestructible” [reveals that] all beings arise and subside within the letters, which are non-different from all the signiiers, and which eternally shines as the spontaneously arisen supreme sound. As it is stated in Tantrāloka, “In the form of nāda the Word resides in all beings, divided into lower and upper parts,40 sustaining [them] while being [itself] activity-less (3.113-14).” [And again,] “Nāda is the one letter, being non-distinct from all the other letters. As its nature never sets so that [letter] is called ‘unstruck’”41 (3.113-14). 40 The lower is the place of arising, the mūlādhāra, and the upper is the place of merging into the absolute, the dvādaśānta, twelve aṅgulas above the cranium. 41 For that which never ends also has no beginning, is self-arisen. 186 | the Goddess Within and Beyond the three Cities akārākṣararūpiṇīm A kroḍīkṛtānandādyakṛtrimāhaṁ-parāmarśa-prathamakalānuttarākulākṣararūpiṇīm A śrutiśca — “akāro vai sarvā vāk” (AiĀ 2.3.6) iti A gītā ca — “akṣarāṇāmakāro ’smi” (BhGī X.33) iti A “akāraḥ sarvavarṇāgryaḥ prakāśaḥ paramaḥ śivāḥ” (SaṁPa) ityabhiyutkavacaśca. “Having the form of the a-letter” [indicates] she who keeps on her lap bliss and the rest,42 that non-artiicial I-awareness which is the irst kalā, the transcendent letter [a-kāra]. As the Veda says, “All speech [arises from] that very a-phoneme” (AiĀ 2.3.6). And in the [Bhagavad-]Gītā, “Among the letters, I am the a-phoneme” (X.33). And according to the statement of [another] textual authority, “The a-kāra is the irst among all letters; it is pure light, the transcendent Śiva” (SaṁPa43). kulakalollolaprollasantīm A kulaṁ ṣaṭtriṁśattattvamayaṁ jagat, kalayati bahiḥ kṣipati pāramityena paricchinatīti kalā māyāśaktiḥ, tayor ullolaḥ prāgvat, tadrūpeṇa mahāśaktipuñjātmanā jagadvapuṣā prollasantīmityarthaḥ A saṁvideva bhagavatī svāntaḥ-sthitaṁ jagad bahiḥ prakāśayatīti darśanarahasyam A yathāhu rahasyaguravaḥ — cidātmaiva hi devo ’ntaḥ sthitamicchāvaśādbahiḥ A yogīva nirupādānamarthajātaṁ prakāśayet AA (ĪP 1.5.7) iti A parāṁ pūrṇām A śivaṁ cidbhairavarūpiṇīṁ tām AA Kula is the creation composed of the thirty-six ontic elements; kalā is that [aspect of] māyā-śakti which manifests, i.e. throws outward [its inner nature], and which categorizes by measuring. With regards to these two [i.e. kula and kalā], [the exposition of] “low” (ullolaḥ) is like the previous [verse], [in that she is that [wave] who is being manifested in that form as the collective cluster of the great energy, assuming the form of the universe. The glorious goddess, being consciousness itself, manifests externally the universe residing within. This is the inner meaning of this philosophical system. As our secret teacher has said, “Like a yogī who manifests external objects without any material means, God, being conscious itself, manifests externally everything residing within through mere will” (ĀP 1.5.7). Supreme [means] perfection. “To her” indicates Śiva, she whose form is that Bhairava who is consciousness. 42 Ānanda refers to the ā-kāra which is perceived as containing all the letters. 43 Saṅketa Paddhati, a lost text. Quoted in the Luptāgama Saṁgraha. aPPendix a | 187 Artharatnāvalī on Nityāṣoḍaśikārṇava 1.10 vande tāmityādi A vande prahvībhāvaḥ karomi A tāṁ prakṛtām A akṣayyeti A kṣayarahita-kṣakārākṣararūpiṇīm ityarthaḥ A anyacca, mūlavidyādyabījagarbhākṣarasya mahimānaṁ varṇayati — devīmityādi A Vande means “I engage in prostration”. Tām [indicates] the one under discussion [i.e. Bhagavatī]. Akṣaya indicates that one has the form of the kṣa-phoneme, which is itself absent of subtraction. Further, [the verse] mentions the greatness of that letter [hidden] in the womb of the irst section of the mūla-mantra. kulaṁ brahmāṇyādimahālakṣmyantaṁ mātṛkāṣṭa-varga-krameṇāṣṭadhā vyavasthitam, tasya kalāḥ kulakalāḥ, tāśca pratyekamaṣṭakavyātptyā catuṣṣaṣṭisaṁkhyākāḥ, tāśca mūlamantravācyamūladevatāyāḥ svarūpa rūpāḥ A Kulam starts with Brahmāṇī and ends with Mahālakṣmī. The kalā of that which is situated in the order of the eight sections of the letters is the kulakalā. Each of those [mothers] is pervaded by the eight [groups], which are counted as sixty-four, and are the form of the central goddess signiied by the mūla-mantra. tāsāṁ kalānāmullolastaraṅgātirekaḥ A sa ca meḍhrādyā-dvādaśāntanavādhāranavalakṣyeṣu samaṣṭi-vyaṣṭyātmakeṣu sunipuṇamatibhiś ciraṁ lakṣyate A Of those [letters] the ecstasy of the waves is [called] the waves of kalā. And that [wave] is indicated/meditated [upon] at length from the phallus to the dvādaśānta in the nine residing places, nine cakras, in macro- and microcosmic forms by those whose wisdom is perfect. tatra prollasantī sā bhagavatī svavimarśamayībhiḥ kalābhiḥ sahajānandaśambhunā samarasībhūtā satī tatsaṁyogajānandapānakṣībā A tābhiḥ sākamānanditetyarthaḥ A parāṁ śivām iti sāṁsārikān sarvān bhāvānupasaṁhṛtya saccidānandalakṣaṇe sve mahimni mahīyate A ataḥ parā śivetyucyate A parā sarvotkṛṣṭatvāt A śivā ānandalakṣaṇatvāt AA Therein that Bhagavatī is being manifested by those kalā which have the nature self-awareness while in condition of unity with Śambhu, that innate bliss, aroused by the drinking of the bliss of the uniication of them. The meaning is that [Bhagavatī] is contented by them [i.e. the kalās]. Collecting all the world essences, one is illuminated in one’s own glory in the form of beingconsciousness-bliss. Thus, [Bhagavatī] is called Supreme Śiva. She is supreme because she transcends the whole, Śiva, because she is bliss. 188 | the Goddess Within and Beyond the three Cities Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 1.10 vande tāmityādi parāṁ śivām ityantadaśamasūtreṇa prathmārdhena dīkṣākramaṁ darśayati A akṣayyetyatra akārādikṣakārāntā varṇāḥ saṁgṛhyante A te ca samaṣṭivyaṣṭirūpeṇa kalyāṇaguruṇā śiṣyadehābhidhyātā pāśa-mocakā bhavantītyataḥ kṣakārībhūtāḥ A By the tenth verse starting with “I bow to her” and ending with “Supreme Śiva”, the irst half shows the order of initiation. By the term a-kṣayya the letters from a to kṣa are counted. Those [letters] in both micro- and macro-cosmic forms,44 by means of the compassionate guru meditating on the body of the disciple, become liberators from the bonds45 and becomes the kṣa-syllable. kṣakāro ’pi saṁvarta-rūpatvāt pāśa-cchedaka-turīyarūpatvāddīkṣāṅgarūpatvād-ekaḥ parigṛhīta iti vlomātmanā mūlādyādvādaśāntam abhidhāya te sarve varṇaḥ saṁhārātmakatayā kṣakārātmatāmupagacchantīti sarvavarṇānāṁ kṣakārātmatā darśitā A This single kṣa-letter along is mentioned, due to its being the form of submergence,46 the transcendental form that cuts the existential bonds, being a limb of initiation, in the reverse way starting from the root [cakra] and ending with the dvādaśānta, [in this way] mentioning all the letters in the order of dissolution they enter the condition of the kṣa-phoneme,47 so the kṣa-ness of all the letters is shown. atraiṣākṣarayojanā — ādikṣāntātmanā gaṇeśagrahanakṣatretyādi-sūtrasūcitā yā mātṛkā tāṁ vyaṣṭisamṣṭyātmanā sthitāṁ kṣakārākṣararūpiṇīṁ vande namsakaromītyarthaḥ A devīm ityuttarārdhena kula-cakrarūpatvaṁ mūladevyāḥ pratipādayati AA Thus the order of the letters — by the form of a to kṣa — indicated by the verse starting gaṇeśa-graha-nakṣatra to that Mother situated in micro- and macrocosmic forms, being the form of the kṣa-letter, to that one I bow. By the latter half [of this verse], starting with “to the goddess”, the form of the circle of the kulas of the root goddess is established. 44 Macro-cosmic form incorporates the bhuvanas and tattvas while the micro-cosmic forms refer to places within the yogin’s body. 45 Kṣa indicates all the tattvas from pṛthvī to śakti. Ka + ṣa. 46 Saṁvarta Bhairava is the Bhairava of Paścimāmnāya which is the Bhairava of destruction. 47 The kṣa-phoneme is itself a kūṭa-akṣara. aPPendix a | 189 Nityāṣoḍaśikārṇava 1.11 vargānukramayogena yasyāṁ mātraṣṭakaṁ sthitam A vande tām aṣṭavargotthamahāsiddhyaṣṭakeśvarīm AA 1.11 AA I bow to that one who is the mistress of the eight great perfections, those arisen group of eight [categories of letters48] which abide in her by means of the yoga of the alphabetical-groups. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 1.11 vargeti A yasyāṁ pūrṇāhantāyām A anuttarādyaṣṭavargānukramayogena A sa ca vargakramaḥ a ka ca ṭa ta pa ya śātmakaḥ A mātraṣṭakaṁ sarvamantrasāra-bhūtam sāmānyoktaṁ brāhmādyaṣṭakaṁ sthitam A “In whom” means “in her who is the perfect I-ness”. [The text states,] “By means of the eight alphabetical groups beginning with a”. And that sequence of letter groups is comprised of ka, ca, ṭa, pa, ya, and śa. The eight mothers are those which are the essence of all the mantras, generally termed Brāhmī, etc. adhiṣṭhātṛtayā vargādhiṣṭātryo brāhmyādyāḥ prāṇinaḥ saṁsārayanti. taduktaṁ śrītimirodghāṭe — karandhra49 citimadhyasthā50 brahmapāśāvalambikāḥ51 A pīṭheśvaryo mahāghorā mohayanti muhurmuhuḥ AA iti A Being rulers, Brāhmī and the rest, as the governors of the alphabetical groups, produce the transmigratory experience of living beings. This is affirmed in the Śrī Timirodghāṭe,52 “They who abide in the middle of psychic instrument in the brahmarandhra, those taking the support of the threads of Brahman,53 the goddesses of the power seats, the Mahāghoras54 always 48 The eight mothers give direct rise to, and in fact, are the eight siddhis. 49 Karandhra = brahmarandhra according to Sthāneśvara’s guru. 50 Check Pratyabhijñāhṛdayam for reference on madhya-sthā. 51 This can also be read as, “binding Brahman” according to the Jñānādhiṣṭhāna-mātṛkā commentary on the Śiva-sūtra-vimarśinī. 52 According to Timalsina this quote is pulled directly from Śiva-sūtra-vimarśinī. 53 Suṣumṇā-nāḍī. 54 Ghora = bheda-sparśa. Aghora is abheda, the absence of duality. Kṣemarāja elucidates this meaning in his ṭikā on Svacchanda-Tantra. 190 | the Goddess Within and Beyond the three Cities delude.”55 aṣṭavargeti A aṣṭavargamahādhiṣṭhātṛtvena sthitāṁ mahāvibhūtyaṇimādisiddhyaṣṭakasvāminīm ityarthaḥ A [I bow] to them who, being endowed the great sovereignty over the eight groups, reside as the lords of the eight perfections,56 the supernatural powers beginning with aṇimā. atra — “vidyāśarīra-sattā mantra-rahasyam” (2.3) iti śrīśivasūtroktadṛśā sarvamantrahṛdayabhūtaṁ mahārahasyātma viśvābhedamayāhaṁvimarśarūpaṁ vīryaṁ sūcitaṁA tadatra spaṣṭaṁ na bhavatīti sūtrārthas tadukta-vṛttyā likhyate — Following the Śivasūtra, which states, “The secret of mantra is the essence of the body of the vidyās” so herein it is likewise hinted that power which is the heart of all the mantras, being the essence of the great secrets, non-distinct from the entirety, is the very form of I-awareness. At this point, the meaning of the verse is still not clear, so I present the commentary written by him [Kṣemarāja]: vidyā parādvayaprathā śarīraṁ svarūpaṁ yasyā sa vidyāśarīro bhagavān śabdarāśis tasya yā sattā aśeṣa-viśvābhedamaya-pūrṇāhaṁvimarśātmāsphūrattā, sā mantrāṇāṁ rahasyam upaniṣat A Vidyā is the illumination of non-duality as the supreme. Śarīra means “own form”. He is vidyāśarīro, whose own body is the non-dual awareness of the transcendental; and that is Bhagavān, the sum total of the words. The essence of that is the blossoming consciousness of the perfect I-awareness, being nondistinct from the entire universe. That [expansion of consciousness] is the secret Upaniṣad57 of the mantra. taduktaṁ śrī tantrasadbhāve — sarve varṇātmakā mantrāste ca śaktyātmakāḥ priye A śaktistu mātṛkā jñeyā sā ca jñeyā śivātmikā AA iti A Śrī Tantrasadbhāva states, “O beloved, all the mantras are comprised of the letters 55 “This verse is the Tantra-key, the essence of all the Tantras. Know it and contemplate it”, Sthāneśvara stated after we had translated this passage. 56 The eight siddhis are arimā, mahimā, garimā, laghimā, prāpti, prākāmya, iśitva, and vaśitva. 57 Here to be taken in its literal sense as “up near to”. aPPendix a | 191 which are in reality śakti. And that śakti should be known as Mātṛkā, which, in turn, should be known as Śiva-natured.”58 tatraiva cāyamartho ’tirahasyo ’pi vitatya sphuṭīkṛtaḥ A tathā ca — In that very [text] the meaning of this great secret is elaborated upon in length. Thus: na jānanti guruṁ devaṁ śāstroktān samayāṁstathā A dambhakauṭilyaniratā laulyāndhāḥ kriyayojjhitāḥ AA People know neither the Lord Guru nor the rules mentioned in the scriptures, for they are dwelling in ego, crookedness, and misconceptions, and are always absorbed in [meaningless] actions. asmāttu kāraṇād devi mayā vīryaṁ pragopitam A tena guptena te guptāḥ śeṣā varṇāstu kevalāḥ AA Because of this, O Goddess, I have hidden the potency of the mantras. By this secret they are hidden, all that remains is the letters. iti pīṭhikābandhaṁ kṛtvā, yā sā tu mātṛkā devī paratejas-samanvitā A tayā vyāptamidaṁ viśvaṁ sabrahmabhuvanāntakam AA Having constructed this seat [we go on to the following verses]: This universe, from Brahmā59 to manifest reality,60 is pervaded by that Goddess Mātṛkā, she who is embodied by the transcendent light. tatrasthaśca yathā nādo vyāpṛtaśca sūrārcite A avarṇastho yathā varṇaḥ sthitaḥ sarvagataḥ priye AA tathā ’haṁ kathayiṣyāmi nirṇayārthaṁ sphuṭaṁ tava A O beloved, as nāda, being all-pervasive, is adored by the gods, and as the letter abiding in the a-letter is all-pervasive, so I will speak for the purpose of [bringing 58 Śakti is ha, Śiva is a, and Nara is anusvāra making ahaṁ. Nara is indicated by mantra. 59 Herein, Brahmā refers to the ive aspects of Śiva, which correspond to the irst ive tattvas. These ive aspects, or ive faces, are Īśāna, Tatpuruṣa, Aghora, Vāmadeva, and Sadyojāta, which correspond in turn to the ive pretas of the Purāṇas: Sadāśiva, Īśvara, Rudra, Viṣṇu, and Brahmā. 60 Bhuvanā is to be taken as a physical reality, the mahābhūta stage of creation with all its diverse worlds. 192 | the Goddess Within and Beyond the three Cities about] your clear determination. ityupakramya, yā sā śaktiḥ parā sūkṣmā nirācāreti kīrtitā A hṛd-binduṁ veṣṭayitvā ’ntaḥ suṣuptabhujagākṛtiḥ AA Having thus begun, [we now continue]: She is that power which is called supreme, subtle, and motionless.61 Veiling the seed of the heart, she takes the internal form of a soundly sleeping snake. tatra suptā mahābhāge na kiñcin manyate ume A candrārkānalanakṣatrair bhuvanāni caturdaśa AA O Umā, ye of great glory, that sleeping one62 thinks nothing at all. The moon, the sun, the ire,63 and the fourteen worlds. . . .64 kṣiptvodare tu sā devī viṣamūḍheva saṅgatā A prabuddhā sā ninādena pareṇa jñānarūpiṇā AA . . . throwing [these] into the belly, that Goddess, as if stupeied by poison, totally contracts. [Then], she is awakened by that supreme sound having the form of knowledge. mathitā codarasthena bindunā varavarṇini A tāvadvai bhramavegena mathanaṁ śaktivigrahe AA O Granter of Boons, aroused by the bhramavega of the seed65 abiding in the navel region, there is a churning in the body of the śakti.66 61 In Śrī-Vidyā there are ive stages of Vāk: parā, sūkṣma, paśyantī, madhyamā, and vaikharī. Vaikharī is also called the motionless stage (nirācāra) because at the gross level of speech the śakti is, as it were, frozen. 62 The kuṇḍalinī sleeps on both a micro- and macro-cosmic levels. Mahāmāyā is the cosmic kuṇḍalinī. 63 “Fire” refers to the ire of earth. 64 The fourteen worlds are: atala, vitala, sutala, talātala, rasātala, mahātala, pātāla, bhū, bhuvaḥ, svaḥ, mahaḥ, janaḥ, tapaḥ, and satyam. 65 The seed is the a-kāra. 66 This verse refers to a particular yogic practice of generating the śaktis within the body. The limbs of a-kāra are Vāmā, Jyeṣṭhā, Raudrī, Ambikā, and the limbs of ha-kāra are icchā, jñāna, kriyā, and śāntā. aPPendix a | 193 bhedāttu prathamotpannā bindavste ’tivarcasaḥ A samutthitā yadā tena kalā sūkṣmā tu kuṇḍalī AA Due to penetration by means of this [method of bhramavega] there irst arises those seeds, highly luminous, by which the subtle power of that coiled one is awakened. catuṣkalātmako binduḥ śakterudaragaḥ prabhuḥ A mathyamanthanayogena ṛjutvaṁ jāyate priye AA The seed comprised of a tetrad of kalās, being inside the womb of the śakti, is capable of manifesting. By the connection of the object churned and the process of churning, [the coiled one] becomes straight, O beloved. jyeṣṭhāśaktiḥ smṛtā sā tu bindudvayasumadhyagā A bindunā kṣobhamāyātā rekhaivāmṛtakuṇḍalī AA She who goes in between the two bindus67 is called Jyeṣṭhaśakti. That straight line agited by the seed[s] is [called] Amṛṭakuṇḍalī. rekhiṇī nāma sā jñeyā ubhau bindū yadantagau A tripathā sā samākhyātā raudrīnāmnā tu gīyate AA She should be known as Rekhinī [she who nature is a straight line] while both seeds enter inside [her]. She is mentioned as three-sided, and she is also sung as Raudrī. rodhinī sā samudiṣṭā mokṣamārganirodhanāt A śaśāṅkaśakalākārā ambikā cārdhacandrikā AA She is called Rodhinī since she blocks the path of liberation. When assuming the form of the crescent moon, [she is] Ambikā, the half-mooned one. ekaivetthaṁ parā śaktistridhā sā tu prajāyate A ābhyo yuktaviyuktābhyaḥ santāno navavargakaḥ AA Even though this supreme śakti is unitary, she becomes threefold. By the joining and disjoining of these [three aspects] the extended family of nine groups [arises]. navadhā ca smṛtā sā tu navavargopalakṣitā A pañcamantragatā devi sadya ādiranukramāt AA 67 The visarga-kalā. 194 | the Goddess Within and Beyond the three Cities She is remembered in nine ways, as hinted by the nine letter groups. O Goddess, she pervades the ive mantras, starting from sadya.68 tena pañcavidhā proktā jñātavyā suranāyike A svaradvādaśagā devi dvādaśasthā udāhṛtā AA Because of this she is mentioned as ivefold, she who should be known as the governess of the gods. O Goddess, she who pervades the twelve vowels is mentioned as abiding in the twelve. akārādikṣakārānto sthitā pañcāśatā bhidā A hṛtsthaikakoṇatā proktā kaṇṭhe proktā dvikoṇatā AA She abides in the ifty letters, starting from a and ending in kṣa. She who abides in the heart is mentioned as single-sided, and while in the throat that same one is called double-sided. trikoṇatā tu jñātavyā jihvāmūle samāśritā A jihvāgre varṇaniṣpattir bhavatīti na saṁśayaḥ AA evaṁ śabdasya niṣpattiḥ śabdavyāptaṁ carācaram A She is to be known as triangular when she is abiding at the root of the tongue. No doubt, the letters are perfected on the tip of the tongue. Thus, is the Word perfected, and the Word pervades all phenomena. ityādinā granthena parabhairavīyaparāvāgātmikā mātṛkā, ata eva jyeṣṭhā-raudryambikākhya-śakti-prasara-saṁbheda-vaicitryeṇa sarvavarṇodayasyoktatvāt varṇa-saṁghaṭṭa-śarīrāṇām mantrāṇāṁ saiva bhagavatī vyākhyātarūpā “vidyāśarīra-sattā mantra-rahasyam” (ŚiVi, 50-55) iti AA By these verses, it is concluded that mātṛkā is comprised of that transcendental speech whose nature is Supreme Bhairava. Furthermore, since the arising of the letters is mentioned with regard to the multiplicity of the differentiation of the expansion of the śaktis called Jyeṣṭhā, Raudrī, and Ambikā, [it is concluded] that she who is the topic of discussion is the source69 of those mantras whose bodies are an amalgamation of the letters. “The essence of the vidyā-śarīra, is the secret of mantras.” 68 Referring here to the mantras of the ive faces of Śiva. 69 iyam yoniḥ samākhyātā sarvatantreṣu sarvadā: “In all the Tantras, she is always mentioned as the womb”. — Parātriśikā-vivaraṇa. Yoṇiśca hi gīyate: “[Brahmā] is also mentioned as yoṇī”. — Brahmasūtra, 1st chapter. Bhāgaeva bhagavān. . . . — Yajurveda. aPPendix a | 195 Artharatnāvalī on Nityāṣoḍaśikārṇava 1.11 vargānukramayogenetyādi A vargā ādiśāntā aṣṭau A anukramyogena yathākrameṇa A yasyāṁ mātṛkāyāṁ mātraṣṭakaṁ, tadviśanyādyaṣṭakamityarthaḥ A tāṁ mātṛkāvigrahāṁ mahātripurasundarīṁ namāmītyarthaḥ A aṣṭavargotthā yā mātṛkāḥ, tadutthā aṇimādyā aṣṭau siddhayaḥ A tāsāṁ siddhināmīśvarīṁ svāminītyarthaḥ A The groups are eight, starting from a and ending in ś. Anukrama means “according to the order”. In which Mother the eight mothers70 are abiding, she is the one comprised of the group of eight mothers known as Vaśinī, etc. The sense is that I bow to that Mahātripurasundarī whose body is made of the letters. From those mothers which arise from the eight groups, there arise the eight siddhis beginning with aṇimā. The meaning is this: To the mistress of those eight siddhis [I bow]. yo vargāṣṭakādhidevatāvaśinyādisametāṁ parameśvarīm ārādhayati, so ’ṇimādisiddhīnāmīśo bhavatīti yāvat A anyacca, navayonicakraparivāramadhye vaśinyādyaṣṭakameva devīpuryaṣṭakarūpatvāt pradhānamiti sūcayatyetatsūtram A ko ’bhiprāyaḥ? vaśinyādisahtamantaścakramevātra pradhānatvena vivakṣitamiti yāvat A He who does the sādhana of the Goddess who embodies Vāśinī, etc. — those goddesses of the eight groups — becomes the lord of the siddhis, aṇimā, etc. Still more, this verse indicates that among the family of the circle of nine yoṇis, the primary [cakra] is the group of Vaśinī, etc. since it is the puryaṣṭaka71 of the goddess. What is the meaning? The inner circle embodying Vaśinī, etc. is desired to be understood as primary [with regard to upāsana]. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 1.11 vargānukramayogenetyādi īśvarīm ityantena ekādaśasūtreṇa mūladevīkramarūpe navacakramadhye ’ntaścakrasyaiva prādhānyaṁ darśayati yathā — By the eleventh sūtra starting with “by means of the yoga of the sequence of phoneme-groups” and ending with “to the goddess”, is shown the centrality of the inner cakra [situated] in the middle of those nine cakras whose form is the sequence [of unfolding] of the root goddess. 70 Vaiśinī, Kāmeśvarī, Modinī, Vimalā, Aruṇā, Jayinī, Sarveśvarī, and Kaulinī. 71 Puryaṣṭaka: 5 tanmātras, manas, buddhis, and ahaṁkāra. 196 | the Goddess Within and Beyond the three Cities Nityāṣoḍaśikārṇava 1.12 kāmapūrṇajakārākhyaśrīpīṭhāntarnivāsinīm A caturājñākośabhūtāṁ naumi śrītripurāmaham AA I bow to the auspicious Tripurā, being the treasure of the four orders,72 abiding at Śrīpīṭha,73 Jakārākhya,74 Pūrṇa,75 and Kāma-pīṭha.76 Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 1.12 ittham — “pṛthaṅmantraḥ pṛthaṅmantrī na siddhyati kadācana A jñānamūlamidaṁ sarvam anyathā na prasiddhyati A ādimāntimahīnās tu mantrāḥ syuḥ śaradabhravat A gurorlakṣaṇam etāvadādimāntyaṁ ca vedayet A” Thus, [Practice] will never be perfected when the mantra is different from the mantra-reciter. The foundation of all this is knowledge. Otherwise [i.e. without this understanding] it [practice] is not perfected. If mantras were to lack a beginning and an ending then they would be like the clouds in Fall. The nature of the guru is simply that he should make known the beginning and the end. iti śrīkaṇṭhasaṁhitoktasthityā mahāhantāṁ parāmṛśya tatkāryabhūtāṁ mahāvibhūtimayīṁ sarvavidyā-kandabhūmiṁ mahāyogi-hṛdayeṣu sarvadā spurantīṁ sadānanda-cid-rūpiṇīṁ vāk-kāma-śakti-bījatrayabhedinīṁ śravaṇamātreṇa samastamaṅgala-pradāṁ sarvaprāṇisammatāṁ vakṣyamāṇa-nityāṣoḍaśaka-prāṇabhūtāṁ tripuretināmadheyāṁ viśeṣavidyāṁ prastotumārabhate — kāmeti A Resting on the statement of the Śrīkaṇṭha Saṁhita: Relecting on the great I-ness, being the product of she who is comprised of the great perfections, who is the root of all the sciences, always vibrating in the hearts of the great yogīs, she whose form is eternal bliss and consciousness, who penetrates the three sections of the mantras — vāk, kāma, and śakti — who grants all the auspiciousness by merely being heard, who is followed by all beings, who is the life of those sixteen Nityās to be discussed ahead, that special vidyā known as Tripurā is herein commenced [with the words] kāma, etc. 72 Four āmnāyas. 73 Oḍḍiyāna. 74 Jālandhara in South. 75 Pūrṇagiri in Kashmir. 76 Kāmarūpa in Assam. aPPendix a | 197 kāma-pūrṇa-jakārākhya-śrīpīṭha-śabdena kāmarūpapīṭhaṁ pūrṇagiripīṭhaṁ jālandharapīṭha-moḍyāṇapīṭhaṁ ceti mahāsamaya-mahārahasyabhūtaṁ guruvaktraikyagamyaṁ pīṭhacatuṣṭayaṁ lakṣyate A tacca pīṭha-catuṣṭayam anilānala-salila-pṛthvī-mayaṁ samastajagadādhārabhūtam A tatra viyad viśvavyāptam, ata eva na pṛthak pīṭhasaṁjñitam A By the compound word kāma-pūrṇa-jakārādhya-śrīpīṭha, Kāmarūpa, Pūrṇagiri, Jālandhara, and Oḍḍiyāṇa pīṭhas are indicated. It is indicated that these four power seats, being the great secret of the great samaya, are known only through the mouth of the guru;77 and also, that these seats are comprised of earth, water, ire, and sky, which are the foundation of all existence. Ether pervades the whole universe; thus, it is not mentioned separately as a power seat. pīṭhāni mahāsaṁvidupalabdhisthānāni A teṣām antarnivāsinīṁ tattatpīṭhanāyikāṁ mahāsaṁvidaṁ tripurānāmadheyāṁ tām A caturājñākośabhūtām A catuṣpīṭhādhiṣṭhātṛ-mahāsaṁvid-avalambanena pravṛttacatussrotorūpā mahāpadavī caturājñā, tasyāḥ kośabhūtā mahādhiṣṭhātrī śevadhistām A śriyā mokṣalakṣamyā yutāṁ tripurām A The power seats are the places of the attainment of the great awareness. [I bow] to their internal dweller, that great awareness called Tripurā, she who is the ruler of the power seats. [I bow] to her who is the treasure of the Four Orders. By resting on that great awareness who is the ruler78 of the four seats, she who has emerged in four streams, who is the great seat having four orders, she who has been the great ruler of the treasure. By [the word] Śrī Tripurā is associated with the glory of liberation. tripurānirvacane ’bhiyuktoktiḥ — trimūrtisargācca purābhavatvāt trayīmayatvācca puraiva devyāḥ A laye trilokyā api pūrakatvāt prāyo ’mbikāyās tripureti nāma AA iti (PrSā 9.2) With regard to the explanation of Tripurā, the authorities [say the following]: Since the Goddess Ambikā precedes all existence, since she emanates the three mūrtis, and since comprised of the triad [of Vedas]. Since she ills [herself] with the three worlds during dissolution, she is commonly named Tripura (PrSā 9.2). 77 Guru-vaktra is the yoginī-hṛdaya. 78 In other words, the true guru reveals ahaṁ, comprised of the beginning (a) and end (ha) of the totality. 198 | the Goddess Within and Beyond the three Cities śivaśaktyātmasaṁjñeyaṁ tattvatripūraṇāt A trilokajananī vātha tena sā tripurā smṛtā AA iti ca A She is remembered as Tripurā because she nourishes the three elements known as Śiva, Śakti, and ātma, and since she is the mother of the three worlds. ahamiti dvādaśaślokī-vimarśana-prayojanam akṛtrimāhantā-rūpatvaṁ dyotayati A idameva pārameśvaraṁ svarūpamitīśvara-pratyabhijñāyām upapāditam — citi pratyavamarśātmā parā vāk svarasoditā A svāntantryam etad mukhyaṁ tadaiśvaryaṁ paramātmanaḥ AA Ahaṁ hints that the purpose of meditating on these twelve verses is to illumine that form which is unconstructed I-ness. This indeed is the very nature of the supreme, as is established in the Īśvarapratyabhijñā: “Consciousness has the nature of self-awareness, being the self-arisen supreme speech. It is that freedom which is the central power of the supreme self.” sā sphurattā mahāsattā deśakālāviśeṣiṇī A saiṣā sāratayā coktā hṛdayaṁ parameṣṭhinaḥ AA iti (ĪPr 1.5.13-14) Being without the markings of space and time, she is that cosmic pulsation which is the totality.79 She is spoken of as the essence of the heart of the supreme source. śrī ṣaḍadhvasāraśāstre ’pi — anuttara-vimarśātma-śivaśaktyadvayātmani A parāmarśo nirbharatvād ahamityucyate sadā AA (TĀ 3.203-04) In the Śrī Ṣaḍadhvaśāstra [it is said], “Since it is completely full, the awareness on the non-duality of Śiva and Śakti as anuttara [a-kāra] and vimarśa [ha-kāra], is eternally called “I” (TĀ 3.203-204). hṛdyakāro dvādaśānte ha-kāras tad idaṁ viduḥ A ahamātmakam advaitaṁ yat prakāśātmaviśramam AA iti AA That which is known as the a-phoneme when in the heart and as the ha-phoneme when in the dvādaśānta,80 has the nature of “I”, is non-dual, and resides in the luminous self.81 79 Mahā = ma = empirical world; ha = psychological world; a = spiritual world. 80 Depending on the upāya, this dvādaśānta is either above the head or out from the mouth. 81 See Vijñānabhairava for the correct dhāraṇā. aPPendix a | 199 Artharatnāvalī on Nityāṣoḍaśikārṇava 1.12 A. SAKĪLA-SAMPRADĀYA INTERPRETATION kāmapūrṇetyādinā kevalaṁ samastaviśvātmaka-varṇavigrahetyetāvan na, kintu catus-samaya-nidhānabhūta-catuṣpīṭhāntaravāsinīm iti yāvat A caturājñākośabhūtām ityasyāyam abhiprāyaḥ — pūrva-paścima-dakṣiṇottarākhyāś caturājñāśabda-sūcitāś catvāraḥ samayāḥ, teṣāṁ kośabhūtāṁ sārabhūtāṁ A Beginning with kāmapūṇa, etc. [this verse] indicates not only that [the Goddess] has a body made of the letters which comprise all phenomena, but also that she abides in those four power seats which are the source of the four samayas. The meaning of “being the treasure of the four orders” [is as follows]: the four samayas82 are indicated by the Four Orders which are known as East, West, South, and North. [I bow] to her who is the essence of the treasures [of these orders]. catussamayopalakṣitaṣaḍanvaya-mahārṇava-nirmathanavelāyāṁ sakalasāratayā dṛṣṭām ityarthaḥ AA The meaning is that at the time of the churning of the great ocean which is marked by the six limbs83 of the four samayas, [Tripurasundarī] is seen to be the essence of the whole. B. NIṢKĪLA-SAMPRADĀYA INTERPRETATION evaṁ sakīlasampradāyānusāreṇa vyākhyātāni sūtrāṇi A niṣkīlasampradāyānusāreṇānyathā tānīdānīṁ vyākhyāyante A Thus the sūtras have been explained following the sakīla lineage.84 By following the niṣkīla lineage they are now interpreted in a different way. prārīpsitasyāsya śāstrasyāvighnena parisamāptyarthaṁ viśiṣṭeṣṭalābhāya ca paramakāruṇiko bhagavān lokānugrahaṁ cikīrṣur bahurūpāṣṭakaṁ śāstraṁ saṁkṣipya catuśśatasaṁkhyā-parimitair granthais tatsāram uddhartukāmas tacchāstrapratipādya 85 prameya-prayojana-sarvasvaṁ śātrādau śrotṛpravṛttyarthatayā katipayaiḥ sūtraiḥ saṁkṣipya darśayati A For the purpose of completing without obstruction the text desired to be 82 Pūrṇeśvarī, Kubjikā, Niśīśvarī, and Kālikā. 83 This line is the root of the sarvāmnāya-krama. Ṣaḍ-anvaya refers to śāmbhavopāya. 84 The details on this are forthcoming. 85 To this point the opening of the niṣkīla commentary is verbatim of the sakīla version. 200 | the Goddess Within and Beyond the three Cities commenced and for the purpose of acquiring speciic desires, the supremely compassion Lord, desiring to bless humanity, having collected the eight bahurūpa-śāstras86 into four hundred granthas, and being desirous to herein present the essence of them, seeking to focus the attention of the listener, he teaches by collecting in a few verses the entirety of meaning of the topics to be presented in that śāstra. tatrādyasūtreṇa varṇacakra-mantradhāma-saṁvit-svarūpaṁ prameyapañcakaṁ darśayati A tadyathā — gaṇeśa-graha-nakṣatretyādi A samāsaḥ pūrvavat A varṇakramadarśanapakṣe gaṇeśagrahanakṣatrayoginīrāśirūpiṇīṁ mātṛkāṁ devīṁ naumīiti sambandhaḥ A The irst sūtra presents the ive topics which are varṇa, cakra, mantra, dhāma, and saṁvit. This is presented as follows — the samāsa for gaṇeśa-graha-nakṣatra is [to be explicated] as previous. In regards to the philosophy of the letter-order, [the meaning is] I prostrate to the Goddess Mātṛkā who has the form of gaṇeśa, graha, nakṣatra, yoginī, and rāśi. gaṇeśaśabdena akārādi-kṣakārāntānyakṣarāṇyucyante A teṣāmakṣarāṇām īśvarīṁ śivaśakti-svarūpāvakāraha-kārāvīśaśabdenocyete A tāvapi rudrasaṁkhyāṁ dvādaśasaṁkhyāṁ vā nātivartete A rudrasaṁkhyāpakṣe akārasya śivarūpasya vāmājyeṣṭhā-raudryambikākhya-kalācatuṣṭayaṁ tat samaṣṭirūpam akāra iti pañcakam, śaktirūpasyāntasya hakārasya icchājñānakriyāśāntākhyakalācatuṣṭayaṁ tatsamaṣṭirūpeṇa hakāreṇa saha pañcakam abhimatam A By the word gaṇeśa the letters beginning with a and ending with kṣa are mentioned. She [i.e. Tripurasundarī] is the goddess of the letters. By the term īśa, a and ha, denoting Śiva and Śakti, are mentioned. Even these two do not surpass the number of Rudras87 or the number twelve. With regard to the doctrine of the number of Rudras it is said that the four kalās — called Vāmā, Jyeṣṭhā, 86 Page 25, numbers 14-21 of the sixty-four Āgamas. The eight Śakti Tantras. Even Lakṣmīdhara and Gaurīkaṇṭha mention that they belong to the seven mothers. The eight are Andhaka, Rurubheda, Ajākhya, Mūlākhya, Varṇabhaṇṭha, Viḍaṅga, Jvālina, and Mātṛrodana. In the commentary on the Tantrarāja Tantra by Subhagānandanāth, the Bahurūpāṣṭaka is counted as single Tantra among the nine Tantras of the Nityā. Bhāskararāya quotes the Bahurūpa-śāstra in his Saubhāgya-bhāskara (40, 190). According to these paṇḍitas the Bahurūpāṣṭaka is a single Tantra. 87 Rudras = 11. aPPendix a | 201 Raudrī, and Ambikā — plus the a-phoneme, which is the collection of these and the form of Śiva, equals ive. With regard to the next [letter], the ha-phoneme whose form is Śakti: the kalās named icchā, jñāna, kriyā, and śānta, plus the haphoneme itself, being the collective form of these [four kalās] is regarded as ive. evaṁ dvābhyāṁ śivaśaktivarṇābhyām ādhyantābhyām daśakaṁ jātam A tayoḥ parasparaṁ bījāṅkuranyāyena samarasabhāvād ekam ityekādaśātmā gaṇeśaḥ A athavā ādyantavarṇau pratyekaṁ vyaṣṭyātmanā ca bhūtarūpau, pratyekaṁ (ca) śivaśaktirūpāviti dvādaśātmā gaṇeṣaḥ A Thus, from these two letters which are Śiva and Śakti, being the beginning and the end, the ten letters are born. These two are mutually related like the seed and its sprout, being one from the same essence. Thus [arises] gaṇeśa whose number is eleven.88 Further, in their respective microcosmic forms, the irst and the last letters are the nature of the elements;89 and they are also each the form of Śiva and Śakti, thus comprising gaṇeśa whose number is twelve. taduktaṁ saṁketapaddhatyām — akāraḥ sarvavarṇāgryaḥ prakāśaḥ pramaḥ śivaḥ A hakāro ’ntyaḥ kalārūpo vimarśākhyaḥ prakīrtitaḥ AA As mentioned in the Saṅketa-Paddhati: “The a-phoneme, being the irst of all the letters, is light, the Supreme Śiva. The ha-phoneme is the last letter, being the form of kalā, mentioned by the term vimarśa.” tayorādyantavarṇayorakārahakārayoḥ śivaśaktitarūpayoḥ kalāvayavitvaṁ ca tatraivoktam — Those two letters, a and ha, being the beginning and ending of the alphabet, having the form of Śiva and Śakti, are the totality comprised of the kalās, as has been stated therein [in the Saṅketa-Paddhati]. ādāvasya śiro raudrī vaktraṁ vāmā prakīrtitā A ambikā bāhurityuktā jyeṣṭhā caiva nakhāgragā AA Of that beginning [letter], the head is Raudrī, Vāmā is called the face, Ambikā the hands, and Jyeṣṭhā is connected with the tips of the ingers. 88 This kind of mathematics parallels the logic of a game Sthaneshwar used to play as a child: subtract one from four to get ive by folding the corner of a piece of paper. 89 [Vāmā, Jyaiṣṭhā, Raudrī, Ambikā] + a = [icchā + jñāna + kriyā + śānta] + ha = 10 a + ha = bhūta in microcosmic form = 11 bhūtas + Śiva and Śakti = 12. 202 | the Goddess Within and Beyond the three Cities icchā śiraḥprdeśasthā kriyā ca tadadhogatā A jñāna pādagatā hyasya śāntā hṛnmadhyagā bhavet AA iti A Icchā is in the head region, kriyā is beneath that, jñāna is linked with the feet, and the śānta linked with the centred heart. evaṁ gaṇeśa-śabdena catuṣpadātmikāyā varṇāmbikāyāḥ paśyantīrūpam avyaktadhvanirūpaṁ parāmṛtamayam ekādaśātmakam abhidhīyate A By the term gaṇeśa, it is explained that the imperceptible sound, being elevenfold, being supreme nectar, is the paśyantī form of the mother of the letters, she who is comprised of four parts. taduktaṁ saṅketapaddhatyām — paśyantyādikramo yo ’sau sūcitaḥ śrīśivena tu A so ’ntardhvanimahānādaḥ saṅketair ādyasūtrake AA iti A As it is said in the Saṅketa-Paddhati: The sequence beginning with paśyantī is indicated by Śiva in many ways in the irst sūtra, as being the great nāda, the inner resonance. graha iti navasaṁkhyā gṛhyate A tadyathā — śūnya-sparśa-nāda-dhvanibindu-śaktibījākṣara-kramātmanā vikṛtanādāṣṭakaṁ tatsamaṣṭirūpaṁ navamam ityevaṁ grahasaṁkhyārūpaṁ madhyamāvāgrūpaṁ parāmṛtamayaṁ vyaktāvyaktarūpam abhipretam A By graha we understand nine. It is thus — by its sequence as śūnya, sparśa, nāda, dhvani, bindu, śakti, bīja, and akṣara — there arises eight forms of created sounds and the collective form of them makes nine. The number of the grahas, being the form of the madhyamā speech, made of supreme nectar, having the form of the manifest and unmanifest is desired to be mentioned. taduktaṁ saṅketapaddhatyām — śūnyaḥ sparśastathā nādo dhvanir bindustathaiva ca A śaktibījākṣaraṁ caivetyaṣṭadhā ’nāhataḥ smṛtaḥ AA iti A As is mentioned in Saṅketa-Paddhati, “The unstruck sound is remembered as eightfold: śūnya, sparśa, nāda, dhvani, bindu, śakti, bīja, and akṣara”. tathā haṁsanirṇaye ’pi — ghoṣaḥ kāṁsyaṁ tathā ghaṇṭā vīṇā veṇuśca vāṁśakam A dundubhiḥ śaṅkhaghoṣaśca navamaṁ nirviśeṣakam AA iti A aPPendix a | 203 Likewise, in the Haṁsa-Nirṇaya, [it is said] “Human yells, the sounds of bronze, bells, vīṇā, treble lute, bāṅsurī lute, trumpet, conch shell and the ninth is unspeciied”. evaṁ gaṇeśa-graha-saṁkhyayā viṁśatyakṣaraṁ labdham A nakṣatrayoginīrāśirūpiṇīmiti nakṣatrapadena saptaviṁśatisaṁkhyā gṛhyate, yoginī-padenāṣṭasaṁkhyā, rāśipadena dvādaśasaṁkhyā A evaṁ krameṇa saptacatvāriṁśatsaṁkhyākānyakārād asakārāntānyakṣarāṇi vaikharīvāgrūpāṇi kaṇṭhādisthānāhati-vyaktāni A Thus, by the number of the gaṇeśas and grahas we have twenty letters. By the term nakṣatra twenty-seven letters are understood. By the term yoginī we understand eight and by the term rāśi we take twelve. By this order we have the forty-seven letters starting from a and ending with sa, those which are the form of the vaikharī speech and expressed through articulation in different regions like the throat, etc. atra kṣa-kāraḥ kakāraṣakārasaṁyogajatvānna pṛthag gaṇyate A ḷakārasyāpi la-kārāntaḥ pātitvānna pṛthag gaṇanam A ata evam uktaprakāreṇa vyavasthitānāmakṣarāṇām saptaṣaṣṭyātmakatvaṁ gaṇyate A Herein, the phoneme kṣa is not counted separately as it is made of the union of ka and ṣa. Even the letter ḷ is not counted separately from the la-phoneme. Thus, by the mentioned way the sixty-seven-ness of the established letters is counted. taduktaṁ saṅketapaddhatyām — catvāriṁśatsaptasaṁkhyāsahitaḥ parikīrtitaḥ A kṣakāraḥ kathito yo ’sau saṁyogo dvividhaḥ smṛtaḥ AA As said in the Saṅketa-Paddhati, “The letters are mentioned as being forty plus seven. The kṣa-kāra is said to be a twofold conjunction.” saptaṣaṣṭyākhyam evaṁ hi mātṛkāpīṭham uttamam A anāhatahatottīrṇais tribhir bhedaiḥ samantataḥ AA iti A Thus, the supreme seat of the mothers is mentioned as made of sixty-seven, collectively with the three differences which are unstruck, struck, and transcendent to both. evaṁ parikaplitavarṇakramamayīṁ mūladevīṁ namāmīti yāvat A atra paśyantīmadhyamāvaikharīsvarūpanirūpaṇam api tatraiva kṛtam A yathā — 204 | the Goddess Within and Beyond the three Cities śikhaṇḍyaṇḍarasanyāyaḥ śibhikākhyo dvitīyakaḥ A ayaḥśalākāsaṁjño ’nyastrividho nyāyavaibhavaḥ AA trividhaṁ nyāyamutsṛjya varṇānām udayakramam A ye vadanti na te yogyā vāmakeśvaradarśane AA iti A Thus, I prostrate to the Goddess having the form of the designed order of the letters. Here, the forms of paśyantī, madhyamā, and vaikharī are also mentioned. Thus [it is said]: The treasure of the nyāyas are threefold. [The irst] is the law of the essence of the peacock egg.90 The second is that of the śibhikā. [The third] is the law of the ire stick.91 They who give up the threefold law pertaining to the arising of the letters are not allowed into the Vāmakeśvara philosophy. cakradarśanapakṣe gaṇeśagrahanakṣatrayoginīrāśirūpiṇīṁ pīṭharūpiṇīṁ devīṁ naumīti sambandhaḥ A pīṭharūpiṇīm iti pūjācakrarūpiṇīm ityarthaḥ A atrāpi gaṇeśādipadena kevalaṁ saṁkhyaiva gṛhyate A Regarding the doctrine of the cakra philosophy: I bow to the Goddess having the form of the power seats, connected with the gaṇeśas, grahas, nakṣatras, yoginīs, and rāśis. The meaning of “being the form of the power seats” is that she has the form of the worshipped cakra. gaṇeśā rudrā ekādaśasaṁkhyopāttāḥ A grahapadena navasaṁkhyā, nakṣatrapadena saptaviṁśatisaṁkhyā, yoginīpadenāṣṭau, rāśipadena dvādaśa A etatsarvaṁ samuccitya saptaṣaṣṭyātmakāni padāni devyāścakre pūjacakre nivasanti A na nyūnāni nādhikāni kāryāṇīti bodhayitum A evaṁvidhapūjācakramayīṁ namāmīti tātparyārthaḥ A By the words gaṇeśa, etc. only the associated numbers are to be understood. The gaṇeśas are the rudras which are collectively known as eleven. By the term grahas we understand nine; by the term nakṣatra we take twenty-seven; by the term yoginī we count eight; and by the term rāśi, twelve. Thus collecting this whole, [we worship] the sixty-sevenfold terms which reside in the pūjācakra, which is the circle of the goddesses. [This method of counting] is done to teach 90 According to Sthāneśvara this is law of the paśyantī ground. 91 This image represents the vaikharī stage. aPPendix a | 205 [the sādhaka] not to add or subtract from these letters. The essential meaning is that I bow to her who is made of this particular pūjācakra. mantrapradarśanapekṣe ’pi gaṇeśagrahanakṣatrayoginīrāśirūpiṇīṁ mantramayīṁ devīṁ naumīti sambandhaḥ A gaṇeśeti haṁsākṣaram A gṛhṇātīti grahaḥ A graho manaso ’kṣaram A nakṣatretyatra na-kāraṣa-kāratra-kārā uccāraṇārthāḥ A ata eva kevalaṁ tuṇḍākṣaraṁ gṛhyate A In the aspect of the mantras, the relation is that I bow to the Goddess comprised of the mantras and who is the association of gaṇeśa, graha, nakṣatra, yoginī, and rāśi. By the term gaṇeśa we take the letter indicated by haṁsaḥ. That which keeps is graha. By graha we take the letter which indicates the mind. In the term nakṣatra the letters na, kṣa, and tra are only for the purpose of pronunciation.92 Thus, only the tuṇḍa letter is to be taken. yoginīti piṇḍaḥ A rāśiriti hakāraḥ A rūpītyatra ūkāra uccāraṇārthaḥ A kevalaṁ repho gṛhyate A ṇīmityatra ṇakāra uccāraṇārthaḥ A keval īkāro gṛhyate A etatsarvamekīkṛtya ādyaṁ bījaṁ bhavati mūlamantrasya A gaṇeśagrahau pūrvavat A atra nakṣatreti nakāraṣakārāvuccāraṇārthau kakāraḥ paraṁ gṛhyate A tretyatra lopanyāyena trātā parameśvaro hakāraḥ A yoginīrāśirūpiṇīmiti pūrvavat A Yoginī is piṇḍa.93 By rāśi is meant ha. In rūpi the ū-phoneme is only for pronunciation. The ra-letter alone is taken. In ṇīm the purpose of the ṇa-phoneme is only for pronunciation. The ī-letter alone is taken. Collecting this whole we get the irst section of the root mantra. Gaṇeśa and graha are [interpreted] as previously.94 In nakṣatra, na and kṣa are only for pronunciation. Only the haphoneme is grasped. In tra, following the law of absence, we understand the ha-phoneme which is the supreme lord, the protector.95 Yoginīrāśirūṇīm is [interpreted] as previously done. iti madhyamabījoddhārakramaḥ A gaṇeśagraho manaso ’kṣaram A anyatsarvamādyabījavad dṛṣṭavyam A iti tṛtīyabījoddhāraprakāraḥ A atra śloke īkāracatuṣṭayamasti A tatrādyatritayaṁ gaṇeśādipadenaiva trirāvṛttyā mantraparipūrtir bhavatīti dyotayitum A caturtho ’pīkāras turīyabījoddhāraṁ 92 In other words, he only wants to take ka. 93 Piṇḍa = la. 94 I.e. they are taken as ha and sa, respectively. 95 In the Tantras, ha stands for trātā. 206 | the Goddess Within and Beyond the three Cities darśayitum A taduddhāro ’pi gaṇeśādipadenaiva gurumukhāj jñātavyaḥ A evam uddhṛtamantrākṣaramayī mūladevatetyarthaḥ A This is the order of the explication of the second section [of the root mantra]. Here gaṇeśagraha is the mind-letter.96 The rest of the whole should be seen as like the irst section.97 This is the way of explicating the third bīja. In this verse there are four ī-phonemes.98 Among these, the irst three reveal that by repeating the word “gaṇeśa, etc.” the mantra is perfected. The fourth, the ī-phoneme, shows the explication of the fourth bīja [śrīṁ]. This explication should be known by the words of the guru through the lines gaṇeśādi.99 Thus, the meaning is that the primal Goddess is made of the mantric letters which have been thus deciphered. dhāmasaṁvitkramāvapyanena sūtreṇa sūcitau draṣṭavyau A tatra dhāmakramapakṣe gaṇeśagrahanakṣatrayoginīrāśirūpinīṁ devīṁ naumīti sambandhaḥ A devīti padena dyotanātmakatvāttejastritayamupalakṣitam A tat kiṁ rūpam iti vivakṣāyāṁ gaṇeśagrahanakṣatrayoginīrāśīnāṁ gaṇānāṁ rāśirūpaṁ samudāyarūpaṁ jyotistritayamiti somasūryāgnirūpāṇi śivaśaktisāmarasyātmakāni drāvyadrāvakabhedena kulākulāsanagatāni gurumukhād jñātvopāsanīyānītyabhiprāyaḥ A As hinted by this verse, the order of dhāma and saṁvit should be seen. In regards to teachings of the dhāma-sequence the sambandha is that I bow to the Goddess made of gaṇeśa, graha, nakṣatra, yoginī, and rāśi. By the word devī, since its nature is to illumine, the three lights are indicated. When desiring to explain the forms of them [i.e. the lights], the three sorts of lights are the collective form of the mass of the groups made of gaṇeśanakṣatrayoginīrāśi, being the nature of Śiva, Śakti, and their merging, which in turn are Soma,100 Sūrya,101 and Agni102 by the differentiation of dravya and drāvaka103 they which are within the seats of 96 The mind letter is sa. 97 In other words from the irst kūṭa, sa ka la hṛīṁ is to be added to ha. 98 Here, the author appears to only be referring to the second half of the verse. 99 The guru should unpack the mantras embedded therein. 100 Sahasrāra. Piṅgalā on left side. 101 Heart cakra. Or iḍā, on right side. 102 In the mūlādhārā. Or suṣumṇā. 103 Upper sahasrāra nourishes by the luid (pīyūṣa) which circulates throughout all the nāḍīs. This luid is digested in the lower sahasrāra. The dravya is pīyūṣa and the drāvaka is the upper sahasrāra. aPPendix a | 207 the kulas and akulas,104 being known through the mouth of the guru, and which should be practised. This is the purport. saṁvitkramapakṣe devīṁ naumītyeva sambandhaḥ A sūtrasthamanyatpadakadambakamuccāraṇārtham A devīti dyotanātmikā prakāśarūpiṇīti yāvat A ko ’rthaḥ? kevalasuṣumnākāśakuśeśaye sarvāvaraṇavidhure ādimadhyāntarahitā sakalakalpanātītā cidḍaṇḍarūpiṇī dhyeye A yāvatti varṇātmikāyāsturīyaṁ parāvāgrūpaṁ dhāma saṁvitkramāntargataṁ jñeyamiti sarvaṁ samañjasam AA 1 AA With regard to the view on the sequence of consciousness the relationship is “I bow to this very goddess”. The other groups of words in the verse are only for the purpose of pronunciation. The meaning of devī is “glistening one whose form is prakāśa”. What does this mean? That the one is without beginning, middle or end, beyond all ideational realities, having the form of ciddaṇḍa105 should be meditated upon only in the sky lotus of the suṣumṇā therein abandoned by all the veils. The supreme dhāma (place), in the form of supreme speech made of the letters, is the transcendental. It should be known from within the sequence of consciousness. The total [meaning of the verse] is [now] collected. varṇakramadarśanapakṣe tvaparthāpi yojanīyam A yathā — svarā dvāviṁśatiḥ, pañcaviṁśatiḥ sparśākhyā, daśadhā vyāpakāḥ, yamāścatvāraḥ, jihvāmūlīyopadhmānīyo dvau, anusvāravisargau ca A itthyamebhiḥ kalānādābhyāṁ ca saptaṣaṣṭivarṇāḥ proktāḥ A anenāpi nayena saptaṣaṣṭivarṇarūpā mātṛkā A With regard to the view of this philosophy the sequence of the letters should be connected also in another way. The way is this: Twenty-two are the svaras. The letters called sparśa are twenty-ive. Ten are called vyāpakāḥ.106 Jihvāmūlīya and upadhmānīya are two. Anusvāra and visarga [are also two]. Thus, by these together with kalā and nāda sixty-seven letters are mentioned.107 According to this doctrine mātṛkā is made of sixty-seven letters. praṇamāmīti dvitīyasūtramārabhya mahāsiddhyaṣṭakeśvarīmityantaṁ sūtrakadambakaṁ yathāpūrvameva vyākhyātaṁ draṣṭavyam A 104 The seat is the lower sahasrāra, below mūlādhāra. Śar of red lower bud. 105 The awakened kuṇḍalinī. 106 Ya, ra, la, va, śa, ṣa, sa, ha, ḷ, kṣa. 107 See, the Mahārthamañjarī for similar concept of 67 letters. 208 | the Goddess Within and Beyond the three Cities sakalaniṣkalasampradāyayorekarūpatayā, vyākhyeyam, nārthāntaraparatā sūtrāṇāmiti A punarapi siṁhāvalokananyāyena keṣucit padaviśeṣeṣu vivakṣitārthadyotakatvaṁ darśayati A The group of verses starting from the second verse beginning with “I bow” and up to the verse ending with “the mistress of the eight great powers” [verse eleven] should all be translated as previously. Both the sakala and niṣkala traditions should be interpreted in a similar way, for there is no difference of meaning among the verses. Moreover, by the law of the lion’s view some special terms produce the illumination of certain meanings desired to be mentioned. praṇamāmi mahādevīm ityetena siddhaṁ varṇakramam anūdya tad-upāsakasya mṛtyūttaraṇākhyaṁ phalaṁ darśayati A akṣarayojanā pūrvavat AA 2 AA Following the order of the letter established with the words “I bow to the great goddess”, shows the result for the practitioners of that as the transcendence of death. The alphabetical order is as of the previous. yadakṣaraikamātre ’pītyanena varṇakramamāhātmyaṁ sūcayati AA 3 AA By the words “who is only the letters” the glory of the alphabetical order is indicated. yadakṣaraśaśijyotsnetyetena tadabhipretaṁ rasādhāra-tribīja108 sambandhavaśād guṇātmakaṁ bhuvanatrayaṁ109 tadakṣara-śaśibhir gurumukhāj jñātvā maṇḍitam alaṁkṛtaṁ yathā bhavati, tathā kurāditi arthaḥ AA 4 AA By the verse “by the rays of which letter”, the object desired to be expressed, due to the condition of connection between the six bases110 and the three seeds, the three bhuvanas, being the form of the guṇas,111 by the moon-like letters being known from the mouth of the guru, as it becomes decorated, so it should be performed. This is the meaning. yadakṣaramahāsūtretyatrāpyetat sūcitam A tribījakuṇḍalinīsūtre saguṇavarṇakadambakaṁ bhātītyetatpradarśitamanenetyabhiprāyaḥ AA 5 AA 108 Signiies both the three kūṭas as well as varṇa, pada, and mantra. 109 The three worlds are kalā, tattva, and bhuvana which are related to each other sequentially in terms of cause and effect. 110 The six bases are the six cakras. 111 Sthāneśvara interprets the guṇas to simply be synonymous to bhuvanas, and to be simply emphasizing the numerical value of three. aPPendix a | 209 Even in the verse “the great sūtra of which syllable” is hinted. The meaning is that with regards to the three-seeded coiled thread,112 the group of letters containing the guṇas appear. This is illumined by this [verse]. This is the meaning. yadekādaśamādhāramityatra varṇākramasya ekādaśamakṣaraṁ trikoṇātmakaṁ mūladevyā ādhārabījam ānasanabījam A ko ’rthaḥ? seyaṁ devatā bāhyābhyantaraprakāre ’pi trikoṇapīṭhopaviṣṭetyetat A athavā varṇamaṇḍalamantradhāmasaṁvitkramāṇām ādhāraṁ trikoṇam ityanena darśitam ityabhiprāyaḥ AA 6 AA Here in the verse “which is the base of the eleven”, in the sequence of the letters, the eleventh letter, shaped like a triangle, is the seed mantra of the seat of the root Goddess. What is the meaning? This very goddess, even in internal and external form, is seated on the seat shaped as a triangle. Otherwise, with regard to the order of varṇa, maṇḍala, mantra, dhāma, and saṁvit, by this [verse] it is shown that their foundation is the triangle. This is the meaning. akacādītyanena varṇakramasya sādhakāṅganyāsthānaṁ sūcitamiti abhiprāyaḥ AA 7 AA By the verse akacādi the seats for instilling [mantras] on the limbs of the sādhakas in the alphabetical order are hinted. This is the meaning. tām adyāpīti dvābhyāṁ sūtrābhyāṁ darśanasarvasvarahasya bhūtakāmakaloddhārastanmahimā tadviniyogaśca sūcitaḥ AA 8-9 AA By the two verses starting, respectively from tām and adyāpi the exposition of the kāmakalā which is the secret of the totality of the philosophical system. The glory and instillation of that are hinted. vande tamityanena śiṣyadīkṣāyāṁ pāśacchetāya śiṣyaśarīre varṇakramameva vilomenānusandadhyād yadā tadā pāśamocakasya kṣakārasya yādṛśo mahimā tādṛśo vimarśarūpatvād akṣarāṇāṁ sarveṣāṁ varṇanāmastīti pratyekam akṣarāṇāṁ kṣakārarūpatvaṁ sūcitam A By the verse “I bow to her”, for the purpose of cutting the bonds [of existence] in the process of initiating a disciple, in that disciple’s body while the order 112 A sādhaka visualizes the mantra arising in a coiled form. 210 | the Goddess Within and Beyond the three Cities of the letters is meditated upon in reverse order,113 then the glory of kṣa-kāra, which emancipates from the shackles is of all the letters as the letters are the form of awareness. Thus, the kṣa-letterness of each letter is hinted. samaṣṭirūpeṇa vyaṣṭirūpeṇa vā kalyāṇaguruṇā śiṣyadeha ’bhidhāto varṇakrama eva pāśamocako bhavatītyabhiprāyaḥ A In totality or in part, by the compassionate guru, the sequence of the letters, placed in the body of the disciple becomes the liberator of bonds. This is the meaning. devīṁ kulakalolloletyādinaitadabhipretam — mūlādi-ṣaṭcakralambikālalāṭabrahmarandhrākhyanavādhāreṣu kulasvāminīcakranavakaṁ sṛṣṭisaṁhārayogena gamāgamakrameṇābhysanīyamiti sūcayati A By the verse “to the Goddess whose waves are the manifestation of the kulas” [the following] is the intended meaning: on the nine bases, being in the six cakras, the lambikā,114 the lalāṭa,115 and the brahmarandhra, the nine cakras of the goddesses of the lords of the kulas by means of the yoga of creation and destruction going in a downward and upward process are hinted. parolijāmiti A jyeṣṭhamadhyam abālākhyam oṣamitratrayaṁ jñānayogakriyājñāpakam asti A tatreyaṁ vidyā jyeṣṭhaulijā nikhilajñānādhikārasampannaparamguruṇā śrīkrodha-muni-bhaṭṭārakeṇa avatāritetyarthaḥ A By the supreme guru lineage: Named as irst, middle, and last Odiśanāth (he who lies in the sky), Ṣaṣṭhiśanātha (the lord of the six [yoginīs]), and Mitreśanātha (lord of the sun) which hint jñāna (śāmbhavopāya), yoga (śāktopāya, meditation), and kriyā (āṇavopāya, rituals). In that context this vidyā is descended from the lineage of Oddiṣa and Krodha Munibhaṭṭāraka, the supreme guru who possesses the supreme authority of all wisdom. taduktaṁ saṅketapaddhatyām — kāmeśīṁ sarvagāṁ nityāṁ gururūpāṁ namāmi tām A jyeṣṭhamadhyamabālākhyacitprāṇaviṣayātmikām AA116 113 By which kṣa is placed in the ājñā. 114 At the pharynx. 115 Forehead cakra. 116 Here, Dvivedi’s editions are not necessary. aPPendix a | 211 oṣamitrīśasaṁjñeyān naumyahaṁ siddhapuṅgavān A iti A parāṁ śivāmiti pāṭhāntaram A tadanyasampradāyen lopāmudrāsampradāyena AA 10 AA As it is said in the Saṅketa-Paddhati, “I bow to all embracing, eternal Kāmeśī in the form of the guru, she who is consciousness (prāṇa) and the sphere of the senses, mentioned Jyeṣṭhā, Madhyā, and Bālā.” I bow to the glorious siddhas named Oddīṣa, Ṣaṣṭhīśa and Mitrīśa. The next reading is “Supreme Śiva”. This reading following the next school, that of Lopāmudrā. varṇānukramayogenetyādinā devīpūryaṣṭakarūpasya vaśinyādyaṣṭakasya navacakrasthadevīṣu prādhānyamastīti sūcayati AA 11 AA By the verse starting from “the yoga of the sequence of the letters” the group of eight starting from Vaśinī, being the subtle body of the Goddess, is indicated as primary among the Goddess of the ninefold circle. kā pūrṇetyādi A kāmaḥ kāmarūpam A pūrṇeti pūrṇagiriḥ A jakārākhyaṁ jālandharam A śrīpīṭham oḍyāṇapīṭham A atra pūrvāmnāyābhiprāyeṇa kāpūjoṅkārākhyāni pīṭhānyavatāritāni A pīṭhāvatāranirūpeṇa naiva khatmametyākhyāḥ117 kṛtādikalyantā yugānusāreṇa maṅgalādiśaktibhiḥ sahāvatāritā draṣṭavyāḥ A Kāma indicate Kāmarūpa. Pūrṇa indicates Pūrṇagiri. Ja indicates Jālandhara. Śrī-pīṭha is Oḍḍiyāṇa. Here, according to the Western Transmission, the powers seats named kā, pū, ja, and o are revealed by the description of the revelations of the seats, [the yuga gurus] from Kṛta to Kālī, named kha [Khagendranātha], kū [Kūrmanātha], me [Meṣanātha], and ma [Matsyendranātha], according to the ages should be known as incarnated with their consorts, Maṅganala, etc. yadyapi pīṭhāvatārakrameṇa pūrvāmnāye kaniṣṭhatā ’vasīyate, tathāpi caturājñākośabhūtetyuktayā ’parādyanvayaniṣṭhatā ca niścitaiva A atas tadanusāreṇa pīṭhāni nāthāśca nirūpaṇīyāḥ A tatra ojāpūkeṣu prātilomyena sthiteṣu teṣveva pīṭheṣu paścime mivaṣacākhyayā raktāmbādibhiḥ saha kṛtādikrameṇāvatāro draṣṭavyaḥ A tathā jāokāpūkrameṇa sthiteṣu teṣveva mī mā ku kha118 dakṣiṇe tābhireva śaktibhiḥ saha yugānusāreṇāvatāro draṣṭavyaḥ A kājāpūo ityākhyeṣu teṣvevottare kumimeṣasaṁjñayā tābhir eva śaktibhiḥ saha 117 Khatmetyākhyāḥ should be kha-ku-me mākhyāḥ. Sthaneshwar Timalsina, Oral communication, Kathmandu, Nepal, Spring 1997. 118 Should be mī nā ku kha for Mīnanātha, Meṣanātha, Kūrmanātha, and Khagendra instead of Dvidvedi’s mivaṣacākhyayā. 212 | the Goddess Within and Beyond the three Cities yugānusāreṇāvatāro draṣṭavyaḥ A Even when the order of the descent of the power seats the Eastern Transmission is known as the youngest, by mentioning the treasure of the Four Commands the certainty of its connection with the other power seats is established. Thus, according to that the seats and Nāthas should be mentioned. Therein the O-JāPū-Ka power seats together with Raktāmbā, etc. and the incarnations should be known according to the order of Kṛta age, etc. Likewise, situated according to the order of Jā-O-Kā-Pū, as in the Southern Transmission together with the śaktis, the descent should be known according to the ages. iyaṁ ca vidyā caturāmnāyasādhāraṇyapi dakṣiṇapakṣapātinīti tadanusāreṇa pīṭhanāthabhedo draṣṭavya iti bhāvaḥ A pīṭhānulomye pūrve nāthaprātilomyam A pīṭhaprātilomye paścime nāthānulomyamiti paramarahasyam A evaṁ ca caturṣvapyanvayeṣu pratyekaṁ catuṣpīṭhanivāsinītvam astyeva ityataś caturājñākośabhūtatvam avagamyate A caturājñeti pūrvadakṣiṇapaścimottarākhyāni catuḥsiṁhāsanadarśanāni lakṣitāni A In this vidyā, even though common to the four āmnāyas, the inclination is towards the Dakṣiṇa Transmission,119 according to that difference the difference between pīṭha and nātha should be known. This is the essence. In the Eastern Transmission, there is right order of the pīṭhas and reverse order of the nāthas. In the Western Transmission there is reverse order of the pīṭhas and correct order of the nāthas. This is the supreme secret. The essence of the one seated in the four pīṭhas certainly abides in each of the four anvayas [i.e. each power seat is comprised of the four seats]. Therefore, the essence of the treasure of the Four Commands is known. By the term “Four Commands”, called East, South, West, and North, the schools of the four Lion Seats120 are hinted. tatra tatra tattat nāmarūpānviteyamevādhivasati mahātripurasundarītyarthaḥ A kośabhūteti yathā rājabhir uttamavastuvāhanaratnādikamanarghyaṁ bahuprayatnena guptaṁ kṛtvā rakṣyate, tathā caturanvayaniṣṭhairiyamapi vidyā ratnabhūtā sugopyā kāryeti tātparyam A tadetatpīṭhanāthanirūpaṇaṁ śrīsiddhanāthapādair uktam — 119 In the Tripurasundarīdaṇḍakam reference is made to Vāma as the dominant path on page 280, v. 19. 120 In ritual context the Lion Seat refers to the four vidyās of the samaya. aPPendix a | 213 kāpūjoṅkārapīṭheṣu khakume121 ṣākhyayā śivaḥ A teṣveva prātilomyena sa eva myoṣacākhyayā AA The meaning is that Mahātripurasundarī abides therein receiving different names and forms. The term kośabhūta indicates that just as the supreme objects, vehicles, jewels, etc., are always kept in secrecy through hard efforts by the kings, so the jewel-like vidyā should be kept secret by the practitioners of the four āmnāyas. This is the essence. This exposition of pīṭha and nātha is mentioned by Śrī Siddhanāthāda: In the Kā, Pū, Jā, O, Śiva is abiding as Kha, Ku, and Meṣa. And reversely, in the very seats, he abides as Mī, O, Ṣ. and Cāryanātha.122 2. Atha Caturthaḥ Paṭalaḥ (Now the Fourth Chapter) Nityāṣoḍaśikārṇava 4.1-2 Śrī devyuvāca: bhagavan sarvam ākhyātaṁ mudrāṇām jñānam uttamam AA vededānīṁ mahādevyā ekaikākṣarasādhanam AA 4.1 AA The Goddess said, “You have mentioned the supreme knowledge of the mudrās. Now, please explicate the practice of each letter of the Supreme Goddess”. mahājñānaṁ prabhāvaṁ ca vyāptisthānaṁ layam A sthūlasūkṣmavibhedena śarīre parameśvara AA 4.2 AA And the inluence of the great knowledge, the place of pervasion, and immersion, including the gross and subtle divisions, O Parameśvara. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.1-2 evaṁ pūjāṅgabhūtamudrādaśakapratipādanaparaṁ tṛtīyaṁ paṭalaṁ vimṛśya mūlavidyāṅgabhūtabīja-trayavyāptyādiprakāśana-paṭīyasyekasaptatisūtragrathite turīye paṭale vimarśanīyāni padāni vimṛśyante — śrīdevītyādi A After relecting on the third chapter, which reveals the ten mudrās as the limbs 121 This should be read as kha, ku, me, ma. 122 Mīnanātha, Oḍyanātha, Ṣaṣṭhiśanātha, and Cāryanātha. 214 | the Goddess Within and Beyond the three Cities of worship, the terms to be contemplated in the fourth chapter — composed of seventy-one sūtras — will reveal the pervasiveness of the three-seed mantras, which are themselves the limbs of the mūlavidyā. sarvaṁ racanāprakārakālaviśeṣānukramaviṣayam A uttamaṁ puruṣārthapradatvāt A mahādevyā mantrarūpiṇyā jaganmātus tripurābhaṭṭārikāyāḥ paravimarśaśarīraṇyā vareṇyāyāḥ A ekaikākṣara-sādhanam ekaikam akṣarāṇāṁ trayāṇām sādhanam A mahājñānaṁ mahādevyāḥ svarūpaviṣayam A Sarvaṁ indicates the sequence of varieties of construction and their time. It is called supreme since it provides the goals of humankind. Mahādevyā indicates the glorious Goddess who is the mother of the universe, she who is the three cities, the supreme mistress, whose body is supreme awareness. Ekaikākṣarasādhanam refers to the practice of the three sections one by one. Mahājñānam indicates that knowledge related to the form of the Supreme Goddess. prabhāvaṁ sāmarthyam A vyāptisthānaṁ vyāptipadaṁ A bhavam ullāsam A layaṁ viśrāntim A sthūlasūkṣmavibhedena A sthūlaṁ vaikharyātmanā, sūkṣmaṁ madhyamāpaśyantībhyām AA Prabhāvam indicates capacity. Vyāptisthānaṁ is the state of pervasion. Bhava is outer expression. Laya is submersion. Sthūla is of the nature of vaikharī. Sūkṣmā is both madhyamā and paśyantī. Artharatnāvalī on Nityāṣoḍaśikārṇava 4.1-2 atha caturthe paṭale ṭippaṇaṁ likhyate A bhagavan sarvamākhyātamityādi A sarvamityantarbahirmudrāracana-bandhanaprakāradvayamiti bhāvaḥ A racanaṁ bāhyam, bandhamāntaram A Now the commentary on the fourth chapter. Sarvaṁ indicates the two means for making the gestures, being internal and external. Forming is external. Binding is internal. jñānamiti tadubhayagocaraṁ jñānam A vadetyādi A idānīṁ mūlavidyāyā devyā ekaikākṣarasādhanam ekaikabījasādhanaṁ vadetyarthaḥ A mahājñānaprabhāvam ityādi A mahacca tajjñānaṁ ceti mahājñānam, tacca tasya prabhāvaśca vimarśarūpaḥ, tam A Jñānaṁ indicates the knowledge manifest in both. Now, the practice of each seedmantra of the mūlavidyā of the Goddess is mentioned. That which is supreme and which is knowledge is called mahājñānam. That and its inluence in the form of aPPendix a | 215 awareness in relation to itself is the inluence of mahājñānam. kim uktaṁ bhavati — prakāśa-vimarśarūpau śivaśakti-varṇa-avakārahakāropalakṣitau mahājñānatatprabhāvāvupadiśyete iti bhāvaḥ A vyāptisthānam iti A tadubhayaṁ śaktiśivarūpam ekādaśaṁ paśyantīrūpaṁ tanmadhyamā-vaikharīrūpāṇām akṣarāṇāṁ vyāptisthānam āśrayasthānam, tadāśritya, tatpravartanāt A What has been stated is that the letters denoting Śiva and Śakti, being in the form of light and awareness, indicated by a and ha, are the supreme knowledge and its expression, being the place of pervasion. Both of these, being in the form of Śiva and Śakti, are the eleventh [letter] in the form of paśyantī which is the fundamental grounds of the madhyamā and vaikharī letters as these manifest having that [paśyantī] as their base. bhavam iti bhavatyasmād iti A asmāt paśyantīrūpād akṣarasandarbhāttad uttaraprakāra-dvayākṣara-sandarbhasyotpattir iti bhāvaḥ A layam iti A līyate ’sminniti layaḥ A madhyamāvaikharīrūpaṁ tadubhayamasminneva paśyantīrūpeṇalīyata iti bhāvaḥ A sthūlasūkṣmavibhedeneti A sthūlaṁ ca sūkṣmaṁ ca sthūlasūkṣmam A Bhava indicates that it arises from that [paśyantī]. From this source of the letter in the form of paśyantī the two sources of the letters emerge from that. This is the meaning. Laya is mentioned because it dissolves into that. Both madhyamā and vaikharī merge into this very paśyantī. This is the essence. By the division of gross and subtle [this process unfolds]. The compound sthūlasūkṣmaṁ indicates gross and subtle. kim uktaṁ bhavati? paśyantīkāryarūpaṁ vaikharīmadhyamādvayaṁ sthūlasūkṣmam A tatra madhyamā sūkṣmaṁ rūpam, vaikharī sthūlaṁ rūpamiti bhāvaḥ A tadubhayakāraṇaṁ paśyantīrūpaṁ paramityarthāt siddham A evaṁ parasūkṣma-sthūlabhedena śarīre varṇakramaḥ saṁvyavasthita iti prāgīṣat sūcitaṁ tvayā A tadidānīṁ prakaṭīkuru he parameśvara! iti yāvat AA What is being said? The products of paśyantī are madhyamā and vaikharī. These two are called subtle and gross. Madhyamā is the subtle form. Vaikharī is the gross form. This is the essence. The cause of both, in the form of paśyantī, is the supreme and is proved by the meaning. Thus, by the division of supreme, subtle, and gross the sequence of the letters is installed in the body. That [process] 216 | the Goddess Within and Beyond the three Cities is hinted at just a bit by you. O Supreme Lord! Elaborate that now. This is the whole. Nityāṣoḍaśikārṇava 4.3 īśvara uvāca śṛṇu devi mahājñānaṁ sarvajñānottamaṁ param A yenānuṣṭhitamātreṇa bhavābdhau na nimajjati AA 4.3 AA The Lord said, “O Goddess, listen to the great knowledge which is the pinnacle of all knowledge, the supreme, by performing which [one] does not merge into the ocean of becoming”. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.3 śṛṇvityādi A mahājñānaṁ saṁsārakleśaharatvāt A sarvajñānottamaṁ sarveṣāṁ jñānānāmuttamam anubhavārūḍhatvāt A anuṣṭhitamātreṇa anusaṁhitamātreṇa A na nimajjati vyavaharannapi saṁsārakleśaṁ nānubhavati A jīvanmuktatvād ityarthaḥ A It is called mahājñānam because it removes all the worldly miseries. It is sarvajñānottamam, the best of all the wisdoms because it arises from experience. Anuṣṭhitamātreṇa means only by performing that. Na nimajjati indicates that one does not experience grief even in worldly actions because of being liberated while living. atrābhiyuktavacanam — saṁsāra eva nivasan jano vyavaharannapi A na bandhanaṁ tathāpnoti padmapatre payo yathā AA iti A Here we quote the authority: “A person residing in the world, engaged in worldly activities, does not acquire bonds just as the water in the lotus leaves [are not bound].”123 īśvarapratyabhijñāyāmapi — sarvo mamāyaṁ vibhava ityevaṁ parijānataḥ A viśvātmano vikalpānāṁ prasare ’pi maheśatā AA (4.1.12) iti A Even in the Īśvarapratyabhijñā [it is said], “By knowing that the whole of manifestation is my emanation, the universal soul — even amidst the low of 123 Prem Caitanya once said to Timalsina, “You should be like oil in water”. Oral Communication, Kathmandu, Nepal, 22 May 1997. aPPendix a | 217 vikalpa — resides in supreme godhead” (4.1.12). śrīparamārthsāre ’pi — bhinnājñānagranthirgatasandehaḥ parākṛtabhrāntiḥ A prakṣīṇapuṇyapāpo vigrahayoge ’pyasau muktaḥ AA agnyabhidagdhaṁ bījaṁ yathā prarohāsamarthatāmeti A jñānāgnidagdhamevaṁ karma na janmapradaṁ bhavati AA (PS 61-62) iti AA And in the Śrī Paramārthasāra: “One whose knots of ignorance are cut, whose doubts are removed and whose delusions are subdued, in that one vice and virtue are nulliied. Even while associated with the body that one is liberated. As the seed roasted by ire becomes incapable to sprout, so, those karmas burned by the ire of knowledge do not become the cause of birth” (PS 61-62). Artharatnāvalī on Nityāṣoḍaśikārṇava 4.3 śṛṇu devītyādi A mahājñānaṁ paramaprakāśavimarśa-rūpasya varṇa-kramādibhūtapaśyantīmayasya śivasya svarūpajñānam iti bhāvaḥ A sarvajñānottamam iti A sarveṣāṁ tattvajñānānāṁ madhye etad evottamaṁ saṁsāramocakatvāditi A yenetyādi A yenānuṣṭhitamātreṇa bhavābdhau saṁsārasāgare na nimajjati na nipatatīti yāvat AA Mahājñānam indicates the form of supreme light and awareness, in the form of paśyantī which is the very irst in the sequence of the letters which is the knowledge of the self-nature of Śiva. This is the essential meaning. Sarvajñānottama indicates that among all the truth-teachings this is the best because it liberates from saṁsāra. Bhavābddhau indicates that by performing this knowledge one does not fall into the ocean of transmigration. This is the whole. Nityāṣoḍaśikārṇava 4.4 tripurā paramā śaktir ādyā jātāditaḥ priye A sthūlasūkṣmavibhedena trailokyotpattimātṛkā AA 4.4 AA O beloved, the supreme power Tripurā is the primal manifestation. By the division of gross and subtle [she] is the mother who gives rise to the three worlds. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.4 paramā A pāramyaṁ sarvotkṛṣṭam A śaktiḥ sarvadhārikā māyālakṣaṇā vimohinī A ādyā prathamonmeṣarūpā A jātā vyaktiṁ gatā A āditaḥ 218 | the Goddess Within and Beyond the three Cities A mahāprakāśarūpā ’nuttaraśivātmanaḥ svarūpabhūtā vimarśaśaktiḥ bījād ucchūnād iva mahāsphurattātmā ’nubhavaikagamyā spandaśaktir ūjjṛmbhitetyarthaḥ A Paramā indicates that she is the highest of them all. Śakti is the support of the totality, the deceiver indicated by māyā. Ādyā means the form of the irst emergence. Jātā means manifested. Āditaḥ indicates that vimarśa-śakti emerges from that unsurpassable Śiva nature, the form of supreme light, as its very essence, just as a swollen seed [produces a sprout]. Being the nature of the supreme expression, known only by experience, this spanda-śakti manifests. This is the meaning. sthūlasūkṣmavibhedena A sthūlaṁ kalātattvabhuvanābhidheyarūpārthatrikam, sūkṣmaṁ varṇapadamantrābhidhānarūpaśabdatrikam, tayorvibhedena, tattadrūpeṇetyarthaḥ A Sthūla indicates the triad of the objects named kalā, tattva, and bhuvana. Sūkṣmā indicates the triad of sound named letter, word, and mantra. The division of these two into these forms is the meaning here. athavā sthūlaṁ kāryaṁ pṛthivyāpastejo vāyurnabha iti A sūkṣmam eṣām eva rūpam gandho raso rūpaṁ sparśaḥ śabda iti A trailokyotpattimātṛkā A kartṛkaraṇakarmavyutpattyā lokalokanalokyātmā prapañcaḥ ṣaṭtriṁśattattvasamudāyaḥ A triloka eva trailokyam A tasyotpattau samudaye mātṛbhūtā kāraṇabhūtā AA Otherwise, sthūla refers to the elements earth, water, ire, air, and sky. Sūkṣma indicates the essential form of these: form, smell, taste, touch, and sound. Trailokyotpattimātṛkā suggests that the declension [of trailokya] into nominative, instrumental, and accusative cases124 as observer, the observation, and the observed are this universe, which is the arising of the thirty-six elements. The three worlds are called triloka. With regards to the evolution of them, [Devī] becomes the Mother, the fundamental cause. Artharatnāvalī on Nityāṣoḍaśikārṇava 4.4 tripurā parametyādi A tribhyaḥ purā tripurā A tribindutritattvebhyaḥ purā pūrvaṁ sthiteti bhāvaḥ A ko ’abhiprāyaḥ? trivṛtkaraṇāt prāg iyaṁ kevalam ākāśākāraparamakāmyarūpāttatkāmāntarasthiteti bhāvaḥ A sā paramā 124 Cf. The Yoginīhṛdaya-dīpikā. aPPendix a | 219 viśvottīrṇā A śaktiriti sāmarthyam A tasyādyaśivasyāntargatavimarśarūpeti bhāvaḥ A Tripurā means prior to the three. She is previous to the three bindus and the three elements. The essence is priorness. What is the intention? Before threefoldness this was existing under the desire from that highly desirous form of mere void.125 This is the essence. That is the supreme, the transcendental. Śakti indicates capacity. The form of awareness entering that primordial Śiva is the essence. ādyeti A tripurā varṇānāmādibhūtā kāraṇarūpā seyamakāra-hakāra-kāmakalāparyāyaprakāśavimarśarūpā ’pīti yāvat A jātāditaḥ priye! iti A abhivyaktād hakārātmakācchivāt A ko ’bhiprāyaḥ? icchādicatuṣkalāsamaṣṭirūpiṇī trailokyotpattikāriṇī kevalahakārātmikā śaktir ādyā vāmādi-catuṣkalāsaṁpiṇḍitarūpiṇī ādito vasturūpād aṅkurarūpeṇa vyaktiṁ gateti bhāvaḥ A Tripurā is the irst within the sequence of the letters, being the form of causality, which is a and ha, being a synonym of kāma and kalā in the form of light and awareness. This is the exposition. “Being the irst born” means manifested from Śiva, who is the form of ha-kāra. What is the meaning? Śakti, being the collective form of the four kalās, icchā, etc. being the cause of the arising of the three worlds, assumes the prior form of mere ha-kāra and the manifested collective form of the four kalās beginning with Vāmā, from the very irst existing form manifested like a sprout. This is the essence. sthūlasūkṣmavibhedena trailokyotpatti-mātṛketyasyāyaṁ bhāvaḥ — akārahakārī varṇa-kramasyādyantau A tatsamaṣṭisamarasabhāvena rudrasaṁkhyaparamāmṛtamayaṁ paśyantīrūpaṁ parmiti susiddhavat kṛtvā taduttarayormadhyamāvaikharyoḥ sūkṣmasthūlatāṁ vyapadiśyaivaṁ parasūkṣmasthūlavarṇāṅkurā ādyaśaktireva saptaṣaṣṭivarṇarūpiṇī trailokyotpattikāriṇī mātṛkā A lokyate ’neneti lokastrailokyam A a and ha are the irst in the order of the letters. In the form of the collective mingling of that, the supreme ambrosia as the number eleven, being the paśyantī form, is regarded as the supreme. Being perfectly composed, expressed thus as the subtleness and grossness of the madhyamā and vaikharī, posterior to the primordial śakti sprouting in the form of para, sūkṣmā, and sthūla letters, is the mother in the form of sixty-seven letters which are the cause of the arising of the three worlds. Loka is that by which something is observed, and that is trailokya. 125 This experience occurs through the practice of mahāmudrā in which the face-gates are closed and the prāṇa is pressed. 220 | the Goddess Within and Beyond the three Cities dhāmatritayasyotpattirmātṛkācakrāditi tathocyate A evaṁ saptaṣaṣṭivarṇarūpiṇī tridhāmajananī jāteti saṁbandhaḥ A athavā rasādhārasthavarṇakadamakaṁ tribījasambandhi tridhā vibhaktaṁ kuryāt A athavā vaikharīrūpaṁ vāgbhavabījam, madhyamārūpaṁ kārarājam, paśyantīrūpaṁ śaktibījamiti A evaṁ tribījātmakaṁ prakāśa eva trailokyamityarthaḥ A tasyotpattikāriṇī mātṛketi yāvat A anena śarīrābhyantare bhaṅgayā upāsanāprakāro ’pi darśitaḥ AA The arising of the three centres from the circle of letters is thus mentioned. Thus the connection is that the mother of the three centres is the form of the sixty-seven letters. Or, the bunch of the letters on the six grounds related to the three-seed mantras should be divided into three. Otherwise, the form of vaikharī is the vāgbhava section; madhyamā is the kāmarāja section and paśyantī is the śakti section. Thus, the very light in the form of three sections is trailokyam. This is the meaning. Mātṛkā is the cause of the arising of That. This is the entirety. By this, the method of meditation inside the body is metaphorically elucidated. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 4.4 paramā śaktir iti sāmānādhikaraṇyād bījāpūravad akārātmanaḥ śivāt kāraṇāt tathaikarasavimarśātmakahakārāparaparyāyakāmakalārūpeṇa yā jātā pariṇatā A ayaṁ bhāvaḥ — vāmādicatuṣkalāsaṁpiṇḍitarūpādakārādaṅkurarūpeṇetyādi catuṣkalāsamaṣṭirūpiṇī kevalahakārātmakī śaktiḥ prakāśādullasnatī yā jāteti yāvat A Like the Bījāpūra fruit, Paramā Śakti becomes transformed due to that causal Śiva, whose nature is the a-phoneme, having a shared support in the form of kāmakalā which is a synonym for ha-kāra which is in nature the mingled awareness. This is the meaning. From the a-kāra the amalgamated form of the four kalās, Vāmā, etc. in sprout form, the śakti manifest from that light, being the form of a-kāra. This is the whole. sthūlasūkṣmavibhedena trailokyotpattimātṛketi A atra lokaśabda ālokaparyāyaḥ A prakāśaparyāya ityarthaḥ A Here, the term loka is a synonym for āloka which means light. akārahakārayoścatuṣkalāśrayāvayavād vyaṣṭyā sāmarasye tattrividhaprakāśaparyāyālokavat paśyantīrūpasūkṣmatayā param iti siddhavat kṛtvā punar madhyamāvaikharyoḥ sūkṣmasthūlabhāvāt parasūkṣmasthūlākāraṁ tridhā bhinnaṁ śivaśaktilokanaṁ śivaśaktyabhinnaṁ tathā aPPendix a | 221 cāvyaktaikādaśākṣarānantarasamayaṁ paśyantīvāgrūpaṁ navanādātma sūkṣmavarṇamadhyamāvāgrūpaṁ saptacatvāriṁśadvyaktilipiviprakīrṇaṁ vaikharīvāgrūpamitīdaṁ tridhā lokanamityeva trayastrilokatriprakārāsteṣāṁ samudāyastrailokyam, tasyotpattau mātṛkā kāraṇabhūtā śivaśaktirityarthaḥ A Being a and ha as the parts of the support of the four kalās, particularly in the mingled form like āloka which is a synonym for the threefold light, making a perfected condition, being the paśyantī form as the most subtle and again of madhyamā and vaikharī in the subtle and gross forms divided threefold in the forms para, sūkṣmā, and sthūla, being not different from Śiva, Śakti, and illumination (lokana) and likely, the form of the paśyantī speech which is designed posteriorly in the unexpressed eleven letters in the nature of nine nādas in the form of madhyamā, the sūkṣmā and the form of vaikharī speech differentiated in the expressed forty-seven letters.126 And this threefold division is the lokana and thus the three lokas are differentiated into three and the collection of those is trailokyam. Śiva and Śakti are the cause of the arising of that. trivṛtkaraṇavṛndam evedamapi jñātavyam A anyacca rasādhārabījaṁ paśyantīrūpaṁ cetyapi śarīrāntar varṇacakraṁ tribījavat prakāśavat syāt A evaṁ varṇakramasya śarīrāntarūpāsanāprakāro darśitaḥ AA It should also be known that this is the group of the threefold division.127 Further, the seed-mantra of the six foundations which is the paśyantī form which is itself the circle of the letters inside the body is the light of the three sections of the mantra. Thus, the process of meditation of the order of the letters inside the body is elucidated. Nityāṣoḍaśikārṇava 4.5 kavalīkṛtaniḥśeṣatattvagrāmasvarūpiṇī A asyāṁ pariṇatāyāṁ tu na kaścit para iṣyate AA 4.5 AA [Śakti] is the form of the swallowing of the total mass of elements. During the period of her manifestation no other supreme is sought. 126 Paśyantī = 11 letters. Madhyamā = 9 nādas. Vaikharī = 47 (excluding a, ha, and kṣa). 127 Trivṛtkaraṇa is common in the Chāndogyopaniṣad and is prior to the pañcīkaraṇa as expressed by Śaṅkarācārya in his Śārīraka-Mīmāṁsa. This passage refers to the praṇava as well as other threefold divisions. 222 | the Goddess Within and Beyond the three Cities Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.5 kavalīkṛteti A kavalīkṛto grāsīkṛtaḥ, niḥśeṣo niravaśeṣaḥ, tattvagrāmastattvānāṁ samudāyaḥ A tāni ca śivaśaktisadāśiveśvara-śuddhavidyāmāyākalāvidyārāga-kālaniyati-puruṣaprakṛti-manobuddhyahaṁkāraśrotratvakcakṣurjihvā-ghrāṇa-vākpāṇipādapāyūpastha-śabdasparśarūparasagandhaākāśavāyuvahnisalilabhūmayaḥ A Kavlīkṛto means swallowed. Niḥśeṣo indicates that there is no remainder. Tattvagrāma is the collection of the elements. And these are śiva, śakti, sadāśiva, īśvara, śuddha-vidyā, māyā, kalā, vidyā, rāga, kāla, niyati, puruṣa, prakṛti, manas, buddhi, ahaṁkāra, śrotra, tvak, cakṣur, jihvā, ghrāṇa, vāk, pāṇi, pāyu, upastha, śabda, sparśa, rūpa, rasa, gandha, akāśa, vāyu, vahni, salli, and bhūmaya. ayamarthaḥ — bījāvasthāyām aṅkurakāṇḍa-patrapuṣpa-phalādivacchaktyavasthāyām antaḥ sadātmanā vartate kāryarūpaḥ prapañca iti A asyāmiti A asyāṁ vimarśākhyāyāṁ śaktau A pariṇatāyāṁ vikāsabhāvamāpannāyām A paro vimarśapadavīvyatirikto ’vimṛṣṭarūpaḥ A This is the meaning: as the sprout, trunk, leaves, lowers, and fruit are in the seed, so all manifestation, being the product, resides within the śakti in its true nature. Asyām means “within that śakti called vimarśa”. Pariṇatāyāṁ means that it is in the condition of expansion. Paro shows that it is other than the stage of awareness, or the unrelected form. ayaṁ bhāvaḥ — vimarśākhyāyāmasyām śaktau ṣaḍadhvasphāra-mayaṣaṭtriṁśat-tattva-garbhamahāhantāparāmarśa-mahāvibhūti-rūpa-prapañcaātmanā mahāvikāsabhāvam āpannāyām etat sthitivyatiriktaḥ kaścidastīti vādo ’yamanupapanna iti A ayamarthastunā dyotyate A kiñcāvabhāsasya śivasya vimarśa eva svabhāvaḥ A taduktaṁ mahā-gurubhiḥ — svabhāvamavabhāsasya vimarśaṁ vinduranyathā A prakāśo ’rthoparakto ’pi sphaṭikādijaḍopamaḥ (ĪP 1.5.11) AA iti AA This is the meaning: with regard to the power of awareness, one cannot approve the theory that states that there is something other than the stage of the expansion of the sixfold path in the form of the manifest universe which holds the thirty-six elements inside its womb in the form of the emanation (vibhūti) of the supreme I-consciousness as the condition of the ultimately-manifested form. This meaning is indicated by the term tu. Furthermore, that light which is Śiva has the nature of awareness, as is expressed by the great teachers: “The aPPendix a | 223 nature of the light is known as awareness; otherwise, the light, when relected upon the objects, would be inert like a crystal, etc.” (ĪP 1.5.11). Artharatnāvalī on Nityāṣoḍaśikārṇava 4.5 kavalīkṛtaniḥśeṣetyādi A aśudhhaśuddhāśuddhaśuddhātmanā trividhatattvāni vācyabhūtāni A tasya vācakatvābhedena trivṛtkṛto varṇakramaḥ sthita iti kṛtvā sā mātṛkā tathocyate A tathātvam api prakāśātmanas tattvasamūhasya vimarśātmanā vācakatvena sadā ’vibhāgāt A In the form of impure, pure and impure, and pure, the three elements are expressed. Being not different from the expression of that, the order of the letters exists divided threefold. Thus, the mātṛkā is mentioned like that. And that is because there is eternal non-distinction between the denoter which is the nature of awareness and that collection of the elements which is the nature of light. tasyāmityādi A pariṇatāyāṁ vikāsabhāvamāgatāyām A ko ’rthaḥ? paramaprakāśarūpā yā cicchaktiḥ saiva vācyavācakabhedena varṇatattvarūpeṇa vibhaktā saṁkuciteva kulābhimāninī sthitā A Tasyā means that it is in the stage of manifestation. What is the meaning? The power of awareness which is the form of supreme light herself becomes differentiated in the form of denoted and denoter in the form of elements and letters. The goddess of the kula resides in contracted form. saiva punarvarṇatattvaṣaḍbhedasaṁbhedanadvāreṇa ṣaḍadhvaṁ pravilāpayantī nāmaguṇarūpa-jātilakṣaṇātīta-paramaprakāśa-bhūmikām āḍhaukate yadā, tadā vikāsadaśāṁ gatā pariṇatā bhavatīti bhāvaḥ A taduktaṁ saṁketapaddatyāṁ — “saṁkocaḥ paramā śaktir vikāsaḥ paramaḥ śivaḥ” iti A While existing in the ground of supreme light which is beyond names, qualities, forms, and other characteristics, submerging the sixfold path through breaking the sixfold divisions, then she mutates into her fully expanded form. As it is said in the Saṅketa Paddhati, “Contraction is the supreme power and expansion is the Supreme Śiva”. na kaścit para ityāderayaṁ bhāvaḥ — tadevaṁlakṣaṇavimarśaśaktyātmaka eva parameśvaro na kadācidapi śaktisvarūpaṁ vyabhicarati A yadi vyabhicaratītyucyate, tarhi na sa parameśvaraḥ, jaḍatvāpātāt A tasmāccaktyātmaka eva parameśvaro nānya iti siddham A taduktam — “śaktyo 224 | the Goddess Within and Beyond the three Cities ’sya jagatkṛtsnaṁ śaktimāṁstu maheśvaraḥ” (SM) iti A “Na kaścit, etc.” means that the Supreme Lord of the mentioned qualities in the form of the power of awareness never loses its nature as śakti. If it is said that he loses [this power] then that one is not the Supreme Lord since he obtains unconsciousness. Thus, only when there is the condition of power, there is the Supreme Master. No other state is demonstrated. It is said: “Maheśvaraḥ is the Supreme Lord and the whole universe is his powers” (SM). anyacca — śaktiśca śaktimadrūpādvyatirekaṁ na vāñcchati A tādātmyamanayornityaṁ vahnidāhikayoriva AA (BoP 3) iti AA Furthermore, “The powers do not desire differentiation the form of the possessor of śakti. They have eternal inherence, like that of the ire and its burning power” (BoP 3). Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 4.5 kavalīkṛtetyādi A śuddhamiśrāśuddhātmanā trivṛtkṛtasya tattvasamudāyasya vācyarūpasya vācakatvena kavalīkṛtastrivṛtkṛto varṇakrama iti A kavalīkṛto grāsīkṛtaḥ A niḥśeṣatattvagrāmasvarūpiṇī sā vimarśaśaktir mātṛkā ca jāyata iti A tasyāmityādi A pariṇatāyāṁ vikāsabhāvaṁ gatāyām A ko ’rthaḥ? The collection of elements in the form of denoter is divided into the trinity of pure, mixed, and impure forms. The order of the letters which swallows the whole, divided threefold in the form of denoter, is [mentioned]. Kavalīkṛta means gulped. The Mother, being the power of awareness, manifests in the form of the collection of the entirety of elements. Pariṇatāyāṁ means “attained in the bloomed state”. What is the meaning? paramaprakāśarūpā yā cicchaktiḥ saiva tattvavarṇa-svarūpa-vācyavācakabhāvena vibhaktā saṁkucitaiva kulābhimāninī sthitā A punarapi vibhaktaanugraha-bhāvavarṇa-tattvaṣaḍbheda-nirbhedanakrameṇa ṣaḍadhvaṁ vilāpayantī nāmaguṇarūpajātilakṣaṇātītā paraprakāśabhūmikāmāḍhaukate yadā, tadā vikāśadaśāṁ gatā pariṇatā uktaṁ ca — “saṁkocaḥ paramā śaktirvikāsaḥ paramaḥ śivaḥ” iti A The very form of consciousness, in the form of supreme light, herself divided in the form of the denoter and the denoted as the letters and the elements, abides in a contracted state as the goddess of the kula. Moreover, successively aPPendix a | 225 breaking the sixfold division of letters and elements by manifesting as grace, thus submerging the sixfold path when residing in the ground of supreme light and transcending all the characteristics of name, form, and jāti then she is bloomed or transformed. As it is said, “Contraction is the supreme power and Supreme Śiva is the bloomed”. para (ityādeḥ) ayaṁ bhāvaḥ — vimarśaśaktyātmaka eva parameśvaro na kadācidapi padārthātmatāṁ vyabhicarati A phalabhedāropitabhedaḥ padārthātmā śaktiriti prasiddhaḥ A yadasyā vyabhicarati nisāro na parameśvaraḥ, jaḍatvāpātāt A tasmācchaktyātmaka eva parameśvaro nānya iti prasiddham A taduktam — “śaktayo ’sya jagatkṛtsnaṁ śaktimāṁstu maheśvaraḥ” (SM) iti AA This is the essence of para: the Supreme Lord, being the essence of the power of awareness, never drops the nature of substances. It is well known that śakti is the nature of the elements where the division is imposed by the division of the results. If this would be dropped then it would be essenceless and would remain parameśvara no more, falling itself into the category of the unconscious. Thus it is well known that the Supreme Lord is the nature of śakti, not other. The total of manifestation is his powers and the Supreme Lord is the one associated with the śaktis” (SM). Nityāṣoḍaśikārṇava 4.6 paro hi śaktir ahitaḥ śaktaḥ kartuṁ na kiñcana A śaktas tu parameśāni śaktyā yukto yadā bhavet AA 4.6 AA Being differentiated from his śakti, the Supreme Lord can do nothing. O Supreme Goddess, he becomes potent only when associated with śakti. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.6 śaktir ahitaḥ paro ’stītyasmin pakṣe dūṣaṇamāha — paro hīti A paraḥ parameśaḥ A hirhetau A śaktirahitaḥ śaktyā vaibhavena rahitaḥ A śaktaḥ kartuṁ na kiñcanetyasyāyamarthaḥ — sṛṣṭyādiṣu karmasu madhye na kiñcidapi karma sampādayituṁ śaknoti, asamarthatvāditi A With regards to the doctrine that the supreme is differentiated from the śakti, the fallacies are mentioned. Para is the Supreme Lord. Hi indicates causality. 226 | the Goddess Within and Beyond the three Cities Śaktirahitaḥ means differentiated from the universal power. This is the meaning of śaktaḥ kartuṁ na kiñcanetyasyā — among the actions of creation, etc. the supreme cannot perform a single action while differentiated from his power due to his being incapacitated. śaktivaidhūryapakṣe tvakartṛtāmuktvā śaktimatpakṣe kartṛtām āha — śaktastviti A śaktyā vimarśākhyayā svābhāvikyā saṁvidā, yuktaḥ saṁmilitaḥ, samarasībhūta ityarthaḥ A taduktam — “śaktyo ’sya jagatkṛtsnaṁ śaktimāṁstu maheśvaraḥ” (SM) iti A pañcadaśikāyāmapi — śaktiśca śāktimadrūpād vyatirekaṁ na vāñcchati A tādātmyamanyornityaṁ vahnidāhikayoriva AA (BoP 3) iti A Mentioning actionlessness in the aspect of being differentiated from śakti, and, conversely, mentioning doerness in the aspect of being associated with śakti is meant by śakta. Śaktyā means with the natural consciousness named as awareness while associated means “becoming mingled with”. As it is said, “the whole of manifestation is his powers, and he is the Supreme Lord, united with śakti”. As it is mentioned in the Pañcadaśikā, “Śakti does not desire distinction from the nature of the possessor it. Their inherence is eternal like ire and the burning power” (BoP 3). śivasūtre ’pi —“svaśaktipracayo viśvam” (3.30) iti A śrīvijñānabhairave ’pi — śaktiśaktimatoryasmādabhedaḥ sarvadā sthitaḥ A atastaddharmadharmitvāt parā śaktiḥ parātmanaḥ AA na vahnerdāhikā śaktir vyatiriktā vibhāvyate A (18-19) iti ca AA And in the Śivasūtra: “The universe is the collection of one’s own powers” (3.30). And in the Śrī Vijñānabhairava: “The non-differentiation of śakti and śaktimān exists eternally. Being possessed by that quality, the supreme power belongs to the ultimate soul. The burning power of ire is not thought to be distinct [from the ire]” (18-19). Artharatnāvalī on Nityāṣoḍaśikārṇava 4.6 paro hi śaktirahitaḥ śaktaḥ kartuṁ na kiñcana iti A śaktyā yuktaḥ śivo nānya iti pratijñātaṁ parameśvareṇa A idānīṁ hetūpanyāsena tamarthaṁ samarthayati A paraḥ parameśvaraḥ A śaktirahitaḥ śaktyā rahitaścet A kiñcana svalpam api A kartuṁ na śaktaḥ A aśaktatvāditi yāvat A aPPendix a | 227 The Supreme Lord has declared that Śiva is the one associated with Śakti, and none other. Now, presenting the cause, [he] approves that meaning. Para means the Supreme Lord. Śaktirahitaḥ means “if he were to be separated from Śakti”. Kiñcana means “even in the least”. Due to impotence he cannot do anything. This is the total. ko ’rthaḥ? śaktiśaktimator bhedābhyupagamapakṣe ’nīśvaraṁ jagad-āpadyeta, tanniyamanasāmarthyābhāvād iti A śaktastu parameśāni śaktyā yukto yadā bhavedityasyāyam arthaḥ — yadā punaḥ sa parameśvaraḥ śaktyātmako ’bhyupagamyate, tadā ’sau sarvajagadracanāsamartho bhavati AA What is the meaning? On the side of accepting discrimination between śakti and śaktiman, the world would fall under the category of something not created by God due to his being enable to regulate it. This is the meaning of śaktastu parameśāni śaktyā yukto: when the Supreme Lord is accepted as associated with śakti then he becomes able to create the universe. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 4.6 paro hītyādi śaktyātmakatvahetūpanyāsena samarthayati A paraḥ parameśvaraḥ A ṡaktirahitaḥ śaktihīnaścet A na kiñcana na svalpamapi kartuṁ śaktaḥ A śaktir ahitatvāditi yāvat A śaktiśaktimatoḥ śaktīśvarayor bhedābhyupagame jagad anīśvaratvamāpādyate, tasya niyamanasāmarthyābhāvāt A śaktastvityādi A yadā śaktyātmaka eva śiva ityabhyupagamyate, tadā hi śaktaḥ sarvajagannirmāṇādisamartho bhavati AA By presenting the cause, paro hi, etc. [Śiva] establishes that [the supreme] is associated with power. Paraḥ indicates the Supreme Lord. Being dissociated with power is the meaning. If the distinction would be accepted between power and the possessor of power then the world would come under the category of something not created by the lord because he would have an absence of potency for regulating [his creation]. When Śiva is accepted as only associated with Śakti, only then does he become potent for the creation, etc. of the world. Nityāṣoḍaśikārṇava 4.7-8a śaktyā vinā śive sūkṣme nāma dhāma na vidyate A jñātenāpi maheśāni śarma karma na kiñcana AA 4.7 AA dhyānāvaṣṭambhakāle tu na ratir na manaḥ sthitiḥ A 4.8a A name or foundation distinct from Śakti does not exist within the subtle Śiva. 228 | the Goddess Within and Beyond the three Cities O Supreme Goddess, even though knowing, he would possess neither bliss nor action [if distinct from Śakti]. Even in the time of restricted meditation, there would be neither inclination nor the seated mind. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.7-8a śaktimatparameśavyatiriktapakṣe śivādīnām abhidhānābhidheyasiddhiśca na sambhavatītyāha — śaktyeti A śaktyā vinā śaktisammilitavyatir ekapakṣe A śive paramaśreyorūpiṇi A With regards to the doctrine of the Supreme Lord being distinct from Śakti, the existence of the name and named, like Śiva, etc. would not be possible. [This is mentioned by] śakyeti. Śaktyā vinā refers to the view of distinction with regards to association with Śakti. Śive means “in the form of supreme prosperity”. sūkṣme atikrāntacakṣurādisaṁviddevīprasaramārge A nāma śivamaheśamaheśvaraśaṅkaraparameśvaramahādevamṛḍamaheśāna-īśādyabhidhānavyavahāra ityarthaḥ A Sūkṣme means “transcending the channel of the low of the goddesses of consciousness like the sense, eyes, etc. Nāma indicates the use of such names as Śiva, Maheśa, Maheśvara, Śaṅkara, Parameśvara, Mahādeva, Mṛḍa, Maheśāna, and Īśa. dhāma sthāna-prakāśānubhavonmeṣodyantṛtādi-siddhirityarthaḥ A parisphurattātma śāktaṁ teja iti yāvat A kiñca, evamayamityevaṁrūpeṇa kaścid vastuviśeṣo jñāto bhavati A sa tvasya svabhāvaḥ A sa tad viśiṣṭaḥ sadā bhavati A saiva śaktir iti vayaṁ manyāmahe A tadabhāve tasya jñātatvaṁ na sambhavati A tat tiṣṭhatu A Dhāma indicates those perfections like ground, light, experience, sudden low, and arising. The light of Śakti is of the nature of expansion. This is the totality. Furthermore, a particular object becomes known in the form of “thus it is” and “that”. That is the nature of him [i.e. Śiva]. He is always associated with that. And we accept that as the Śakti. In the absence of that, it would not be possible for him to be known. Drop that now! jñātatva pakṣe ’pi śivasya prayojanābhāvaṁ darśayati — jñātenāpīti A jñātena jñāta — karmībhūtenāpi A arthasāmarthyāt kathitaṁ maheśānītyāmantraṇaṁ śaktivyāptiparāmarśasūcakam A aśaktaḥ śiva ityetatpakṣopanyāso ’pi tadvikāsopanyāseneti tātparyam A aPPendix a | 229 Even with regards to the perspective that Śiva is known, the absence of a purpose of that Śiva is shown. “Jñātena” means “being the object of the knowing action”. The mentioned address, “Maheśānī”, following its power of meaning, indicates the relection of the pervasion by śakti. The presentation of the aspect of Śiva as impotent is presenting the blooming of that. This is the meaning. śarma śivaśaktisāmarasyātma-paripūrṇāhaṁ parāmarśa-sthitilakṣaṇam akṛtrimaṁ sukhaṁ A karma ābhāsana-raktivimarśana-bījāvasthāpanatadvilāpanātmakam A dhyāneti A dhyānaṁ samādherapyupalakṣaṇam A ayamarthaḥ — aśaktaḥ śiva ityaṅgīkṛtau dhāynasamādhānavelāyāṁ mahānandodadhinimagnānāṁ mahāyogināṁ viśvaikātmyātmaśivaśaktisāmarasya-mahāhṛdaramaṇaṁ tatra manasaḥ sthirīkaraṇaṁ ca na bhavatīti AA Śarma indicates the natural bliss, being the nature of the mingling of Śiva and Śakti and having the characteristic of residing in the total I-awareness. Karma has the form of revelations, attachment, relections, keeping in seed form, and submergence into that. Dhyāna, etc. here also means “concentration”. This is the meaning. If Śiva would be considered impotent in the time of meditation and concentration of the great yogīs merged into the great ocean of supreme bliss, enjoying the great lake of the mingling of Śiva and Śakti in the form of universality, placing the mind there also does not happen. Artharatnāvalī on Nityāṣoḍaśikārṇava 4.7a-8a idānīṁ śaktyā rahitaḥ śiva ityasya bahudoṣaduṣṭatvaṁ darśayati — śaktyā vinetyādinā A śaktyā vinā śive sūkṣme nāma dhāma na vidyata iti A śaktyā vinā śaktirahite vimarśarahite śive A sūkṣme durvijñeye A nāma dhāma na vidyate A nāma īśvaraḥ śiva ityādi A dhāma prakāśo jñānam A Now, [Śiva] illumines that the doctrine of Śiva’s dissociation from Śakti is contaminated by many fallacies. Śaktyā vinā, etc. [erroneously] suggests that Śiva lacks awareness. Sūkṣme suggests unknowability. It has neither name nor place. Nāma indicates īśvara, śiva, etc. Dhāma indicates the light that is knowledge. ko ’rthaḥ? śaktirahitaḥ śiva ityasmin pakṣe śiva īśvara ityādināmabhir anirdeśyo bhavet A tathā śaktirahitaḥ śiva ityabhyupagamapakṣe ’prakāśātmatvena śivasya jaḍatvam āpadyeta A tasmād ubhayadoṣaṁ parihartum icchatā mahāvimarśaparaḥ śaktyātmakaḥ parama-prakāśaḥ śiva ityavaśyamabhyupagantavyam A anyathā nāstikāgre parabrahmavādipakṣavan 230 | the Goddess Within and Beyond the three Cities nirīśvaraṁ jagad āpadyeta A If it were the case that Śiva were separate from Śakti, then it would not be possible to call him Śiva, Īśvara, and so forth. Furthermore, in accepting the position of Śiva’s dissociation from Śakti, then, due to the absence of prakāśa, Śiva would be reduced to materiality. Thus, desiring to remove the twofold fallacies, Śiva, being the nature of Śakti in the form of supreme awareness should certainly be accepted. Otherwise, in front of the nihilists, like those who accept the absolute Brahman, the world would be considered as not created by God. jñātenāpi maheśāni karma śarma na kiñcaneti A jñātenāpi A kathañcijjñātenāpi A karma śarma128 na kiñcana svalpamapi na sambhavatītyarthaḥ A ayaṁ bhāvaḥ — śaktir ahite śive jñāte ’pi na kaścit puruṣārtho A tathāhi — śaktir ahitatvānn karmavān śivaḥ A karmetyudbhava-sthiti-saṁhāra-tirobhāva-anugrahakaraṇam A Jñātenāpi means “even if known by any means”. Karmaśarma na kiñcana means “does not happen at all”. This is the essence. If Śiva were accepted as dissociated from Śakti then no life-purpose would be attained. Due to being dissociated from Śakti, Śiva would not possess active capacity. Karma, etc. is the instrument for creation, sustenance, dissolution, concealment, and grace. śarma-prakāśa-vimarśātmakaśaktiśivasāmarasya-parāhaṁ bhāvānandātmanā sthitiḥ A tadubhayam api śaktyā vinā śive na sambhavatītyarthaḥ A ataḥ śaktyātmaka eva śivaḥ A śaktir api śivātmakasvabhāvaiveti siddham A dhyānāvaṣṭambhakāle tu na ratirna manaḥ sthitir iti A asyārthaḥ — dhyānakāle ’pi śaktyabhāvād ubhayaṁ na sambhāvyate A Śarma is the state of light and awareness in the form of the bliss of supreme I-ness which is the mingled form of Śiva and Śakti. Both of these [i.e. the doctrine of being known and the doctrine of not being known] are not possible in [the doctrine of] Śiva being dissociated from Śakti. Thus, Śiva is only associated with Śakti. Even Śakti is proved as having the nature of Śiva. Dhyānāvaṣṭambhakāle means “even in the time of meditation the two (i.e. rati and manaḥ sthitir) are not meditated upon, because of being dissociated from Śakti”. athavā saṁkucitasamasta-rūpāyāḥ paramānandaprakāśa-lakṣaṇa-paramaśivasāmarasyamupanītāyā paravikāsadaśāmāpannāyāḥ parāyāḥ śakter anusandhāna-velāyāṁ na ratiḥ A 128 Vidyānanda reverses śarma-karma. aPPendix a | 231 Alternatively, [the meaning is this:] there is no passion at the time of inquiry into [the nature of] that supreme power which has attained the ultimately bloomed state and has contracted all the forms which have merged within Supreme Śiva in the form of supreme bliss and light. svarasaparamānanda-vibhavavyatirikta-tucchabudbudaprāya-viṣayābhilāṣo ratiḥ A sā ’smin na sambhavati A na manaḥ sthitir iti A asya samastaduḥkha-hetusaṁkaplavikalpāspandamanaso ’pi paramaśakti-śivasāmarasyaanusandhāna-velāyāṁ na pṛthagavasthānam iti yāvat A etadeva mahājñānaśabdenoktam iti bhāvaḥ AA Ratir is the desire for futile objects, like bubbles, which are distinct from the glory of the natural supreme bliss. That [desire] does not exist here. Na manaḥ sthiti, etc. means that at the time of meditation on the mingled forms of Paramaśiva and Paramaśakti there is no distinct station of mind, which is the fundamental ground for all saṅkalpas and vikalpas, which are the origin of all sorrows. This is total. This is mentioned by the term mahājñāna. This is the essence. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 4.7-8a śaktyā vinetyādi A adhunā śaktirāhitye satyasya bahudoṣaduṣṭatvaṁ darśayatiśaktkyā vinā A śaktivimarśasvātantryam, tad rahite śive A sūkṣme durvijñeye śūnye A nāma dhāma na vidyate A śivaḥ śaṅkaraḥ sthāṇurīśvaraḥ sraṣṭetyādibhir nāmabhir anirdeśyo bhavet A Now, [Śiva] demonstrates the falseness teaching of [Śiva’s] dissociation from Śakti, which is plagued by multiple fallacies. Śaktyā points to Śakti as the freedom of awareness. Vinā suggests Śiva is dissociated from that. Sūkṣmā indicates the imperceivable void. Nāma dhāma na vidyate suggests it would be unhinted by the names Śiva, Śaṅkara, Sthānu, Īśvara, Sraṣṭā, etc. dhāma prakāśo bodho jñānamiti parasparaparyāyā ekārthāḥ A tathāpi śaktiparyāyavimarśarāhitye prakāśasya pratyavamarśakābhāvād aprakāśātmakatvena śivasyāndhatamastvāpattiḥ A taduktam — “vāgrūpatā cedutkrāmedavabodhasya śāśvatī A na prakāśaḥ prakāśeta śā hi pratyavamarśikā” (VāP 1.124) iti A All the terms are synonyms and have the same meaning. Even then, dissociated from vimarśa, which is a synonym for Śakti, prakāśa has an absence of the subject of awareness. Being non-illumined, Śiva would be the unknowable darkness. As 232 | the Goddess Within and Beyond the three Cities is said, “If the eternal expressiveness would be dissociated from knowledge then the light would not be luminous, for she is herself the subject of awareness” (VāP 1.124). tasmād doṣadvayavinir mukto mahāvimarśātmakaḥ paraprakāśaḥ śiva ityarthaḥ A jñānenāpīti A kathañcidābhāsate jñānāditi A tenārthakriyākāriśaktirahitena śivenāsya jñātuḥ śarma karma na kiñcana A Thus, Śiva is the supreme light free from the two sorts of fallacies, being the form of supreme awareness. In any case, [Śiva] becomes illumined by knowledge. Were Śiva dissociated from Śakti, which is the medium for conducting the activities of [all] aims, then there would be no absorption of mind or purpose for the meditator. ko ’rthaḥ? niḥśreyasapadaprāptiyogyatāmāvirbhāvayantyaḥ pravṛttayaḥ karma A taduddīpinī manonirvṛttir iti śarma A tadubhayasaṅkalpo ’pi śaktiśūnyavettuḥ sarvathā naiva sambhavati A uktaṁ ca — “prayojanam anuddiśya na mando ’pi pravartate” (ŚloVā, Pṛ 656) iti A What is the meaning? Karma is the activity that produces the ability to attain the ultimate prosperity. Śarma indicates that absorption of mind that arouses that. Both sorts of motivations never become fulilled for the knower of the object devoid of Śakti. As it is said, “Having no purpose, not even a fool becomes active” (ŚloVā, Pṛ 656). śaktirāhitye jñātādapi tasmād grahītumasamarthatvānna kasyāpi puruṣārthalābha ityarthaḥ A na kiñcana A aśaktyātmakaḥ śivo ’pyakarmaśarmavān A pañcakṛtyakaraṇaṁ karma A prakāśa-vimārśātmaka-śivaśaktisāmarasyaparāhabhāvānandātmanā ’vasthitiḥ śarma A tadubhayamapi śaktyā vinā nissāratayā śivasyāpi naiva sambhavatīti A If dissociated from Śakti, even by knowing that, being unable to provide, no purpose becomes fulilled for any one. Even Śiva, when dissociated from Śakti, neither becomes the support of actions nor the yogic stage. Both of these do not become possible even for Śiva being dissociated from Śakti and having no essence at all. ataḥ śaktyātmaka eva śivaḥ, śaktir api śivātmakasvabhāvaiveti siddham A “Śaktiśca śaktimadrūpādvyātirekaṁ na vāñchati A tādātmyamanayor nityaṁ vahnidāhikayoriva” (BoP 3) iti. Thus, Śiva is the nature of Śakti and Śakti is likewise the nature of Śiva. “Śakti aPPendix a | 233 does not desire the dissociation from the possessor of Śakti. The inherence of both is eternal like that of ire and the burning” (BoP 3). dhyānāvaṣṭambheti A saṁkucitaviśvarūpāyāḥ paramānanda-prakāśa-lakṣaṇaparamaśivasāmarasyamunnītāyāḥ paravikāsadaśāmāpannāyāḥ parāyāḥ śakter anusandānavelāyāṁ na ratiḥ, svarasaparamānanda-vibhavavyatirikta-karmaprāyaviṣayābhilāṣo ratiḥ, sā ’sminna bhavati A There is no rati at the time of relection on the supreme power, which is contracted in the form of the universe and bloomed in the mingled form of Supreme Śiva as the nature of the light of ultimate bliss. The desire for the objects of action which are other than the glory of the natural supreme bliss does not occur here. na manaḥ sthitir iti A samasta-duḥkhasaṅkalpavikalpaspandasya manaso ’pi paramaśivaśaktisāmarasyānubhavasthāyyāvaraṇena na pṛthagavasthānam A etāvad vijñānaśabdenoktamiti bhāvaḥ AA Even the mind endowed with the spontaneity of the conceptions of all desires and miseries does not sit still, being dissociated from the veil which ends with the experience of the mingling nature of the Supreme Śiva and Śakti. This much is mentioned by the term vijñāna. This is the essence. Nityāṣoḍaśikārṇava 4.8b-9a praviśya paramārgāntaḥ sūkṣmākārasvarūpiṇī AA 4.8b AA kavalīkṛtaniśśeṣā bījāṅkuratayā sthitā A 4.9a Entering into the highest path, she assumes the most subtle form. Swallowing the whole, she resides in the form of a seed-sprout. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.8b-9a evaṁ prasaṅgāgataṁ śaktimacchivapakṣopanyāsaṁ nigamayya prakṛtāmeva tripurāśaktimantaḥ sauṣumnamārgānupraveśamukhena punar api prapañcayati — praviṣyetyādi A paramārgāntaḥ parasya śivasya prāpakasuṣumnāmārgāntaḥ A na tvindriyaprasaredantābhūmauḥ A Thus, elucidating the presentation of the aspect of Śiva associated with Śakti forthcoming, again elaborates the Tripurā Śakti, which is our context. By means of entering into the path of suṣumṇā. Paramārgāntaḥ indicates that the inner path of suṣumṇā leads to Śiva. Not in the ground of thisness which is the low of the senses. 234 | the Goddess Within and Beyond the three Cities sūkṣmākārasvarūpiṇī svarūpajyotīrūpā vibhāgātmaguṇībhūtaprāṇapaśyantyākāra-svarūpiṇī A kavalīkṛtaniśśeṣā yayā niśśeṣaṁ viṣayajātaṁ kavalīkṛtaṁ grāsīkṛtaṁ sā kavalīkṛtaniśśeṣā A bījāṅkuratayā sthitā A bījaṁ kāraṇam, aṅkuram kāryam, evamavasthādvayena śabitetyarthaḥ A taduktaṁ śrīrahasyagurupravareṇa — avasthāyugalaṁ cātra kāryakartṛtvaśabditam A kāryata kṣayiṇī tatra kartṛtvaṁ punarakṣayam AA (SpKā 14) iti AA Sūkṣmākārasvarūpiṇī indicates the form of self-light in the form of paśyantī fragmented, being multiplied in the form of prāṇa. Kavalīkṛta niśśeṣa suggests she who swallows the totality of objects. Bīja is the cause. And, aṅkura is the effect. Thus indicated by two stages, as is mentioned by the secret teacher, “The two stages here are indicated by the terms product and the creator where the action-ness becomes reduced and the doership does not decrease” (SpKā 14). Artharatnāvalī on Nityāṣoḍaśikārṇava 4.8-9a praviśya paramārgaṁ tu sūkṣmākārasvarūpiṇī A kavalī-kṛta-niśśeṣabījādyāṅkuratāṁ gatetasya vyākhyā — praviśya paramārgamiti pañcaśaktirūpamayanātmakaṁ saṅkocarūpaṁ sṛṣṭimārgaṁ praviśya sūkṣmākārasvarūpiṇī vimarśaśaktiriti bhāvaḥ A taduktaṁ saṅketapaddhatyām — aniketākhyacidvyomnaḥ sṛjantīti pañcakaṁ svayam A śaktisturyātmabhedena layametyaniketane AA iti AA The exposition of this [line]: Entering into the contracted path of creation, manifested in two forms and as well in the form of ive śaktis the power of awareness assumes its most subtle form. As is mentioned in the Saṅketa-Paddhati, “From that abodeless void of consciousness, Śakti, discriminating herself into the four and one ātman, manifests the ive and submerges into the abodeless place” . kavalīkṛtāni grāsīkṛtāni niśśeṣabījāni vastutattvarūpāṇī yena sambhavanti kavalīkṛtaniśśeṣabījasya paramabindurūpasya śivasya ādyāṅkuratāṁ prathamāṅkurabhāvaṁ sā prakṛtā vimarśaśaktir yataḥ prāpnotīti yāvat A ko ’bhiprāyaḥ? vāmādipañcakamiti icchādipañcakaṁ grasitvā samarasabhāvena sthito yo binduranāmarūpātmā sa bījam, tadantarvimarśarūpeṇa sthitā yā śaktiḥ, śa svecchāvaśād bījocchūnadaśāyāṁ nirgatā, tasmāt sā mṛṇālatanturūpā prathamarekhā, prathamāṅkura ityarthaḥ A bījāṅkuratayā sthiteti pāṭhe sarvametat samānam AA aPPendix a | 235 Kavalīkṛta is the swallowed. Niśśeṣabījāni indicates all the essential forms which become possible for that Śiva in the form of the absolute drop of that seed, swallowing the whole. Ādyaṅkuratām indicates the essence of the irst sprout which, in our context, attains the power of awareness. What is the meaning? The Five, including Vāmā, etc. indicate the ive including Icchā, etc. and grasping that the seed is existing in the mingled form and that is the seed having no name or form. And that śakti which is existing in the form of awareness inside that comes out in the swelled form by her own desire from the form of a seed. And because of that the irst sprout is in the form of a stalk. This is the meaning. On this reading, bījāṅkuratayā sthiteti, the rest is the same. Madrāsī Artharatnāvali on Nityāṣoḍaśikārṇava 4.8a-9b praviśya paramārgaṁ tu sūkṣmākārasvarūpiṇīti A itaḥ pūrvaṁ caturvahnirūpaprāṇāparaparyāyo ’pyūrdhvagamatvāho vikāsātmakaḥ prakṛtastasmādbhinnaḥ paramārgaḥ A pañcaśaktisvarūpāpannātmanaḥ saṅkocabhāvenādhomukhāgamavāhastattvavarṇādiṣaḍadhvasṛṣṭi-mārgaḥ A Before this, in our context the topic was the upward low in the nature of blooming, a synonym for the life-force in the form of four ires. This supreme path is other than that. Of the self which has attained the form of ive śaktis, the downward low of this, being contracted, is the path of sixfold manifestation, like tattva and varṇa, is the path of creation. tatra samastādhvopasaṁhāreṇa svasvarūpaparamavikāsamātmasātkurvatī niratiśayākhaṇḍaparamaprakāśavimarśānandaparollāsaikarasā śaivī śaktiryā sadoditā, tayā nijecchayā kvacit samunmeṣasamaye svataḥ sphurantyā ’dyaprabhayā bālārkakoṭibhāgaikabhāgavat-sūkṣmatayā mṛṇālaikatantunibhayā garbhīkṛtasamastasaṁsāramapi taduttarakāritattvatejo ’vasitaṁ bindurūpaṁ śṇvaprakāśasūkṣma-makārākhyaṁ bījam anubandhantyā ’rdhacandrākārayā vakṣyamāṇavāmādi-śaktyāvārabhūtayā kandākhyāmbikāśaktyā bhūyate sūkṣmākāra-svarūpiṇītyucyate A kavalīkṛtaniśśeṣabījādyaṅkuratāṁ gateti AA There, submerging the whole path, transforming herself into the ultimately bloomed form of the self-nature, the eternally arising śakti of Śiva is always mingled with the ultimate ecstasy by the delight of the incomparable, indivisible, supreme light and awareness. By her own desire, sometimes on the occasion of expansion, being manifested by herself, through her irst rays, keeping the whole manifestation within her womb, being in the form of that lotus stalk 236 | the Goddess Within and Beyond the three Cities like a ten millionth part of the arising sun, she manifests the form of the drop of the light and the essence posterior to that. Supposing herself in the seed form named a which is the most subtle Śiva-light she manifests in the form of a crescent as Ambikā-śakti, name Kanda, which is the fundamental ground of the śaktis being mentioned like Vāmā. She is mentioned as having the subtle form. Nityāṣoḍaśikārṇava 4.9b-10a vāmā śikhā tato jyeṣṭhā śṛṅgāṭākāratām gatā AA 4.9b AA raudrī tu parameśāni jagadgrasanarūpiṇī A 4.10a The inlammed is Vāmā. After that, [she] attains Jyeṣṭhā, the form Śṛṅgāṭa. O Supreme Goddess, Raudrī is that from which swallows the world. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.9b-4.10a kulasthānagatamūlādhārādakulasthānagataparamaśivaṁ pratyullasantīyaṁ mahāśaktiḥ parāvāgātmanā viśvavaicitryamavavibhāsayiṣurevaṁvidhāṁ saṁjñāṁ labhata ityāha — vāmetyādi A vāmā tattvāni vamatīti A atrābhiyuktavacanam — vāntaṁ yayā ’niśaṁ sarvaṁ mahadādiprabhedakam A kaṭāhādiśivāntaṁ yattadgrāsādīśvarīṁ numaḥ AA iti A This supreme power, the seat of kula situated in the mūlādhāra, moves towards the ultimate Śiva, abiding in the seat of akula, [and so doing] acquires various names by desiring to manifest the multitude through the form of supreme speech. “Vāmetyādi” is mentioned. Vāma is she who vomits the elements. Here is the saying of the authority: “We bow to the goddess who swallows that, he who has eternally vomited the whole, which is the discriminator of mahat, etc. being the elements starting from kaṭāhā up to Śiva”. athavā saṁsārapratyanīkabhūtā śaktiḥ A śikhā tejorūpiṇī, viśvargrasanaśīlā saṁvidityarthaḥ A jyeṣṭhā viśvodayaprasarbhūmiḥ A śṛṅgāṭākāratāṁ gatetyasyāyamarthaḥ — iyameva prakṛtā cicchaktiḥ sthitisaṁhṛtisṛṣṭikarī trikoṇātmatāṁ gateti A Otherwise, [this line connotes] that śakti which is manifested towards transmigration. Śikhā indicates that consciousness inclined to swallow the world and which is the form of light. Jyeṣṭhā indicates the ground of the low or the arising of the universe. Śṛṅgāṭa indicates that the very power of consciousness herein discussed, attained in the triangular form, is the creator of creation, aPPendix a | 237 sustenance, and submergence. raudrītyādikaḥ prkṛtāyā eva śakterviśeṣadyotakaḥ A raudrī A jagataścitpade nirodhanād drāvaṇādrudraḥ, tadvibhūtimayī radurī citiśaktiḥ A pareśānītyāmantraṇaṁ mahāvibhūtimayatvaṁ saṁvidaḥ svānubhavasiddhamiti śrotṛjanaṁ pratibodhayati A jagadgrasanrūpiṇī A sṛṣṭyādikramātmakamapi jagad grasitvā sarvaṁ svātmatayā ādyā śaktiḥ prakāśayatīti bhāvaḥ AA Raudrī indicates that very śakti which is being discussed. Because of resting the world and melting it into the state of consciousness it is called Rudra. And the power of consciousness endowed with this glory is Raudrī. The address parameśānī awakens the listener to the nature of supreme prosperity of the consciousness proved by one’s own experience. Swallowing even the world in the successive form of creation elucidates the beginningless śakti in her own form, etc. This is the essence. Nityāṣoḍaśikārṇava 4.10b-12a eṣā sā paramā śaktirekaiva parameśvarī AA 10b AA tripurā trividhā devī brahmaviṣṇavī śarūpiṇī A jñānaśaktiḥ kriyāśaktiricchāśaktyātmikā priye AA 11 AA trailokyaṁ saṁsṛjatyeṣā tripurā parikīrtyate A 12a O Devī, this is supreme power and the only Supreme Goddess mentioned as Tripurā and manifested in three forms as Brahmā, Viṣṇu, and Īśvara. O beloved, in the form of knowledge, action, and will, she manifests the three world and thus is called Tripurā. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.10-11 eṣā sā paramā śaktirekaiva parameśvarītyanena evaṁ viśiṣṭāmasāmānya vaibhavāṁ saṁvidaṁ svātmatayā pratyabhijñāpayati mahādeśikaḥ śivaḥ A paramāśaktiriti vimarśarūpā ātmavadevāhamityavacchinnatvena bhāsamānā, na tvidantayetyarthaḥ A tripurā prāg vyākhyātā A trividhā tiprakārā A kathaṁ tripurātvamityāha — brahmaviṣṇavīśarūpiṇī A śaktitrayāvaṣṭambhena brāhmayādyā mātaraḥ A The supreme teacher, Śiva, makes one recognize the consciousness identiied with the self, which has the uncommon glory, being thus qualiied. “Paramaśakti” indicates the śakti in the form of awareness being elucidated 238 | the Goddess Within and Beyond the three Cities like the self pervaded by I-ness, not by by thisness. Tripurā is what is already explained. “Trividhā” means “of three forms”. To the question, “How is there Tripurā-ness?”, [Śiva] replies, “The mothers starting from Brāhmī, etc. restrict the three powers”. jñāśaktiḥ kriyāśaktiricchaśatyātmiketi A jñānaśaktiravabhāsanātmikā A kriyāśaktirullekhanarūpā A icchāśaktir vicchedanāvabhāsana-svātantryātmā māyālakṣaṇā samavāyinī śaktiḥ A śaktitrayaṁ śrīmālinīvijaye vyākhyātam A taduttaratra vakṣyāmaḥ A trailokyaṁ saṁsṛjatyeṣā tripurā parikīryata ityasyāyamarthaḥ — itthaṁ tattatkriyāvaicitryaviśeṣeṇāhantābhidhānā caiṣā vimarśākhyā śaktirgrāhaka grahaṇagrāhyātma trailokyaṁ saṁsṛjatīti yasmāt, tasmāt tripureti kīrtyata iti AA Jñānaśakti indicates the power of elucidation. Kriyāśakti is the power of expression. Icchāśakti is the free principle of elucidation and discrimation characterized as māyā, the inherent power. The three powers are elucidated in Mālinīvijaya. We will mention that later on. The meaning of trailokyam, etc. is the power named Awareness, which is also called I-ness, being qualiied with varieties of functions manifest in the threefold universe of knower, knowing, and known, and thus is called Tripurā. Nityāṣoḍaśikārṇava 4.12b-14 yadollasati śṛṅgāṭaṣīṭhāt kuṭilarūpiṇī AA 12b AA śivārkamaṇḍalaṁ bhitvā drāvayantīndumaṇḍalam A tadudbhavāmṛtasyandaparamānandananditā AA 13 AA kulayoṣita kulaṁ tyaktvā paraṁ puruṣameti sā A nirlakṣaṇaṁ nirguṇaṁ ca kularūpavivarjitam AA 14 AA She who manifests from the seat shaped as a triangle in a coiled form, penetrating the circle of the sun-like Śiva and extracting the circle of the moon, blessed by the supreme glory of the low of ambrosia coming out of that [lunar maṇḍala]. The consort of kula, dropping her kula129 goes to the Supreme Puruṣa which is beyond the characteristics and qualities and without kula or rūpa. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.12b-14 yadeti A ullasati madhyacāramārgeṇa ūrdhvaṁ sphurati A śṛṅgāṭapīṭhād 129 Here, kula refers to the thirty-six elements. aPPendix a | 239 mūlādhāragatacaturdalapadmamadhyatrikoṇakulasthānāt A kuṭilarūpiṇī indantāprasaronmukhī A sṛṣṭimārgaṁ svābhāvikaṁ vihāya guruktayuktyā saṁhāramārgaṁ prati yadollasatītyabhiprāyaḥ A Ullasati indicates the upward low through the channel which crosses the middle. Śṛṅgāṭapīṭhād means “from the seat of kula, in the triangular form, which is in the middle of the four-petalled mūlādhāra cakra”. Kuṭilarūpiṇī indicates the śakti facing the low of thisness. Dropping the natural path of creation, following the way mentioned by the guru, while manifesting towards the path of submergence, is the essence. śivārkamaṇḍalaṁ bhitveti A mūlādhārādi-tattadādhāra-gatakamalodaranirbhedanakrameṇa brahmasthāna-gatahaṁsātma-śivādhiṣṭhānārkopalakṣita-prakāśabhuvaṁ prāpyetyarthaḥ A Śivārkamaṇḍalam indicates that by the sequence of penetration of the navel of the lotus in the certain seats like mūlādhāra, etc. and thereby attaining the ground of light suggested by the sun as the foundation of Śiva in the form of haṁsa under the seat of Brahman. drāvayantīndumaṇḍalamiti A mahāprakāśaśivasammelanasamujjṛmbhitaṁ mahānandalakṣaṇaṁ candramaṇḍalaṁ drāvayantītyarthaḥ A taditi A ayam arthaḥ — mahāsāmarasyamahānandānubhavarūpāmṛtasyandātmaparamānandena nanditā paripūrṇeti A pāripūrṇymākāṅkṣaṇīyarāhityam A taduktaṁ śrīrahasyagurubhiḥ — ākāṅkṣaṇīyamaparaṁ yena nātha na vidyate A tava tenādvitīyasya yuktaṁ yatparipūrṇatā AA (ŚiSt 5.17) iti Drāvantīndumaṇḍala indicates the śakti who is extracting the circle of the moon hinted by the supreme glory elucidated by the union of the supreme light, Śiva. This is the meaning. The meaning of taditi is that [one is] blessed by that glory whose nature is the ambrosia of the supreme union in the nature of the experience of the ultimate bliss. Paripūrṇam indicates the absence of all the objects of desire. As is mentioned by the rahasyaguru, “O Lord, as you have nothing else to desire so it is established that you are complete, being non-dual (ŚiSt 5.17). vyākhyātasāmarasyaviṣaye ’bhiyuktoktiḥ — mūlādhārāt sphuritataḍidābhā prabhā sūkṣmarūpodgacchantyāmastakamaṇutarā tejasāṁ mūlabhūtā A 240 | the Goddess Within and Beyond the three Cities sauṣumnādhvācaraṇanipuṇā sā savitrā ’nubaddhā dhyātā sadyo ’mṛtamatha raveḥ srāvayet sārdhasomāt AA iti A — (PrS 10.7) In the context of the exposition on “mingled nature”, the saying of the authority is thus: “The light in the form of lightning from the seat of mūlādhāra arises in the subtle form up to the head, being more and more subtle, being the source of the lights; she who is perfect lows in the path of suṣumṇā, bound by Sāvitrī, and while being meditated upon extracts the nectar from the sun, including the moon”. (PrS 10.7). kuleti A atispṛhaṇīyatvāt sarvajanāgocaratvācca kulayoṣid dehapramātuḥ patni, āgamabhāṣayā kuleśvarī dehābhimāninī saṁvidityarthaḥ A kulaṁ tyaktvā A ṣaṭtriṁśattattvasamudāyarūpaṁ śarīraṁ kulam, tadabhimānaṁ visṛjya A dehapramātṛtāṁ tyaktvetyarthaḥ A param A anyamutkṛṣṭaṁ cākulasthānavartinam A puruṣaṁ pūrṇaṁ puṁstvayuktaṁ cākṛtrim apramātāram A Due to being the most desirous and being imperceivable to all beings, kulayoṣit indicates the consciousness that has I-ness in the body, or the consort of the knower of body. In the language of Āgama, she is called Kuleśvarī. Kulaṁ tyaktvā means “dropping the I-ness on kula, which is the body that collects the 36 elements”. Or, the meaning is the dropping of body I-ness. Paraṁ means “supreme”. Sitting in the seat of akula, puruṣaṁ points to the natural knower who has the full potency of manhood. eti gacchati A kācit kulāṅganā cirakālaṁ kasyacid gṛhiṇī bhūtvā guptā vartamānā satī deśikākhyakaṭakāvalambanena tatpradarśitamārgānusāreṇa mahābhogpradaṁ paraṁ puruṣaṁ guḍhācāreṇābhisaratīti dhvanyo ’rthaḥ A seti prākpariśīlitā A kiṁviśiṣṭaṁ paraṁ puruṣamiti? tadāha — nirlakṣaṇam A nirgatāni lakṣaṇāni yasmāttam A nirguṇaṁ nirgatā guṇā yasmāttam A kularūpavivarjitaṁ kulena rūpeṇa ca virvarjitam A Eti means “goes”. One who is the mistress of kula, hidden, being someone’s housewife for a long time, following the chain called teacher and according to the path hinted by him, she secretely follows the Supreme Puruṣa who provides the ultimate pleasure. This is the hinted meaning. Sā indicates she who is discussed previously [i.e. kuṇḍalinī]. The Supreme Puruṣa is qualiied by what? These [qualiications] are stated: nirlakṣaṇam indicates that from which the qualities are abstracted. Kularūpavivarjitaṁ indicates that which is devoid of kula and rūpa. aPPendix a | 241 atra mahākavayaḥ — vapurvirūpākṣamalakṣyajanmatā digambaratvena niveditaṁ vasu A vareṣu yadbālamṛgākṣi mṛgyate tadasti kiṁ vyastamapi trilocane AA iti A (KuSam 5.72) Now, the great poet [states], “O gajal-eyed, what is desirable in a husband? Is there a single such quality in the three-eyed one? For his body is plagued with deformed eyes. His birth [caste] is not known. His wealth is indicated by his nakedness” (KuSam 5.72). atra rahasyaṁ ca — “sa vetti vedyaṁ na ca tasyāsti vettā” (ŚvU 3.19) A iti “niśkalaṁ niṣkriyam” (ŚvU 6.19) ityādi ca AA Here is the secret, “He knows all the knowable, but there is no knower of him” (ŚvU 3.19), and “beyond agitation and activity” (ŚvU 6.11). Nityāṣoḍaśikārṇava 4.15-16 tataḥ svacchandarūpā tu paribhramya jagat punaḥ A tena cāreṇa saṁtuṣṭā punarekākinī satī AA 15 AA ramate svayamavyaktā tripurā vyaktimāgatā A tattvatrayavinirdiṣṭā varṇaśaktitrayātmikā AA 16 AA After that, freely travelling the whole world, [she] becomes satisied by these roamings, being alone again, [she] abides, being unmanifested and is called Tripurā. While manifested she is indicated by the three elements and is in the triad of the śaktis of the letters. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.15-16 tata iti A svacchandarūpā mahadavaṣṭambhena niryantraṇapracārā A jagat cidambaramavalambya tadrūpatayā sphurat A tena cāreṇa yathā saṁhārakrameṇa pūrvamūrdhvaṁ gatā A punaḥ sṛṣṭikrameṇa tena cāreṇetyarthaḥ A santuṣṭā paramānandamayī prītimatī A Svacchandarūpā indicates the goddess with uncontrolled low restricts mahat. The world emanates through the support of the conscious void in that form. Tena cāreṇa indicates the initial upward low by means of the sequence of dissolution. Punaḥ indicates the low of creative succession. Santuṣṭā indicates that she is endowed with love and extreme bliss. ekākinī advitīyā A satī mahāsphurattārūpā A ramate svayamiti A 242 | the Goddess Within and Beyond the three Cities advayānandamayīṁ mahāhantātmikāṁ svasaṁvidamanubhavatītyarthaḥ A avyaktā viśvottīrṇābhānaikaśarīriṇī A vyaktimāgatā viśvātmanā prakāśamānā A athavā avyaktā paśyantīvākpradhānena rūpeṇa, vyaktimāgatā madhyamādivākpradhānena rūpeṇa A tattvatrayavinirdiṣṭā A ātmavidyāśivākhyaṁ tattvatrayam, tadrūpatayā śabditā A varṇaśaktitrayātmikā varṇatrayātmikā śaktitrayātmikā ca AA Ekākinī shows that she is alone. Satī indicates that she is in the form of great expression. Ramate, etc. shows that she experiences self-consciousness, which is of the nature of absolute I-ness in the form of non-dual bliss. Avyakta means that she has the body of awareness and is transcendent to creation. Vyaktimāgatā means she is elucidated in the form of universe. Otherwise, avyakta means particularity in the form of paśyantī. Vyaktimāgatā means “manifested” particularly in the form of speech — madhyamā, etc. “Tattva, etc.” [she who] is hinted at in that form of the three elements named ātmatattva, vidyātattva, and śivatattva. “Varṇaśakti, etc.” indicates that one in the form of three śaktis and three letters. Nityāṣoḍaśikārṇava 4.17-18a vāgīśvarī jñānaśaktir vāgbhave mokṣarūpiṇī A kāmarāje kāmakalā kāmarūpā kriyātmikā AA 17 AA saktibīje parā sāktiricchaiva śivarūpiṇī A 18a The jñānaśakti called Vāgīśvarī exists in the vāgbhava section in the form of liberation. And the kāmakalāśakti in the form of desire is in the kāmarāja section, which is the form of action. And the supreme power, the very will, in the śakti section, is the very form of Śiva. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.17-18a amumevārthaṁ vivecayati — vāgiti A vāgīśvarī vāgbhavādhiṣṭhātrī A jñānaśaktiḥ, vidyāpravartakatvāt A vāgbhave bīje A mokṣarūpiṇī vidyārūpatayā ’mṛtatvaprkāśikā A yad rahasyaṁ—“vidyayā ’mṛtamaśnute” (ĪU 11) iti A kāmakalā kāmarājabījasārabhūtā A kāmarūpā mahācamatkārarūpā A kriyātmikā kriyāśaktirūpā A parā vyāpikā icchā icchāśaktiḥ A śivarūpiṇī paramaśivarūpiṇī A paramaśivasāmarasyasvarūpiṇītyarthaḥ AA This very meaning elucidates. Vāgīśvara is the goddess of the vāgbhavakūṭa. Due to the propellor of knowledge, she is called jñānaśakti. Vāgbhava means “in that aPPendix a | 243 section”. Mokṣarūpiṇī indicates the illuminator of deathlessness by the form of wisdom. As the Rahasya states, “One attains eternality through wisdom” (ĪU 11). Kāmakalā suggests she who is the essence of the kāmarājakūṭa. Kāmarūpā shows that she is in the form of supreme ecstasy. Kriyātmikā indicates power in the form of action. Parā suggests the all-pervading. Icchā is the power of will. Śivarūpiṇī means she is in the form of Śiva. Or, the Goddess in the form mingled with Supreme Śiva. Nityāṣoḍaśikārṇava 4.18b-19a evaṁ devī tryakṣarā tu mahātripurasundarī AA 4.18b AA pāramparyeṇa vijñātā bhavabandhavimokṣaṇī A 4.19a A Knowing Mahātripurasundarī [constructed thus] by the three letters as known by tradition provides liberation from all worldly bonds. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.18b-19a evamiti A asyāyamarthaḥ — evaṁ sāmarthyayuktā trivarṇātmikā tripurasundarī iti A evaṁviśiṣṭeyaṁ traipurī vidyā satsampradāyavijñātā kāryakarītyāha — pāramiti A pāramparyeṇa śivādi-svadeśika-paryantaguru-pāramparyeṇa A pāramparyaṁ tu triprakāram — divyasiddhamānavabhedena A iha vidyāyāṁ santānadvayamasti — kāmrājasantāno lopāmudrāsantāna iti A vidyāyāḥ sakīlaniṣkīlabhedena santānadvayatiḥ A tayoḥ kāmarājasantānaḥ sakīlavidyānubandhī vicchinnaśca A vicchedo nāma pāramparyaviyogaḥ A itaro niṣkīlavidyānubandhī lopamudrā ’gastyādiparigṛhītatvādavicchinnaśca A tatra divyaughaḥ saptabhirgurubhirmudritaḥ, siddhaughaścaturbhiḥ A mānavaughastvaparyanto ’pyṛjuvimarśinīkartravadhi mahāgurubhir aṣṭabhiḥ sthāpitaḥ A The meaning is that the Goddess Tripurasundarī, made of the three letters is associated with these three powers. The wisdom of Tripurā, having these potentialities, if known by a good tradition, provides the [desired] actions. That is stated. Pāram, etc. means the guru lineage, beginning with Śiva and culminating with one’s own teacher. There are three sorts of lineages, by the division of divya, siddha, and mānava. In this vidyā there are two generations, the tradition of Kāmarāja and the tradition of Lopāmudrā. Attaining the two traditions of this very vidyā means knowing the division of sakīla and niṣkīla. Among them, the Kāmarāja lineage is associated with the sakīla lineage, but there is a gap in the lineage. The gap in the lineage is the disconnection in the tradition. The 244 | the Goddess Within and Beyond the three Cities next, associated with niṣkīla, is practised by Lopāmudrā, Agastya, etc. and thus is not disjoined. There, the divine lineage is sealed by the seven gurus and the lineage of the Siddhas is sealed by the four gurus. The human lineage is not at its end. Up to the author of the Ṛjuvimarśinī it is continued by eight great gurus. tatra divyakramo likhyate—madhya-tryaśramadhya-sthānagatoḍyāṇapīṭhasthita-samastavidyābhideyamahātripurasundarīdevīvimṛṣṭarūpo mahāprakāśarūpaḥ paramānandalakṣaṇaḥ paramaśiva eva prathamo guruḥ A asya guroḥ śrīcaryānātha iti saṁjñā A sa ca svābhinnāyai vimarśākhyāyai kṛtādau prathamamupadideśa A atrābhiyukta-vacanam — “tryaśrāntarauḍḍapīṭhashtā mahātripurasundarī” (SaṁPa) A ityādi A Herein, the divine lineage is being discussed. The irst guru is the Supreme Śiva, characterized as the supreme bliss in the form of the supreme light, and relected in the form of Mahātripurasundarī, which is the essence of all the vidyās existing in the Oḍyāṇapīṭhā, in the middle seat of the innermost triangle [of Śrīcakra]. Śrī Caryānātha is the name of this guru. At irst, at the beginning of Satya Yuga, he initiated his own śakti, named Awareness, who is not different from him. Here is the saying of the authority: “Mahātripurasundarī is abiding in the Oḍyānapīṭhā inside the triangle, etc.” (SaṁPa). Ityādi. adṛṣṭavigrahā svāntaruditā paramā kalā A asvarākāratāmāptā tryaśrasaṅketamadhyagā AA (SaṁPa) iti, eka eva prakāśākhyaḥ paraḥ ko ’pi maheśvaraḥ A tasya śaktirvimarśākhyā sā nityā gīyate budhaiḥ AA (SaṁPa) iti ca A The supreme kalā, whose form is not visualized, emanating inside oneself, attained the form of the vowel a existing in the middle of what is hinted by a triangle. Whoever is the supreme is Maheśvara and is called Light, being one alone. His śakti is called Awareness. She is called Nityā by the wise. madhyatryaśrāgrakoṇagatakāmarūpapīṭha-sthita-vāgbhava-bījābhidheyakāmeśvarī devīvimṛṣṭa-rūpa-śrīmadoḍḍanātha-devas tretāguruḥ A atrābhiyuktavacanam — “tryaśrāgrakoṇagā yā sā kāmeśī kāmapīṭhagā” (SaṁPa) ityādi A The guru in the Tretā Yuga is Oḍḍanātha whose form is known as the Goddess Kāmeśvarī is mentioned by the vāgbhavabīja existing in the Kāmarūpa Pīṭha in the front corner of the innermost triangle. Here is the saying of that authority: aPPendix a | 245 “Kāmeśī is the goddess existing in the Kāma Pīṭha, residing in the front corner of the triangle, etc.”. madhya-tryaśradakṣiṇa-koṇagata-jālandhara-pīṭha-sthita-kāmarājabījābhidheya-vajreśvarīdevīvimṛṣṭarūpaśrīṣaṣṭhanāthadevo dvāparaguruḥ A atrābhiyuktavacanam — “trayaśradakṣiṇakoṇasthā vajreśī jālapīṭhagā” (SaṁPa) ityādi A The guru of the Dvāpara Age is Śrī Ṣaṣṭhanātha in the form relected as Vājreśvarī named kāmarāja bīja which exists in the Jālandhara Pīṭha of the right corner of the middle triangle. Here the authority states, “Vājreśī is the goddess existing in Jala Pīṭha, which is in the right corner of the triangle” (SaṁPa), etc. madhyatryaśrottarakoṇagatapūrṇagiripīṭhasthitaśaktibījābhidheyabhagamālinīdevīvimṛṣṭarūpaśrīmitreśanāthadevaḥ kaliguruḥ A atrābhi-yukta-vacanam — “tryaśrasyottarapīṭhasthā bhageśī pūrṇapīṭhagā” (SaṁPa) ityādi A Mitreśanātha, known as Goddess Bhagamālinī, is the guru of the Kali Age mentioned by the śaktibīja existing in the Pūrṇagiri Pīṭha in the left corner of the middle triangle. Here is the saying of the authority: “Bhageśī is the goddess existing in Pūrṇa Pīṭha, sitting in the northern corner of the middle triangle, etc.” mitreśadevaḥ kaliyugādau bhagavatīṁ loopāmudrāṁ bhagavantam agastyaṁ ca mahātapaḥpuñjamithunam anugṛhītavān A etat saptakaṁ divyaughasaṁjñam A In the beginning of the Kali Age, Mitreśadeva bestowed grace, initiating Lopāmudrā. The glorious Lopāmudrā and the prosperous Agastya are the union of the cluster of tapasyā. The group of this seven is called divyaugha. siddhakramo likhyate — lopāmudrā ’gastyābhyāṁ kaṅkālatāpasācāryo ’nugṛhītaḥ A tena dharmācāryo laghunutukartā ’nugṛhītaḥ A tena muktakeśinī nāma yoginyanugṛhītā A tayā ’smadgotramahattaraḥ prasiddhabahvapādāno bhojadevadṛṣṭacamatkāro mahādeśikapravaraḥ śrīmān dīpakācāryo daṇḍakakartā ’nugṛhītaḥ A etac catuṣṭayaṁ siddhhaughasaṁjñam A Now the siddhakrama is written. Kaṅkālatāpasā is graced by Lopāmudrā and Agastya. Dharmācārya, the author of Laghu[stava], is graced by him. A yoginī, named Muktakeśinī, is graced [in turn] by him. Dīpakācārya, the author of Daṇḍaka, the greatest in our lineage, reknowned for making many oblations, 246 | the Goddess Within and Beyond the three Cities whose supernatural powers were visualized by Bhojadeva — he is graced by her. The collection of these four is called the Lineage of Perfected Ones. atrābhiyuktavacanam — divyaṁ siddhatrayaṁ pūrvaṁ dampatī ca tataḥ kramāt A lopāmudrā tathā ’gastyastābhyāṁ kaṅkālatāpasaḥ AA tena dharmaśca kṛpayā dharmeṇa ca mahātmanā A muktakeśī tatastena dīkṣitā mantranāyikāAA tayā dīpakanāthaśca dīpakena mahātmanā (SaṁPa) ityādi A Here is the saying of the authority: “The Divine Lineage and the three siddhas, and at irst, the couples, and afterwards, successively, Lopāmudrā and Agastya and by them Kaṅkālatāpasā, by him Dharma and Muktakeśī, the mistress of mantras, initiated by Dharma with compassion, and she to Dīpaka, the great being” (SaṁPa). mānavakramo likhyate — dīpakācāryasyaurasaḥ putraḥ saṅketapūñjaprakāśako jiṣṇudevastenānugṛhītaḥ A tena kaṭākṣīkṛto mātṛguptadevaḥ prabhākaraguruḥ A tenāvalokitastejodevaḥ A tenekṣito manojadevaḥ A tena dṛṣṭaḥ kalyāṇadevaḥ A tena sambhāvitaḥ śrīratnadevaḥ A tenāṅgīkṛtaḥ śrīvāsudevamahāmuniḥ A tena putrīkṛtaṛjuvimarśinīkartā śivānandamahāyogī A etadaṣṭakaṁ mānavaughasaṁjñam A sarveṣāṁ pūjānām pūjyavaktrāt śrotavyam A pāramparyakramo ’pi pāramparyakramāyātaḥ A sarvathā samarcanīyā mahāguravaḥ A anādaraṇe tu mahān doṣaḥ A taduktaṁ bhagavatā vyāsamuninā — ṛtasya dātāramanuttarasya nidhiṁ nidhīnāṁ caturanvayānām A ye nādriyante gurum arcanīyaṁ pāpān lokāṁste vrajantyapratiṣṭhān AA iti (MBh 1.76.64) pitā mātā tathaivāgnir gururātmā ca pañcamaḥ A yasyaite pūjitāḥ pārtha tasya lokāvubhau jitau AA iti ca (MBh 3.159.24) Now the Lineage of Humans is written. The blood son of Dīpakācārya, Jiṣṇudeva, the revealer of the collection of the saṅketa, or hinted knowledge, is graced by him. The guru of Prabhākara, Mātṛguptadeva, is graced by him, and by him is graced Tejodeva and Manojadeva is graced by him. Kalyāṇadeva is graced by him. Śrī Ratnadeva is initiated by him. Śrī Vasudeva is accepted by him. The great yogī Śivānanda, the author of Ṛjuvimarśinī, is made a son by him. This group of eight is the Lineage of Humans. Their initiation names should be heard from aPPendix a | 247 the mouth of the regardable one. The succession of lineage is coming through the successive tradition. The great gurus should be fully adorned. There is a great vice in making no adoration. As is said by the prosperous Vyāsa Muni, “The giver of the Truth, the source of the unsurpassable, which is the source of all the four lineages, those who do not regard the adorable gurus, go to the lokas of the sinful ones, never to return” (MBh 1.76.64). [And elsewhere:] “For him who has worshipped the father, mother, the ire, guru, and the self, he has conquered both the worlds” (MBh 3.159.24). abhiyuktavaco ’pi — lokasādhāraṇair dharmair nāvamānyo guruḥ śivaḥ A catuścaraṇasādharmyādaṭavyāṁ mṛgarāḍiva AA iti A The saying of the authority is: “The guru, who is himself Śiva, should not be insulted, dropping the general rules, having the similarity of the four feet, he is like the lion in the world”. atrānuktaṁ yadyapi gurupaṅktisamārādhanasthānam, tathāpyetadvidyāviṣaye śāstrāntaroktaṁ sthānamādartavyam A tathā cābhi-yuktoktiḥ — “prāṅmadhyayonyoḥ punarantarāle saṁpūjyet prāg gurupādapaṅktim” (PrS 9.14) ityādi A evam aṅgavidyoddhārastadārādhanaṁ tatsthānaṁ ca A taduktaṁ śrilakṣaṇasāre — jātavedasi bhūteśe yātudhāne samīraṇe A devīmaulau caturdikṣu kramād hṛdādikaṁ yajet AA iti Though the location of worshipping the lineages of the guru is not mentioned, the seats mentioned in the other scriptures related to this vidyā should be honoured. As the authority says, “In the gap of the middle and the irst triangles the rows of the gurus should at irst be adorned” (PrS 9.14). Similarly, the exposition of the vidyās of the limbs and worshipping them and their seat is also the same. As is mentioned in Śrī Lakṣaṇasāra, “In the ire, in the lord of the bhūtas, in the yātudhānas and in the air and in devamolī. In the four directions, the heart, etc., should be successively adorned”. “tataḥ kāmeśvarī nityā” (1.26) ityādinityānāṁ prasaktestadarcā kathitā A sthānaprakārau sampradāyataḥ A “tarpaṇāni nivedayet” (1.183) ityuktyanyathā ’nupapattyā ’rghyaśuddhirūpadiṣṭā A sā ca śāstrāntarādāyātā A tathā cāhurācāryāḥ — svacchandabhairave tantre yadyapīdamudāhṛtam A 248 | the Goddess Within and Beyond the three Cities tathāpīha samānatvāt siddhānte ’pyupayujyate AA iti A (KaKra 501) The worshipping of the Nityās is mentioned by saying, “After that is the Kāmeśvarī-Nityā” (NṢA 1.26). The seat and the process are according to the lineage. Puriication of the oblational luid is mentioned by saying, “The water ablution should be offered” (NṢA 1.183). Otherwise, the saying itself would not be possible. And that [ritual process] is borrowed from other scriptures. As the ācāryas have said, “Though it is mentioned in Svacchanda Bhairava Tantra, it is used also in Siddhānta; here, being equal” (KaKra 501). yathā lakṣaṇasāre ’rghyaśuddhividhānam — kṛtamaṇḍalaparyante hetuyajanamārabhet A paśuveśmoṣitāśuddhiḥ śodhanāyāmṛtāya ca AA ityādi A “Sarvabāhyataḥ” (2.74) ityetatkulacakrakalpanasūcanam A “pūjayedrātrisamaye kulācārakrameṇa yaḥ” (2.75) ityetatkāraṇopādānabījam A “mayā ’pyetad vratasthena kriyate ’dyāpi suvrate A japastrisandhyametastyāstadetatpadasiddhaye A ” (4.69) ityetat sandhyānuṣṭhāna-mūlam A “gaṇeśa” (1.1) iti sūtraṁ sūryārghyadānanimittam A “etenaiva” (2.64) ityetat snānapānādisūcanam A “athavā yana” (4.51) ityetanmūlavidyādhyānanidānam “evaṁ pūjāvidhānaṁ tu kṛtvadau sādhakottamaḥ” (1.183) iti pūjāvidhānānyathā ’nupapattyā pūjārambhakālaprāptatālatrayakalpanam “tālatrayaṁ purā dattvā saśabdaṁ vighnaśāntaye”(27) iti śrīparātriṁśikoktanītyā samuditam ityśeṣamanavadyam A bhavabandhavimocinī A evaṁ pāramparyeṇa saha vijñāteyamavagatā traipurī vidyā śabdato ’dhigatā ’rthato vijñātā ca saṁsārabandhāt sādhakaṁ mocayatītyarthaḥ AA The injunction for purifying the oblation is mentioned in Lakṣaṇasāra, “Up to the maṇḍala of Kṛta one should start the worship of Hetu, the causal element130 for the puriication from sitting in the house of a paśu131 and for attaining immortality, etc.”. The formation of the wheel of kula is hinted by saying “starting from the most outer part” (NṢA 2.74). “One should worship at night following the process of kulācāra” (NṢA 2.75). 130 Prem Chaitanya taught Timalsina that this refers to the injection of semen in kulācāra and is related to kuṇḍagolaka worship. 131 In the context of the NṢA, paśus are those who are bound by Vaidika injunctions. aPPendix a | 249 This statement is the root for accepting the causal element.132 The seed for performing the sandhyā is, “O vow-keeper, even today this is practised by me, keeping the vrata in order to attain this state through the recitation including three sandhyās” (NṢA 4.69). The basis for offering oblations to the sun is Gaṇeśa, etc. (NṢA 1.1). The verse, “by this very one” (NṢA 2.64) suggests ritual bathing and offering of liquid. The source for meditation on the mūlavidyā is “otherwise by which, etc.” (NṢA 4.51). The verse, “the best practitioner performing at irst the ritual of pūjā like this ...” (NṢA 1.183) suggests the three tālas at the beginning of the pūjā for performing pūjā would not be possible otherwise. According to Parātriṁśikā, “To subdue the obstacles three beatings should be made with sound”. Thus the whole is faultless. Bhavabandha vimocinī: knowing thus the wisdom of Tripurā, following the lineage with regards to the words and their meaning, the practitioner is liberated from worldly bonds. Nityāṣoḍaśikārṇava 4.19b-20 saṁsmṛtā pāpaharaṇī japtā mṛtyuvināśinī AA 4.19b AA pūjitā duḥkhadāridryavyādhidaurbhāgyaghātakī A hutā vighnaughaśamanī dhyātā sarvārthasādhakī AA 4.20 AA While remembered removes the vices; while recited, removes death; while worshipped, destroys pain, poverty, disease and misfortune; while given sacriices, paciies all the obstacles and while meditated upon provides all objects. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.19b-20 asyāḥ saṁsāramocakatve yuktim āha — saṁsmṛteti A pāpaharaṇī A pāpaṁ puṇyasyāpyupalakṣaṇam A paramārthavit puṇyapāpairna saṁspṛṣyate A taduktaṁ śrī paramārthasāre — hayamedhaśatasahasrāṇyapi kurute brahmaghātalakṣāṇi A paramārthavinna puṇyairna ca pāpair lipyate vimalaḥ AA (70) iti AA The evidence of this being the liberator from the world is mentioned — saṁsṛta, etc. and pāpahāriṇī. Pāpa also indicates virtue. The knower of ultimate reality does not become stained by vice and virtue. As is mentioned in the Paramārthasāra, 132 This is a reference to the internal generation of semen. Ultimately, one will feel that you have a thousand yonis. 250 | the Goddess Within and Beyond the three Cities “Even if he performs 100,000 horse sacriices, or kills lakhs of brāhmaṇas, the knower of supreme reality remains free of the stains of virtue and vice, being himself stainless” (70). Nityāṣoḍaśikārṇava 4.21-23 etasyāḥ śṛṇu deveśi bījatritayasādhanam A dhavalāmbarasaṁvīto dhavalāvāsamadhyagaḥ AA 4.21 AA pūjayed dhavalaiḥ puṣpair brahmacaryaratto naraḥ A dhavalaireva naivedyair dadhikṣīraudanādhibhiḥ AA 4.22 AA saṅkalpadhavalairvāpi yathākāmaṁ yathā labhet A saṁpūjya parameśāni dhyāyed vāgīśvarīṁ parām AA 4.23 AA O Goddess of the gods listen to the practice of the three seed mantras of this [tradition]. Covered by a white dress, being seated in the middle of a white seat one should worship with white lowers, keeping celibacy, offering white foods like rice, milk, curd, etc. Offering the white mental objects according to desires, [he should accept] whatever he receives. After worshipping the Supreme Goddess [in this way], the sādhaka should then meditate on the Supreme Goddess as speech. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.21-23 asyā vidyāyāstrayāṇāṁ bījānāṁ pratyekamārādhanaṁ vaktumupakramate — etasyā iti A tatra prathamaṁ vāgbhavabījasādhanam āha — dhavaleti A dhavalāmbaraṁ śuklavastram A dhavalāvāsaḥ saudhagṛham A brahmacaryarato vanitājanaṁ vāgadhidevateti manyamānaḥ A aṣṭāṅgamaithunavarjita ityarthaḥ A uktaṁ ca — smaraṇaṁ kīrtanaṁ keliḥ prekṣaṇaṁ guhyabhāṣaṇam A saṁkalpo ’dhyavasāyaśca kriyānirvṛttireva ca AA etanmaithunamaṣṭāṅgaṁ pravadanti manīṣiṇaḥ A iti A (DaSmṛ vii.31-32). [The Lord] starts discussing the practice of each of the three sections of this vidyā. First, the practice of the vāgbhavakūṭa is mentioned. Dhavalāmbara means “white dress”. Dhavalāvāsa means “white house”. Brahmacāryarata indicates that one who considers all women to be the goddess of speech. That one who has renounced the eightfold intercourse is [the object of] meaning. As it is said, “Memory, speech, play, sight, gossip, desire, determination, and performing the act. The wise say that this is the eightfold intercourse” (DaSmṛ 7.31-32). aPPendix a | 251 saṅkalpadhavalairvā ’pīti A dhavalopakaraṇavaikalye bhāvitaśvaityaiḥ A vāgīśvarīṁ parāmiti A mahāsphurattāṁ pūrṇāhaṁ-vimarśarūpāmanāhatalakṣaṇāṁ vācam ityarthaḥ A uktaṁ ca — “anāhataśīrṣṇī vāg juṣāṇā somasya tṛpyatu” (TaiS 3.2.5.1) iti AA Saṅkalpa dhavalir, etc. indicates that in the absence of white objects then white objects of imagination should be offered. Vāgeśvarīm, etc. indicate the speech characterized as the supreme expression of the inarticulate awareness of the full I-ness. As is said, “The supreme speech, being anāhata, while served with soma should be pleased” (TaiS 3.2.5.1). Nityāṣoḍaśikārṇava 4.24 bījarūpām ullasantīṁ tato ’naṅgapadāvadhi A brahmagranthiṁ vinirbhidya jihvāgre dīparūpiṇīm AA 4.24 AA After that one should meditate [on the Goddess] in the form of light at the front of the tongue emanating herself in the form of bīja down to the seat of Kāmadeva, thereby breaking the Brahmā-knot. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.24 antarmātṛkodayapratipattim āha — bījeti A bījarūpāṁ vāgbhava bījādhiṣṭhānamahāśaktirūpām A ullasantīṁ jyotīrūpatayā paśyantyādikrameṇordhvaṁ sphurantīm A anaṅgapadāvadhi A anaṅgo ’śarīraḥ, akulasthānagataḥ paramaśivaḥ A anaṅgaśabdo ’śarīra iti rahasyam A tadeva padam, padyate jñāyate mumukṣubhir iti A The attainment of the arising of the mātṛkā is mentioned by bīja, etc. Bījarūpāṁ indicates the goddess of the vāgbhava-kūṭa in the form of supreme śakti. Ullasantīm indicates the goddess emanating upward in the form of light through the successive order starting from paśyantī. Anaṅgapadāvadhi indicates that one who without a body, the Supreme Śiva in the seat of akula. The term anaṅga indicates igurelessness. This is the secret. That very [secret] is the padam for that is known by those who are desiring to be liberated. brahmagranthiṁ vinirbhidyetyasyāyamarthaḥ — prathamaṁ mūlādhāragatacaturdalakamala-karṇikāgatecchājñāna-kriyāśaktyātmakatrikoṇasthānāt tadghaṭaṁ vinirbhidyeti A atra rahasyāgama-sārasampradāya-tattvavido mahāyogipravarāḥ sāmbamiśrāḥ — “yā sā mitrāvaruṇa-sadanāduccarantī” (SāPa 5) iti A asyārthaḥ sāmbapañcāśikāvivṛttiracane śrīkṣemarājācāryakṛte 252 | the Goddess Within and Beyond the three Cities draṣṭavyaḥ A dīparūpiṇīṁ prakāśaikarūpiṇīm A Tadavadhī means “up to that”. The meaning of “breaking the brahmagranthi” is: breaking at irst the ghaṭa133 from the triangular seat which is composed of will, knowledge, and action that lies in the centre of the four petalled mūlādhāra lotus. Here, Sāmba Miśra, the supreme yogī who knew the reality of the tradition of the essence of the secret knowledge, states, “She who emerges from the residence of Mitrāvaruṇa” (SāPa 5). The meaning of this should be seen in the Sāmbapañcaśikhavivṛti written by the master Kṣemarāja. “Dīparūpiṇīṁ” indicates the goddess in the form of mere light. yā sā śaktirjagaddhātuḥ kathitā samavāyinī A icchātvaṁ tasya sā devī sisṛkṣoḥ pratipadyate AA evametaditi jñeyaṁ nānyatheti suniścitam jñāpayantī jhaṭityantarjñānaśaktirnigadyate AA evaṁbhūtamidaṁ vastu bhavatviti yadā punaḥ A jātā tadaiva tattadvat kurvantyatra kriyocyate AA evameṣā trirūpāpi punarbhedairanantatām A arthopādhivaśādyāti cintāmaṇiriveśvarī AA tatra tāvatsamāpannā mātṛbhāvaṁ vibhidyate A dvidhā ca navadhā caiva pañcāśaddhā ca mālinī AA bījayonyātmakād bhedād dvidhā bījaṁ svarā matāḥ A kādayaśca smṛtā yonirnavadhā vargabhedataḥ AA bījamatra śivaḥ śaktiryonirityabhidhīyate A vargāṣṭakavibhedena māheśvaryādi cāṣṭakam AA prativarṇavibhedena śatārdhakiraṇojjvalā A rudrāṇāṁ vācakatvena tatsaṁkhyānāṁ niveśane AA (3.5-13, 15) O Devī, the power which is mentioned as associated with the creator of the world attains the nature of will while desiring to create. The śakti which suddenly makes known that something is thus and is not otherwise and is called jñānaśakti. Moreover, that which creates by merely [thinking] “thus it is and thus it should 133 Here, ghaṭa suggests the veiling reality. aPPendix a | 253 be” and creates according to that is called kriyāśakti. Though being only threefold, the Goddess attains innummerable forms, being thus imposed on the objects like cintāmaṇi. Thus, attaining there the motherness, she becomes divided into 2, 9, and 50 forms of mālinī. In two, by the division of bīja and yoni, where the seeds are the svara and ka, etc. are regarded as yoni. Ninefoldness is regarding the division of the groups, wherein Śiva is known as bīja and Śakti is mentioned as yoni. By the division of eight groups are the eight groups of the mothers, starting from Maheśvarī. Regarding each letter, [she] is glistening by the ifty rays, associating these numbers as the expressor of the Rudras (MāVi 3.5-13, 15). iti śrīmālidīvijayanirūpitanītyā pārameśvarī parā vāk prasarantī icchājñānakriyāśaktirūpatāṁ (śritvā) bījayonivargavargyarūpāṁ śivaśaktimāheśvaryādivācikāmādikṣāntarūpāṁ mātṛkātmatāṁ śritvā jihvāgrānnirgacchanti cintayediti bhāvaḥ AA Thus, according to the Śrī Mālinīvijaya, the Supreme Goddess of speech, while manifesting in the form of will, knowledge, and action, attaining motherhood in the form of the section and sectioned as bīja and yoni, as Śiva and Śakti, in the form of a to kṣa denoter of Maheśvarī, etc. This Goddess should be meditated upon as lowing out from the tip of the tongue. Nityāṣoḍaśikārṇava 4.25-33 cintayennaṣṭahṛdayo grāmyo mūrkho ’tipātakī A śaṭho ’pi pādamekaṁ suspaṣṭaṁ vaktumakṣamaḥ AA 25 AA jaḍo mūko ’tidurmedhā gataprajño vinaṣṭadhīḥ A so ’pi saṁjāyate vāgmī vācaspatirivāparaḥ AA 26 AA satpaṇḍitaghaṭāṭopajetā ’pratihataprabhaḥ A sattarkapadavākyārthaśabdālaṁkārasāravit AA 27 AA vātoddhatasamudrormimālātulyairūpanyaset A sukumāratarasphārarītyalaṁkārapūrvakaiḥ AA 28 AA padagumphairmahākāvyakartā deveśi jāyate A vedavedāṅgavedāntasiddhāntajñānapāragaḥ AA 29 AA 254 | the Goddess Within and Beyond the three Cities jyotiśśāstretihāsādimīmāṁsāsmṛtivākyavit A purāṇarasavādādigāruḍānekamantravit AA 30 AA pātālaśāstravijñānabhūtatantrārthatattvavit A vicitracitrakarmādiśilpānekavicakṣaṇaḥ AA 31 AA mahāvyākaraṇodāraśabdasaṁskṛtasarvagīḥ A sarvabhāṣārutajñānī samastalipikarmavit AA 32 AA nānāśāstrārthaśīkṣādivettā bhūvanaviśrutaḥ A sarvavāṅmayavettā ca sarvajño devi jāyate AA 33 AA Even if one is heartless, savage, dull, highly sinful, foolish, unable to even speak a single word clearly, unconscious, mute, having wrong conceptions and who has lost the wisdom, whose knowledge is collapsed, even such a one becomes a good speaker like Vacaspati by meditating thus and becomes a good paṇḍita conquering the groups of egos, being unstoppable by the others. This one becomes the knower of sound logic, knowing the essence of eloquence in each word and sentence. By installing [the phoneme sequence] garland-like waves of the ocean, propelled by the wind. O Goddess of the gods, with the poetic speech, expressing in the very tender way, he becomes the author of the great epics, adorned with the above attributes. He attains the ultimate knowledge of the limbs of the Veda, including Vedānta and Siddhānta and becomes the knower of astrology, history, Mīmāṁsā, and the saying of the Smṛti, as well as the Purāṇas and alchemy. He becomes a knower of the various mantras like Garuḍa and knows the teachings of the nether world as well as the essence of the Bhūta Tantra. He becomes perfect in all the arts, including architecture. His words are puriied by knowing all grammatical rules. He can sing all the Śāstras, and becomes the knower of all the languages and sounds. He knows all the scripts. He also becomes the knower of the essence of all the Śāstras, including phonetics, and becomes renowned throughout the world. O Goddess, he becomes the knower of all the scriptures or becomes omniscient. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.25-33 cintā punaḥ punarnibhālanam A naṣṭahṛdayaḥ A viśvapratiṣṭhā-sthānatvāccitprakāśo hṛdayam A uktaṁ ca — “sarveṣāmeva jantūnāṁ saṁvid-dhṛdayamucyate” iti A grāmyaḥ paśukarmrataḥ A mūrkhaḥ sadasadvivekānabhijñaḥ A aPPendix a | 255 atipātakī niṣiddhaikasevī A śaṭhaḥ vañcakaḥ A jaḍaḥ anavahitaḥ A mūkaḥ asphūrita-vāk A atidurmedhāḥ atiśayena durbuddhiḥ A gataprajño gatasthiraprajñānaḥ A vinaṣṭadhīḥ anutpannadhīḥ A paṇḍitāḥ paṇḍā samyaktattvadarśinī prajñā saṁjātā yeṣāṁ te paṇḍiyāḥ A Cintā is relection again and again. The heart is the conscious light, being the fundamental ground of the world. As it is said, “The consciousness of all the beings is called the heart”. Grāmyaḥ is one engaged in paśukarmaḥ. Mūrkha is one not knowing how to discriminate between right and wrong. Atipātakī is one who performs all the prohibited actions. Śaṭhaḥ is one who fools others. Jaḍaḥ is one who is unconscious. Mūkaḥ is one whose speech is not expressed. Atidurmedhaḥ is one who is extremely evil minded. Gataprajñā is one whose stable knowledge is collapsed. Vīnaṣṭadhīḥ is one whose wisdom is not evolved. Paṇḍitās are those who have paṇḍā, the wisdom which illuminates correctly the real essence. ghaṭā samūhaḥ A āṭopo garvaḥ A apratihataprabha ārambha-madhyaviśrāntidaśāsvaskhalitavaktratejā ityarthaḥ A atrābhiyuktavacanam — iti nigaditavānasau mahātmā parikarabandhagṛhītavaktratejāḥ A akathayadidamajñatopaśāntyai paramapadaikavibodhakaṁ vasiṣṭhaḥ AA iti (YoVā 2.2.28) yatkathyate hi hṛdayaṅgamayopamānayuktyā girā madhuramugdhapadārthayā ca A śrotustadaṅga hṛdayaṁparito vusāri vyāpnoti tailam iva vāriṇi vārya śaṅkām (YoVā 3.84.45) iti ca Ghaṭa is the collection. Āṭopa is pride. Apratihataprabha is one having light on the face, not fading in the beginning, in the middle or resting stages. Here is the saying of the authority, “Vasiṣṭha, that great soul having light in his face, seated in the intense yogic seat mentioned that which makes known the supreme state as he mentioned this to pacify ignorance” (YoVā 2.2.28). [And again:] “What is mentioned by the words ‘attractive to the heart’ is associated with logic and with the word meanings being sweet and delicious that pervade in totality the heart of the listener like oil pervades water, removing the doubts” (YoVā 3.84.45). sattarketi A āgayayuktyanubhavopetaḥ sattarkaḥ A sāraśabda utkarṣavācī A padagumphaiḥ padasamūhaiḥA vedaḥ karmakāṇḍamA vedāṅgaṁ niruktādiA vedāntaḥ adhyātmabhāgaḥA siddhāntaḥ śaivaśāstram A jñānaśabdo 256 | the Goddess Within and Beyond the three Cities vedādiṣu caturṣu sambaddhyate A pāragaḥ kāṣṭhāṁ prāptaḥ A jyotiḥśāstram ārya-bhaṭīyādiḥ A itihāsādiḥ bhāratādiḥ A mīmāṁsā pūrvā cottarā ca A smṛtiḥ manvādiśāstram A vākyāni goṣṭhīṣu vidagdhaiḥ prayuktāni pañcāvayavayuktāni A viditaḥ sarvatra A purāṇam aṣṭādaśasaṁkhyākam A rasavādatantraṁ kākacaṇḍeśvarīmatādi A ādiśabdo gandhayuktyāditantraṁ parāmṛśati A pātālaśāstraṁ biladvāraprakāśakaṁ śāstramxc A Sattarkaḥ, etc. are the logic associated with the scriptural source, reasoning, and experience. The term sāra indicates excellence. Padagumpha indicates the collection of the words. Veda is the karmakhaṇḍa. Vedāṅga is nirukta. Vedānta is the portion of philosophy. “Siddhānta” is a Śaiva doctrine. The term jñāna is associated with the four Vedas, etc. Pāragaḥ is one who has attained the heights. Jyotiḥśāstram is the scripture written by Ārya Bhaṭṭa et al. Itihāsādi indicates the Mahābhārata, etc. “Mīmāṁsā” indicates both pūrva and uttara. “Smṛti” indicates the scripture mentioned by Manu et al. Vākya are the [syllogisms] associated with ive limbs used by one who is accusing others in the meetings. Viditaḥ means everywhere [known]. Pūrāṇams are eighteen in number. Rasavādatantram indicates Kākacandeśvarīmatam, etc. The term ādi suggests the Tantras like Gadhayukti. Pātalaśāstram is the scripture which elucidates the gate to the nether world. vicitreti ādiśabdena mayamatādikaṁ lakṣyate A śilpānekavicakṣaṇa iti giristambhodadhipānāsurabhakṣaṇendrapadabhraṁśanādipravīṇa ityarthaḥ A mahāvyākaraṇetyatra mahacchabdena maharṣipraṇītaṁ mahābhāṣyādikaṁ lakṣyate A sarvabhāṣārutajñānī A sarveṣāṁ jantūnāṁ bhāṣājñānī rutajñānī ca A yathāyogyaṁ manuṣyāṇāṁ bhāṣā vijānāti, pakṣyādīnāṁ virutaṁ ca jānāti A yadāha pakṣivākyaśravaṇapratikriyayoḥ kaṇvaṁ prati vyāsamuniḥ — viśvamitrasutāṁ brahman nyāsabhūtāṁ bharasva vai A kāmakrodhāvajitavān sakhā te kauśikīṁ gataḥ AA tasmāt poṣaya tatputrīṁ dayāvāniti te ’bruvan A sarvabhūtarutajño ’haṁ dayāvān sarvajantuṣu AA nirjane ’pi mahāraṇye śakuntaiḥ parivāritām A ānayitvā tataścaināṁ duhitṛtve nyayojayam AA iti A (MBh 1.72.14) By the term ādi, mayamata, etc. are hinted. Śilpānekavicakṣaṇa is one perfected in giristambha, udārīpāna, asuravakṣaṇa, and indrapadabraṁśana (dethroning Indra). Within the term mahāvyākaraṇa, the term “great” indicates the Mahābhāṣya composed by great sages. Sarvabhāṣyarutajñānī indicates the knower of the aPPendix a | 257 languages of all the beings as well as the sounds. He knows accordingly the languages of the human beings as well as the sounds of the birds, etc. As is said by Vyāsa to Kaṇva regarding listening and responding to the birds’ speech: “O Brahman, sustain the daughter of Viśvāmitra who is placed here as your beloved, she who is gone to Kauśikī and with whom you have conquered desire and anger. They mentioned that because of this you should nourish the state of being compassionate. Being myself the knower of the language of all the beings and compassionate to all beings, I brought her from the great forest where she was associated with the birds and kept her as a daughter” (MBh 1.72.14). samastalipikarmavid bahubhedabhinnākṣaravinyāsakarmāpi vijānāti A nāneti A nānāśāstraṁ nyāya-vaiśeṣika-sāṁkhyayoga-baudhhārhata-pāśupatapañcarātra-bharata-vātsyāyanīyādi A śīkṣā śikṣyate ’nayeti varṇādyuccāraṇalakṣaṇam, śikṣyanta iti vā śikṣā varṇādayaḥ A śikṣaiva śīkṣā A dairdhyamāgamāyātam A bhuvanaviśruto lokeṣu prathitayaśāḥ A sarvajño devi jāyata iti A īśvarakalpo bhavtītyarthaḥ AA He knows even the works of installing the varieties of the letters. The manifold Śāstras are Nyāya, Vaiśeṣika, Sāṁkhya, Yoga, Bauddha, Ārhata, Pāśupata, Pāñcarātra, Bhārata, Vātsyāyana, etc. Śīkṣā is etymologically derived as that by which something is instructed. And there is another derivation, “which instructs”, by which is known the letters, etc. Śikṣā is itself śīkṣā. This long ī is used in the Āgama tradition. Bhuvana viśruta means “known throughout the world”. Sarvajña indicates that one becomes equal to God. Nityāṣoḍaśikārṇava 4.34-37 tathā kāma-kalārūpā madanāṅkuragocare A udayāryamabimbābhā samujjvalavapuḥ priye AA 34 AA sphuraddīpaśikhākārā bindudhārāpravarṣiṇī A samastabhuvanābhogakavalīkṛtajīvitā AA 35 AA mahāsvamahimākrāntasvasthā ’haṁkṛtibhūmikā A krameṇa ca tato ’naṅgaparyantaṁ prollasantyapi AA 36 AA śarīrānaṅgaparyantamekaivamubhayātmikā A tato bhavati deveśi sarvaśṛṅgāramāninām AA 37 AA Likely, O beloved, [by meditating on Devī] in the form of kāmakalā emerged in the sprout of madana, with the light-circle of the rising sun, a luminous body with an expanding lame top. She exists while gulping all the beings manifested 258 | the Goddess Within and Beyond the three Cities to enjoy the world. Existing in I-ness, keeping herself within her own supreme glory, and manifesting successively down to that ground of kāma, which is within the body, manifesting in two forms while being alone. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 4.34-37 atha kāmarājabījasādhanamāha — tatheti A tathā yathā vāgbhavabījasādhanamuktam A kāmakalārūpā kāmarāja-bījasārabhūtā A śaktir iti śeṣaḥ A madanāṅkuragocare A madanāṅkura iti yonivalyāntaḥ sphuran māṁsaviśeṣaḥ tasyagocare yonisthāne A tasyāḥ pratipattim āha —udayāryameti A udayaḥ prakaṭībhāvaḥ A aryamā raviḥ A samujjvala-vapuḥ atidīptavapuḥ A sphuraddīpaśikhākārā A dīpaśikhāśabdena jyotistanturlakṣyate, tadākārā A bindudhārā-praveṣi-ṇīdruta-lākṣābinduva-draktāmṛta-dhārāvarṣiṇī A samasteti A bhuvanābogaśabdena prāṇijātaṁ lakṣyate A grāsīkṛtaprāṇijīvitā A sarvaṁ prāṇijātaṁ kāmakalāvaṣṭabdham ityarthaḥ A maheti A asyāyamarthaḥ — mahatā svamahimnā ākrāntaṁ sarvam, tayā ākrāntyā hetunā svasthā sukhena sthitā A sarvaprāṇinām ahaṅkṛti-bhūmiketi A bhūmikā avasthitiḥ AA The term “sādhana of the king of desire” mentions the practice of the kāmarāja section of the mantra. As it is, there is [a commentary] on vāgbhava, so is it here as well. Kāmakalārūpa indicates the Goddess who is the essence of the kāmarāja seed. Power is the remainder. Madanāṅkura is a particular sort of lesh emerging from within the yonimaṇḍala. Tasyagocare means “in the seat of yoni”. The manifestation of her is here mentioned. Udayarama, etc. Udayaḥ is emergence. Aryamā is the sun. Samujjvalavapuḥ indicates a highly luminous body in the form of a highly laming light. By the term dīpaśikhā the thread of light is indicated. She is in this form. Bindu indicates the raining of the low of nectar like the drops of lākṣā. The term bhuvanabhoga indicates all beings. She who exists, swallowing all the beings. All the beings are captured by kāmakalā. This is the meaning. The whole is grasped by her great glory. Because of being easily grasped she certainly exists. She is the ground of the I-consciousness of all the beings. aPPendix a | 259 3. Atha Pañcamaḥ Paṭalaḥ (Now the Fifth Chapter) Nityāṣoḍaśikārṇava 5.1-2 śrī devyuvāca sarvametat tvayā proktaṁ tripurājñānamuttamam A kāmatattvavidhijñānaṁ mokṣatattvapadāvadhi AA 5.1 AA The Goddess says, “All of this is elucidated by you — the knowledge of the rules of the kāma-tattva leading up to the element of mokṣa, which is the supreme knowledge of the three cities”. idānīṁ japahomānāṁ vidhānaṁ vada śaṅkara A yenānuṣṭhitamātreṇa mandabhāgyo ’pi siddhyati AA 5.2 AA Now Śaṅkara, explain the injunctions of japa and homa, by performing which even the fortuneless becomes perfect. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 5.1-2 evaṁ caurthaṁ paṭalaṁ parāmṛśya trayastriṁśatsūtragrathite pañcame paṭale vimarśanīyāni padāni vimṛśyante A tacca homārcanādiparam A taiḥ samārādhitā devāḥ prasīdantītyasminnarthe vyāsamuniḥ — japahomanamaskāraiḥ stotraiśca puruṣarṣabha A daivatāni prasādaṁ hi bhaktyā kurvanti bhārata AA iti A (MBh 3.150.24) Thus, after relecting on the fourth chapter, in the ifth chapter, composed of thirty-three verses, the terms to be contemplated are considered. These [terms] are related to sacriice, worship, and the like. The gods are pleased by being worshipped through [sacriice and pūjā]. In this regard Vyāya says, “O sons of Bhārata, the best of mankind pleases the gods through the devotional acts of japa, homa, and nāma” (MBh 3.150.24). śrī devītyādi A tripurājñānam A tripurāyāḥ parāśakteḥ sambandhi yad jñānaṁ tat tripurājñānam A kāmatattvavidhijñānaṁ kāmatattvaprakārānubandhijñānam A sa ca śaktyunmeṣaviśeṣa eva A kāmatattvaviṣajñānamiti pāṭhe kāmaḥ kāmabījam A tattvamityatra tadā prakṛtibhūtenāhamityantar-ullekhā-vimarśasvabhāvaṁ jñānam svarūpe bhāvapratyayaḥ tena vāgbhavabījaṁ lakṣyate A The knowledge of Tripura is the knowledge related to the three cities, which 260 | the Goddess Within and Beyond the three Cities are the supreme power. Kāmatattvavidhijñānam is the knowledge conjoined with the injunctions connected with kāmatattva. It is a special stage in the evolution of power. In the reading kāmatattvaviṣajñāmiti, kāme indicates the seed-mantra of kāma. Tattva refers to the knowledge having the nature of the non-awareness of the inner expression of ahaṁ, which is [one’s] innate nature. Herein, a sufix is added to bhāva [to denote essence], which indicates “nature”. In this way, the vāgbhava bīja is indicated. viṣaśabdena vyāptivācinā ’mṛtam A tena kāmarājavāgbhavaśaktibījānāṁ jñānamiti yāvat A mokṣatattvapadāvadhi A mokṣasya tattvaṁ mokṣasya bhāvaḥ tadeva padaṁ padyata iti, tadavadhi A By the term viṣa, which indicates pervasiveness, amṛta-[bīja] is mentioned. By this the knowledge of the seed-mantras kāmarāja, vāgbhava, and śakti is [mentioned]. The essence of mokṣa is the attainment of that state leading up to it (tadāvadhi). taddhi yadā mokṣasvabhāve paryavasyati tadā kāmatattvavidhijñānaṁ proktamiti pūrveṇa sambandhaḥ A taduktaṁ śrīparamārthasāre — mokṣasya naiva kiñciddhāmāsti ca cāpi gamanamanyatra A ajñānagranthibhidā svaśaktyābhivyaktatā mokṣāḥ AA (60) iti A Thus, when one enters into the condition of liberation then there is knowledge of the process of the previously mentioned kāma element and this is the connection [between mokṣa and sambandha]. Thus it is said in the Śrī Paramārthasāra, “For the liberated one there is neither a dwelling place nor anywhere to go. Liberation is the revelation of the power of the Self through the breaking of the knot of ignorance” (PS 60). vidhānaṁ prakāram A yena vidhānena A mandabhāgyaḥ akiñcanaḥ A apiśabdenānekajanmamadhye ’pyadṛṣṭalakṣmīvadanatā sūcyate A siddhyati parabhairavadevatāvadanenaiva dehena samastavibhūtibhājanaṁ bhavati AA Vidhāna means “types”. By performing these types [there is attainment]. Mandabhāgyaḥ means “who has nothing”. The term api suggests that one who has not seen the face of Lakṣmī throughout all his lives. Siddhyati suggests that through the form of the divine face of the Supreme Bhairava he becomes the support of the complete perfections. Artharatnāvalī on Nityāṣoḍaśikārṇava 5.1-2 atha pañcamapaṭale viṣamapadavyākhyā likhyate A sarvametat tvayā proktaṁ aPPendix a | 261 tripurājñānamuttamam A kāmatattvavidhijñānaṁ mokṣatattvatrayāvadhīti A kāmasya tattvaṁ kāmatattvam A kāmaḥ paramaśivastasya tattvaṁ vimarśarūpaparameśvarīsvarūpaṁ kāmakaletyucyate A vidhir iti sakalaniṣkalabhāvena tasya viniyogaprakāraḥ A jñānaṁ tadavagatiḥ A tadeva “mokṣarūpiṇī” (4.7) iti padena darśitam A Now in the ifth chapter the exposition of the unarranged terms is written. Kāmatattva is the substantial essence of desire. Desire is the essence of Supreme Śiva, the essence of the Supreme Goddess in the form of awareness and is called kāmakalā. Vidhi refers to the way of performance in its universal and transcendental essence. Jñānam is the attainment of that. This is shown by the term mokṣarūpiṇī. athavā kāmatattvavidhijñānaṁ kāmarājabījasādhanam, tena vaśyādikāraṇaṁ veti A mokṣo muktiḥ śaktiśivasāmarasyaprāptilakṣaṇam A tadapi vāgbhavabījasādhaneneti “vāgbhave mokṣarūpiṇī” (4.17) iti paden darśitaṁ purastāt A tattvatrayāvadhīti A ātmavidyāśivatattvānāṁ tribījarūpeṇa vyāpakatvamapi kathitameveti bhāvaḥ A pratyekabījasādhane prayoge AA Otherwise, kāmatattva-vidhijñānam is the practice of the seed-mantra of kāmarāja. By it one controls [others]. Mokṣa is liberation, the nature of which is the attainment of the mingling of Śiva and Śakti achieved through the seedmantra, vāgbhava, which was hinted previously through [the phrase] vāgbhava mokṣarūpiṇī (5.17). Pervasiveness is mentioned in the three seed-mantras which contain the ātma-, vidyā-, and śiva-tattvas. Prayoga is the practice of each of these seeds. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 5.1-2 śrīdevī — sarvametat tvayā proktaṁ tripurājñānamuttamaṁ kāmatattvavidhijñānamityādi A kāmaḥ paramaśivaḥ, tasya tattvaṁ parāśaktisvarūpā kāmakalā vidhiriti sakalaniṣkalabhāvena vidhānaṁ tatsādhanam, jñānaṁ tadavagatiḥ A mokṣatattvatrayāvidhi A mokṣabījatattvākhyād vāgbhavabījatattvākhyādārabhya trayāvadhi triśakti(tri)tattvāditrivṛtkāraṇtvāvadhi bījāvadhi vyāsena pratibījaṁ samāsena mūlavidyāyāśca yatsādhanaṁ prāg darśitaṁ tatsarvaṁ tripurāviṣayamiti A atra “ādyā” (4.4) ityādinā granthena prāganuktaṁ devyā japahomārcābhyāṁ vidhānam vadeti prārthitaṁ AA Kāma is the Supreme Śiva. The essence of that is the kāmakalā in the form of Supreme Śakti. Vidhi is action done with the feeling of sakala and niṣkala. Jñānam 262 | the Goddess Within and Beyond the three Cities is the attainment of that. Starting from the essential seed-mantra of liberation which in essence is the seed called vāgbhava up to that seed which creates the triadic performance of three śaktis and three tattvas one by one and collectively of the root vidyā. The performance of the mūla-vidyā is previously hinted, the whole of which is connected to Tripurā. Here, by the section beginning with ādyā, etc. the performance of recitation, oblation, and worship, previously not discussed is herewith requested to be explicated. Nityāṣoḍaśikārṇava 5.3-5 īśvara uvāca śṛṇu devi pravakṣyāmi tripurāmantrasādhanam A japahomavidhānaṁ tu samīhitaphalapradam AA 5.3 AA The Lord says, “Listen Goddess, I will speak of the sādhanā of the mantra of the three cities as well as the process of recitation and oblation which provides the desired fruit”. cakramabhyarca vidhivat sakalaṁ parameśvari A madhyaṁ vā kevalaṁ devi bāhyamadhyagataṁ ca vā AA 5.4 AA Worshipping the embodied cakra, O supreme mistress, only the middle one or together with the periphery and the middle. tadagrasaṁsthito mantrī sahasraṁ yadi vā japet A vratasthaḥ parameśāni tato ’nantaphalaṁ labhet AA 5.5 AA The practitioner of mantra, sitting in front of that, if he recites it a thousand times, keeping the vows, O Supreme Goddess, he contains innumerable fruits. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 5.3-5 śrṇu devīti A tvamityākhyātena sambahdyate A sakalaṁ pūrṇam A vidhivat pracoditakrameṇa A madhyaṁ vā madhyatryaśraṁ vā A kevalam anyavyāvṛttiparametat A bāhyamadhyagataṁ ca veti sāṣṭāraṁ madhyatryaśraṁ vetyarthaḥ A tadagrasaṁsthitaḥ cakrāgrabhāgasaṁsthitaḥ A vratasthaḥ indriyajayodytaḥ A yadāha — “vratacārī sadaivaiṣa ya indriyajaye rataḥ” iti AA Tvam134 is connected with the subject. Sakalam refers to the perfect. Vidhivat indicates [that it is done] by means of the order explained in śāstra. Madhyam means the innermost triangle. Kevalam distinguishes it from the others. By 134 Tvam is not found in the manuscripts. aPPendix a | 263 mentioning bāhyamadhyagatam ca vā the innermost triangle, including the eight triangles, is also mentioned. Tadagrasaṁsthitaḥ means residing in the front side of the cakra. Vratasthaḥ indicates [one who is] eager to conquer the sense-organs. As it is said, “That one is keeping the vows who is eager to conquer the senses”. Artharatnāvalī on Nityāṣoḍaśikārṇava 5.3-5 cakramabhyarcya sakalaṁ vidhivat parameśvarītyasya sṛṣṭisthitilayātmakaṁ sakalaṁ cakraṁ vidhivad hetudvitīyastrīkusumādyaiḥ pūjayedityarthaḥ A madhyaṁ vā kevalaṁ devītyasya sanavayonicaturasrāntaṁ sṛṣṭicakraṁ saṁhārātmakaṁ madhyacakraṁ vetyarthaḥ, bāhyamadhyagataṁ ca vetyasya navayonidaśāradvayacaturdaśāracaturasrāntaṁ sthitirūpaṁ cakraṁ vetyarthaḥ A O Goddess, the meaning of this verse is that the sakala-cakra, in the form of emanation, sustenance, and submergence should be worshipped by means of the second of the causal elements, which is the strīkusumā.135 The meaning of madhyam vā kevalam is the cakra of creation, including the nine triangles up to caturasra. The middle cakra is the form of dissolution. Bāhyamadhyagatam ca indicates that cakra in the form of sustenance is composed of nine triangles, the dyad of ten triangled circles, and the four triangled circles up to caturasra. tadagrasaṁsthito mantrī sahasraṁ yadi vā japodityasya sṛṣṭisthitisaṁhārātmanā sthitānāṁ tridhā vibhāktānāṁ cakrāṇāṁ madhye ekaṁ cakraṁ vidhivadabhyarcya tadagrasaaṁsthito bhūtvā mantrī etāṁ vidyāṁ japet puraścaraṇakāmo naro lakṣapramāṇaṁ brahmacaryādisaṁyuta iti vākyārthaḥ A The meaning of the sentence tadagrasaṁsthito mantrī sahasram yadi vā japet is that he who has the desire to perform purascaraṇa should sit among the cakras, which are divided threefold as creation, sustenance, and submergence, therein worshipping them through the correct process, reciting this vidyā up to one lakh times, keeping celibacy and the other injunctions [of Tantric sādhanā]. yadi tathā japtumasamarthastadā pūrvoktacakratritayamadhye ekaṁ cakraṁ vidhivat strīprasūnakāpiśāyanādyairabharcya tasya cakra(sya) purataḥ saṁsthito bhūtvā mudrābandhapūrvakaṁ sahasraṁ japediti vākyārthaḥ A vratasthaḥ parameśāni tato ’nantaphalaṁ labhedityasya 135 This is the blood from the yoni of the virgin. In this context the aparājitā lower is the symbol of virginal blood. 264 | the Goddess Within and Beyond the three Cities rāṣṭrabraṁśadehapīḍādinā kadācidapi japahrāsaṁ na kuryāmiti saṅkalpapūrvakaṁ japed yāvajjīvādhikāram A tato ’nantaphalaṁ labhediti bhāvaḥ AA If one is unable to recite in that way, then among the three previously mentioned cakras, worshipping one of them in the correct way, with the objects like strīprasūna or kāpiśāyana, being seated in front of that cakra, including mudrā and bandha, one should recite [the mantra] a thousand times. This is [a second] meaning of the sentence. Vratasthaḥ indicates that even with bodily pain, or destruction of the country, [one swears], “I will never reduce the recitation”. Keeping this vow, one should recite as long as one is capable to survive. Then he attains innumerable fruits. This is the meaning. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 5.3-5 cakramabhyarcyetyādi A sṛṣṭisthitisaṁhārakāri sakala-vācakavācyayathāvidhāyi yavayonidaśāradvaya-caturdaśāra-caturaśrātmakaṁ bāhyamadhyagataṁ śrīcakraṁ kulācārakrameṇa saparivāraparameśvarīpūjayā prasādābhimukhīṁ kārayitvā tadagrasaṁsthitastadabhimukhaṁ samupaviṣṭaḥ subhakto vratasto jitendriyo nirantarādhikajapādyanuṣṭhānāśaktaḥ pratidinaṁ sahasramātrādapyanūnaṁ yāvajjīvaṁ japet A By the process of kulācāra the Śrī-cakra, including the external and internal cakras, made of nine triangles, two triangled circles, one fourteen triangled circle, and the caturasra, which mentions the totality of the expressor and the expressed and which includes emanation, sustenance, and dissolution. Worshipping the Supreme Goddess including the Tantric clan, making the Goddess face towards [oneself], pleasing her, as a good devotee seated in front of that [Śrī-cakra], such a vratastha, having conquered his senses, is always eager to practise, increasing his recitation, etc. He should recite at least a thousand [mantras] everyday for as long as he lives. tatastāvanmātraniyutenanānantaphalamuktyavirodhi sadbhaktipurassaraṁ svarasaparamānandaprabodhātmakaṁ śivapadaṁ labhate AA Being attentive to only that, possessing true devotion [the sādhaka] attains the state of Śiva, which is the nature of the awareness of the innate, supreme bliss, as well as unlimited fruits which are not an obstacle to liberation. aPPendix a | 265 Nityāṣoḍaśikārṇava 5.6 dhyātvā vā hṛdgataṁ cakraṁ tatrasthāṁ parameśvarīm A pūrvoktadhyānayogena saṁcintya japamārabhet AA 5.6 AA Or, meditating on the cakra in the heart, contemplating on the Supreme Goddess abiding therein, [the sādhaka] should start the recitation via the dhyāna-yoga previously mentioned. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 5.6 athavā bāhyacakrapūjāṁ parityajya hṛdayakamalodare cakraṁ paribhāvya saṁpūjya japetdityāha — dhyātveti A pūrvoktadhyānayogena “tataḥ padmanibhām” (1.130) ityādhidhyānayogena AA Otherwise, abandoning the external worship of the cakra, meditating on the cakra inside the womb of the lotus of the heart, and worshipping [he] should recite. Pūrvoktadhyānayogena refers to the statements “as luminous as the lotus” (1.130). Artharatnāvalī on Nityāṣoḍaśikārṇava 5.6 dhyātvā tu hṛdgataṁ cakraṁ tatrasthāṁ parameśvarīm A pūrvoktadhyānyogena saṁcinvya japamārabhedityasyāyam arthaḥ — yadi kathañcid bāhyacarkamuddhṛtya parameśvarīmārādhayitumasamarthaḥ sādhaka etaccakraṁ pūrvoktanyāyen hṛdayakamalakuharāntaḥ saṁcintya parameśvarīṁ saparivārāmākāśādikṣityanta-sambhavair gandhādinaivedyāntaiḥ pañcopacāraḥ śabdādyaiḥ svābhāvikairabhyarcya paramāmṛtakalayā saṁtarpya paramaśivasamarasīkṛtatayā svātmaikyaṁ sañcitya svayaṁ ca kāmeśvarīrūpāvartamudrānavakaṁ nibadhya sahasramāvartayet A The meaning of the verse is that if the sādhaka is unable to worship the Supreme Goddess by making an external cakra, [then he should] meditate on this cakra inside the cave of the lotus of the heart according to the mentioned rule, worshipping the Supreme Goddess and the Tantric clan with the natural ive objects, starting from sound, made of the elements from sky to earth, which extend from fragrance to food. Offering through the kalā of supreme ambrosia, relecting on the oneness of the Self, being mingled with the Supreme Śiva, making the nine gestures, which are the āvarta of the form of Kāmeśvarī, [the sādhaka] should himself recite a thousand times. mūlavidyāpuraścaraṇaṁ kartumaśaktaḥ sādhakaścedantarya-jana-vidhi- 266 | the Goddess Within and Beyond the three Cities pravīṇaḥ san yukto vidhinā japediti japavidhiḥ A antaryajana śīlasya havanamathāntaram A If the practitioner is unable to do the purascaraṇa of the mūla-vidyā, being perfect in the process of inner sacriice, he should recite according to the correct process. This is the process of recitation. For the one who practises the inner sacriice the oblation is different. tathāhi — mūlādhāra-kamalāntar-udyattrikoṇa-kuṇḍāntarullasitacidagnau manasā srucā suṣumnāvartmanā parākāśa-kuśeśayāntaḥ-spandiparamaśivasudhājyena mūlavidyāmuccarannājyāhutiṁ vidhāyānantaraṁ sakaladharmādharma-sukhaduḥkhākṣa-vṛttīr juhuyāda yathāśaktītyarthaḥ A Thus — in the ire of consciousness, residing inside the triangular irepit, arising inside the lotus of mūlādhāra by the ladle of mind through the channel of the suṣumṇā with the ghee of the luid of Supreme Śiva, [the sādhaka] enters into the lotus of the supreme sky. Reciting the mūla-vidyā, making the oblation, one should offer the activities of the senses, including the totality of good and bad actions as well as pain and pleasure. The meaning is that this is [the expression of] power. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 5.6 dhyātvetyādi A bāhyārcanāntarārcaneti dhyāne yoge ’nāhatapra-sphuratpūjācakrarāja-sannihitāṁ paradevatāṁ yathāvadārādhya prāguktaphalāptaye japet AA 6 AA Worshipping the Supreme Goddess according to the rule associated with the king of the cakra of the pūjā-cakra which is the unstruck vibration in the yoga of the meditation on external and internal worship, one should recite the mantra to attain the previously mentioned fruits. Nityāṣoḍaśikārṇava 5.7-17 nigadenopāṁśunā vā mānasenāpi suvrate A pūrvoktanyāsasaṁyukto mudrāsaṁnaddhavigraḥ AA 5.7 AA Being associated with the previously mentioned nyāsa, O vow-keeper, one whose body is conjoined with the gestures [should recite the mantra] by verbal expression or by whispering or only through mental recitation. muktāhāramayīṁ sphītavaiḍūryamaṇisambhavām A aPPendix a | 267 putrajīvakapadmākṣarudrākṣasphaṭikodbhavām AA 5.8 AA Collecting the rosary made of the garland of pearls or the glittering cat’s eye gem, or the putrajīvaka136 or the lotus seeds, or rudrākṣa, or crystal . . . pravālapadmarāgādiraktacandananirmitām A kuṁkumāgurukarpūramṛganābhivibhūṣitām AA 5.9 AA . . . or coral, or ruby, or red sandalwood, decorated with saffron, aloewood, camphor, and musk. akṣamālāṁ samāhṛtya tripurtakṛtavigrahaḥ A lakṣamātraṁ japed devi mahāpāpaiḥ pramucyate AA 5.10 AA Imitating the body of Tripurasundarī, O goddess, one who recites [the mantra] 100,000 times will transcend all sins. lakṣadvayena pāpāni saptajanmakṛtānyapi A nāśayet tripurā devī sādhakasya na saṁśayaḥ AA 5.11 AA No doubt, the Goddess Tripurā will destroy the sins of seven lives of the sādhaka who recites two lakh [mantras]. japtvā lakṣatrayaṁ mantrī yantrito mantravigrahaḥ A pātakaṁ nāśayedāśu saptajanmasahasrjam AA 5.12 AA The mantra practitioner, having a body made of mantra, having entered the yantra by reciting three lakh instantly kills the sins produced from seven thousand lives. japtvā vidhyāṁ caturlakṣaṁ mahāvāgīśvaro b havet A pañcalakṣāccdaridraḥ sākṣād vaiśravaṇāyate AA 5.13 AA By reciting the mantra four lakh times he becomes the lord of supreme speech. [Reciting ive lakh] even a poor man becomes like Kubera himself. japtvā ṣaḍlakṣametasyā mahāvidyādhareśvaraḥ A japtvaiva saptalakṣāṇi khecarīmelakaṁ vrajet AA 5.14 AA Reciting the mantra of this goddess 600,000 times he becomes the lord of the mahāvidhyādharas. Reciting 700,000 he will attain union with khecarī. aṣṭalakṣapramāṇaṁ tu japtvā vidyāṁ maheśvari A aṇimādyaṣṭasiddhīśo jāyate devapūjitaḥ AA 5.15 AA 136 The rosary of Putranjiva roxburghi seeds are believed to keep children in good health. MonierWilliams, A Sanskrit-English Dictionary, p. 632. 268 | the Goddess Within and Beyond the three Cities Reciting the vidyā for 800,000 he becomes the lord of the eight perfections like atomization, etc. adorned by the gods. navalakṣapramāṇaṁ tu japtvā tripurasundarīm A vidhivajjāyate mantrī rudramūrtirivāparaḥ AA 5.16 AA Reciting the mantra of Tripurasundarī for 900,000 times according to the process, the practitioner of mantra becomes another form of Rudra himself. kartā hartā svayaṁ gauri loke ’pratihataprabhaḥ A prasanno mudito dhīraḥ svacchandagatir īśvaraḥ AA 5.17 AA O Gaurī, having unrestricted valour [he becomes] himself the author and the destroyer with regards to the world. Joyous, blissful, absorbed in the self, roaming according to his will like Īśvara. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 5.7-17 jape guṇavidhimāha — nigadeti A nigadena vyaktoccāreṇa A upāṁśunā A vibhaktirāgamāyātā A ātmaśravaṇayogyaprayatnena A mānasena smṛtimātreṇa A pūrvoktanyāsasaṁyuktaḥ kara-śuddhyādi-vaśinyādyantanyāsasaṁyuktaḥ A The various kinds of japa practice are mentioned. Nigadena means verbal expression. By only the labour necessary to make oneself hear produced from the rāga of division.137 Mānasena means by memory only. Pūrvoktanyāsasaṁyuktaḥ means associated with the instillation starting with puriication of hands up to vaśinī, etc. mudrāsaṁnaddhavigraho yonimudrābandhena kavacitasvadehaḥ A padmarāgādītyatrādiśabdena ratnāntaraṁ gṛhyate A mṛganābhiḥ kastūrikā A akṣamālām A akṣamālāśabdasya mukhyārthastvādikṣāntā varṇamālā A atrābhiyuktavacanam — itīritā sakalajagatprabhāvinī kramotkramakramaguṇitārṇamālikā A abhīṣṭasādhanavidhaye ca mantriṇāṁ bhaven manu-pratipuṭitākṣamālikā AA iti A (PrS 8.26) Mudrāsamanaddhavigraho indicates the protection of one’s own body through the bond of yoni-mudrā. The term ādi in padmarāgādi indicates other jewels. The navel of the deer is musk. The primary meaning of akṣamālā is the garland of 137 This refers to the outlow of the paśyantī stage. aPPendix a | 269 letters starting from a to kṣa. Here, the words of an authority [are cited] “The garland of letters is described as interwoven with the sequence which surpasses the sequence of the sequence and which affects totality of existence. The garland of letters enclosed by mantra is the practice for attaining the desires of the practitioners” (PrS 8.26). tāṁ vihāyātra muktāphalādirgauṇārtho gṛhyate A mahāmukhyārthastu kāraṇeśvarīpaṅktisaṁvinmārgajapavidhau draṣṭavayḥ A taduktaṁ śrīmahāgurubhiḥ — matparaṁ nāsti tatrāpi jāpako ’smi tadaikyataḥ A tattven japa ityakṣamālayā diśasi kvācit AA iti AA (ŚiSto 3.17) Abandoning that meaning, the subsidiary meaning is here understood to denote pearls, etc. The supreme, primary meaning should be seen in the process of recitation through the channel of consciousness of the circle of the causal goddesses. As it is said by Śrī Mahāguru,138 “Somewhere you indicate by the garland of letters that even there [in the supreme state] there is nothing other than me. Being associated with that I become the reciter and the recitation is by Thatness”. samāhṛtya gṛhītvā A yantritaḥ caryāpādoktakrameṇa saṁyataḥ A mantravigraho mantranyastadehaḥ A japtvā japitvā A japaśabdanirvacane ’bhiyuktoktiḥ — mantratattvāpramādo yaḥ sa japo janmapālanāt A janma mantrasatattvaṁ tatpālanaṁ tadvimarśanam AA iti asau pāramarthiko japaḥ A japavidhāvabhiyuktoktiḥ — atra tu varṇavṛttirūpa iti viśeṣaḥ A pamdāsanaḥ prāgvadano ’pralāpī tanmānasas tarjanirvarjitābhiḥ A akṣasrajā vā ’ṅgulibhir japet taṁ nātidrutaṁ nātivilambitaṁ ca AA iti (PrS 20.39) Samāhṛtya means collecting. Yantritaḥ means “disciplined” through the process mentioned in caryāpāda. Mantravigraha refers to the instillation of the body with the mantras. Japtvā indicates recitation. Explicating the word “recitation” an authority says, “By the pālana of janma there is that recitation which is free from carelessness with regards to the essence of mantra. Janma is the intrinsic nature of mantra whereas pālanam is the awareness of that.” This is the transcendental recitation. Here, the specialty is the recitation of the letters. With regards to 138 The authority here is Utpaladeva. 270 | the Goddess Within and Beyond the three Cities the process of recitation, the authority says, “Being seated in the lotus posture, facing east, keeping silence, relecting That in the mind, one should recite [the mantra] using an akṣamālā or by using all the ingers except the index, neither in a rapid nor in a very slow manner” (PrS 20.39). etasyā vidyāyaḥ A khecarimelanaṁ yoginībhiḥ sahāsikā A vidhivad yathāśāstram A rudramūrtirivāpara iti śāpānugrahkṣamo mahāyogī bhavatīti A kartā anugrahvidhau śrayādisaṁyojanasamarthaḥ A hartā nigrahavidhau śrayādisaṁharaṇpravīṇaḥ A svayam A siddhamantraḥ sādhakra ityarthaḥ A siddhirnāma devatātmatvena prakāśamānatā A taduktamabhiyuktaiḥ — siddhirnām manūnāṁ hi devatānāmahaṅkṛte A dṛḍhatvaṁ tacca tādrūpyatādātmyāmarśanādibhiḥ AA iti A iyaṁ mahāsiddhiḥ A iha hi laukikī siddhir ucyate A prasannaḥ atiprasannaḥ praśāntamāyākāluṣyaḥ A muditaḥ pratyabhijñāta-śaṅkarātmasvabhāvānuttarānanda-camatkāraḥ A dhīraḥ punaḥ punar vibhāvitamaheśvarasvarūpāmarśana-tadupaniṣatsārasaṁgraḥ A svacchandagatiḥ — yogi svacchandayogena svacchandagaticāriṇā A svacchandapadavīlīnaḥ svacchandasamatāṁ vrajet AA (SvT 3.260) ityāmnātanītyā vidhiniṣedhāgocara-niryantraṇa-mahārahasya-śiva īśvaraḥ samastavibhūtiprasavāvaniḥ AA mārgānupraviṣṭaḥ A Etasya refers to vidyā. Khecarīmelanaṃ refers to sitting with the yoginī. Vidhivad indicates that it is according to śāstra. By mentioning rudramūrtirivāpara one becomes a great yogī capable of cursing and giving boons. Kartā refers to one capable of linking prosperity with the bestowal of grace. Hartā refers to one capable of destroying prosperity in the process of concealment. Svayam indicates the practitioner whose mantra is perfect. Siddhi is the illumination of oneself in the form of God. As is said by the authority “Siddhi is the perfection the I-ness of the gods of the mantras and that is through the relection, association, similarity of form, etc.”. This is the supreme siddhi. Here, the ordinary siddhi is mentioned. Prasannaḥ means the overjoyous one whose deilement of māyā is ceased. Mudita refers to the ecstasy of the transcendental bliss through the realization of one’s own Śivahood. Dhīraḥ is the relection of the Maheśvara form, meditating again and again on the collection of the essence of the secret. As the Āgama says, “By the yoga of svacchanda, a yogī, moving by free will, submerged in the state of ultimate aPPendix a | 271 freedom, attains equality with svacchanda” (SvT 7.260). So the svacchandagati (“one who has free movement”) is one who has entered the path of Śiva, that supreme secret beyond prohibitions and injunctions. Īśvara is the foundation of the arising of all the glories. Artharatnāvalī on Nityāṣoḍaśikārṇava 5.7-17 muktāphalāmalamaṇītyārabhya akṣamālāṁ samāhṛtyetyantaḥ ślokasamudāyo ’kṣamālāsādhanaprakāropadeśakaḥ spaṣṭārthaḥ A tripurīkṛtavigraha ityārabhya japtvā tripurasundarīmityantāḥ ślokā japasaṁkhyāvācakāḥ spaṣṭārthāḥ A vidhivajjāyat ityārabhya svacchandagatirīśvara ityantagrantho mūlavidyāphalavacanaḥ spaṣṭārthaḥ AA The group of verses beginning with muktāphalāmalamaṇi and ending with akṣamālāṁ, teach the method of the mālā practice and is thus clear. The verses starting from tripurīkṛtvā and ending with japtvā tripurasundarī denote the numbers of recitations and are thus clear. The text starting from Vidhivajjāyat and ending with svacchandagatirīśvara mentions the fruits of the mūla-vidyā. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 5.7-17 nigadenetyādi A kṛtanigraho ’ntasthāvaśyaṁbhāvi-sarvavidhi-vihitasiddhāravāyopadeśino ’yamarthaḥ A pūrvoktanyāsayogenātmakalevaraṁ tripurīkṛtyāntarbāhyāgānurūpeṇa kṛtopacārārcananavamudrādarśanākṣamālāgrahaṇādi kṛtvā yathākāmaṁ japetditi A tato nigadena nijānubhūtivyaktena, upāṁśunā nijaśrutivyaktena mānasena manogatena sarvopacāreṇa japet A muktāphalāmalamaṇiriti A nirmalamuktāmaṇiriva sthitaṁ sphuritam A lakṣamātramityādi gatirīśvara ityantaḥ spaṣṭārthaḥ AA This meaning is to be mentioned to one who has controlled [himself] by internalization [of the senses] and who is certain to attain all the siddhis mentioned through all the injunctions. Transforming one’s body into Tripurasundarī through the yoga of the previously mentioned nyāsa, worshipping with the objects according to the exoteric and esoteric yāga, revealing the nine gestures and grasping the mālā, one should recite as much as he desires. After that one should recite by all practices by (i) nigada, according to one’s own experience; (ii) upāṁśu, expressing to make self-audible; and (iii) manasā, or mentally. [One’s mālā should be] like stainless pearls that are glistening. Beginning with lakṣamātra and ending with gatirīśvara [the text] is clear [and needs no explication]. 272 | the Goddess Within and Beyond the three Cities Nityāṣoḍaśikārṇava 5.18 nigadena yadā japtaṁ lakṣaṁ copāṁśunā kṛtam A mānasena maheśāni koṭijāpaphalaṁ labhet AA 5.18 AA O Maheśāni, by the upāṁśuna [method] one would attain 100,000 times more fruit than through the nigada method. And by the mānasa method, still 1,000,000 times more fruit would be attained. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 5.18 nigadenetyasyāyamarthaḥ — uccair bhāṣeṇa lakṣajapasya phalam upāṁśvekena labhyate A upāṁśurūpasya koṭijapasya phalaṁ mānasenaikena labhyata iti A atrābhiyuktavacanam — uccāro manasā sthānadhyānavarṇaprakalpanāt A mānaso japa ityukto yogamārgapravartakaḥ AA upāṁśurnijakarṇaikagocaraḥ siddhidāyakaḥ A suspaṣṭavacanoccāro vācikaḥ siddhidāyakaḥ AA (SiPā) The meaning of nigadenetyasya is that the result attained through one lakh audible recitation is attained by one upāṁśu recitation. One crore of upāṁśu recitation is obtained through a single mental recitation. Here is the saying of an authority: “Mental recitation is expressing on the mind meditating on the seats, the form, and the letters which lead one on the path of yoga. Upāṁśu recitation is hearing only by one’s own ears and which provides the siddhis. Vācika recitation is an expression through clearly audible words and provides siddhis” (SiPā). atra mānavaṁ vacanam — vidhiyajñājjapo yajño viśiṣṭo daśabhirguṇaiḥ A upāṁśuḥ syācchataguṇaḥ sāhasro mānasaḥ smṛtaḥ AA (2.87) iti AA Here is the saying of Manu “The sacriice of japa is ten times higher than the sacriices made by injunctions. The recitation by upāṁśu is one hundred times greater, and the mental recitation a thousandfold so” (2.87). Artharatnāvalī on Nityāṣoḍaśikārṇava 5.18 nigadenetyādi A vācikalakṣajapaphalamupāṁśunā japtaṁ koṭijāpyaphalamekena mānasena labhyate A vācikopāṁśumānasānāṁ lakṣaṇaṁ aPPendix a | 273 śrīsiddhanāthapādairuktaṁ — uccāro manasā sthānadhyānavarṇaprakalpanāt A mānaso japa ityukto yogamārgapradarśakaḥ AA upāṁśurnijakarṇaikagocaraḥ siddhidāyakaḥ A suspaṣṭavacanoccāro vācikaḥ suviśuddhidaḥ AA (iti) AA The result of one lakh vācika recitation equals one upāṁśu recitation, and one mānasa equals one crore of that. The characteristic of the vācika, upāṁśu, and mānasa methods is mentioned by Śrī Siddhanātha Pāda: “Mental recitation is the mental practice of meditating on the seats, the form, and the letters which reveal the path of yoga. Upāṁśu recitation is hearing only by one’s own ears and which provides the siddhis. Vācika recitation is an expression through clearly audible words and provides siddhis.” Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 5.18 nigadenetyādi A prāgeva “sahasraṁ yadi vā japet” (v.5) iti bhūtabhītānāṁ sahasrasaṁkhyānigadādayo gṛhyante A ata eva nigadena japtaṁ sahasraṁ yathā japtam eva na nārthata evetyarthaḥ A upāṁśujaptaṁ sahasra nigadaṁ lakṣajapasamaṁ bhavati A manasāvartitaṁ japaṁ sahasraṁ nigadajapakoṭirjāyate AA By the previous statement, “or one should recite a thousand times” (v.5) a thousand nigada recitations is recommended for those afraid of the world. Although doing a thousand recitations, nigadajapa is done without [awareness of] the meaning. A thousand upāṁśu recitations equals 100,000 nigada recitations. A thousand mental recitations equals one crore nigada recitations. Nityāṣoḍaśikārṇava 5.19-20 yatra vā kutraciddeśe liṅgaṁ vai paścimāmukham A svayambhu bāṇaliṅgaṁ vā itaradvāpi suvrate AA 5.19 AA O Suvrata, in whichever country there is a westward facing, self-arisen liṅga,139 a bāṇa liṅga,140 or a mercury liṅga141. . . tatra sthitvā japellakṣaṁ tripurīkṛtavigrahaḥ A 139 Visualized in the navel region. 140 Visualized in heart region. 141 Visualized in ājñā. 274 | the Goddess Within and Beyond the three Cities tato bhavati deveśī trailokyakṣobhako naraḥ AA 5.20 AA . . . transforming oneself into Tripurā one should recite [the mantra] 100,000 times. O Mistress of the gods, at that point the aspirant becomes the stimulator of the three worlds. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 5.19-20 svayambhubāṇetaraliṅgānāṁ madhye ’nyatamaliṅgasannidhau japedityāha — yatreti dvayena A yatra kutraciditi medhyāmedhyavikalpo na kartavyaityāha AA One should place oneself close either to a svayambhū, bāṇa, or itara liṅga and do recitation. Yatra is connected with the dyad. By saying “wherever” one should not relect on whether or not the place is pure or not. Artharatnāvalī on Nityāṣoḍaśikārava 5.19-20 yatra vā kutraciddeśe liṅgaṁ vai paścimāmukham A svayambhūr bāṇaliṅgaṁ vā itaraṁ vāpi suvrate A ityasya — asmin śarīre yatra kutracid mūlādhārapradeśe paścimābhimukhaṁ svayambhuvācakaṁ jyotirliṅgaṁ sphurati yatra sthitvā lakṣaṁ japet A [The exposition] of this [verse is as follows] Facing west, one should seat oneself within the body in that place of the mūlādhāra where there is the light-liṅga, denoting the self-arisen, and therein do a 100,000 recitations. tathā ’smin śarīre yatra kutrācidādhārapradeśe hṛdayakamalopalakṣite bāṇavācakaṁ jyotirliṅgaṁ samullasati tatra sthitvetyādipūrvavat A tathā yasmin kasmiṁścitpradeśe ādhāre bhrūmadhye itarākhyaṁ jyotirliṅgaṁ tiṣṭhati tatra sthitvetyādi pūrvavat A Similarly, within the body, in the place of the foundation, marked by the heart lotus and expressing the light-liṅga, which denotes bāṇa, therein, one should recite as previously indicated. athavā bāhye yatra kutracit pradeśe svayambhuliṅgaṁ paścimābhimukhaṁ tiṣṭhati, tathā bāṇaliṅgaṁ sthāpitaṁ tiṣṭhati, itaraṁ parvataliṅgaṁ vā paścimābhimukhaṁ tiṣṭhati, nandigaṇeśādirahitasthānamanviṣya prāpya tatra sthitvā lakṣaṁ japed iti bhāvaḥ A tad uktaṁ uttarṣaṭke — paścimābhimukhaṁ liṅgaṁ yonisthaṁ parikīrtitaṁ A svayambhūrbāṇaliṅgaṁ vā itaraṁ vāpi suvrate AA iti AA aPPendix a | 275 Likely, in that place of the foundation between the eyebrows where the lightliṅga named itara exists, one should therein sit and practise as previously indicated. Otherwise, in whichever external places the svayambhū-liṅga exists, facing westward; or, if there is an established bāṇa-liṅga; or, if there is parvataliṅga, facing westward; then, seeking such a place, sitting where Gaṇeśa and Nandī are not themselves seated, one should recite 100,000 times. This is the meaning. As it says in the Uttaraṣaṭka, “O Suvrata, whether svayambhū, bāṇa, or itara, if it is seated in the yoni it is called westward facing”. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 5.19-20 yatra kutracid ityādigranthārtho bahirantarbhāvena dvividhaḥ A antasthaṁ mūlādhārahṛdayabhrūmadhyeṣu paścimāmukham142 ūrdhva-sphuracchaktir jyotirbinduliṅgāni svayambhubāṇetarākhyāni syuḥ A The meaning of the verse is twofold, according to the external and internal conditions [of Tantric yāga]. The internal [liṅgas] are in the mūlādhāra, hṛdaya, and ājñā. Facing westward with their śakti radiating upward, the liṅgas made of the drops of light are mentioned as svayambhū, bāṇa, and itara. tatra tatra krameṇa sthitvā tattal liṅgam api lakṣīkṛtya mānasaṁ lakṣaṁ japet A bāhye ’pi svayamāvirbhūtaṁ liṅgaṁ, bāṇaliṅgākhyaṁ bhaktyā pūjitaṁ narmadāliṅgaṁ bāṇaliṅgaṁ itarasthāpitaṁ parvatabhavaṁ paścimābhimukham A nandikeśādirahitaṁ tiṣṭhati cet tatra sthitvā lakṣaṁ japed iti AA Sitting successively in those placing and focusing on the particular liṅgas there, one should do 100,000 mental recitations. Even the external liṅga can be selfarisen. The bāṇa liṅga worshipped with devotion is the liṅga arising from the Narmadā River. The liṅga discovered in the mountains, facing westward is called itara. If the liṅga is not accompanied by Nandī, etc., then one should sit there and do one lakh recitations. Nityāṣoḍaśikārṇava 5.21-23 evaṁ japyaṁ yathāśaktiḥ kṛvādau sādhakottamaḥ A homaṁ kuryād daśāṁśena kusumair brahmavṛkṣajaiḥAA 5.21 AA A good practitioner, regarding his capacity, maintaining all these [injunctions] 142 The original manuscript reads paścimāmukham ardhva. V.V. Dwivedi suggests paścimāmukhanyūrdhva. The likely reading is paścimamukhamūrdhva. 276 | the Goddess Within and Beyond the three Cities should recite thus through one tenth of the mantra recited one should offer the lower from the brahmavṛkṣa . . . kusumbhakusumairvāpi trimadhvaktairyathāvidhi A tato bhavati vidyeyaṁ mahāvighnaughaghātakī AA 5.22 AA . . . or with kusumbha lowers, or with three sweets according to the injunction. Then, this vidyā becomes the destroyer of all the great obstacles. sarvakāmapradā devi bhuktimuktiphalapradā A yonikuṇḍe bhagāṅke vā vartule vārdhacandrake AA 5.23 AA O Goddess, [this vidyā] provides all desires and the fruit of pleasure and liberation. Either in the yoni irepit or in the bhaga irepit or in a circular or crescent. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 5.21-23 japyaṁ japamA homaṃ kuryāditiA cidvikāsena vedyasya tadvilāsasya tattayāA parāmarśo mahāhomaḥ paripūrṇamahāphalaḥ AA ityakalpitārcāparāmarśahomopaniṣatA iha tu tadāptaye gauṇo homavidhiḥA daśāṁśena japād daśāṁśenaA brahmavṛkṣaḥ palāśaḥA tadudbhavaiḥ samitpuṣpādibhiḥA kusumbho vahniśikhaḥA trimadhu śarkarā ghṛtaṁ madhuA aghaṁ pāpam AA The repetition [of mantras] should be done. The sacriice should be done. The great sacriice is the recognition of the objects [of perception] as the manifestation and multiplication of consciousness. This is the perfected fruit [of meditation]. The secret is that the sacriice is the recognition of a worship devoid of mental constructs. Herein, the injunction made for the [great] sacriice is itself a secondary sacriice in order to achieve [that] highest of rituals [which is the form of this recognition]. The term ‘1/10th ’ indicates that there is 1/10th recitation [of the mantras]. The term Brahmavṛkṣa refers to the Butea frondosa tree. [For the sacriice one should gather] food and lowers from this plant, which is termed the lame of the forest. Kusumbha means saflower. By three sweets is meant sugar, ghee and honey. Agha means sin. Nityāṣoḍaśikārṇava 5.24-27 navatrikoṇakuṇḍe vā caturasre ’ṣṭapatrake A aPPendix a | 277 yonikuṇḍe bhavedvāgmi bhage cākṛṣṭiruttamā AA 5.24 AA . . . or in the irepit made of nine triangles, or a square, or eight petals. [By sacrificing] in the firepit-shaped yoni one becomes a fluent speaker. [By sacriicing] in the bhaga irepit one perfectly attracts [the objects of one’s desires]. vartule ca bhavellakṣmīrardhacandretrayaṁ labhet A navatrikoṇakuṇḍe tu khecaratvaṁ prapadyate AA 5.25 AA [Sacriicing] in a circular pit one attains prosperity. In a crescent, one attains all three [results]. One attains light [by sacriicing] into the nine-triangled irepit. caturasre bhavecchāntirlakṣmīḥ puṣṭirarogatā A padmāṅke sarvasampattiracirādeva jāyate AA 5.26 AA One attains peace, prosperity, well-being, and good health [by sacriicing] into a square irepit. cakre ’ṣṭakkoṇasubhage samīhitaphalaṁ labhet A mallikāmālatījātīpuṣpair ājyapariplutaiḥ AA 5.27 AA By offering the mallikā, mālatī, and jātī lowers, mixed with ghee, into the eightfold Subhaga-cakra143 one instantly attains all fruits. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 5.24-27 yonikuṇḍe aśvatthadalākāre A bhagāṅke manmathāvāsabhūmau A vartule vṛttākāre A ardhacandrake ardhacandrākāre A navatrikoṇakuṇḍe navatrikoṇākāre kuṇḍe A aṣṭpatrake aṣṭadalākāre A ākṛṣṭirākarṣaṇam A padmāṅke aṣṭadalākārakuṇḍe A cakre ’ṣṭakoṇasubhaga ityasyāyamarthaḥ — aṣṭabhiḥ koṇaiḥ subhage cakre, cakrākāre kuṇḍe iti yāvat AA Yonikuṇḍe is the shape of the aśvattha leaf. Bhagāṅke refers to the residential ground of Kāmadeva. Vartula means circular. Ardhacandra means half-moon shaped. Navatrikoṇakuṇḍa indicates a irepit formed by nine triangles. Aṣṭapatraka means shaped of eight petals. Ākṛṣṭi is attraction. Padmāṅka indicates a irepit shaped of eight petals. The meaning cakra ’ṣṭakoṇasubhaga is that in the Subhaga143 The eight-pronged irepit is not always the same as the eight-petalled lotus. The former is linked to the external sacriice and the later to the internal. The desires linked with each differ in certain sādhanās. However, the ultimate aim is achieved when the desires become one. At that point the internal and external sacriices are linked like the incoming and outgoing breaths in a singular rhythm of consciousness. 278 | the Goddess Within and Beyond the three Cities cakra, comprised of eight angles; or, in the circle. Artharatnāvalī on Nityāṣoḍaśikārṇava 5.21-27 bhagāṅke ityaśvatthapatrākṛtiriti bhāvaḥ AA Bhagāṅka means shape of the leaf of aśvattha. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 5.21-27 homaṁ kuryāddaśāṁśenetyārabhya kālamṛtyuyamādibhirityantaḥ ślokasamudāyaḥ kuṇḍalakṣaṇahomadravyatatphalavāco prāyaḥ spaṣṭārthaḥ A tatrāpi bhagāṅke aśvatthapatrākṛtau AA The collection of verses starting from homaṁ kuryāddaśāṁśena and ending with kālamṛtyuyamādibhir mentions the nature of the irepit, the objects of sacriice, and the fruitions of that, and is almost clear. Even there, bhagāṅke means in the shape of the aśvattha leaf. Nityāṣoḍaśikārṇava 5.28-33 hutair bhavati vāgīśo mūko ’pi parameśvari A karvīrajapāpuṣpāpyājyayuktāni pārvati AA 5.28 AA O Parameśvarī, even one who is mute becomes the lord of speech by sacriice. O Pārvatī, by sacriicing the karavīra and japā lowers mixed with ghee . . . hutvākarṣayate mantrī svarbhūpātālayoṣitaḥ A candrakasturikāmiśraṁ hutvā kuṁkumamīśvari AA 5.29 AA . . . the mantra reciter attracts the damsels of heaven, earth, and pātāla. O Īśvarī, by sacriicing kumkuma mixed with camphor and musk . . . tatra kandarpasaubhāgyāt sa saubhāgyādhiko bhavet A campakaṁ pāṭalādīni hutvā ’sau śriyamāpnuyāt AA 5.30 AA . . . one surpasses the prosperity of Kāmadeva. One attains prosperity by sacriicing the campaka,144 pāṭala, and other lowers. śrikhaṇḍamaguruṁ vāpi karpūraṁ purasaṁyutam A hutvā ’marapurandhrīṇāṁ devi vikṣobhako bhavet AA 5.31 AA O Devī, by sacriicing sandalwood or aguru or camphor mixed with pura [one] 144 A reference that directly links Nepalese Śrī-Vidyā to the cult of Cāṅgu Nārāyaṇa, the Lord of the campaka lower. aPPendix a | 279 becomes the stimulator of the concubines of heaven. hutvā palaṁ trimadhvaktaṁ kṛtvā smṛtvā maheśvarīm A khecaro jāyate devi gatvā naktaṁ cautṣpathe AA 5.32 AA Making a mixture of meat, honey, and sugar, and meditating on the Supreme Goddess, O Devī, one becomes a sky roamer. Going to the crossroads at night . . . tathā dadhimadhukṣīramiśrāṁllājān maheśvari A hutvā na bādhyate rogaiḥ kālamṛtyuyamādibhiḥ AA 33 AA . . . O Māheśvarī, sacriicing lājā mixed with curd, honey, and milk, [one] is never bound by disease, Kāla, Mṛtyu, Yama, etc. iti śrī nityāṣoḍaśikārṇave pañcamaḥ paṭalaḥ A granthaśca parisamāptaḥ AA Thus comes to a completion the ifth chapter and with it the Śrī Nityāṣoḍaśikārṇava. Ṛjuvimarśinī on Nityāṣoḍaśikārṇava 5.28-33 vāgbhavabījamātrasādhane ’pi mallikājātyādibhiḥ śvetapuṣpaiḥ sārasvatasiddhaye homa ityarthaḥ A mallikāmālatītyādi A atra vikasitairanāghrātaiḥ sugandhibhiranu(ṣṭhi)taiḥ puṣpairiti tātparyam A uktaṁ ca — mukulaiḥ patitairmlānaiḥ śīrṇairvā jantudṣitaiḥ A āghrātairaṅgasaṁspṛṣṭairuṣitaiścaiva nārcayat AA iti A (PrS 6.53) Even in the practice of the vāgbhava mantra alone, the sacriice is said to obtain the siddhi connected with Sarasvatī by offering the white lowers like mallikā, jātī, etc. Mallikāmālatī indicates the unsniffed, fully bloomed, and fragrant fresh lowers. It is said, “One should not offer the buds or fallen lowers or faded or torn or damaged or sniffed, touched or ragged” (PrS 5.53). hutairityādi A hutaiḥ homaiḥ A vāgīśaḥ vācaspatiḥ A candrakastūrikāmiśram A idaṁ kuṁkumasya viśeṣaṇam A candraḥ karpūraḥ A tatra home A asau hotā A śrīkhaṇḍaṁ candanam A puraṁ gugguluḥ A amarapurandhrīṇām apsarasām A palaṁ māsam A kālamṛtyumādibhiriti A ādiśabdena vyādhirlakṣyate A kālo ’vacchedakaḥ A mṛtyuḥ mārayitā A yama uparamayitā A vyādhiḥ cintākaraḥ A śarīropatāpalakṣaṇo rogaḥ A Hutaiḥ means sacriice. Vāgīśaḥ is the lord of speech. Candrakastūrikāmiśram is an adjective for kumakuma. Candraḥ means camphor. Tatra refers to that sacriice. 280 | the Goddess Within and Beyond the three Cities Asau is the sacriicer. Śrīkhaṇḍam is sandalwood. Puram is gugguluḥ. The meat is the lesh of the celestial maidens who are the consorts of the immortals. The term ādi means disease. Time is the constricting factor. Mṛtyu causes death. Yama is the rest giver. Vyādhi is that which causes sorrow. Jvara is a disease, i.e. fever. idamasya hṛdayam — kālo mṛtyuramo vyādhistattvatastveka eva tu A vṛttyantaraviśeṣeṇa paryāyeṇābhidhīyate AA sarvāvacchedakaḥ kālo mṛtyurmārayitā ca saḥ A yamanādyam evāyaṁ vyādhiścintāprado hi saḥ AA The essence of this is “Kāla, Mṛtyu, Yama are in fact one only, but are called by these distinct names to distinguish their different activities. Kāla is the limiter of the whole and he is also Mṛtyu because he kills others. And he is Yama due to causing restrictions. And he is himself vyādhi, being the provider of cintā”. ityukadiśā bahuvikārapradā etāḥ śarīrāyāsakāriṇyo vikalpodayabhūmayo ’vasthāḥ kalayāmi katipaya-kālaśarīra-sthitikṛttridasāhāranyakkāritamahāhantā-mahāmṛtramahodadhinimajjaddehādipramātṛkasya samāveśarasāsvādanipuṇasya mahāyogijanasya — jīvanneva vimukto ’sau yasyeyaṁ bhāsanā sadā A yaḥ śivaṁ bhāvayennityaṁ na kālaḥ kalayecca tam AA (SvT 7.259) A ityāmnātanītyā na kadācit sambhāvanāpratyayaviṣayatāṁ bhajantīti śivam A In this speciied way these are the providers of very many obstacles and the creators of pain in the body, never becoming the object of probable ideas. For the great yogī becomes perfect by tasting the nectar of absorption by having the thought “I absorb the grounds of the arising of vikalpa”. Of that one whose body awareness is submerged in the great ocean of the supreme nectar of ultimate I-ness, subduing body-ness, which is the food of Yama, the body is sustained for a limited period of time. According to the way explained in the Āgama, “He who always meditates on Śiva cannot be limited by time. He is liberated while living” (SvT 7.259). evaṁ prajalpitaṁ mātastvadbhaktyudrekato mayā A samañjasaṁ detaradvā tat te soḍhavyamamba he AA O Mother, thus I have talked excessively, inspired by the ecstasy of your devotion. Whether correct or not, O Mother, you have to excuse [me]. aPPendix a | 281 prasṛtā bhāratījyotsnā śivānandedumaṇḍalāt A kudeśikamahādharmasanaptaiḥ sevyatāṁ ciram AA The light of the knowledge expanded from the maṇḍala of Śivānanda, should be ingested by those suffering from the great sun of bad teachers. iti paramarahasyaṁ prāptasatsampradāyaṁ spuṭavivṛtivilāsaṁ pronmiṣaccakrarājam A nipuṇamatiniṣevyaṁ nirgatāśeṣadoṣaṁ vivaraṇamakṛtedaṁ śrīśivānandayogī AA Śivānanda Yogī composed this lawless exposition of this great secret through attaining the true lineage which is the play of the clear exposition wherein there is the expansion of the King of the Wheel. This exposition should be digested by those of perfect mind. ekatriṁśatrikadvandvatattvātmaparameśituḥ A parānugrahasṛṣṭyaṁśatritayaṁ hṛdayaṁ numaḥ145 AA We bow to the heart which is the collection of the three limbs of this creation of the supreme bliss of the Supreme Goddess whose nature is 37 (31 and three twos). evamṛjuvimarśinyāṁ nityāṣoḍaśikārṇave A śivānandaparāmṛṣṭaḥ pañcamaḥ paṭalo gataḥ AA Thus, in the Ṛjuvimarśinī on the Nityāṣoḍaṣikārṇava, composed by Śivānanda, the ifth chapter is now complete. Artharatnāvalī on Nityāṣoḍaśikārṇava 5.28-33 vāgbhavabījasādhane homadravyam — mallikāmālatītyādi A śvetapuṣpaiḥ sārasvatasiddhaye homaḥ kāryaḥ A karavīrajapāpuṣpāṇi vaśyārthamiti A karpūādi saubhāgyārtham A puraṁ gugguluḥ A etadapi vaśyārthe A palaṁ mahāmāṁsādi A dadhimadhukṣrīralājādi kālajiddhomārtham A homaṁ kuryāddaśāṁśenetyārabhya hutvā na bādhyate rogaiḥ kālamṛtyu yamādibhir atyantaḥ ślokasamudāyaḥ kuṇḍalakṣaṇahomadravyatatphalavacanaḥ AA AA iti śrīvidyānandaviracita catuśśatīṭippaṇe ’rtharatnāvalyāṁ tripurājaparhomopadeśaḥ pañcamaḥ paṭalaḥ AA 145 This is a reference to the tattvas. The number thirty-seven refers to the transcendent principle, Paramaśiva-Tattva. For the sake of metre completion this is read as trikadvandva (two X three = Paramaśiva, Śiva, Śakti, Sadāśiva, Īśvara, and Śuddhavidyā). 282 | the Goddess Within and Beyond the three Cities In the sādhana of vāgbhavabīja the materials of sacriice are mallikā, mālatī, etc. One should perform the sacriice with white lowers for the perfection of Sarasvatī. The lowers of karavīra and japā are for controlling [others]. Camphor, etc. is for prosperity. Puram is gugguluḥ. It is also for controlling. Palam is the 146 great meat. Curd, honey, milk, roasted corns, etc. are for the sacriice to conquer death. The verses beginning with homam kuryāddaśāṁśena and ending with kālamṛtyumādibhir mention the different types of ire sacriices and their results. Herein comes to an end the Artharatnāvalī composed by Vidyānanda [as an exposition] on the text of four hundred verses, teaching the recitation and sacriice of the three cities. Madrāsī Artharatnāvalī on Nityāṣoḍaśikārṇava 5.28-33 vāgbhavabījasādhane ’pi mallikājātibhiḥ śvetapuṣpaiḥ sārasvatasiddhaye homaḥ, karavīrajapāpuṣpāṇi vaśyāya, karpūrādi tatsaubhāgyasiddhaye A puraṁ gugguluḥ A etadapi vaśyāya A palaṁ mahāsavamāṁsādi A dadhimadhukṣrīramiśrairlājaiḥ kalahādivijayāya A iti śubham AA Even in the sādhanā of the vāgbhavabīja, the sacriice is performed for the perfection of Sarasvatī with the white lowers mallikā and jātī. The karavīra and japā lowers are for controlling. Camphor is for the perfection of those prosperities. Puram is gugguluḥ. It is also for controlling. Palam is great wine, meat, etc. To the conqueror of quarrels, sacriice is performed with objects like roasted corn mixed with curd, honey, and milk. Thus it is complete. 146 Often this is human lesh. Appendix B Index of Śrī-Vidyā Paddhatis at Nepal’s National Archives Title Script Folio Reel # Colophon (Col) 1. Tripura-kālīpūjana-vidhi New 2. Tripura-dāha-nāṭaka New/ Maith 3. Tripura-dīpayāgavidhi New 4. Tripuradevārcana Skt/New 5. Tripuradevārcanapaddhati New 14 H 376/21 Tantra no. H 6759. 6. Tripuradevārcanapaddhati New 49 E 972/8 C o l : ( i ) Iti tripura-devārcana-pūjā-vidhi. ( i i ) Iti purvāmnyāya-nityakarma devārcana-vidhi samāptaḥ. (iii) Pādukādevārcanavidhi samāpta. (iv) Iti sidhilakmṣmīṣa devārcana-pūjā-vidhi samāpta. (v) iti tripura-devārca-pūjāvidhi. (vi) Iti trailokya-yāmale sidhilakṣmīkavacam samāptaḥ. 7. Tripuradevīhṛdaya Maith Thyas E 520/5 221G E 2989/7 350 G 124/2 Dev Maith New Skt = = = = Devnāgarī Maithilī Newārī Sanskrit Dev śrījaya ’śrīnivāsa-malla-deva nareśvara mṛgāvati devipatijaya pratāpā AA tamaya ’śrī yoganarendra rājakumārā. Authored by Śrīnivāsa Malla. E 52414. H 276/12 24 E 409/9 Tantra running no. E 8444. H 356/27 Tripura-bhairavī-sahasra-nāmastotra [from] Col: (i) [Ādau] Athau Tripura-bhairavī-kavacaṁ. (ii) [Ante] Viśvasāratantre Śrī Tripura-bhairavī-sahasra-nāmastotra. the Goddess Within and Beyond the three Cities 32 8. Tripura-bhairavamantra 9. Tripurabhairavīkavaca 284 | A. Private Manuscripts 10. Tripura-bhairavī-pūjā E 463/6 No. E 9659. 11. Tripurapūjā-bhairavī-pūjāPaddhati C 59/5 No. C 652. 12. Tripura-bhairavī-sahasranāma-stotra H 356/27 From Viśvasāratantra. Thyas E 168/23 See: Gaṇapati-mantroddharaṇa. 13. Tripura-bhairavīstava Thyas E 168/23 See: Gaṇapati-mantroddharaṇa. 14. Tripura-bhairavīstotra New 7 G 178/24 15. Tripura-bhairavīstotra Dev 4 E 1533/19 Iti śrī tripura-bhairavī-stotraṁ saṁpūrṇaṁ. E 189/5 See: Pavitrā-rohanavidhi. T 26/15 T 380. Iti śrīmac-prakāśa candra-kṛtas tripura-bheda prakāśaḥ. 16. Tripuramata 17. Tripura-mantrabheda Dev 15 18. Tripurasārasiddhānta/ Aghorāṣtramahā-vidyā 370/9 New 48 E 2846/2 Col: Iti śrī Tripura-sundaryyākarmārcana-paddhati-samāptaḥ. Iti śrī rudrayāmale harakumāra-samvāde mahāturī kavacaṁ saṁpūrṇaṁ. Scribed by Vaṁśadeva Vipra. in NS 806. With ṣoḍaśī nyāsa. 20. Tripurasundarī-karmarcane-cakra-pūjā-vidhi New 39 G 185/2 Karmakāṇḍa. 21. Tripurasundarī-karmāarcane- vidhi (Siddhilakṣmī-karma vidhi and Guhya-kālī-karmārcanavidhi) New D1/4 Col: Śrī Tripurasundarī śrīsiddhilakṣmī śrī guhyakālī karmārcana. cont. | 285 19. Tripurasundarī-karmaarcana-paddhati aPPendix B 13. Tripura-bhairavīstava Title Script Folio Reel # Colophon (Col) New 34 E 518/6 Col: (i) Iti śrī tripurasundarī-karmārcana-vidhi. (ii) Iti bhūtaḍamara-mahātantrerāje bhūtinī sādhana vidhirnavamaḥpaṭalaḥ. Damaged. 23. Tripura-karmārcan-vidhi Dev 107 G 85/14 Tantrika-karma-kāṇḍa no. G 1897. Col: Tripurasundarīkarmārcana. 24. Tripura-karmārcan-vidhi New 56 D 2/24 40 D. Col: Tripurasundarī-karmārcana vidhi. 25. Tripura-karmārcan-vidhi New 46 E 1104/9 E 22294. Col: Iti Śrī Tripurasundarī-kārc.vi-samāptaḥ mahaniyā vidhi (Navarātravidhi). Badly damaged. Both sides smeared with Haritala. 26. Tripurasundarī-karmaārcana-śrī-cakra pūjā-vidhi New 51 E 1193/5 E 24005. Col: (i) Iti Śrī Tripurasundarī Śrī karmārcana-śrīcakrapūjā-vidhi. (ii) Thvatya ugracaṇḍāpūjā. (iii) Thvate sundarīpūjā. (iv) Iti samayabali. Smeared / Haritala. Incomplete short paddhatis. Starts from cakrapūjā. With Ugra-candrapūjā. Amalgamated with Bāla mantra. Gāyatrī of Tripurā. Repetition of initial paddhati comes again. Starts from bhūtaśuddhi. Fluid for oblation. Lists Pūrṇa-varta-Pīṭha, Nityā Nyāsya, Nava Yoni Nyāsa, and other elements of sophisticated paddhatis are here. Sequence is out of order. C 21/12 C 844. See: Tulasīstava. E 1034/9 E 20738. Col: (i) Iti śrī brahma-viracitaṁ Tripura-sundaryākalāṇī stotraṁ samāpta. (ii) Iti śrī śrīvidyā-nityapūjā paddhati samāptaḥ. (iii) Iti aṣṭa-mātṛkā-pūjā-paddhati samāpta. Damaged by rats. 27. Tripurasundari-kalyāṇavṛṣṭi-stotra 28. Tripurasundarī-kalyāṇavṛṣṭi-stotra Dev 32 the Goddess Within and Beyond the three Cities 22. Tripura-karmārcanavidhi ( bhutinīsādhana) Bhūṭaḍāmaratantra 286 | Private Manuscripts (cont.) 22 E 2794/23 E 49872. Col: Iti śrī vāmakeśvarīye mahātantre Tripura-sundarīkalpe mudrājñānas tṛtīye paṭalaḥ. Incomplete. 30. Tripurasundarī-kavaca and Gurupādukāstotra New 18 D 27/12 540 D. Col: Pvt. 31. Tripura-sundarī-kavaca Dev 4 E 148/35 E2409. Col: Rudra-yāmale Śrī Tripura-sundarī-devyānandakavacaṁ. From Rudrayāmala. Patan: Rājopādhyāya. 32. Tripura-sundarī-kavaca New 66 E 413/8 E 8546. Col: Siddhi-yāmale Śrī Tripura-sundarī-kavacaṁ. Scribed: Trivikrama, son of Viṣṇurāja. Damaged. Incomplete. Pvt: Patan, Kayastha. 33. Tripura-sundarī-kavaca Dev 13 G 65/4 G 1458. Bhaktapur: Rājopādhyāya. Incomplete. 34. Tripura-sundarī-kavaca (from Kulānanda-saṁhita) New 25 G 98/9 G 2286. Bhaktapur: Rājopādhyāya. Incomplete. 35. Tripura-sundarī-kavaca New 26 G 183/23 G 3752. Bhaktapur: Rājopādhyāya. Complete. Smoke damage. 36. Tripura-sundarī-kavaca Dev 2 G 208/6 Stotra no. G 4619. Bhaktapur: Rājopādhyāya. Complete. 37. Tripura-sundarī-kavaca New 23 H 209/4 Tantra no. H 3039. Col: (from Kulānandatantra). (i) Kulānandākya tantre Śrī Tripurasundarī-kavacam. (ii) Śānti stotraṁ. (iii) Vibhūti dhāraṇaṁ. (iv) Śivoktā makarandastavarājaḥ. Scribed: Valabhadra Siṁha Dāsa. Patan: Maharjana. Incomplete. Damaged. 38. Tripura-sundarī-kavaca New 29 H 336/18 H 5680. Col: (i) Saṁpūja-udvipapaṭale kavacaprakaraṇe Tripura sundarī-kavacaṁ. (ii) Meru-āgame kailāsa-khaṇḍe, (iii) Khaṇḍe uma-maheśvara-saṁvāde ekadaśapataleśrī kubjikādevī mantranāma sahasrakaṁ.” Scribed: Jīvarāma Divajña. Patan: Miśra. Complete. 39. Tripura-sundarī-kavaca E 78/21 E 859. See: Tripura-sundarī-sahasra-nāma-stotra. 40. Tripura-sundarī-kavaca H 229/4 H 3377. See: Tripura-sundarī-mantra-nāma-sahasraka. cont. | 287 New aPPendix B 29. Tripura-sundarī-kalpa Title Script 41. Tripura-sundarī-kavaca Thys 42. Tripura-sundarī-kavaca Dev 43. Tripura-sundarī-kavaca Folio Reel # Colophon (Col) H 5857. See: Tripura-sundarī-pūjanavidhi. 2 E 2067/6 E 38597. Col: Iti Siddha-yāmale Śrīmat Tripura-sundarī-kavaca. Kathmandu: Dineshamaman. Dev 2 E 1532/65 E 29555. Col: as above  samāptaṁ. Gor: Ṣreṣṭha Complete. 44. Tripura-sundarī-kavaca New 19 I 32/31 I 585. Col: Iti Śrī śivabhāṣitaṁ śrī Tripurasundaryaḥ kramastavarājaṁ samāptam it. ns 801. Nālā: Rāmā-karmācārya. Complete. 45. Tripurasundarī-kramapañcamī-stavarāja Dev 16 E 22/22 E 150. Kathmandu: Rājopādhyāya. Complete. 46. Tripurasundarī-kramapañcamī-stavarāja Dev 30 G 209/4 G 4665. Col: Śrī rudra-yāmale śivabhāṣita daśama samhitāyam. (i) Tripura-sundarī-kramapañcamī-stava-rājaḥ. (ii) Śrī liṅga purāṇe umāmaheśvara saṁvāde haritālikā vratakathā samāpta. From Rudrayāmala. Bhaktapur: Sharma. Complete. 47. Tripurasundarī-kramapañcamī-stavarāja New 4 H 165/12 H 2236. Rudyayāmale Śrī Śiva Bhaktāṣitaṁ-saṁhitāyāṁ Śrī Tripura-pañcamīstavarājaḥ. Pokhara: Maharjana. 48. Tripurasundarī-kramapañcamī-stavarāja New 4 H 203/10 H 2941. Col. as above. Pokhara: Maharjana. 49. Tripura-sundarī-karmapaddhati New 32 E 363/6 E 7474. Kathmandu: Rājopādhyāya. 50. Tripurasundarī-kramamaṇḍala-pūjāvidhi New 100 E 1461/20 E 28560. Kathmandu: Vajrācārya. Complete. Shows links with Naṭeśvara. Not a Sarvāmnayapaddhati. 863 ns with Laghustava, Bala Tripurasundarī, and Durgā mantras. 51. Tripurasundarī-krama-vidhi New 2 E 2371 E 43996. Col: [ādau] “sya Śrī Mahā Tripurasundarī mantrasya ānanda-raurava ṛṣiḥ avyakta gāyatrī candaḥ śrī Mahā Tripura- the Goddess Within and Beyond the three Cities H 340/23 288 | Private Manuscripts (cont.) 51. Tripurasundarī-krama-vidhi (cont.) sundarī devatāḥ. [Ante:] Iti sundarīkramaḥ.” Bhaktapur: Rājopadhyāya. Complete. 52. Tripurasundarī-krama-stava E 579/7 See: Pīṭhāvatārastotra from Rudrayāmala. Stotra no. I 78. Col: Iti śrī śaṁkarācārya viracitaḥ śrī Tripurasundarī krama stavaḥ samāpta. (ii) Iti śrī guhyakālyāḥ sapta catvāringannāma stotram samāptaṁ [sic]. (iii) Iti bhairava . . . tasiśiracchede vidyā pīṭhe jayad-ratha-yāmale viśvalakṣmī stavaṁ samāptaṁ [sic]. (iv) Iti manthānā bhairave kubjikā dvādaśa stotraṁ sapāpta. (v) Iti bhairavāṣṭakaṁ samāptaḥ [sic]. Banepa: Śreṣṭha. 16 I 4/17 54. Tripurasundarī-krama-stava Dev 11 E 1614-1/18 E 31676. Col: Iti Śrī Rudra-yāmale mahāgama-prastāre śrī Tripura-sundarī-krama-stavaḥ samāptam. Gorkha: Adhikāri. 55. Tripurasundarī-krama-stava New 12 E 2813/3 E 50417. Col: Iti Śrī Śaṁkarācārya-viracitaḥśrī Tripura-sundarīkrama-stavaḥ samāptaḥ.” Kathmandu: Rājopādhyāya. 56. Tripurasundarī-krama-stotra Dev 6 E 2067/17 E 38608. Col: Iti śrī rudra-yāmale meru prastāre kāmatattva paṭale catuṣaṣṭi-yoginī ābhidhane mahātantre hede śrīmanmahā Tripura-sundarī-krama-stotram. Kathmandu: Dineshaman. Complete. 57. Tripurasundarī-jāgaraṇavidhi New 13 E 329/2 E 6721. Patan: Rājopādhyāya. Incomplete. 58. Tripurasundarī-taruṇī-śataka taruṇīśatakaṁ New/ Maith 34 I 43/8 I 748. Col: (i) Iti Śrīman Mahā Tripurasundarisamāptaṁ. (ii) Iti Śaṁkarācārya-viracitaṁ Śrī Sundari Stotraṁ sampūrnaṁ. (iii) Iti yantra-praiṣṭhā-vidhi-saṁpūrṇaṁ. (iv) Iti tantrānanda-taraṅginyāṁ pañcam ollāsaḥ. (v) Iti kāmākhyātantre devīśvara-saṁvād pūrṇābhiṣeka-kathanaṁ nāma pañcamapaṭalaḥ. Bhaktapur: Śarma. cont. | 289 New aPPendix B 53. Tripurasundarī-krama-stava Title Script Folio Thays 60. Tripurasundarīturīyākavaca Dev 4 61. Tripurasundarī-trailokyamohana New 109 62. Tripurasundarī-trailokyamoha-nāma-kavaca Colophon (Col) E 717/31 E 15888. See: Cakrabhāvanyāsa. E 2067/10 E 38601. Col: Iti Śrī Rudra-yāmalatantre Śrī Hara-kumārasaṁvāde Śrīmat Tripurasundarī turīyā-kavacaṁ saṁpūrṇam. Kathmandu: Dineshaman. Complete. E 122/2 E 1771. Col: Rudra-yāmale viśvarasaṁvāde Trailokyamohanaṁ nāma Śrī Mahā Tripurasundarī kavaca. Kathmandu: Rājopādhyāya. Complete. Dev/ New D 71/27 D 1234. See: Tripura-sundarīpūjāvidhi. 63. Tripurasundarī-trailokyamoha-nāma-kavaca Thyas G 229/6 G 5331. See: Guhya-kāli-sahasrākṣarī. 64. Tripurasundarī-trailokyamoha-nāma-kavaca Dev E 1059/11 E 21231. Col: (i) Iti Śrī Rudra-yāmale umā-maheśvarasaṁvāde Mahā Tripurasundarī-trailokya-mohanām kavacam samāptam śubham. (ii) Iti śrī siddhayāmale umā-maheśvarasaṁvāde Tripurasundarī-kavaca-samāptaṁ śubham. (iii) Iti Tripurasundarī-turīyakavacaṁ śubham. (iv) Iti Śrī Rudrayāmale parāṣoḍaśiturīta-kavaca samāpta. (v) Iti caturviṁśati sāhasrakādi-bhede śrīkubjikādevyā dvādaśavṛtta sūtra-samāpta. (vi) Iti śrī govindadāsaviractaṁ nārāyaṇastavarāja-saṁpūrṇaṁ kṛtam śubham. Kathmandu: Kamsakar. 65. Tripurasundarī-damanaārohaṇa-vidhi Thyas E 322/6 E 6495. See: Vagalāstuti. 66. Tripurasundarī-dīpayāga Dev E 153/36 E 2544. From Kula-śāsane. Patan: Rājopādhyāya. 22 18 the Goddess Within and Beyond the three Cities 59. Tripurasundarīyakavaca Reel # 290 | Private Manuscripts (cont.) 14 G 83/19 1858. Col: Mukunda dvidebinā yoginī tantrādi tantraddhita bhagavatyāḥ Tripurasundarī-dīpa-yāga-vidhi. Bhaktapura: Rājopādhyāya. Very small script. Written in karmakhaṇḍa format. Bahir-yāga. Includes Śrī-Cakra nyāsa. Uniquely Nepalese format. Rare in that uncommon mantras are added from Vaidika and Purāṇic texts. Uses help of Yoginī Tantra, etc. After dīpayāga comes paddhati for second day. Includes parts of Saptaśatī, from Mārkaṇḍeya Purāṇa, but is totally unique. Includes Vibhūti Dhāraṇa. Complete. 68. Tripurasundarī-dīpa-yāga Dev 17 H 211/10 H 3085. Patan: Maharjana. Complete. Damaged. 69. Tripurasundarī-dīpa-yāgavidhi New 31 I 5/2 I 87. Col: Iti śrī siddhānātḥ viracitaṁ dīpayāga vidhi samāptaḥ. Banepa: Śreṣṭha. Complete. Damaged. 70. Tripurasundarī-dīpa-yāgavidhi New 53 E 232/9 E 43134. Col: Iti śrī mukundadvidedinā yoginī tantrāṁkikaṁ tantoddhṛto bhagavatyā Śrī Tripura-sundarīdīpa-yāga-vidhi samāptaḥ. Iti damanārohanavidhiḥ samāpta iti śrī kāliniryā purṇā saṁpūrṇa. Patan: Śākya. Complete. 71. Tripurasundarīdevārcanavidhi New 53 E 2589/24 E 46352. Col: (i) Iti Tripurasundarī-devārcana-vidhi. (ii) Iti pi(pra)śācaturdda-śikuhnuyā vidhi samāptaḥ. (iii) Iti śrī caṇḍogra śūlapāṇi-strinayaṇa-vinirggatā pratyaṁgirā siddhimantroddhāraṁ samāptaḥsavat 8 pauṣakṛṣṇa-dvādaṣirekhakarmācārya-devī śaṅkara-dāsena likhitaṁ rājā śrī śrī jaya bhūpālendra-malladeva. Kathmandu: Vajracārya. Incomplete. Kubjikā tradition is strong in this text. Includes Pañcabahācakra-pūjā which is connected with Mahārthamañjarī. Also Kālikā-paddhati. Next, the paddhati of Tripurā which merges Kālasaṁkarsinī with Tripurā, and has historical connections to the Lokhanthalī Temple. cont. | 291 New aPPendix B 67. Tripurasundarī-dīpayāga-vidhi Title Folio Reel # Colophon (Col) 72. Tripurasundarī-devīcaturdaśī-devārcana New 37 R 178/7 H 2508. Tripura-sundarī-devīcaturdaśī-devarcana. (ii) Ānanda-laharī. (iii) Mālinī-maṇḍaka-tantra. Patan: Maharjana. Incomplete. Damaged. 73. Tripurasundarī-devīdamana-ārohaṇavidhi New 14 E 1103/5 E 22265. Col: (i) Iti Tripura-sundarī-devyā damaṇārohanavidhi. (ii) Iti damanārohana-vihi samāpta. (iii) Iti sāntivali. Kathmandu: Kamasakara. Paddhati is performed once a year. Includes śānti mantras. Damaged. 74. Tripurasundarī-devīdevārcana Thyas E 159/30 E 2715. See: Pūjāpaddhati. 75. Tripurasundarī-devīarcana New 44 H 185/3 H 2607. Patan: Maharjana. 76. Tripurasundarī-devīarcana-paddhati Dev 9 H 315/20 H 5135. Patan: Miśra: Incomplete. 77. Tripurasundarī-devīarcana-rahaysa-ati rahasya Dev 27 E 2026/15 E 38034. Patan: Miśra. Śrī-Vidya mahāmantra. Starts with nyāsa. Close to Bhāskararāya’s commentary. Complete. Damaged. 78. Tripurasundarī-devīarcana-vidhi New 77 E 36/2 E 346. Col: Kuloḍḍīśatantra: Śrī-Tripura-sundarī-devārcanavidhi. Kathmandu: Rājopādhyāya. Damaged. 79. Tripurasundarī-dhyāna Dev 6 E 1557/11 E 30277. Iti śrīmahā-kāla-saṁhitoddhṛta Tripura-sundarīdhyānam saṁpūrṇaṁ. Bhaktapur: Gurusekhara. 80. Tripurasundarī-nityākaruṇa New 40 E 677/5 E 15154. Col: Śrī Tripura-sundarī nitya-karmaṁ samāptaṁ nitya-homa-vidhi / devīkavaca / bhairavāṣṭakaṁ/kubjikādevyā dvādaśa stotra. ns 805. the Goddess Within and Beyond the three Cities Script 292 | Private Manuscripts (cont.) 13 E 1716/16 E 33525. Col: [Ādau] (i) Tripura-sundarīnitya-paddhatir likyate. (ii) Iti pārthivāpūjāvidhiḥsamāpta. (iii) Dravyasaṁskāra. Incomplete. Damaged. 82. Tripurasundarī-nityakrama-paddhati New 22 E 2211/5 E 40548. Scribed by Gaṅgādhara Śarman. 83. Tripurasundarī-nityakarma-vidhi New 45 H 392/12 H 7110. Col: (i) Iti Śrī Tripurasundarī-nitya-karmasvalpamatam. (ii) Iti dhyāna (iii) Iti guhyakāli-kulakarmārcanaṁ. (iv) Iti Mātṛkānyāsaḥ. (v) Iti rudrayāmale ucciṣṭa gaṇeśāpaṭala. (vi) Iti navapātrastava sampāptaḥ. (vii) Iti mārkaṇḍeya-purāṇe kauśikena pṛcchati mārkaṇḍeyavadati durgā-śatanāma stotraṁ samāptam. ns 719. Scribed by Viṣṇusiṁha Daivajñā. Patan: Lalitānanda. Incomplete. Damaged. 84. Tripurasundarī-nityapūjanavidhi Dev 42 E 283/27 E 50846. Iti Śrī Tripurasundarī-nitya-pujanāvidhiḥ samāptāḥ Iti Śivapūjāvidhi. Complete. Simple paddhati with aṣṭa-mātṛkā & other nyāsas, prāṇāyāma, ātma-nyāsa and śivapūjā. 85. Tripurasundarī-nityapūjā-vidhi Dev 14 H 376/8 H 6746. Col: (i). Śrīmadūrddhāmnāya mahā-Tripurasundarīdevyā-nityapūjā [Ante] (ii). Vibhuṣnānavidhi [Ādau]. (iii). Atha dravya-sodhana-vidhir liṣete. (iv) Dravya śodhana-vidhi [Ante] prāthipūjāvidhi [Adau]. Incomplete. Damaged. 86. Tripurasundarī Nityā arcana-vidhi New 65 E 28/16 E 238. Contains Pañcamī-stavarāja (Rudra-yāmala Tantra). Umāmaheśvara Saṁvāde. Kathmandu: Rājopādhyāya. Incomplete. 87. Tripurasundarī Paddhati New 109 E 195/16 E 3508. Kathmandu: Rājopādhyāya. Complete. 88. Tripurasundarī Paddhati New 119 E 2640/1 E 46861. Iti Śrī Vidyānanda-nātha viracitāyāṁ śrī jñāna dīpavimarśinyām śrī Tripura-sundarī-paddhatyām dvīpāmnāyapaddhatiḥ pañca-viṁśatiḥ [foli. 116b]. Kathmandu: Paduyal. cont. | 293 New aPPendix B 81. Tripurasundarī-nityakrama-paddhati Title Script Folio Reel # Colophon (Col) New 30 E 1906/4 E 36532. Kathmandu: Dharmaratna. 90. Tripurasundarī-pūjanavidhi New 28 H 340/23 H 5857. Col: (i). Mahāgama-viśva-sāroddhāre śrīguru kavacaṁ. (ii) Mokṣārtha. 91. Tripurasundarī-pūjā Paścim-ārchanavidhi New 14 E 82/26 E 1017. Patan: Rājopādhyāya. Incomplete. Damaged. 92. Tripurasundarī-pūjā Dev 12 E 279/23 E 5461. Kathmandu: Rājopādhyāya. 93. Tripurasundarī-pūjā (from Kālikā-purāṇa)  Ānandalaharī. New 35 E 296/20 E 5955. Patan: Rājopādhyāya. Complete. Damaged. 94. Tripurasundarī-pūjā Dev 9 E 410/26 D 8478. Kathmandu: Puruṣottama. Complete. 95. Tripurasundarī-pūjā New 13 G 34/24 G 662. Bhaktapur: Rājopādhyāya. 96. Tripurasundarī-pūjā New 7 G 95/40 G 2206. Bhaktapur: Rājopādhyāya. Complete. Damaged. 97. Tripurasundarī-pūjā E 132/1 E 1015. See Sundarīlaghustava. 98. Tripurasundarī-pūjā E 373/18 E 7717. See: Gavārcanavidhi. 99. Tripurasundarī-pūjā E 463/6 E 9659. See Vagalāmukhī-pūjāvidhi. 100. Tripurasundarī-pūjā New 10 E 2007/4 E 37846. Col: [Adau:] Atha Tripura-sundarī-pūjā. Patan: Miśra. Complete. 101. Tripurasundarī-pūjā Dev 13 E 1099/2 E 22195. Col: [Adau:] Śrī Tripura-sundarī prītyarthaaṁ Śrī Tripurasundarī nitya-pañcopacāra-pūjam ahaṁ kariṣye. Kathamandu: Kaṁsakāra. 102. Tripurasundarī-pūjādīkṣā-vidhāna New 37 E 1105/13 E 22326. Col: Iti Tripura-sundarī-pūjā dīkṣā-vidhāna samāptaṁ. Kathmandu: Kaṁsakāra. Incomplete. Damaged. the Goddess Within and Beyond the three Cities 89. Tripurasundarīpavitrārohonaṇa-vidhi 294 | Private Manuscripts (cont.) 6 E 28/21 E 243. Kathmandu: Rājopādhyāya. Incomplete Damaged. 104. Tripura-sundarī-pūjāpaddhati Dev 33 E 224/38 E 4061. Kathmandu. Rājopādhyāya. Complete. 105. Tripura-sundarī-pūjāpaddhati New 61 E 279/5 E 5443. Kathmandu: Rājopādhyāya. 106. Tripura-sundarī-pūjāpaddhati New 19 H 108/12 H 1450. Col: (i) Para-devatārcana urddhāmnāya pañcāparvala-pūjā vidhi. (ii) Śivaśakti-sāmarasya mahā stotraṁ. Patan: Miśra. Incomplete. Damaged. 107. Tripura-sundarī-pūjāpaddhati New 26 H 331/7 H5542. Tripurasundarī-Pūjā paddhatyām caṇḍapūjā. Incomplete. Damaged. 108. Tripura-sundarī-pūjāpaddhati Maith 42 E 1299/22 E 25890. Patan: Rājopādhyāya. Incomplete. Damaged. 109. Tripura-sundarī-pūjāpaddhati New 65 E 1457/3 E 28464. Bhaktapur: Karmācārya. Incomplete. Damaged. 110. Tripura-sundarī-pūjāpaddhati New 8 E 2413 E 44573. Col: Iti Śrī Mahā Tripura-sundarī-pūjā-paddhati samāptāḥ. Patan: Rāja-Sākhya. Incomplete. Damaged. 111. Tripura-sundarī-pūjāpaddhati New 27 E 1007/4 E 20384. Patan: Rājopādhyāya. Complete. 112. Tripura-sundarī-pūjāpaddhati Dev 4 E 1943/31 E 37111. Col: (i) Iti pūjāpaddhati. (ii) Iti brahmaviracitaṁ ṣoḍaṣī kalyāṇi-stotraṁ samāptam. (iii) Iti siddhayāmale śrīṣoḍaśīvidyā kavacaṁs amāptam. (iv) Iti Śrī Tripurasundarī-tantra ṣoḍaśīdayastotrama samāptam. (v) Iti ṣoḍaśyupaṇiṣat samāptā. (vi) Iti brahmayāmale pūrvadhaṇḍe ṣoḍaśi-aṣṭottara-śātanāmastotraṁ samāptam. (vii) Iti śrīvāmakeśvaratantra harakumāra saṁvāde Mahā Tripurasundarī ṣoḍaśyaḥ sahasranāma stotraṁ samāptaṁ.” Kantipath: Jung Saha. cont. | 295 New aPPendix B 103. Tripura-sundarī-pūjāpaddhati Title Script Dev/ New 114. Tripura-sundarī-pūjāpaddhati New 115. Tripura-sundarī-pūjāpaddhati 116. Tripura-sundarī-pūjāpaddhati Reel # Colophon (Col) E 1194/15 E 24025. Col: (i) Śrīrāja-rājeśvarī-manmahā-tripura-sundarīpūgitosi kṣamsveti visṛjya . . . iti pūjāvidhiḥ samāpt. (ii) Iti śrī yoginīhṛdaye guhyakālīrahasye denarakṣā kavacaṁ saṁāptaṁ. (iii) Iti śrī brahmāṇḍa purāṇe brahmanārada-samvāde Śrī sūrya kavacaṁ samāptaṁ. (iv) Iti śrīskanda-purāṇe śrī-sūryakavacaṁ samāptaṁ. (v) Iti viṣṇudarmmottare śrīkṛṣṇakavacaṁ samāptaṁ śubham. (vi) Iti śrīviṣṇuyāmale sṛṣṭi-praśaṁsāyāṁ śrīgāyatyāṣṭottara saharanāma [sic] paṁpaṁcā-sattamodhyāya. (vii) Iti brahmāstre mahābhairavatantre samukhikavacaṁ samāptam. Kathmandu: Kamsakara. 99 E 1708/13 E 33394. Kathmandu: Vajrācārya. Damaged. New 98 E 1818/15 E 34780. Iti Srī Tripura-sundarī-sundaryyaḥ pūjā-paddhati samāpta. Kathmandu: Vajrācārya. Bound in deer skin. Complete. New 52 E 2791/7 E 49773. Col: (i) Iti Śrī Mahā Tripura-sundarī Devyāḥ saṁkṣepapūjā-paddhatiḥ samāptaḥ. (ii) Iti Śrī Tripura-sundarīdevyā mālāmantraḥ. (iii) Iti Śrī Rudrayāmale kavacakhaṇḍe bhuvaneśvarī kavacaṁ samāptaṁ. (iv) Iti śrī bhuvaneśaryyāṁ svalpa-pūjāvidhi. H 358/32 H 6343. H 358/32. See Mahāmṛtyuñjayayantra. 117. Tripurasundarī-pūjā-yantra 118. Tripurasundarī-pūjāvidhi/Ānandalaharī New 38 D 70/1 D 1181. Kathmandu. Damaged. 119. Tripurasundarī-pūjā-vidhi New 7 D 98/24 D 1546. Kathmandu: Rājopādhyāya. Incomplete. the Goddess Within and Beyond the three Cities 113. Tripura-sundarī-pūjāpaddhati Folio 296 | Private Manuscripts (cont.) E 28/13 E 235. Kathmandu: Rājopādhyāya. Incomplete. 121. Tripurasundarī-pūjā-vidhi New E 87/6 E 1064. Kathmandu: Rājopādhyāya. Complete. Includes six cakras added to text at end in red colour. 122. Tripurasundarī-pūjā-vidhi New 20 E 174/14 E 3052. Kathmandu: Rājopādhyāya. 123. Tripurasundarī-pūjā-vidhi Dev 22 E 270/2 E 5159. Kathmandu: Aiśvarya. Complete. 124. Tripurasundarī-pūjā-vidhi New 81 E 409/4 E 8439. Kathmandu: Puruṣottama. Incomplete. 125. Tripurasundarī-pūjā-vidhi New 26 E 506/27 E 10938. Incomplete Kathmandu: Acyuta. 126. Tripurasundarī-pūjāvidhi  Tribhuvaneśvarī Dev 35 E677/7 E 15156. Col: (i) Tripura-sundarī-pūjā-vidhi. (ii) Rudra-yāmale Devī trailokya-mohanāma-īśvara-saṁvādetrī lokya-mohanam nāma tribhuvaneśvarī kavaca kavacam. Bhaktapur: Rājopādhyāya. Incomplete. 127. Tripurasundarī-pūjā-vidhi New 17 G 85/16 G 1899. Bhaktapur: Rājopādhyāya. 128. Tripurasundarī-pūjā-vidhi New 13 E 2847/7 E 51130. Kathmandu: Rājopādhyāya. Complete. 129. Tripurasundarī-pūjā-vidhi New 43 G 98/6 G 2283. Bhaktapur: Rājopādhyāya. Incomplete. Damaged. 130. Tripurasundarī-pūjā-vidhi New 14 G 140/22 G 3056. Bhaktapur: Rājopadhyāya. Incomplete. Damaged. 131. Tripurasundarī-pūjā-vidhi New/ Dev 19 D 38/12 857D. Patan. Incomplete. Damaged. 132. Tripurasundarī-pūjā-vidhi New/ Dev 24 D 71/11 D 1218. Kathmandu. Incomplete. Damaged. 133. Tripurasundarī-pūjā-vidhi E 206/23 E 3638. See: Tripura-sundarīstavarāja. 134. Tripurasundarī-pūjā-vidhi E 284/23A E 5629. See Daśamīpūjā. E 2845/9 E 51094. Kathmandu: Rājopādhyāya. Incomplete. E 586/6 E12898. See: Liṅgārcana. 135. Tripurasundarī-pūjā-vidhi 136. Tripurasundarī-pūjā-vidhi New 46 cont. | 297 New aPPendix B 120. Tripurasundarī-pūjā-vidhi Title Folio Reel # Colophon (Col) 137. Tripurasundarī-pūjā-vidhi Nag 13 E 1939/7 E36983. Ādau: Atha bālā-tripura-sundarī-pūjā. Ante: Iti Śrī Tripura-sundarī-devī-pūjāvidhiḥsamāptam. Kantipath: Śrī Jung Shaha. 138. Tripurasundarī-pūjā-vidhi Nag 50 E 1939/10 E36986. Col: (i) [Adau:] Atha Bālā Tripura-sundarī-pūjā. Ante: Iti Śrī Tripura-sundarī-devīpūjā vidhiḥ. (ii) Iti Srīmantraratnākare catustriṁsat-paṭalaḥ. (iii) Iti Śrīvidyā-pūjāpaddhatiḥ samāpta. (iv) Iti mantraratnākare catustriṁśat-paṭalaḥ. (v) Iti śrīvidyāyāṁ kāmya-prakaraṇaṁ. (vi) Iti kiṁkiṁādistotra samāptam. (vii) Iti kalyāṇīstotraṁ samāptam. (viii) Iti rudrayāmale pañcamī-stavarājaḥ samāptaḥ — iti. (ix) Iti śrīkumāraprabodhaka-taṁtre nirutaṁ śrīsaubhāgya-kavacaṁ amāptaṁ. (x) Iti śrīrudrayāmale devīśvara-saṁvāde trailokya mohanaṁ nāma kavacaṁ samāptam. (xii) Iti devīsuktaṁ — iti Śrīmantraratnākare aṣṭa-triṁsat-patalaḥ. Kantipath: Śrī Jung Shaha. Complete. 139. Tripurasundarī-pūjā-vidhi New 40 E 2048/13 E38406. Col: (i) Iti Tripura-sundarī-pūjā-vidhi samāptaḥ. (ii) Iti samaya-bali. (iii) Iti damanārohevidhi [sic]. (iv) Atha pavitrārohana-vidhikṣyate [sic].” Tokhā: Joshi. Complete. 140. Tripurasundarī-pūjā-vidhi New 53 E 2183/13 E40286. Col: (i) [Adau:] Atha pūjāvidhi. Ante: Bhagavatī Śrīmahā Tripura-sundarī-pūjitāsi kṣamasveti. Iti saṁkṣepa-paddhatiḥ. (ii) [Adau:] Atha kālikā-pūjā-paddhatir likhyate. Ante: Iti kālikāpūjāpaddhati. (iii) [Adau:] Atha śrījaganmaṅgala-kavacaṁ. Ante: Iti śrī bhairava-bhairavī-saṁvāde śrījagan-maṅgalakavacaṁ sampūrnaṁ. (iv) [Adau:] Atha kālikāpaddhatiḥ. [Ante]: Iti snāna-saṁnidhyāvidhiḥ. Kathmandu: Paudel. the Goddess Within and Beyond the three Cities Script 298 | Private Manuscripts (cont.) 28 E 22211/6 E 40549. ns 906. Scribed by Jñānānanda Vipra. Kathmandu: Śreṣṭha. 142. Tripurasundarī-pūjā-vidhisaṅkṣepa New 29 E 247/34 E4624. Patan: Rājopādhyāya. Incomplete. Damaged. 143. Tripurasundarī-pūjā-vidhistotrasahita Dev 16 E 464/26 E9719. Kathmandu: Acyuta. Complete. 144. Tripurasundarī-pūjā-vidhi  Dakṣiṇakālī-pūjā vidhi from Kālikārṇava New 56 E 2589/25 E 46354. [Adau:] oṁ asya śrīrājeśvarī śrīman Mahā Tripurasundarī mantrasya śrīdakṣiṇām ūriṛṣi śirasi paṅkti-chandaḥ mukhe śrī mahā Tripura-sundarī-devatāyai hṛdi. Kathmandu: Dharma-ratna-vajrācārya. Incomplete. 145. Tripurasundarī-pūjā-vidhi Dev/ Nep 7 E 997/11 E 20221. Instructions in Nepālī. Kathmandu: Bahadur. 146. Tripurasundarī-pūjā-vidhi New 21 E 1095/6 E 22144. Kathmandu: Kaṁsakāra. Incomplete. 147. Tripurasundarī-pūjā-vidhi Dev 83 H 375/18 H 6738. Fol. 82: Mūkasiddhi-kāmanyayā śrīmat tripurasundarī vidyā- jape viniyoga. Fol. 83: Devīśvara-saṁvāde śrīvidyāmnāye kiṁkinī stotraṁ. 148. Tripurasundarī-pūjā-vidhi New 48 E 2354/19 E 43591. Iti Śrī Tripura-sundarī dvyāye nitya-svaryya devarccanavidhi-samāpte. Iti guru-maṇḍala pūjā. Iti aṣṭa viṁśati-karmma. Iti Śrī pūrvva bālanitya devārccana-vidhi samāpta. Iti śrī paścima bāla devārcana vidhi samāpta. Kathmandu: Vajrācārya. Damaged. 149. Tripurasundarī-pūjā-vidhi  Tripurastotra Dev/ New 81 E 2335/4 E 43231. Iti trisūtra stotram samāpta. Iti śrī mālinī daṇḍaka samāptaḥ. Iti śrī śivaśakti sama-rasatva māhāmāya-stotram samāptaḥ. Bhaktapur: Rājopādhyāya. ns 970. 150. Tripura-sundarī-pūjā-vidhi New 44 E 1906/2 E 36530. Col 1: Asya śrīmahā Tripurasundarī mantrasya dakṣiṇamūrti . . . . Col 2: Iti śrimat śaṁkarācārye viracitaṁ jagaṁ-nāthaṣṭakam sapūrṇa. Col 3: Iti sāradastava samāptaḥ. cont. | 299 New aPPendix B 141. Tripurasundarī-pūjā-vidhi Title Script Folio Reel # 150. Tripura-sundarī-pūjā (cont.) Col 4: Iti śrīhimavat khaṇḍe śrī guhya-kālīstotraṁ samāptaṁ. Col 5: Iti śrīmārkaṇḍeya-purāṇe caṇḍikā-stotraṁ samāpta. Col 6: Iti śrikālikā-sakataṁkaṁ dakṣiṇ-kālikāmakam samāpta. Col 7: Iti śrīheṁgulājā(ṣṭaka) sampurnasamāpta [sic] [nos. 2-7: in dev.]. Damaged. Incomplete Kathmandu: Dharmaratna. Nag 16 E 1208/13 E 24271. Dhading: Ghimire. Incomplete. 152. Tripurasundarī-pūjā-saṅkṣepa New 34 E 363/10 E 7478. Col 1: Tripura-sundarī-pūjā-saṁkṣepa samāpta. Col 2: Tripurā kavaca. Col 3: Ānanda-laharī of Śaṁkara. Kathmandu: Rājopādhyāya. Complete. Damaged. 153. Tripurasundarī-prātaḥ-stotra New 14 154. Tripurasundarī-makaranada New 7 155. Tripurasundarī-makaranada E 16002 E 16002. Col 1: Tripurasundarī-prātaḥstotra. Col 2: Mahābhairavīdyāṁ brahma-yāmale ṣaṭtraṁśati-sāhasre kāli kavacamahāvratādhi- kāronāmadva-dāśamaḥ paṭalaḥ. Col 3: Rudrayāmale Ānanda kavacam. Patan: Śreṣṭha. Incomplete. H 347/18 H 6074. Col 1: Śivaprokta makara(n)da-stavapurasu(n) daryāḥ samāpta (anta). Patan: Miśra. Damaged. Incomplete. E 425/7 E 8831. See: Bālāsundarīkavaca. 156. Tripurasundarī-makaranada Nag 2 E 2067/8 E 38599. Iti śrī rudra-yāmala-mahātaṁtre umā-maheśvarasaṁvāde śiva-vaktrām bujavnirgata śrī-mahā-tripura-sundarī makarandākhya-stavaḥ samāptam. Kathmandu: Dineshaman. Complete. 157. Tripurasundarī-mantra Nag 4 E 2436 E 44966. [Adau:] Oṁ namaḥ śrīmahā Tripura-sundarī ayutākṣara mantraḥ. Patan: Rājśākhya. Incomplete. 158. Tripurasundarī-mantrakavaca New 105 E 1818/11 E 34776. Col 1: Iti śrī Siddhi-yāmale Śrī Tripura-sundarīdevyā mantra-kavacaṁ samāptam. Col 2: Iti trisūtram sampūrṇam. the Goddess Within and Beyond the three Cities 151. Tripura-sundarī-pūjā-vidhi Colophon (Col) 300 | Private Manuscripts (cont.) 158. Tripurasundarī-mantra-(cont.) 159. Tripurasundarīmantra-nāmasahasraka Col 3: Iti śrī sāntistavaṁ sampūrṇaṁ. Col 4: Iti śrīrudra-yāmale sapāda-lakṣagranthe śrīpāpūjāyā-puspāṁñjali stutiḥsamāptaḥ. Col 5: Iti śrīrudra-yāmale śrī śivavaktrāṁ bujavinir gatat śrīmahā Tripura-sundarī makaranda-stava- rājaṁ sampūrṇam. Col 6: Iti śrīśiva-śakti-smara-tattva-mahā-māyāstva sampūṇam. Col 7: Iti śrīlaghustavaṁ saṁpūrṇaṁ. Col 8: Iti śrīrudrayāmale meru-prastāre kāma-daṭṭa-paṭale catuḥ ṣaṣṭhi yoginīdyābhidha mahātantra-bhede śrītripurasundarī-kramastotraṁ saṁ-purṇaṁ. Col 9: Iti śrīrudra-yāmale śrīpañcami-stavarāja samāptaḥ. Incomplete. Kathmandu: Vajrācārya. Damaged. Dev/ New 91 H229/4 aPPendix B | 301 H 3377. Col 1: Tripura-sundarī-mantra-nāma-sahasrakaṁ. Col 2: Vāma-keśvara-tantre hara-kumāra saṁvāde śrī tripuresundarī stotra. Col 3: īśvara-devādevādi Tripurasundarī patu-nindrā nāma kavacam. Col 4: Meruāgamye kailāsande śrī umā-maheśvara saṁvāde yakadasa patalye śrī śrī śrī kuvjanama sahāsrakam. Col 5: Umā-jale śivapārvatī saṁvāde śrīkubjikā-devya trailokya karṣana nāma kavacam. Col 6: Paścimānaya-devyaya-sahasrākṣari mantrasāra. Col 7: Meru-tantre śivapārvatī saṁvāde śrī valkuraī devya kavaca. Col 8: Bhairava tantre śrī bhairava-bhairavī saṁvāde śrī-tarakalye trailokya mohana nāma kavacam tṛtīya paṭala Col 9: Skanda-purāṇe pārvatī cokta śrī sūrjye kavacaṁ. Col 10: Durgāṣṭakaṁ. Col 11: Viśvasāra tantre lakṣmīdevya-kavacaṁ. Col 12: Brahma-vaivarta mahā-purāṇye nārāyaṇe nārada saṁvāde prakṛtiṣanḍe sarasvati kavacaṁ. Col 13: Padmapurāṇe ulkara sande īśvara gaurīsaṁvāde śrīsaṁvāde śrīmahā-deva-prokta śrī rāmacandrasya mahimnaḥ stotra kavacaṁ. cont. Title 159. Tripurasundarīmantra (cont.) Script Folio Reel # Colophon (Col) the Goddess Within and Beyond the three Cities Col 14: Bhairava-tantre bhairava-bhairavī-vaṭuka-bhairava kavaca. Col 15: Kālī tantre hara-gaurī saṁvāde vaṭuka bhairava kavacaṁ. Col 16: Utrāmaleśvara tantre umāmaheśvara saṁvāde śrībhīmasena kavacaṁ. Col 17: Skandapurāṇe rahmosnasande śva-kavaca. Col 18: Rudra-saṁvāde śrībhīmasena kavacaṁ yagame mahā-gupta-sāre sevādi saṁvāda pārvatī kavaca. Col 19: Sivāmṛṭe śiva-kavaca. Col 20: Nṛsiṁha purāṇe śrī nṛsiṁhā kavaca. Col 21: Sa purāṇe nārada agastya saṁvāde śrīrāma-prokta hanumatkavacaṁ. Col 22: Sudarśana-sahītāyāṁ rāmacandra kṛta pañcamukhī hanumān kavacam. Col 23: Mahā-kālasaṁhityāyām kasyapudhi ṣṭhiraḥ saṁvāde śrī saṅkaṭā kavacaṁ. Col 24: Daśāvatāra stotra. Col 25: Skandapurāṇe daśaratha-kṛta śrī saniścara stotram. Col 26: Bhuktimasyenāsya nāma sata sahāsrakam. Col 27: Rudrayāmale pārvatī mahādevāsaṁvāde śrī bhīmasena sahasra nāma. Col 28: Karma-kallolini tantra kuvjikāyā ayutakṣa mantramālā. Scribed by Ajitānandadeva. Patan: Miśra. [Additional titles: Tripurasundarīstotra from VMK  Tripurasundarīkavacam  Kubjikānāmasahsraka from Meru āgama  Kubjikādevītrailokyākarṣananāmakavaca from Umāyāmala  Paścimāmnāyadevīsahasrākṣarīmantrasāra  Bālakumārīdevīkavaca from Merutantra  Trailokyamohananāmakavaca from Bhairavatantra  Sūryakavaca from Skanda-Purāṇa  Durgāṣṭaka  Lakṣmīkavaca from Viśvasāratantra  Sarasvatīkavaca from Brahmavaivartta Purāṇa  Rāmacandramahimnaḥstotrakavaca from Padma 302 | Private Manuscripts (cont.) 159. Tripurasundarīmantra-nāma-(cont.) Purāṇa  Baṭukabhairavakavaca from Bhairavatantrtta  Baṭukabhairavakavaca from Kālītantra,  Bhaktimasenakavaca from Uddāmāreśvaratantra  Pārvatīkavaca from Rudrayāmala  Śivakavaca from Śaivāmṛta Nṛsimhakavaca from Nṛsimha Purāṇa  Hanumatkavaca  Pañcamukhihanumatkavaca from Sudarśanasaṁhitā  Saṅ kaṭākavaca from Mahākāla Saṁhitā  Daśāvatārastotra  Śanaiscarastotra from Skanda Purāṇa  Bhaktīmasenanāmasatasahsraka  Bhaktīmasenasahasranāma from Rudrayāmala  Kubjikyutaśaktimantramālā from Karmakallolintantra.] 161. Tripurasundarī-matramuktāvalī-stotra New 6 162. Tripurasundarī-mantrasahasra-nāman H 233/11 H 3494. See Durgāṣṭaka. E 578/12 E 12657. Complete. Damaged. Bhaktapur: Rāmeśa. E 242/4 E 4465. Dev 36 E 325/21 E 6597. Kathmandu: Rājopādhyāya. 164. Tripurasundarī-mantrasahasra-nāma New 66 E 1076/20 E 21770. Col 1: Iti śrīrudra-yāmala-umā-maheśvara-saṁvāde śrī Tripurasundarī mahā-mantra-nāmasahasraṁ saṁpūrṇam samāptaṁ. Col 2: Iti śrīpadmapurāṇe śivapārvatī saṁvāde viṣṇornāmsahasrakaṁ samāptaṁ. Col 3: Ityādi brahmapurāṇe svayam-bhū-ṛṣisaṁvāde kāruṇya-stavasamāptaṁ. Kathmandu: Kamsakāra. Complete. Damaged. 165. Tripurasundarī-mantrasahasra-nāma-stotra Dev 30 E 600/9 E 13375. Śrī vāmakeśvara tantre hara-kumāra saṁvāde śrīman mahātripurā-sundarī-mantra-sahasra-nāma-stotr samāptaḥ. Kathmandu: Vajrācārya. Incomplete. cont. | 303 163. Tripurasundarī-mantrasahasra-nāma-stotra aPPendix B 160. Tripurasundarīmantra-nāmasahasraka Title Folio 166. Tripurasundarī-mantrasahasra-nāma-stotra New 15 I 8/21 I 154. Banepa: Śākya. Incomplete. 167. Tripurasundarī-mantrasahasra-nāma-stotra New 13 E 2922/16 E 51748. Kathmandu: G.S. Rājopādhyāya. Complete. 168. Tripurasundarīmahāmantra New 10 C 59/5 Col 652. Rudrayāmale umāmaheśvarasaṁvādeśrī Tripurasundarīm mantra-nāma-sahasraka śrī Tripurasundarī mahā-mantrasahasranāma. Kaiser Library. 169. Tripurasundarī-mahā-māyā Dev 6 E 220/24 E 3918. Kathmandu: Rājopādhyāya. Complete. 170. Tripurasundarī-mahārahasya New 8 E 237/14 E 4332. Kathmandu: A. Rājopādhyāya. ns 863. 171. Tripurasundarīmahimnaḥstotra Nag 12 E 2084/10 E 38770. Col 1: Iti śrī durvāsāmunīśvareṇa kṛtaṁ śrī Tripurasundarī mahimnaḥ stava samāptam. Col 2: Upacāra-saparyā. Col 3: Puṣpāñjali. Col 4: Iti yonistotram. Kathmandu: Dineshaman. 172. Tripurasundarī-mānasaupacāra-pūjā-stotram New 2 E 141/2 E 2245. Śrī Vidyānandanātha viracitaṁ śrīmat Tripurasundarī . . . Complete. Patan: Rājopādhyāya. ns 892. 173. Tripurasundarī-mahāmantra New 3 E 2189/33 E 40435. Kathmandu: Dineshaman. E 438/19 E 9188. See Śanaiścarastotra. G 120/20 G 2653. Bhaktapur: Rājopādhyāya. Incomplete. Damaged. H 356/28 H 6284. See Nityā-stava-rāja. H 356/11 H 6267. Patan: T.L. Maharjana. Incomplete. 174. Tripurasundarīmālinīdaṇḍaka-stotra 175. Tripurasundarī māhātmya Dev 28 176. Tripurasundarī-yantraprayāṇa 177. Tripurasundarī-ratna-pañcaka New 3 Reel # Colophon (Col) the Goddess Within and Beyond the three Cities Script 304 | Private Manuscripts (cont.) 178. Tripurasundarī-ratnapañcaka G 195/16 G 4145. See: Bhavānī-bhujaṅga-prayāta. 179. Tripurasundarī-ratnapañcakarma E 438/19 E 9188. 180. Tripurasundarīrājarājeśvarī-kavaca Nag 4 F 15/26 F 323. Iti śrīkulṁda-taṁtre Tripurasundarī-rājarājeśvarīkavaca saṁpurṇaṁ. Complete. Gorkha: D.P. Aryal. Scribed by Dāmodara Śarmā. Śaka: 1643. 181. Tripurasundarī-śatatrayanāma-stotra Nag 5 E 2255 E 41080. Kathmandu: Śreṣṭha. vs 1939. E 740/24 E 16410. See Gurugītā. 182. Tripurasundarī-kavaca Dev 9 E 207/25 E 3663. Kulānanda samhityam Tripura-sundarī . . . 184. Tripurasundarī-ṣoḍaśī-kavaca Dev 1 E 409/7 8442. From Kulānanda-Saṁhitā. Kathmandu: Puruṣottama. 185. Tripurasundarī-ṣoḍaśī-kavaca Dev 9 E 425/9 G 8833. E 410/18 E 8470. See Saṅkaṭākavaca. 186. Tripurasundarī-ṣoḍaśī-kavaca Dev 3 E 885/16 E 18861. Kathmandu: Sharma. Complete. 188. Tripurasundarī-sahasranāma Dev 16 E 91/29 E 1154. From Vāmakeśvara-Tantra. Patan: Rājopadhyāya. Complete. Damaged. 189. Tripurasundarīsahasranāma New 23 G 34/3 G 641. Vāmakeśvara-tantre haragauri saṁvāde Tripurasundarī . . . Bhaktapur: Rājopādhyāya. Incomplete. 190. Tripurasundarī-sahasranāma New 8 G 80/22 G 177. Bhaktapur: Rājopādhyāya. From Rudra-yāmala. Complete. 191. Tripurasundarī-sahasranāma New 26 H 114/3 H 1517. Rudra yāmale mahā-tantre śrimat mahārāja rājeśvarī turīye ṣoḍaśī Tripurasundarī. . . . Patan: M.M. Miśra. Scribe: Kavindra Simha. ns 923. cont. | 305 187. Tripurasundarī-ṣoḍaśī-kavaca aPPendix B 183. Tripurasundarī-ṣoḍaśī-kavaca Title Script Folio New 16 193. Tripurasundarī-sahasra-nāma Nag 18 E 1530/67 E 29420. Iti Śrī Vāmakeśvara-tantra harakātikeyasaṁvāde śrī śrī rāja stotra rājeśvarī-mahā Tripurasundarī. . . samāptaṁ śubham. Gorkha: N.N. Śreṣṭha. Complete. 194. Tripurasundarī-sahasra-nāma Nag 10 E 2771/22 E 49050. Kathmandu: Rāmativārī. 195. Tripurasundarī-sahasra-nāma Nag 14 E 2793/18 E 49815. Kathmandu: J.C. Regmi. Incomplete. Damaged. 192. Tripurasundarī-sahasranāma Reel # Colophon (Col) E 78/21E 859. Iti śrī Vāmakeśvara tantri. . . .Mahā Tripura-sundarī nāma trailokya vijaya nāma kavaca.” Patan: Rājopādhyāya. Complete. Scribe: Jñānānanda Śarmā. ns 913. Nag 6 E 2993/19 E 52486. Iti śrī Vāmakeśvara-tantra Mahā Tripura-sundarī . . . Patan: Gopālamāna. Complete. Damaged. 197. Tripurasundarī-sahasrā-kṣarī Dev/ New 38 E 168/13 E 2891. Śrī uddha-mareśvara-tantre karta-viryya-junakavacastottarasta nama. Sarasvatī stotra. Śrīyasbhāṣitam sāra svtyaḥ stavaḥ. Bhairavatantra Bhairavī- saṁvāde. Śrījogatam golanām-kavaca syāma-kavacam. Śrīrudramare kālikalpe vairnasa kavacam. Rudrayāmale vagalastotram. [Kārtavīryār-juna-kavaca-stotraśatanāma from Uḍḍāmaratantra  Sarasvatīstotra  Sarasvatīstava,  Jogatamaṁgoloanāmakavaca from Bhairavatantra  Śyāmākavaca  Vaiṣṇavī-kavaca from Rudrayāmala  Bagalā-stotra from Rudrayāmala.] Kathmandu: Rājopādhyāya. Complete Damaged. ns 968. E 158/1 E 2656. See: Dakṣiṇa-kālikā-sahasrākṣarī. E 1146/5 E 22925. Col 1: Iti śrī Śiva-yāmale Śrī Tripura-sundarī . . . . Col 2: Iti Tripurasundarī mālā-mantraḥ. Col 3: Iti kā¬ānala-tantre siddhi-lakṣmī ayutākṣara-mālā-mantraḥ samāptaḥ. 199. Tripurasundarī-sahasra-ākṣarī- New mahāvidyā 54 the Goddess Within and Beyond the three Cities 196. Tripurasundarī-sahasrākṣarīpuṣpañjali-stuti 198. Tripurasundarī-sahasrā-kṣarī 306 | Private Manuscripts (cont.) 199. Tripurasundarī-sahasra (cont.) Fol. 31b. Iti kramaśatākṣarī. Fol. 32. Pañcakālī saptakaśākṣarī. Fol. 42b. Iti śrī vacanasahasrākṣarī Śrī Tripura-sundarī mahārahasya samāpta. Fol. 45b. Iti smārttanḍamatottare Śrī kaṇṭha nāthāvatārikekujāprastāre sahasrākṣarī vidyā samāptam iti. Fol. 56a. Iti śrī mahogratārādvyā viṁśatibheda samāpta. Fol. 59a. Śrī siddhīlakṣmī sahasrākṣarī mantra samāptaḥ. Fol. 60b. Iti ugracaṇḍāsaharākṣarī. Ante: Catur ṣaṣṭhitantre kālimālāmantraḥ.” Kathmandu: P.B. Kaṁsakāra. New 17 E 78/5 E 843. “Tripurasundarī stava. Kubjikā-devyā stotram. Parthāna.” Patan: Rājopadhyāya. Author: Jagadānanda. Scribe: Śrīkaṇṭheśvara. ns 832. Complete. 201. Tripurasundarī-siddhividyā-ayutākṣarī New 41 E 1849/13 E 35225. Patan: Bhadrarāja. Complete. Damaged. E 163/24 E 2930. See Cakra-uddhāra. Author: Jagadānanda. 202. Tripurasundarī-stava Dev 29 E 221/19 E 3940. Kathmandu: Rājopādhyāya. From Rudrayāmala. 204. Tripurasundarī-stava Dev 11 E 424/19 E 8824. Kathmandu: Puruṣottama Rāj. Complete. 205. Tripurasundarī-stava Dev 65 E 456 E 9528. Kathmandu: Gayatri. Incomplete. 206. Tripurasundarīkavaca Nag 5 E 2239/23 E 40907. Iti Śrī Jagadānanda viracitama Śrī Tripurasundarī-stavaḥ samāpta. Iti śrī siddha-yāmale umā-maheśvara-saṁvāde Mahā Tripura-sundarī . . . . Kathmandu: Prakāśa Śreṣṭha. Complete. 207. Tripurasundarīstavarāja Dev 94 C 65/5 C 984. Rudra-Yāmala caturāsīti-sāhasre rahaspāti-rahasye Tripura-sundarī stavarāja/sundaryāstavarāja. Kathmandu: Kaiser Library. Colour paintings of maṇḍalas [C 104/2]. Late nineteenth century. Complete. 208. Tripurasundarīstavarāja New 61 G 111/6 G 2481. Complete. 209. Tripurasundarīstavarāja  Tripurasundarīpūjāvidhi New 61 E 206/23 E 3638. With diagrams. Kathmandu: Rājopādhyāya. Complete. cont. | 307 203. Tripurasundarī-stava aPPendix B 200. Tripurasundarīstava Title Folio Reel # 210. Tripurasundarī-stavarāja New 7 H 296/5 H 4753. From Rurdrayāmala. Patan: MM Miśra. Incomplete. Damaged. 211. Tripurasundarī-stavarāja Nag 45 E 1493/1 E 29084. Col 1: Iti Śrī Rudra-Yāmala caturaśiti-sāhasra-rahasyātirahasye Śrīmhādevakṛṭam Śrī Tripura-sundarī-stava-rājaṁ sampurṇam.” Col 2: Iti mārkaṇḍeyapurāṇe kausikena pṛcchati mārkaṇḍeyavadati du śatanāmastotraṁvsamāptam. Col 3: Iti hārāva-tantre dvadaśa-patale kula-saṁhitāyāṁ guhyakālikā saṁhitā-samāptaḥ. Col 4: Iti śrīkulārṇava-saṁhitāyāṁ śrī Tripura-sundarī-ṣoḍaśī-kavacaṁ samāptaṁ. Kathmandu: M.V. Vajrācārya. Complete. vs 1887. 212. Tripurasundarī-stavarāja Nag 15 E 2748 E 48288. Iti rudra-yāmale caturāśīti sāhasre rahasyāti rahasye śrī mahā-devakṛtaṁ Śrī Tripura-sundaryāṁ stava-rāja saṁpūrṇaṁ. Kathmandu: Rāma Tivārī. Complete. 35 E 2924/4E 51760. Iti Śrī Rudra-Yāmala caturāśīti sāhastre rahasyāti rahasye śrī mahādeva-kṛtaṁ Śrī Mahā-Tripurasundarī Tripurasundarī stava-rāja saṁpūrṇaṁ ityumājāmale śivapārvatī śivapārvatī saṁvāde śrīkubkijā dvyās trailokyākarṣaṇaṁ nāmakavacaṁ samāptam iti śrī gīta-pañcake śrī śrī candraśeṣaraviyoge śrī śrī jayajagatprakāśakṛte aṣṭamasarggaṁ sapūrṇṇaṁ iti nepālavarṣe graha aśvanāge pauṣe ca māse sitkṛṣṇa pakṣe śaśī sute caiva subhe suvāre iti śrīmerutantre paścim āmnāye āḍyadprastāre śrī kubjikā kavacamā¬ā mantra samāptam. Bhaktapur: Maheśa Rājopādhyāya. Complete. ns 836/879. E 1670/22 E 32655. 213. Tripurasundarī-stavarāja  Trailokyākarṣaṇa-kavaca  Gītapañcaka 214. Tripurasundarī-stuti New Nag 1 Colophon (Col) the Goddess Within and Beyond the three Cities Script 308 | Private Manuscripts (cont.) 22 E 493/19 E 10628. Col 2: Śrī Rudra-Yāmala trailokyamohanaṁ nāma kacaṁ. Col 3: Śrī mahā-paśupata caryavarya maheśānandanātha carityayam sakala-tantrasāroddhṛtaya śrīmad abhinaya gusaṅkaryam mānasika pūjakande bhūmikāracamam nāma prathamo pradeśaḥ. Kathmandu: C.M. Vajrācārya. 216. Tripurasundarī-stotra Dev 2 E 22/20 E 148. Kathmandu: Rājopādhyāya. 217. Tripurasundarī-stotra New 4 E 135/21 E 2157. “Jagadānanda viracite Śrī Mahā Tripurastava.” Patan: Rājopādhyāya. Damaged. 218. Tripurasundarī-stotra New 13 E 82/14 E 1005. Col 1: Jñānadīpa-pradarśinyaṁ Śrī Tripura-sundarīstotraṁ śatakaṁ. Col 2: Tripurasundarī aṣṭottaraśatanāmāmṛta-stotram. Col 3: Tripura-stotra. Col 4: RudraYāmala uttarakhanda nāma-stotram. Col 6: Candra-dvīpavatāre tārātakārādiṣtottara sara-nāma-stotraṁ. Col 7: Siddhāntamate amṛta-vicāraḥ. Col 8: Rudra-yamale tārāstotram. Col 10: Siddheśvara-tantre Hara-gaurī-tārinyāḥ apadudd-jārastptraṁ. Patan Rājopādhyāya. ns 907. Author: Laghvācāsya. Damaged. Incomplete. 219. Tripurasundarī-stotra New 76 E 161/5 E 2736. Śrī jagadānanda viracitaṁ Tripurasundarī stotraṁ. Patan: Rājopādhyāya. Incomplete. 220. Tripurasundarī-stotra New 48 E 223/19 E 4001. Mahārāja-rājeśvarī Tripura-sundarī-stotra. Kathmandu: Rājopādhyāya. ns 821. 221. Tripurasundarī-stotra  Tripurasundarīstotraśatanāma New 11 E 242/4 E 4465. Reconstructed. 222. Tripurasundarī-stotra New 19 E 623/11 E 13832. Bhaktapur: Rameśa Rājo. 223. Tripurasundarī-stotra  Liṅgāṣṭaka New 15 E 656/18 E 14659. Gorkha: Syama Śreṣṭha. Damaged. cont. | 309 Dev aPPendix B 215. Tripurasundarī-stotra Title Script Folio Reel # 310 | Private Manuscripts (cont.) Colophon (Col) New 4 G 36/6 G 699. Author: Śaṁkarācārya. Rājopādhyāya. Incomplete. 225. Tripurasundarī-stotra Dev 10 G 63/6 G 1413. Bhaktapur: Rājopādhyāya. 226. Tripurasundarī-stotra New 13 G 75/12 G 1674. Bhaktapur: Rājopādhyāya. 227. Tripurasundarī-stotra  puraścaraṇavidhi New 23 G 96/25 G 2233. Bhaktapur: Rājopādhyāya. 228. Tripurasundarī-stotra Dev 4 G 218/36 G 4976. Bhaktapur: K.S. Josi. Incomplete. 229. Tripurasundarī-stotra New 11 G 243/10 G 5701. Iti śrī Jagad-ānanda viracite Tripura-sundarī- stotram sampūrnam. ns 656. Bhaktapur: K.S. Josi. Complete. Damaged. 230. Tripurasundarī-stotra Dev 22 H 76/16 H 981. Patan: Rājopādhyāya. Incomplete. 231. Tripurasundarī-stotra ns 797. Bhaktapur: See: Mahātripurasundarī-stotra and Tripura-sundarīstotra. 232. Tripurasundarī-stotra E 62/3 E 595. See: Nava-ratnamālikā-stuti. 233. Tripurasundarī-stotra E 153/12 E 2521. See: Viṣṇu Purāṇa. 234. Tripurasundarī-stotra E 224/33 E 4056. See: Karmārcana. 235. Tripurasundarī-stotra G 196/21 G 4181. See: Kṛṣṇa-stotra. 236. Tripurasundarī-stotra H 229/4 H 3377. From Vāmakeśvara-Tantra. See: Tripura-sundarīmantra-nāma-sahasraka. I 32/32 I 586. From Rudra-Yāmala. Iti Śrī rudrajāmare rūpastāre kāmadatta-paṭale catuḥ-ṣaṭṭī yoginī koṭṭyābhi-dhāne mahāmalayante prabhede śrīman mahā Tripurasundarī-krama stotraṁ samāptaṁ. Nālā: Rāma Kramācārya. Incomplete. Damaged. E 1531/50 E 29474. Iti Śrī Rudra Yāmala umā-maheśvara-saṁvāde Śrī 237. Tripurasundarī-stotra New 13 238. Tripurasundarī-stotra Nag 3 the Goddess Within and Beyond the three Cities 224. Tripurasundarī-stotra 238. Tripurasundarī-stotra (cont.) Tripura-sundarī-sundarīṣṭottara śatadivyanāma smṛti-stotraṁ samāptaṁ. vs 1974. Gorkhā: N.N. Śreṣth. Complete. New 1 H 376/29 H 6767. Patan: Hariśaraṇa Śarmā. 240. Tripurasundarī-stotra Nag 7 E 2798 E 49925. Pātu-māmāniśaṁ devī Śrīmata Tripurasundarī (folio 8b). Kathmandu: J.C. Regmi. Incomplete. 241. Tripurasundarī-svalpanityārcana-vidhi New/ Dev 48 E 1077/5 E 21775. Col 1: Iti Śrī Tripura-sundarī-devyāye-nitya-svāryyadevārccana-vidhisamāptaḥ. Col 2: Iti śrī Tripura-bālanitya-devārcana vidhi samāpta. Col 3: Iti aṣtāviṁśatikarma paścimādinairtyantaṁ ṣaṭkoṇa-pūjā-vidhi. Col 4: Iti śrī paścimabāladevārcana-vidhi samāpta. Col 5: Iti pūjā-patalaḥ-samāptaḥ. Col 6: Iti kavacaṁ samāpta. Kathmandu: P.B. Kaṁsakāra. Incomplete. Damaged. 242. Tripurasundarī-hṛdaya Dev 17 C 29/8 C 276. “Rudra-Yāmala-tantra” Kathmandu: Kaiser. Complete. Twentieth century. 243. Tripurasundarī-hṛdaya Dev 7 E 224/25 E 4048. Mahā Tripura-sundarī parapāra hupinyā manumaya hṛdayam. ns 1007. Kathmandu: Rājopādhyāya. 244. Tripurasundarī homa-vidhi Dev 26. E 330/38 E 6789. “Vāmakeśvara-tantra-udṛta Tripure SundaryāHṛdaya-Vidhi.” Kathmandu: Dayarāma Incomplete. Damaged. C 21/12 C 844. See: Tulasīstava. 245. Tripura-sundaryapara New 19 E 2189/26 E 40428. Iti śrī Śakti Yāmaler apādalakṣa-graṅthe śrī mahā Tripurasundaryā ayutākṣarī samāptam. vs 930. Kathmandu: Dineshaman. Complete. Damaged. 247. Tripurasundarī-ayuta-ākṣarīmantra Dev 5 H 211/12 H 3087. Patan: Maharjana. Incomplete. cont. | 311 246. Tripurasundarī-ayuta-ākṣarī aPPendix B 239. Tripurasundarī-stotra Title Script Folio Reel # Colophon (Col) Dev 16 G 208/36 G 4649. Bhaktapur: Rāma. Incomplete. 249. Tripurasundarīundaryaṣṭottara-śatadivyanāmasmṛti-stotra Nag 2 E 1532/69 E 29559. Iti śrī Rudra-Yāmale umāmaheśvara-saṁvāde śrī Tripurasundarī . . . Gorakhā: N.N. Śreṣtha. Complete. E 82/14 E 1005. See: Tripurasundarī-stotra. E 2098/21 E 39182. Kathmandu: Dineshaman. E 644/9 E 14314. Adi Tripura-sundarī-sundari ahavrāti dipajagarccanaṁ. Bhaktapur: Rameśa Rajo. Incomplete. Damaged. E 355/12 E 7321. See: Nityārcanavidhi. 250. Tripurasundarī-aṣṭottara-stotra 251. Tripurasundarī-aṣṭottarastotra Nag 1 252. Tripurasundarī-sundaryahorātradī-payāgārcana New 31 253. Tripurasundari-brahmaśodhana Dev / New 254. Tripurasundarī-sundarīānanda-stava New 32 E 190/1 E 3399. Col 1: Jagadānanda viractiaṁ Śrī Tripura-sundarī ānandastava stotram. Col 2: Kubjikā tantre vidyāpīṭhi valyācanaṁ. Col 3: Vidyā pīṭha tantre ṣodaśanāth prakāśe pīthāvatāra stotraṁ. Col 4: Sankalpādi mahādhana vākyaṁ. Col 5: Kubjikāly lajya lakṣmī dhūpa. [Titles: Vidyāpīṭhabalyārcana from Kubjikāmatatantra  Pīṭhāvatāra-stotra from Vidyāpīṭhatantra  Mahādāśavākya  Lakṣmīdhūpa from Kubjikākālītantra.] Patan: Rājopādhyāya. Complete. 255. Tripurākavaca Dev 6 E 593/18 E 13079. Tripura-kavacākhyasya devī-dakṣiṇa ucyate. Kathmandu: V. Sapkota. Incomplete. the Goddess Within and Beyond the three Cities 248. Tripurasundarīundaryaṣṭottara-śatadivyanāmastotra 312 | Private Manuscripts (cont.) Dev 257. Gandharvakrama-Tripurasundarī-mata Dev / Nep H 369/24 258. Mahā Tripurasundarī New E 300/6 E 6071. Complete. 259. Mahā Tripurasundarīkarmārcana-paddhati New / Skt 14 E 52/4 E 553. Kathmandu: Rājopādhyāya. Complete. Damaged. 260. Mahā Tripurasundarī-kavaca  Bhairavāṣṭaka-stotra New 18 (G) 33/23 G 606. Siddhi yāmale Mahā Tripurasundarī . . . . Bhaktapur: Rājopādhyāya. 261. Mahā Tripurasundarī-kavaca New 1 G 223/16 G 5143. Bhaktapur: P.N. Jośī. Incomplete. 262. Mahā Tripurasundarīcakranyāpūjā-vidhi New 17 E 740/32 E 16418. Bhaktapur: Ramesa Rajo. Incomplete. 263. Mahā Tripurasundarīcakrārcana New 12 G 179/9 G 3656. From Vāmakeśvara Tantra. Bhaktapur: Rājopadhyāya. Incomplete. 264. Mahā Tripurasundarītrailokyamohana-kavaca New 24 E 718/11 E 15901. From Rudra-Yāmala. Patan: Lila Rāj Śreṣṭha. 265. Mahā Tripurasundarītrailokyamohana-kavacavyākhyāna Dev 9 E 716/12 E 15838. Rudra Yāmala Gaurīśaṅkarasaṁvāde Rājeśvarī Śrī Mahā Tripurasundarī . . . . vs 1892. Patan: Lila Rāj Śreṣṭha. Incomplete. 266. Mahā Tripurasundarītrailokyamohana-kavacavyākhyāna Dev 25 E 736/4 E 16354. Bhaktapur: Ramesa Rajo. Complete. E 717/31 E 15888. See: Cakrabhāvananyāsa. H 359/18 H 6366. Rudrayāmale tantra umāmaheśvara-saṁvāde śrī Bāla Tripurā . . . . Patan: N.K. Paudela. Complete. cont. | 313 267. Mahā Tripurasundarītrailokyamohana-kavacavyākhyāna 8 aPPendix B 256. Bāla Tripurāsahasranāmastotra Title Script Folio 268. Mahā Tripurasundarī-devī-vidhi Reel # Colophon (Col) H 81/21 H 1088. See: Vāṇa-yuddha-hariharastava. From Skanda Purāṇa. Dev 10 E 685/9 E 15329. Bhaktapur: Ramesha Rajo. Complete. Connected with Nava Rātri. Newāri language, Sanksrit script. 270. Mahā Tripurasundarīdevīsahasranāma-stotra New 11 E 1145/4 E 22901. Iti śrī nandikeśvaratantre śrīharakārttikeyasaṁvāde śrīśrī-rājeśvarī-Mahā Tripurasundarī-devyā-sahasra-nāmastotraṁ samāptaṁ. ns 928. Patan: Davadi. Complete. 271. Mahā Tripurasundarīdevyāḥśaṅkṣepa-pūjāpaddhati New 115 H 187/5 H 2633. “Title . . .” Col 2: Paśuvali vidhānaṁ. Col 3: Sandhyavidhi. Col 4: Uttarāmnaye naimittika pūjā vidhi. Col 5: Guha kālīstavarājaḥ. Col 6: Karaka vīrayoge ṣatsahasrikeśa srīguhyakali kavacam. Col 7: Samaya cakra. Col 8: Upadeśikadīkṣā vidhiḥ. Patan: G.B. Maharjana. ns 844/846. E 78/21 E 859. See: Tripura-sundarī-sahasra-nāmastotra. 272. Mahā Tripurasundarī-nāmatrailokya-vijaya-kavaca 273. Mahā Tripurasundarīkarmapaddhati New 34 D 71/30 E 1237. Contains Śrāddha-viddhi in Devanāgarī. Kathmandu: Also, E 4823/E 255/5. 274. Mahā Tripurasundarīnityākarma-paddhati New 33 E 255/5 E 4823. With Śrāddha-Vidhi. See D 1237 and D 71/30. 275. Mahā Tripurasundarīnaimittkārcana New 32 E 413/5 E 8543. With Śivaśakti sarasatva mahāmāyā stotraṁ. Kathmandu: C.M. Kayastha. Complete. Damaged. 276. Mahā Tripurasundarīpavitrārohaṇa-vidhi New 46 E 153/23 E 2531. Col 1: Vāmakeśvara-Tantra uktaḥ śrī Mahā Tripurasundarī pavitra rohana vidhi. Col 2: Pavitrārohan bhala. Col 3: Bhuvaneśvarī pūjā-vidhi. Patan: Rājopādhyāya. Incomplete. Damaged. Thyas. Scribe: Śrī Siddhināth, son of Śrī Rāma Nāth. ns 826. Seasonal pūjā, like damorahana. Mantras of Bhuvaneśvarīand Tripurasundarī are merged. the Goddess Within and Beyond the three Cities 269.Mahā Tripurasundarīdevīpūjā-vidhi 314 | Private Manuscripts (cont.) 277. Mahā Tripurasundarīpañcāṅga-paṭala Thyas 278. Mahā Tripurasundarī-pūjāpaddhati New 279. Mahā Tripurasundarī-pūjāvidhi E 396/2 24 E 1273/9 E 25536. Kathmandu. Complete. Thyas. Dev / New 79 H 228/11 H 3371. Col 1: Mahā Tripurasundarī. Col 2: Vāmakeśvara āmnayodhṛtya kāśmira viracitāyāṁ rahasya paddhatiḥ. Col 3: Kārma-rāja gaṇapti kāstutiḥ. Col 6: Śaṅkarācārya viracitaṁ guru-pāduka nitya śravaṇa stotraṁ. Col 7: Caturviṁśati sahasre vidyāya vishane japa mahatmy varṇaṇe krama-udayonamānandaḥ. Col 8: Caturviṁśati sahāsre sodasanta mukti sutra. Col 9: Ādyāvatāre mahāmanhana bhairave yajane anvaya saptakoti pramame meru margga nirgate ādyapiṭhāvatārite vidyapithamārge sikādi catuviṁśati sahasre mudradhikara sūtram. Col 10: Mahāṣoḍhā nyāsāḥ. Col 11: Śaṅkarācārya viracitaṁ lālityaḥ ṣoḍa śopacāraḥ. Col 12 Āvaraṇa sahasrākṣarī. vs 1607. Scribe: Jagadīśa. Kirtipur: T. Maharjana. Complete. Damaged. Thyas. 280. Mahā Tripurasundarī-pūjāvidhāna New 26 I 4/14 I 75. Mama śrīmahā Tripurasundarīprītyrthaṁ jape viniyoga. Thyas. Nālā: Viṣṇu Prasād Śreṣṭha. Incomplete Damaged. 281. Mahā Tripurasundarīsundarīmakaranda-stava Maith E 520/5 E 11301. See: Yogānukramaṇikā. Thyas. H 53/3 H 607. See: Makaranda-sāra-stavarāja. Thyas. E 78/36 E 874. Rudra-yāmala-mahātantre umā-maheśvara-saṁvāde śiva-khāmbujavinirata-śrīmahā-tripura-sundarīm. . . . Patan: Rājopādhyāya. Complete. Damaged. 282. Mahā Tripurasundarīsundarīmakaranda-stava 283. Mahā Tripurasundarīmarkarandākhya-stava Dev 3 cont. | 315 See: Vīrahoma. aPPendix B E 8163. Title Script Folio Reel # Colophon (Col) Dev 6 E 207/15 E 3653. 285. Mahā Tripurasundarīmarkarandākhya-stava Dev 9 E 297/19 E 3657. Kathmandu: Rājopādhyāya. 286. Mahā Tripurasundarīmantranāma-sahasrastavarāja Dev 29 H 353/24 H 6212. NS 904. Scribe: Manirama. Patan: T.L. Maharjana Incomplete. Damaged. 287. Mahā Tripurasundarīṣḍaśīkavaca Dev 1 E 121/33 E 1761. Kulānta saṁpitāyāṁ śrī mahā tripura. . . . Patan: Rājopādhyāya. Incomplete. H 233/11 H 3494. See: Durgāṣṭaka. Thyas. 288. Mahā Tripurasundarīṣoḍaśīkavaca 289. Mahā Tripurasundarīsaṁvatsara-mahāpūjā New 29 E 1406/2 E 27628. Parameśvari . . . Paramaśiva Bhinna . . . svabhāva . . . vyaktā . . . vyaktav . . . puṣa . . . Mahā Tripurasundarī . . . sundali . . . nitya . . . klinne . . . samvatsara . . . mahāpūjā . . . phalasiddhe . . . pavitaṁ . . . kuru . . . śivājñayā . . . huṁphat . . . pādukām// Thvamāramantranajaparape. Kathmandu: Dharma Vajrācārya. 290. Mahā Tripurasundarīsahasra-nāma-stotra Nag 25 E 1537/22 E 29802. Iti śrī naṁdikeśvaratantre narakārtikeya saṁvāde śrī śrī rājarājeśvarī Mahā Tripurasundarī sahasra-nāma-stotraṁ samāptaṁ. Gorkha: N.N. Sreshtha. Incomplete. Damaged. 291. Mahā Tripurasundarīsiddhividyā-ayutākṣarī New 9 D 69/13 D 1176. ns 820. 292. Mahā Tripurasundarīsiddhividyā-ayutākṣarī New 17 E 423/16 E 8763. Kathmandu: Acyuta Raj. Complete. Thyas. the Goddess Within and Beyond the three Cities 284. Mahā Tripurasundarīmarkarandākhya-stava 316 | Private Manuscripts (cont.) 293. Mahā Tripurasundarīsiddhividyā-ayutākṣarī New 25 294. Mahā Tripurasundarīsopacāra-pūjākathana E 1145/8 E 22905. Iti śrī ekavirākaple śri nīlakaṇṭha-nāthāvatāre śrī Mahā Tripurasundarī sundaryyā. Patan: Davadi. E 62/3 E 595. See: Navaratnamālikāstuti. H 180/8 H 2534. See: Vaiṣṇavāmṛta. Thyas. H 263. Rudrayāmale umāmaheśvare saṁvāde śrīmahā Tripurasundarī-stavarāja stotraṁ ns 792. Scibe: Pātravaṁśa Raut. Patan: G.B. Maharjana. Incomplete. Damaged. Dev/ New 296. Mahā Tripurasundarī-stavarāja New 19 H 187/3 297. Vāmakeśvara-Tantra Dev 47 E 22/11 298. Vāmakeśvara-Tantra New 31 E 624/13 Only irst chapter: mentioned as Tripurā pūjā. 299. Vāmakeśvara-Tantra kavacannām New 241 E 673/14 Vāmakeśvaratantre nityāṣoḍaśikārṇava-esaubhāgya trayastriṁ śati tamaḥ paṭala. 300. Vāmakeśvara-Tantra New 144 G 135/3 Vāmakeśvarī Tantreyoginīhṛdaya-mantrasamketakī. 301. Vāmakeśvara-Tantra E 78/21 Tripura-sundarī-sahasra-nāmastotra. 302. Vāmakeśvara-Tantra E 91/29 Tripura-sundarī-sahasra-nāma. 303. Vāmakeśvara-Tantra E 153/23 Mahātripurasundarī-pavitrā-rohaṇavidhi. 304. Vāmakeśvara-Tantra E 168/8 Saubhāgyakavaca. 305. Vāmakeśvara-Tantra E 194/26 See Kubikāśatākṣarī. 306. Vāmakeśvara-Tantra E 242/4 Tripurasundarīstotra. 307. Vāmakeśvara-Tantra E 330/38 Tripurasundarī-homavidhi. 308. Vāmakeśvara-Tantra E 600/9 Tripurasundarī-mantrasahasra-nāmastotra. E 1466/20 Iti śrīvāmakeśvarīye mahātantre sarva-tantrottamottama/ yoginīhṛdayae mantra-saṁketonāmadvitīyaḥ paṭalaḥ. New 24 cont. | 317 309. Vāmakeśvara-Tantra aPPendix B 295. Mahā Tripurasundarī-stava Title 310. Vāmakeśvara-Tantra Script New Folio Colophon (Col) E 1751/13 Only second and third chapters. 311. Vāmakeśvara-Tantra G 15/8 Tripurāpūjā. 312. Vāmakeśvara-Tantra G 26/9 Guruvaṣṭaka. 313. Vāmakeśvara-Tantra G 34/3 Tripurasundarī-sahasra-nāma. Thyasaphu. 314. Vāmakeśvara-Tantra G 89/18 Puṣpamāhātmya. 315. Vāmakeśvara-Tantra G 179/9 Mahā Tripurasundarī-cakrārcana. 316. Vāmakeśvara-Tantra G 190/4 Pratyaṅgirāvidhāna. 317. Vāmakeśvara-Tantra H 83/4 Jagadambādivya-nāma-sahasraka. 318. Vāmakeśvara-Tantra H 228/21 Mahā Tripurasundarī-pūjāvidhi. 319. Vāmakeśvara-Tantra H 229/4 Tripurasundarī-mantra-nāma-sahasraka. Thyas. Skrt/ New 321. Vāmakeśvara Tripurasundarī Tantra New H 331/5 Yantrapratiṣṭhāvidhi. See: Dinayajña-pratiṣṭāvidhi. Thyas 38 322. Vāmakeśvara Saṁhitā 323. Vāmakeśvara Saṁhitā New 8 324. Vāmakeśvara Saṁhitā 325. Vāmakeśvarīmata 1 Newari rolled paper. New 1 75 H 345/17 Vāmkeśvara Srī Tripurasundarī Tantram caturthaṁ paṭalaṁ pūrṇa. Starts from Jayatinija . . . Resembles A 1291/25 and A 945/11. H 180/12 See Kubjikā-sahasrākṣarī. E 924/2 Iti Vāmakeśvara-saṁhitoktā kubjikā-sahashrākṣarī samāpta. E 169/18 See Siddhi-lakṣmī-sahasrākṣarī and Kubjikā-sahasrākṣarī. E 527/19 Iti Śrī Vāmakeśvara Mahātantre bahū-rūpāṣtaka prastāre the Goddess Within and Beyond the three Cities 320. Vāmakeśvara-Tantra 7 Reel # 318 | Private Manuscripts (cont.) 325. Vāmakeśvarīmata (cont.) Mahā Tripurasundarī kalpe vidhrtau tripura homa vidhiḥ sādhano nāma pañcam patalaḥ. New 11a E 2791/13 Iti śrī Vāmkeśvaramata Tantra Bahur-upāṣṭaka prastāre bīja tṛtīya sādhane caturthaḥ paṭalaḥ. ns 781. Appears to be unique commentary. 327. Vāmakeśvarī-Tantra New 2 E 2801/36 Iti Vāmakeśvara-mata Tantra Mahā Tripurasundarī kalpabīja-traya sāra vidhiścatruthaḥ paṭalaḥ. 328. Vāmakeśvarīmata E 159/30 Pujāpaddhati. Thyas. 329. Vāmakeśvarīmata E 158/1 Kubjikāsahasrākṣarī. See Dakṣiṇa-kālikā-sahasrākṣarī. M 94/11 M 1418. [Adau:] Atha Śrī Vidyā Nitya Pūjāpaddhatiḥ. [Fol. 13b] Iti Śrī Mahā Tripurasundarī Nitya-pūjā paddhatiḥ sampūrṇaḥ. [Fol. 14b] Iti Brahma-viracitaṁ kalyāṇīstotraṁ sampūrṇaṁ. [Fol. 15b] Iti Kiṁkiṇīstotraṁ samāptam. [Fol. 16a] Iti siddhayāmale śrī Tripurasundarīkavacaṁ samāptam. [Fol. 17a] Iti kulānanda-saṁhitāyāṁ śrī Mahā Tripurasundarīṣoḍaśi-kavacaṁ sampūrṇaṁ. [Ante] Iti siddhayāmale śrī vidyā kavacaṁ. Janakpur: Śrīkānta Jhā. On Bhūrjapatra paper. Maith 18 331. Śrīvidyāmantra-prakaraṇa New 4 E 1751/12 E 33992. Iti śrīvidyā mantra prakaraṇaṁ viparītakrameṇa kuṭalipi. Kathmandu: Dharma Ratna Vajracarya. 332. Śrī Vidyā Stavarāja Nag 9 E 1940/22 E 37018. Iti śri Rudra Yāmale tantre Śrī Vidyā Stavarāja rakṣāstotraṁ saṁpūrṇaṁ. Kantipath: Śrī Jung Shaha. 333. Śrī Vidyā Stavarājarakṣastotra Nag 39 E 1211/22 E 24335. Scribe: Kharidār Mānabahādura Rājabhaṇḍārī. Kathmandu: K.P. Ghimire. 334. Kumārītantra Dev 15 E 22/8 335. Kumārītarpaṇātmaka Dev 3 E 50/7 RudraYāmale uttara-khaṇḍe mahā-tantrod-dīpane kuaryyāpacont. | 319 330. Śrīvidyā Nitya-pūjā-paddhati aPPendix B 326. Vāmakeśvarī-Tantra Title Script Folio Reel # 335. Kumārītarpaṇātmaka(cont.) Colophon (Col) 320 | Private Manuscripts (cont.) caryyaviniyase siddha-mantra prakaraṇe divya-bhāniraṇye bhomava-bhairavi-samavāde kūmārī tarpaṇātmakstotram. New 16 E 2029/17 [Adau:] Komārī dhyānaṁ. Asya rājyeprada-mahāmantasya prajāpati-ṛṣiḥ anuṣṭup-chandra ‘śrīsiddhi-lakṣmī-devatā sarvārtha-siddhaye viniyogaḥ. Mahākālabali. Iti hetukādhisthāna-kṣatra-bali. Caṇḍa-yogeśvarī-mantra. 337. Kumārīpūjaṇa-balidānavidhi Nag 27 E 2770/12 Iti śrī vallabha bhaṭṭācārya viracityāyāṁ sudhā-taraṅgiṇyāṁ kumārī-pūjana . . . nāma caturtha kallolaḥ samāptaḥ. 338. KumārīpūjanavidhiŚaktipūjā vidhi Dev 6 H 382/27 Iti kanyāpūjāvidhānāt. 339. Kūmārīpūjā New 28 D 31/35 Iti kumārī pūjā. Iti dharma (ns 1000) dhātu yogadhyāna . . . the Goddess Within and Beyond the three Cities 336. Kumārīdhyāna B. National Archives: Bṛhat Sucip Manuscripts Title Script Folio Reel # Colophon (Col) Dev 36 A 186/14 2-A70. Vol. 4.2, pp. 135ff. With Tripurā-kalpaṭippanī of Kāśīrām, also with diagrams. 2. Vāmakeśvara-Tantra Maith 39 B 28/4 1-1697 7/3. Only mūla. Seventeenth century. 3. Vāmakeśvara-Tantra New 32 B 28/14 3-361/vi. Mūla. 4. Vāmakeśvara-Tantra New 14 A 188/4 4-22. Vol. 4.2, pp. 135ff. Nineteenth century. Again with Jayatinija commentary. 5. Vāmakeśvara-Tantra Dev 11 A 188/8 5-4885. Nineteenth century. With Jayatinija. 6. Vāmakeśvara-Tantra New 60 A 208/15 5-2606. Not Vāmakeśvara. Appears to be Kālikā mantra collection from [A 2091] Jayadratha-Yāmala. 7. Vāmakeśvara-Tantra Dev 21 A 186/15 2-170. Complete with Sampradāya-pīṭha-pādukā  Laghustava  Rudra-kavaca-stotra  64 samaya. 8. Vāmakeśvara-Tantra New 30 A 188/5 1-202. Mūla. 9. Vāmakeśvara-Tantra Dev 113 B 172/20 1-250. Not Vāmakeśvara-Tantra. Eighteenth century. In Newārī script. Includes “Dvāra-pūjā” and “Gurulist” gives Mithuna-tarpaṇa-mala. Folios 30-41 include prayers to goddesses in Śrī-Yantra. Pañcamī-stotra contains Śākta-pīṭha-pūjā and Mātṛkā Nyāsa. Damaged. 34 B 28/2 1-10751. Palm leaf. Śaiva Tantra 164. Opening paddhati from ns 209 (1089) and NṢA from ns 508 (1388). 10. Vāmakeśvara-Tantra New 103 A 187/5 1-289. Śaiva Tantra 298. 12. Vāmakeśvara-Tantra New 72 A 187/10 1-247. Śaiva Tantra 394. 13. Vāmakeśvara-Tantra New 53 A 187/6 1-107. Vol. 4.2, p. 136. cont. | 321 11. Vāmakeśvara-Tantra aPPendix B 1. Vāmakeśvara-Tantra Title Script Folio Reel # Colophon (Col) Nag 80 A 43/4 1-1559. Palm leaf. Śaiva Tantra 165. Kāśī Rām Ṭippaṇi. Homage to Tripurā Bhairavī. No mūlā. ns 474. “When Jayarāj was enthroned, to please Śaivācārya Mammaṭa, Narayana Kavi wrote this. In Nandi Nāgarī. 15. Vāmakeśvara-Tantra Dev 89 A 187/12 & A 188/1 5-4888. Ṭīkā. 16. Vāmakeśvara-Tantra-ṭīkā New 49 A 186/13 5-4886. Śaiva Tantra 305. Yoginīhṛdaya. 17. Yoginīhṛdaya 19 B 281/10 1-1076. Palm leaf. “Vāmakeśvara-Tantra antargataṁ”. 18. Tripurājayahomavidhi 24 1331/36 1-1692. Palm leaf. “Tāntrika-paddhati 34”. 46 A 188/11 3-91. Śaiva Tantra [1(?)] 300. Not NṢA but claims to be so. Appears to be a later accretion. 20. Vāmakeśvara-TantraViśamapada-tippaṇī 49 A 43/6 3-380. Palm leaf. Śaiva Tantra 169. Tripurā-homaviddhi. 21. Yoginīhṛdaya 44 B28/11 5-818. Palm leaf. “Vāmakeśvara-Tantra antargatam”. 19. Vāmakeśvara-Tantra Dev 22. Guruvaṣṭaka New 2 B 534/18 3-459. Tantra: Stotra 151. 23. Gurustavarāja Dev 2 B 534/26 5-2580. Tantra: Stotra 149. 24. Jagadambāsahasranāma New 13 B 701/27 1-1694. Tantra: Stotra 234. [alt.] “Jagadambā-divyanāmasahasra”. 25. Jagadambāsahasranāma New 13 A 630/48 1-1394. Tantra: Stotra 234. 26. Jagadambāsahasranāma New 15  2 A 630/46 1-1394. Tantra: Stotra 232. 27. Jagadambāsahasranāma Dev 29 A 630/49 1-343. Tantra: Stotra. 235; Col: “Śāke 1726, Sam. 1861”. 28. Tripurasundarīkavaca New 6 B 701/33 1-186. Tantra: Stotra 295. the Goddess Within and Beyond the three Cities 14. Vāmakeśvara-Tantra 322 | National Archives: Bṛhat Sucip Manuscripts (cont.) 29. Tripurasundarī-ṣaḍdaśasahasranāma-stotra Dev 38 30. Tripurasundarī-divyaśatanāmastava Dev 3 31. Tripurasundarī-sahasra-nāma New 26 32. Tripurasundarī-sahasra-nāma Dev 17 B 535/39 3-615. Tantra: Stotra 328. 33. Tripurasundarī-sahasra-nāma Dev 11  B 535/35 1-1587. Two separate mantras (a) “Divyaṁ varanaṭatantra: Dakṣiṇa-mūrtināmastotra”, and (b) “Tripura . . . .” Incomplete. 34. Tripurasundarī-sahasranāma-stotra Dev 13 B 535/32 1-1397. 35. Tripurasundarī-sahasra-nāma Dev 13 B 535/34 1-1561. Tantra: Stotra 31. 36. Tripurasundarī-sahasra-nāma New 15 B 535/38 3-293. Tantra: Stotra 319. “Stotrarāja”. 37. Tripurasundarī-divyaśatanāma-stotra Dev 3 B 536/18 4-1864. Tantra: Stotra. 339. 38. Mahātripureśvarī-kavaca New 6 A 631/35 1-186. Tantra: Stotra 295. 39. Mahātripureśvarī-kavaca New 19 A 631/34 1-466. Tantra: Stotra 294. vs 798. 40. Mahātripureśvarī-kavaca New 26 B 535/37 4-1181. Tantra: Stotra 318. vs 891. 41. Vāmakeśvarīstuti Dev 2 B 390/14 5-6381. Dharma Stotra 1201. 42. Tripurabhairavī-pūjāvidhi New 39 A 864/27 3 /30. 43. Tripurabhairavi-pūjā-paddhati New 63 A 237/14 5-6139. 44. Tripurabhairavī-stotra New 3 A 631/32 1969/1441. B 26/1(2)? 4-753. Palm leaf. B 535/47 / B 536/7 4 -1073. Tantra: Stotra 328. 4-481-2039. A 864/26. Tantra: Stotra 318. cont. | 323 115 4-2203. Tantra: Stotra 317. aPPendix B 45. TripurasundarīvyākhyāJñānadīpavimarśinī B 535/36 Title Script Folio 46. Tripurasundarī-kavaca 73 47. Tripurasundarī-kavaca Reel # Colophon (Col) B 32/9 4-1633. Palm leaf 7 B 535/16 1-1696/1580. Thyas. New 7 B 701/23 1-1696/1500. Thyas. 49. Tripurasundarī-kavaca New 9 B 701/31 1-466. 50. Tripurasundarī-kavaca Dev 5 B 535/20 4-194. 51. Tripurasundarī-karmārcana-paddhati 52. Tripurasundarī-krama-stava New New 36 31 B 186/38 B 535/40 5-4992. 5-1366. Attributed to Śaṅkara. 53. Tripurasundarī-guhya-kālīpūjā New 42 B 185/25 1-1696/411. 54. Tripurasundarī-caturaṅga-pārāpaṇa-krama Dev 18 B 185/21 5-6136. 55. Tripurasundarī-tantra Dev A 159/17 4-2588. 56. Tripurasundarī-tantra-ṣoḍ-ḍaśa-hṛdaya-stotra Dev 4 B 536/28 5-6387. 57. Tripurasundarī-dīpa-yāgavidhi New 54 B 185/28 1-1696/58. 58. Tripurasundarī-dīpa-yāgavidhi New 41 B 185/33 1-1696/907. 59. Tripurasundarī-dīpa-yāgavidhi New 24 B 185/17 1-186. 60. Tripurasundarī-dīpa-yāgavidhi New 56 B 185/32 1-1696/347. 61. Tripurasundarī-devī-vasanta-tilaka Dev 13 B 536/17 4-1490. Also: Tripurasundarī-stotra by Śaṅkara. 62. Tripurasundarī-navarātra-vidhi New 96 A 237/10 1-770. 63. Tripurasundarī-nityakarma-vidhi New 10 B 186/30 1-1491. 64. Tripurasundarī-nityakarma-vidhi New 12 B 187/7 1-1696/1880. 65. Tripurasundarī-nityakarma-vidhi New 12 B 185/24 1-1696/1743. the Goddess Within and Beyond the three Cities 48. Tripurasundarī-kavaca 324 | National Archives: Bṛhat Sucip Manuscripts (cont.) 66. Tripurasundarīnitya-pūjāvidhi Dev 36 B 186/29 1-1672. 67. Tripurasundarīnitya-pūjāvidhi New 39 B 186/10 1-1619. 68. Tripurasundarī-nityārcana-vidhi New 6 B 185/20 3-97. 69. Tripurasundarī-nyāsa-vidhi New 40 B 185/29 3-45. 70. Tripurasundarī-nyāsa-vidhi New 11 B 186/32 1-974. 71. Tripurasundarī-nyāsa-vidhi New 8 B 185/15 1-1696/1249. 72. Tripurasundarī-nyāsa New 29 B 184/33 5-6125. 73. Tripurasundarī-nyāsa-vidhi Dev 7 B 186/20 1-1600. 28 B 32/11 Palm leaf. 74. Tripurasundarī-paddhati New 7 B 184/27 1-1696/1807. 76. Tripurasundarī-pūjā New 6 B 184/32 1-1696/905. 77. Tripurasundarī-pūjā New 8 A 237/19 1-1696/545. 78. Tripurasundarī-pūjā New 48 B 185/8 1-1696/444. 79. Tripurasundarī-pūjā New 69 A 237/12 1-1504. 80. Tripurasundarī-pūjā New 61 A 237/13 1-59. 81. Tripuropaniṣad New 58 A 89/20 5-4701. aPPendix B 75. Tripurasundarī-pūjā | 325 Title Script Folio Reel # Colophon (Col) New 35 A 1307/8 MS no. 1-1075. Col: Iti Śrīmad Vāmakeśvare mahātantre sarva-tantra-uttamaottame-bahurūpāṣṭaka prastāre Śrī Tripurasundarī homa-vidhānaṁ pañcamaḥ paṭalaḥparameśvara. Mahāmātya śrī jayasiṅgharāmasya vijayina śreyosu. vs 509 Kathmandu: Rastriyabhi-lekhala. Incomplete. VC: Appears to be a Kumārī paddhati at start. In palm leaf. Invokes bahu rūpāṣṭake. Scribed by Aditya Varma (kṣatriya) in Vaśu-vyoma-sāra or ns 508. Jaya [s]Tithi Malla. Pauṣa Kṛṣṇa. 2. Vāmakeśvara-Tantra-ṭīkā New 6 A 1219/28 No. 182. MS no 1-247. Kathmandu: Rastriyabhilekhalaya. Incomplete. Appears to be Śāradā-tilaka or Śrī Vidyārṇava. Sixteenth century. 3. Vāmakeśvara-Tantra Dev 26 A 946/3 Tantra no. 74. MS no. 6-715. Col: (i) Iti Śrī Vidyā Keśvaramate sautantra-ukta [sic] mevahurūpaṣṭaka prastāre Mahā Tripurasundarī kalpe tripura homavidhi sa dhanonāma pañcamaḥ paṭalaḥ samāptaḥ. Śrī vāmakeśvara-mataṁ saṁpunaṁ. Col: (ii) Iti rudra kavacastotram samāptam. Col: (iii) Iti catuḥ ṣaṣtisamaya pratipālanaṁ samāptam. vs 1919: Vikramāvde yute candre raṁdhraika mīlite. Māse cāṣāḍhak pakṣe ekādaśyaṁ bhṛgau dine. 31 A 1291/25 No. 1302. MS no. 5-4885. Col: (i) Iti Vāmakeśvara tantre bījatrayasādhanaṁ caturthaṁ paṭalaḥ. Col: (ii) Iti Vāmakeśvara-tantre Mahā Tripurasundaryā-japahoma-vidhāne Śrīṭīkāsu pañcamaḥ patalaḥ iti 4. Vāmakeśvara-Tantra the Goddess Within and Beyond the three Cities 1. Vāmakeśvara-Tantra 326 | C. National Archives: 1984-91 Catalogue 4. Vāmakeśvara-Tantra (cont.) Vāmakeśvara-tantra nityā ṣoḍaśakārṇavaṁ japaviḍhānaṁ pañcamaḥ paṭalaḥ. Complete. VC: Begins: Śrī Gaṇapāya namaḥ // Jayatinija-sudhāṁbhaḥ sambhavā vāgbhavaśrī rathasarasa samudyat kāntatattvānubhāva tad anuparama-dhāma dhyānasaṅlakṣa-mokṣarati[vi]-śaśiśikhir upatraipūrī-mantraśaktiḥ. Owner: Kṛṣṇa Śarmā. 62 A 994/9 No. 168. MS no. 4-945. Col (i) Iti Śrī Vāmakeśvarīmate catuthaḥ [sic] paṭalaḥ. Col (ii) Iti Vāmakeśvarīmahātantra mudrāpatala stṛtīyaḥ.” Palm leaf. Very good Sanksrit. Incomplete. Mūla in Ranjani. Commentary in Bhaktujimol. 6. Vāmakeśvara-Tantra  ṭīkā Dev 33 A 9643/5 No. 3. MS no. 6-13. Iti Śrī rudrayāmala mahā-tanttre vāmkeśvarī matam samāptam. Palm leaf. In Nandī Nāgarī. Eighteenth century. 7. Tripurasundarī-Pūjā New 120 B 125/12 1-1696/418. 8. Tripurasundarī-Pūjā New 39 B 185/3 1-1696/482. 9. Tripurasundarī-Pūjā Dev 5 A 237/21 1-1696/628. 10. Tripurasundarī-Pūjā New 6 A 237/23 1-1696/1349. 11. Tripurasundarī-Pūjā New 74 B 124/40 1-1696/2279. 12. Tripurasundarī-Pūjā Dev 14 B 124/40 1-1696/2279. 13. Tripurasundarī-Paddhati New 3 B 186/53 1-1034. 14. Tripurasundarī-Paddhati 32 A 49/21 1-1261. 15. Tripurasundarī-Paddhati 21 B 31/41 1-1584. 3 A 237/18 1-1696/1387. 16. Tripurasundarī-Paddhati New cont. | 327 New aPPendix B 5. Vāmakeśvara-tantra  ṭīkā Title Folio Reel # 17. Tripurasundarī-Paddhati New 139 A 48/(?) 5-399. Palm leaf. 18. Tripurasundarī-Paddhati Dev 31 B 186/6 1-1539. 148 A 48/20 3-360. A 237/6 1-1034. 19. Tripurasundarī-Paddhati Colophon (Col) 20. Tripurasundarī-Paddhati Dev 43 21. Tripurasundarī-Paddhati New 35  B 185/30 1-1696/428. 22. Tripurasundarī-Mahāṭīkā Dev 10 B 535/26 4044. 23. Tripurasundarī-Yamaka Dev 10 B 535/27 4-297. 24. Tripurasundarī-Rakṣa-mantra New 14 B 186/26. 1-1696/233. 25. Tripurasundarī-Rahasya New 59 B 701/19 4-1177. 26. Tripurasundarī-śatanāma Dev 6 B 535/29 1-1139. 27. Tripurasundarī-ṣoḍaśa-nityākalā Dev 20 A 158/4 1-1027. 28. Tripurasundarī-saṁkṣepa-pūjā New 14 B 184/37 1-1696/1285. 29. Tripurasundarī-sarvasva New 16 B 536/8 1-1411. 30. Tripurasundarī-sahasra-nāma New 5 B 701/17 1-696. 31. Tripurasundarī-sahasra-nāma New 5 B 535/30 1-696. 32. Tripurasundarī-sahasra-nāma Dev 8 B 535/33 1-1560. 13 B 536/4 1-1696/787. 33. Tripurasundarī-stava 34. Tripurasundarī-stava Dev 2 B 535/46 3-78. 35. Tripurasundarī-stava Dev 15 B 536/2 1-1390. 36. Tripurasundarī-stava New 10 B 536/5 1-1696/822. 37. Tripurasundarī-stava Dev 6 B 536/12 5-6369. the Goddess Within and Beyond the three Cities Script 328 | National Archives: 1984-91 Catalogue (cont.) 35 B 393/76 1-1696/397. 39. Tripurasundarī-stava New 29 B 383/50 1-1696/790. 40. Tripurasundarī-stotra Dev 12 B 536/10 1-1392. 41. Tripurasundarī-stotra New 14 B 536/20 1696/381. 42. Tripurasundarī-stotra Dev 24 B 536/22 4-2584. 43. Tripurasundarī-stotra Dev 2 B 536/13 1-249. 44. Tripurasundarī-vyākhyā Dev 11 B 536/24 5-5041. 45. Tripurasundarī-vyākhyā New 2 B 536/11 1-291. 46. Tripurasundarī-vyākhyā Dev 16 B 536/15 3-195. 47. Tripurasundarī-vyākhyā New 3 B 701/36 1-1696-1441. 48. Tripurasundarī-vyākhyā New 10 B 536/23 1696/1779. 49. Tripurasundarī-vyākhyā New 4 B 536/25 4-1817. 50. Tripurasundarī Upaniṣad New 3 B 66/25 5-4367. 51. Tripurasundarī-Ayutākṣarī New 35 B 185/13 2-247. 52. Tripurasundarī Upaniṣad New 6 A 89/21 5-7628. 53. Tripurasundarī-ūrdhva-āmnāya-sāmānyārcana Dev 56 B 186/8 5-6130. 54. Tripurasundarī-dīpa-yāgavidhi New 50 B 184/39 1-1696/769. 55. Tripurāgaṇeśamātṛkādi-nyāsa-vidhi New 10 B 184/38 1-1696/2111. 56. Tripurā-japavidhi Dev 2 B 184/28 1-1538. 57. Tripurā- nyāsa New 7 B 184/31 1-1696/538. 58. Tripurā-adhivāsavidhi New 56 B 186/18 2-122. Palm. 19 B 32/20 1-179. Palm. 9 A 237/20 5-6129. 59. Tripurā-paddhati 60. Tripurā-paddhati Dev cont. | 329 New aPPendix B 38. Tripurasundarī-stava Title Script 61. Tripurā-pavitrārohaṇa-vidhi Folio Reel # Colophon (Col) 9 B 185/22 1-1696/2055. New 42 B 186/1 5-6142. 63. Tripurā-pūjāvidhi New 23 B 185/14 1-1696/332. 64. Tripurā-prātaḥkṛtya New 17 B 187/8 5-6124. 65. Tripurā-valividhi New 19 B 185/16 1-662. 66. Tripurā-bālāpūjāvidhi Dev 2 B 186/9 3-37. 67. Tripurāmnāyapañcamī-devārcanavidhi New 11 B 185/19 1-1600. 68. Tripurārcanavidhi Dev 9 B 186/34 1-418. 69. Tripurāyamaka New 2 B 535/28 1-1644. 70. Tripurāṇava-sahasrākṣarī 16 B 184/36 1-1696/1637. 71. Tripurāviṣayakatantra 46 A 41/10 1-1584. 72. Tripurāsandhyā Dev 10 A 237/17 1-1349. 73. Tripurā-saparyā Dev 55 B 536/34 5-6700. 74. Tripurā-mahopaniṣad-bhāṣya New 58 A 897/16 4701. 75. Tripurā-sāmānya-devārcanavidhi New 79 A 1312/6 5-398. 76. Tripurā-kavaca New 1 A 984/5 5-6380. 77. Tripurā-kavaca New 24 A 979/38 5-7344. 78. Tripurā-kavaca New 15 A 983/25 5-6374. 79. Tripurasundarī-Kubjikā-stotra New 38 A 978/11 4-431. 80. Tripurasundarī-krama-pañcamī-stavarāja New 21 A 1306/22 459. 81. Tripurasundarī-krama-stava New 11 A 1291/8 5-6366. the Goddess Within and Beyond the three Cities 62. Tripurā-pūjāvidhi 330 | National Archives: 1984-91 Catalogue (cont.) 82. Tripurasundarī-krama-stava Maith 1-1633. 83. Tripurasundarī-kṣama-āpana-stuti New 2 A 959/22 395. 84. Tripurasundarī-cakra-arcana-vidhi New 68 A 1559/30 1-1696/770. 85. Tripurasundarī-jñāna-dīpa-vimarśinī New 9 A 992115 1-1559. 86. Tripurasundarī-trailokya-mohana-stava New 15 A 959/38 6-250. 87. Tripurasundarī-trailokya-mohana-stava Dev 19 A 1302/6 5-5048. 88. Tripurasundarī-trailokya-mohana-kavaca New 9 A 959/6 6-301. 89. Tripurasundarī-trailokya-mohana-kavaca New 9 A 988/8 1-1229. 90. Tripurasundarī-dīpayāga-vidhi New 26 A 1230/28 1-1696/954. 91. Tripurasundarī-hṛdaya-stotra Dev 21 A 959/7 6-150. 92. Tripurasundarī-sahasra-nāma Dev 21 A 959/13 6-133. 93. Tripurasundarī-devyā-ṣoḍaśo-pañcāvastava Dev 5 A 959/32 6-295. 94. Tripurasundarī-dhyāna Dev 2 A 962/29 6-342. 95. Tripurasundarī-dhyāna Dev 6 A 1091/16 6-2004. 96. Tripurasundarī-nava-rātra-pūjā-vidhi Dev 65 A 1239/30 5-6786. 97. Tripurasundarī-nityārcana Dev 6 A 949/2 6-29. 98. Tripurasundarī-nityārcana Dev 19 A 94913 6-39. 99. Tripurasundarī-nyāsavidhi Dev 20 A 1245/11 1-1696/820. 100. Tripurasundarī-pañcanī-stava-rāja New 4 A 980/57 1-1696/1413. 101. Tripurasundarī-paddhati New 10 A 1222/3 3-608/7. 102. Tripurasundarī-paddhati Dev 38 A 948//24 6-268. 103. Tripurasundarī-paddhati New 78 A 948/23 6-241. 104. Tripurasundarī-parā-prāsāda-vidhi New 12 A 959/8 6-156. cont. | 331 A 998/14 aPPendix B 18 Title Script Folio Reel # Colophon (Col) 106. Tripurasundarī-pūjā New 19 A 1227/20 5-5025. 107. Tripurasundarī-pūjā New 21 A 948/22 6-110. 108. Tripurasundarī-paddhati New 31 A 949/4 6-1286. 109. Tripurasundarī-paddhati New 27 A 1230/35 1-1696/31. 110. Tripurasundarī-paddhati New 5 A 1230/36 1-1696/1782. 111. Tripurasundarī-pūjāvidhi New 12 A 1242/24 1-1696/1382. 112. Tripurasundarī-pūjāvidhi New 4 A 1230/32 1-1696/1307. 113. Tripurasundarī-pūjāvidhi New 29 A 1230/33 2-254. 114. Tripurasundarī-pūjāvidhi Dev 2 A 1230/34 3-483. 115. Tripurasundarī-pūjāvidhi New 18 A 1230/37 1-1696/1498. 116. Tripurasundarī-pūjāvidhi New 8 A 1230/40 1-1696/204. 117. Tripurasundarī-stotra Dev 5 A 982/16 5-2149. From Viśva-sāroddhāra. 332 | National Archives: 1984-91 Catalogue (cont.) 105. Tripurasundarī-puṣpañjali the Goddess Within and Beyond the three Cities Appendix C Inscriptions From Bhaktapur Tripurasundarī Vidyā-Pīṭha and Dolakha’s Devīkoṭṭa The Bhaktapur Tripurasundarī Mandir FROM EASTERN BELL OF BHAKTAPUR VIDYĀPĪṬHA a. śrītripurasundarīdevī saṁvat 1015 miti pauṣa sudī 8 A thva śunhuyā dinasa tulācheñ ṭola vidyāpīṭhayā bubā indranārāṁ karmācārya svarga prāpti juyā vāṁ bale saṁkalpa yāṅā ṭha (tha) ka (ku) gu thvahe sāla miti śrāvaṇa vadi AA 6 AA Śrī Tripurasundarīdevī. Dated ns 1015 (Ce 1894), the 8th day of the bright half of the lunar month Pauṣa. On this day, a saṅkalpa [to offer a bell] was made by [father] Bābu Indranāra(yaṇa) Karmācārya while dying, who lived at Vidyāpīṭha of Tulāche ṭol. On the 6th day of the dark half of the lunar month of Śrāvaṇa in the same year. . . . b. thva śunhuyādinaso māma ṭhakuṁ dhana svarga prāpti jugu dina thava māma babuyā nāmanaṁ svaputra Āsānanda karmācāryana saṁvat 1017 miti pauṣa sudi 8 roja 2 thva ṣunhuvyādin sapṛtīyāñāva ghaṁṭha dva 1 tayā julo subham A Mother Dhana Thaku died. On the 8th day of the bright half of the lunar month of Pauṣa of ns 1017 (1896 Ce), Monday, their son Āśānanda Karmācārya offered this bell [to the Goddess] on the name of his deceased parents. May all be well. FROM WESTERN BELL OF BHAKTAPUR VIDYĀPĪṬHA a. Top line oṁ namaste Tripuradevi namaste bhaktavatsar[l]e A namase kuladevī tvaṁ cakreśvarī namostute AA 1 AA yāte na[e]pāli[a]t[k]e varṣe grahendu vīla1 suryake A2 1 Means void, hence 0. 2 Sun or 1. 334 | the Goddess Within and Beyond the three Cities śrāvaṇa u śuklamastamyāṁ vīsākhā vajrayogake AA 2 AA yathākarṇa muharta ca dvijarājākhyavāsare A3 kīṭagate ca śrīsuryo. Oṁ, salutation to the goddess of the three cities, always pleasing her devotees. I bow to you, the goddess of the kula, mistress of cakra. When the Nepal year 1019 passed, in Śrāvaṇa, on the 8th day of the bright half, on Vīśākhā and Vajrayoga [period of constellation] on Monday, according to karṇa and muhurta, while Sūrya is in Cancer. b. 2nd line tule caṅdra gate dine AA 3 AA upamanyu gotre sa bhuta vidyā-pīṭ(ṭh)e nivāsakau A Karmacāryya Mānavīra patni lāni thakuṁsya ca AA 4 AA īśvarī loka prāptyartha mātṛ pitṛ dvayasya ca A tatputra kāji jeṣṭhena kaniṣṭha sukhusaṁjñaka AA 5 AA putra pautra prapautrādinparvāra samavita A And when the moon is in Scorpio, born in the Upamanyu lineage, and living in the Bhaktapur Vidyāpīṭha. c. 3rd line dvītiya satsare śrāddhe pitṛ mokṣārtha hetuka AA 6 AA ghaṇṭā kāṁśamayi raṁmya śilāstabha samanvita AA 7 AA śrīmat trīpurasundaryyai ghaṇṭa caiva niveditana AA 8 AA atha nepāla-bhāṣā A saṁ 1019 mīti śrāvaṇa śukla aṣṭami somavāra yādina sa A śrī3 tripurasundarī A Now in Newārī language. On the 8th day of the bright half of the lunar month of Śrāvaṇa in ns 1019 (Ce 1898) the bell was offered to the thrice venerable Tripurasundari. . . . d. 4th line prītina vidyāpīṭhayā karmācāryye mānavīrababu māma ilāni thakuṁ śrīśvaralokavāsa kāmanā na kā ye jeṣṭha [kārma bhalicā (?)] puttali kaniṣṭha kāya suṣu thva panisena tho gāṁ na dutā śubham AA 9 AA On the name of [Lt.] Father Mānavīra Karmācārya of Vidyāpīṭha and mother Lāni Thak wishing that they may get Īśvaralokavāsa (heaven) by the eldest son Kāji and the younger son Sakhu. 3 Monday. aPPendix C | 335 TRIPURASUNDARI PATI śrī tripurasundarī, śrī lakṣmīnārāyaṇa (i) adya śveta varāhakapletyādi AA aupamanyu gatrao bhakta vīra patni cidhithakuṁ divaṁga — (ii) ta putri harithakuṁnāmnā ihatra suṣaparatra mokṣa kāmanaya . . . supriate . . . mūrti sahita prapā(ṇā)sālā A (iii) ja dola vāgdola kola patāhi nāma kṣetra ca samarptaṁ AA nepāla bhāṣā bhktaktapura tulācheṁ ṭola sukhu dhokā yā bha(iv) kta vira strī cidhi thakuṁ harithakuṁ sahitanaṁ . . . prītina . . . mūrti sahitana dharmmasālā jadola bu (v) dova 1 AA vāgdola ro AA kola patāhī roo prati dutā julo thvate buyā valusāna vālli kā yā A (vi) va . . . yāt nitya pūjā yākamha brāhmaṇa yāta phuṁ 12 jākī bijāva pujā yātake bākī A (vii) bālīna varṣaptai phale hoṅāva busādhana yaye . . . sake paṁcopacāra pujā yāṅavaśeṣa A (viii) bāki hapāpā avāpatra sa coṅa puṁbhajanayāpaṁcana bhojanayāṅāva phale lhone yāta A (ix) jagerā tayā A ta yara pālapāla cale yāye māla co ’syeṁ tako mayāstasa . . . yā (x) kudṛṣṭi lāy AA saṁvat 1030 vaisāṣa vadi 7 roja 1 subhaṁ vi A 1967 A (xi) Llakṣmīnarāṁ lakṣmī thaku dhamanī manithau (xii) bhaktaktavīra cidhithakuṁ harithaku A Bhakta Vīra and his wives Cidhi Thak and Hari Thak of Sukuk(l) lhokā, Tulācheṁ ṭol, Bhaktapur offered the inn with an icon of Lakṣminārāyaṇa and 11/4 ropaṇī land of Jaḍol and a half ropaṇī land of Vāgḍol to venerable Tripurasundarī. [The income from] this much land should be spent accordingly: 12 pathi of rice paddy to the brāhmaṇa who does daily pūjā [and] annual pūjā (busādhana) with ire sacriice and pañcopacāra-pūjā. The remaining should be deposited for repair-work of the inn and feast for the members of the bhajan [group]. If it is not done [accordingly] Tripurasundarī may disfavour [us]. 336 | the Goddess Within and Beyond the three Cities Dated ns 1030 (Ce 1909), on the 7th day of the the dark half of the lunar month of Vaiśākha, Sunday vs 1967. The Devīkoṭṭa Deocheṁ at Dolakha ŚĪLĀPATRA 1 svasti śrīsaṁvat 1942 sālma 2 sadalṛ 11 roj 3 mā 39 . . . dhān mu 4 ri a5 saṁvata rā 5 nivana nayañ 6 sanile rāṣya 7 ko ho śubham. On the 11th day of Sadalṛ (Śrāvaṇa [?]) in vs 1942 (Ce 1885), Nayañ Siṁha has kept [the land of] Rānivan which yields 5 muris [300 kg] of rice. 2nd Bell saṁmota 1942 sāla miti caitra badi 9 roja 6 mā śrī śrī tripurāsundarī . . . To the twice venerable Tripurasundarī, on the 9th day of the dark half of the lunar month of Caitra in vs 1942 (Ce 1885). . . . 3rd Bell dolakā śrī mahātripurasundarī priti gari śrī karnel vedabahadura katri le carāeko 2060 A Colonel Bed Bahādur offered [this bell] to venerable Mahātripurasundarī of Dolkhā in 2060 vs. Bell Inscription Outside Agañ Koṭhā saṁvata 999 caita badi 13 dhauṣara thāna tvālamā vaṣat nālāna na kata narasiṅgha ka valasiṁ. . . . AA On the 13th day of the dark half of the lunar month of Caitra in ns (Ce 1878), Narasiṁha Kavala Siṁha [offered this bell]. Jar Inscription śrītripurasundarī priti ṣāṭabha (mādhava ?) nārāyaṇa cadhāyāko 1997 sāla. aPPendix C Mādhava Nārāyaṇa offered [this jar] to venerable Tripurasundarī in 1997 (Ce 1876). | 337 vs Stone Inscription at Entrance Way to Devīkoṭ 1 svāsti śrīsaṁvata 993 sāla miti 2 jyeṣṭhabadi 9 roja 5 sa śrī tripurasu 3 darimaī yyathānasa guru koṭayā 4 rāni candanayā tha vasnta (?) miyya 5 nāmana la girdada yakā ju la śubham AA On the 5th day of the dark half of the lunar month of Jeṣṭha, ns 993 (Ce 1872), Thursday. A stone fence [wall] is offered to venerable mother in the name of Queen Candana of Gurukoṭa [?]. May all be well. ŚĪLAPATRA 1939 1 śrī3 tripurasundarī devi 2 svasti śrī saṁvata 1939 sāla . . . tri diva jeṣṭha ṣudi 3 15 roj 4 tadine . . . dolkhā (dolṣā) mā basnyā . . . de 4 vi guṭhi rākheko. A guṭhī established by . . . , who lives in Dolakha, to thrice venerable Goddess Tripurasundarī on the 15th day of the bright half of the lunar month of Jeṣṭha in vs 1939 (Ce 1882) Wednesday. SILVER WATERPOT śrī3 tripurasundarī devī mā pṛtī palāṁcotholā basne dīthā janak vahadura māskele cadhāyako pañcapatra ācamanī smetko caṇḍī tolā 32 kampanī tala sṁvata 976 sāla aśvin sudī 17 gate roja 6 śubham AA Diṭṭhā [an oficer] Janak Bahādur Māske who lives in Palāṁchok has offered a silver water pot (pañcapātra) with an acamani [spoon] of 32 tolā [about 360 grams] on the 17th of Āśvina, ns 976 (Ce 1882), Friday. Glossary āmnāya: sacred transmissions of scriptural revelation associated with the six faces of Śiva, including the Lower Face Transmission (Adhāmnāya), the Eastern Transmission (Pūrvāmnāya), the Southern Transmission (Dakṣiṇāmnāya), the Western Transmission (Paścimāmnāya), the Northern Transmission (Uttarāmnāya) and the Upper Transmission (Ūrdhvāmnāya). These six traditions of scriptural transmission are collectively known as the Ṣaḍāmnāya. In the Sarvāmnāya tradition of Nepal the six revelations are associated with progressive stages of Tantric practice, stages that are likened to the ascension of a mountain and correlated with the cakras within the body. anthropo-contingent: interpretive position that claims of divine power is nothing more than human constructs, grounded in social and political institutions. Bhairava: literally “the horriic one.” Wrathful form of God Śiva and a central deity of Nepalese religion. Bhaktapur-Maṇḍala: term used to describe the medieval city of Bhaktapur in the Kathmandu Valley. Through the construction of and ritual worship at temples in each of the quadrants of Bhaktapur, the city is identiied as a living maṇḍala in which its citizens worship their gods and goddesses through daily and annual participation in an array of ritual and festival celebrations. The Bhaktapur-Maṇḍala is also an esoteric image drawn for and worshipped in Tantric ritual practice. See igs. 2-3. cakra: literally, “wheel.” In Tantric spiritual practice the subtle body is conceptualized as containing multiple “wheels,” which are understood as places where śakti (power) coalesces along subtle energy channels called nāḍīs. Tantric practitioners seek to harness the power of these cakras through their ritual and meditative practices. Tantrics understand Glossary | 339 that within each cakra there abides a residing deity who is the lord or mistress of that power-wheel. Cakravartin: literally, “wheel turner.” Title for kings whose relationship to their kingdoms is likened to the relationship of a deity within its cakra or maṇḍala. In this way the title afirms the divine status of kings in classical Nepalese understandings. Devī: literally, “the playful one.” Sanskrit name for the Goddess who is conceptualized as at once singular (Mahādevī, Parāśakti) yet with multiple incarnations. Dūtī: literally, “messenger.” Term for female Tantric consort whose function in the context of ritual practice is to be the living form of the Goddess. guha: literally, “hidden or secret place.” Term with multiple nuances in Tantric literature and ritual practice. May refer to a cave or inner chamber of the temple wherein the deity resides. May also refer to the heart as the secret abiding place of wisdom or female genitalia as the bodily cave from which lows the luids that contain sacred wisdom. Guhyeśvarī: literally, “goddess of the secret.” Highly esoteric form of Devī identiied with Kālasaṁkarsiṇī in the Kaula Trika tradition of Abhinavagupta. In the Sarvāmnāya Śākta Tantra of Nepal she is intimately linked with the royal goddess, Taleju. The most signiicant Guhyeśvarī is in the temple grounds of Paśupatināth, which is the most important Tantric temple in the Kathmandu Valley. The central image in this temple is a triangular hole in the ground, identiied as the yoni (womb) of the Goddess, which is her guhya (secret place). Iṣṭa-devatā: literally, “chosen deity.” Term is used to identify the particular deity that is the focus of the Tantric meditation and ritual practice. The term also refers to the deity as the guardian of the king’s realm. Kaula: literally, “embodied.” Name of trans-sectarian Tantric tradition with Himalayan roots in Kashmir and Nepal. Focus on the body as a microcosm of divinity replete with powers that are unleashed and harnessed through Kaula initiation. Kaumārī-Pūjā: Worship of the virgin goddess, Kumārī. This is the central and most esoteric ritual associated with the lineage of kings in Nepal. Through 340 | the Goddess Within and Beyond the three Cities this ritual the living virgin goddess substantiates the cosmic form of Devī and thereby empowers the king and his kingdom. Kubjikā: literally, “the crooked one.” Supreme Goddess of the Western Transmission (Paścimāmnāya) associated with the kuṇḍalinī-śakti. A central deity of the Sarvāmnāya or Ṣaḍāmnāya tradition in Nepal with intimate links to Taleju, the royal goddess. Readers interested in knowing more about the Kubjikā tradition should study Mark Dyckowski’s The Cult of the Goddess Kubjikā: A Preliminary Textual and Anthropological Survey of a Secret Newar Goddess (Kathmandu: Nepal Research Centre Publications, 2001). kula: polyvalent term meaning “race,” “family,” “clan” and “body.” In Tantric contexts the term refers to the initiates of any particular sect who share in common their connection to the body of the clan deity via ritual initiations in which the luid essence of the deity is consumed. kula-dravya: literally, “clan luid.” Ritual substances, such as wine, blood or semen, that are consumed and identiied as the luids of the clan deity. The consumption of these luids in ritual contexts makes the initiate a member of that particular Tantric tradition. Kumārī: literally, “virgin girl.” In traditional Nepalese Śākta Tantra, the royal Kumārī is identiied as Taleju, the royal goddess. In the context of worship of the Kumārī it is believed that she assumes the universal form (viśvarūpa). The ritual substance produced from this esoteric rite was traditionally consumed by the kings of Nepal, thereby empowering them to rule their kingdom. kuṇḍalinī-śakti: literally, “the coiled power.” Latent form of the Goddess that is described as residing in a coiled, serpentine form at the base of the suṣumṇā-nāḍī, which is a subtle energy channel that Tantric practitioners understand to run from the base of the spine to the crown of the head. Along this central channel are aligned the cakras (power wheels) in which reside the mantras and deities of the body. When kuṇḍalinī-śakti is awakened through Tantric initiation it is said to ascend through the body and activate the powers in each of the cakras as it rises to the crown of the head seeking to be united with her beloved lord Śiva who resides at the apex of the suṣumṇā-nāḍī. Kuṇḍalinī-śakti is particularly identiied Glossary | 341 with Goddess Kubjikā. liṅga: literally, “sign.” In Tantric contexts the liṅga is identiied as the phallus of God Śiva or Bhairava. Images of Śiva’s “sign” are ubiquitous in Hindu Tantric communities. Śiva’s liṅga is also the genitalia of the male Tantric adept. Mahādevī: literally, “the great Goddess.” Common epithet for identifying the Goddess as one, supreme universal divinity, identiied as the cause and material substance of creation and its dissolution. Mahāśivarātri: literally, “the great night of Śiva.” Important lunar Hindu holiday that honors God Śiva, typically celebrated in February–March. On this night in Nepal tens of thousands gather to honor Śiva at the great temple complex of Paśupatināth. maṇḍala: literally, “territory.” Maṇḍalas have ancient roots in Hinduism dating back to the constructions of ritual altars in the Vedic period (c. 2000 BCe). In Śākta Tantric practice these geometric patterns represent the body of divinity on cosmic, social, ritual and individual levels. Maṇḍalas are “maps” of the godhead as the body of creation. Through a logic of replication that resembles fractal and/or holographic theory the cosmic maṇḍala of the Godhead is understood to reduplicate itself ininitely throughout creation such that in the mind of the initiate the maṇḍala of his or her clan deity is literally seen everywhere, most particularly within and as one’s own body. The kingdom of Nepal itself is imagined as a maṇḍala, the Kathmandu Valley likewise is seen as a maṇḍala with the city of Bhaktapur being itself termed Bhaktapur-Maṇḍala. All Hindu temples are three-dimensional maṇḍalas that are constructed from maṇḍala blueprints. Maṇḍalas, whether painted or in bronze or other substances, are the central objects of Tantric ritual practice which always includes the visualization and meditation on one’s own clan maṇḍala within the mind and heart. Nepāla-Maṇḍala: literally, “the territory of Nepal.” Ancient phrase for designating the kingdom of Nepal, a phrase that highlights the signiicance of Tantric ideology in the history of Nepalese kingship and socio-political conceptions of space and power in Nepal. Newar: term that designates the original inhabitants of Nepal as well as their 342 | the Goddess Within and Beyond the three Cities language and cultural traditions. Nityāṣoḍaśikārṇava Tantra: literally, “Treatise of the Ocean of the Eternal Sixteen.” Central revealed scripture for the Śrī-Vidyā tradition in Nepal. The text is a ritual manual for the worship of Goddess Tripurasundarī, particularly in her most esoteric and exalted form, the Śrī-Yantra. There are hundreds of manuscripts of this text (some dating back over a thousand years) stored in Nepal’s National Archives, all of which have been cataloged in Appendix B. My translation of chapters 1, 4 and 5 of this central Tantric text is found in Appendix A. paddhati: manuals for Tantric rituals. These scriptures detail all stages of Tantric ritual practice, including external ritual forms and internal visualization practices. Each of the Tantric sects or āmnāyas in Nepal has its own set of paddhatis, which are the most common category of scripture in Nepal. Paramaśiva: literally, “Supreme Śiva.” Term used to identify Śiva as the supreme source and cause of the creation and its destruction. In the non-dual Tantra of Sarvāmnāya Śākta Tantra the term designates an all-pervasive consciousness power equated with consciousness of the Tantric adept, himself or herself. Parāśakti: literally, “supreme power.” Synonymous with Mahādevī. Epithet of Goddess as ultimate source and cause of creation and dissolution of the cosmos. Parbatiyā: literally, “of the mountains.” The term is used to identify and distinguish the Gurkha or Khas peoples and their languages and cultures from the Newars or original inhabitants of Nepal. Parbatiyā is also a name for the Nepali language, also known as Gorkhali. The Parbatiyā cultural tradition relects the migration of Indian people and traditions — from Bengal, Kashmir and elsewhere — into Nepal over the centuries. The Parbatiyā tradition has strongly inluenced Nepalese Sarvāmnāya Śākta Tantra. Paśupatināth: literally, “The Lord who is the Master of the Animals.” Name for God Śiva. In the Kathmandu Valley, Paśupatināth Temple is regarded as the the most sacred place for Tantric worship. The Bāgmatī River, a tributary of the Ganges, runs through the Paśupatināth complex and on its banks thousands of dead bodies are cremated annually. The ive-faced Glossary | 343 liṅga in the central shrine is considered one of the most powerful images in the entire Hindu world and is a pilgrimage destination for millions each year. The sacred food from the daily worship of this image was traditionally offered to the kings of Nepal. prasāda: literally, “graciousness.” Term that designates the food and beverages offered to the deity in the context of worship. Through ritual, the food is empowered by the deity worshipped and then consumed by the worshipper. pūjā: ritual worship. pūjārī: one who engages in worship. sādhaka: literally, “one who is adept or skillful.” Term used to identify committed practitioner of Tantric ritual and meditative practice. sādhanā: literally, “accomplishment.” Term refers to Tantric ritual and meditative practice. sahasrāra-cakra: literally, “thousandfold wheel.” Name of the cakra (power-wheel) that resides in the crown of the head. When the kuṇḍalinī-śakti reaches the sahasrāra the Tantric adept (sādhaka) achieves the completion of his or her practice and is said to be “perfected” (siddha). Śaiva/Śaivism: literally, “of or related to Śiva.” Term designates the peoples, texts and traditions aligned with God Śiva. Śākta/Śāktism: literally, “of or related to Śakti.” Term designates the peoples, texts and traditions aligned with the multiple goddesses of the Hindu tradition. śakti: literally, “power” or “that which is shocking.” Term designates the feminine aspect of divinity, which is characterized as dynamism or energy. Ṣaḍāmnāya Tantra: literally, “The Tantra of the Six Transmissions.” Name designates a dominant Tantric tradition in the Kathmandu Valley, one that recognizes each of the six scriptural “transmissions” (āmnāyas) as part of a larger, holistic system of revelation and initiation. Practitioners of the Ṣaḍāmnāya tradition seek initiation into each of the āmnāyas in order to achieve full empowerment. The supreme deity of the tradition is Taleju, the royal goddess. Depending on the particular lineage of one’s own root initiation, interpretations may vary on the core identity of 344 | the Goddess Within and Beyond the three Cities Taleju, but Newar people typically claim she is Kubjikā. Sarvāmnāya Śākta Tantra: literally, “The Goddess Tantra of All the Transmissions.” Generally, the term is synonymous with Ṣaḍāmnāya Tantra but seems more commonly used by Parbatiyā than Newar initiates. The Śrī-Vidyā tradition is given pre-eminent status by many Sarvāmnāya initiates as the Upper or Highest Transmission (Ūrdhvāmnāya). Consequently, Tripurasundarī often assumes a special status as the supreme clan deity in Sarvāmnāya traditions. However, the nature of Sarvāmnāya tradition is luid and interpretations of the identity of Parāśakti or the Supreme Goddess may vary. siddha: literally, “perfected one.” Term designates a Tantric practitioner who has mastered his or her practice and has achieved a state of non-dual awareness in which he or she identiies himself or herself — and is identiied by other clan members — as one with the clan deity. Śiva: literally, “benevolent.” Name of central Hindu Tantric god. Consort of Tripurasundarī. Ṣoḍaśī: literally, “sixteen.” This is an alternative name for Goddess Tripurasundarī of the Śrī-Vidyā tradition. The term refers primarily to the sixteensyllable root mantra of the tradition which is represented by the sixteen petals in the Śrī-Yantra. This goddess is the primary focus of the text, Nityāṣoḍaśikrāṇava Tantra. Śrī-Vidyā: literally, “auspicious wisdom.” Name of Tantric clan whose central deity is Goddess Tripurasundarī. Of several key texts of this tradition, Nityāṣoḍaśikārṇava Tantra holds a place of pre-eminence in Nepal. Central icon for the tradition is the Śrī-Yantra. The tradition embodies a strong connection with the Trika Kaula tradition of Abhinavagupta and has roots in both the Himalayas and south India. In Nepalese Sarvāmnāya Śākta Tantra, the Śrī-Vidyā is identiied as the Upper Transmission or Ūrdhvāmnāya. The late king of Nepal, Śrī Pañc Mahārāj Birendra Bir Bikram Shah Deva and his wife Queen Aishwarya Raja Laxmi Devi were initiates of Śrī-Vidyā. Śrī-Yantra: literally, “auspicious instrument.” Also termed the Śrī-Cakra and Meru-Cakra. This is the primary maṇḍalic image of Goddess Lalitā Tripurasundarī used in all rituals and meditations associated Glossary | 345 with her worship. The Vāmakeśvaramata Tantra, which includes the Nityāṣoḍaśikārṇava Tantra and Yoginīhṛdaya Tantra contains full instructions for the construction and worship of the Śrī-Yantra. This image was the royal moniker for Queen Aishwarya Raja Laxmi Devi, whose husband, Śrī Pañc Mahārāj Birendra Bir Bikram Shah Deva was a Śrī-Vidyā initiate. At the culmination of the worship of the Paśupatināth liṅga a sandalwood Śrī-Yantra is inscribed on its upper face, demonstrating the pre-eminent status of this symbol in Nepalese religion. tablā: The word tablā is a Persian and Urdu diminutive of the Arabic generic drum-name ṭabl. The asymmetrical drums include a smaller, typically wooden drum called dayā (meaning “right” because it is typically played with the right hand) and a larger typically metallic bass drum called bayā (meaning “left” because it is usually played with the left hand). The Indian and Nepalese tablā does not date back past the eighteenth century but has roots in more ancient drum traditions from both Persia and India. In the Kathmandu Valley there is a rich tradition of north Indian classical music with contemporary and past exponents who have a deep knowledge of the connection between rhythm (tāla) and the traditions of Sarvāmnāya Śākta Tantra. Taleju: literally, “the goddess on high.” Newar term for royal goddess whose many epithets include Parāśakti, Mahādevī, Viśvarūpa Devī, Kubjikā and Tripurasundarī. Taleju is embodied as the living virgin goddess, the Kumārī who assumes the form of Taleju through her daily worship. It was because of this esoteric identity of the Kumārī as Taleju that her institution was highly revered and guarded by Nepalese Tantric kings throughout the centuries. Tantra: from the verbal root tan “stretch, extend, expand,” and the sufix tra “instrument”, Tantra can be translated as that which extends and interweaves with the connotative meaning that Tantra includes a set of practices that extend or expand human consciousness, interweaving initiates into the Divine. The term designates a collection of texts and the theological, mythic, ritual and meditative traditions preserved in those texts. Tantra has South Asian roots and a pan-Asian inluence. Tantric elements are found in Hinduism, Buddhism, Jainism and Sikhism. The main Hindu Tantric traditions are associated with but not limited to the 346 | the Goddess Within and Beyond the three Cities deities Śiva, Viṣṇu and Devī. Tantric traditions inform the majority of Nepalese religious customs to this day. tāntrika: a practitioner of Tantra. Theo-contingent: the interpretive position that human instantiations of power may have origins in non-human, divine sources. Sarvāmnāya Śākta Tantric adepts assume that śakti (power), ultimately arises from the Goddess. Trika Kaula: literally, “the clan of the triad.” Name of a non-dual Śaiva Tantric tradition founded by Abhinavagupta in Kashmir in the eleventh century. Śivānanda and Vidyānanda, two key exegetes of the Nityāṣoḍaśikārṇava, both embedded Trika Kaula references and concepts in their respective commentaries, thereby inluencing the shape of the Sarvāmnāya Śākta Tantric tradition in Nepal. Tricosmos: theoretical interpretation of Tantra as holistically grounded in an integration or coequivalence of the macrocosm (“big world”) with the microcosm (“little world”). The macrocosm is the universe at large identiied as the cosmic body of divinity. The microcosm is the human body, which is, like a hologram, perceived to be an exact replica of the macrocosm. Perhaps paradoxically, tāntrikas claims that the microcosm contains the macrocosm to the same degree that the macrocosm contains all the microcosms. The universe is within the body which is itself within the universe. This profound realization is made possible by means of a mesocosm (“mediating world”), which in the context of Tantric practice is commonly the maṇḍala or yantra and its associated mantra(s). The use of these Tantric “mediating worlds” makes possible the recognition of the identity of the microcosm with the macrocosm, which are both nothing more and nothing less than the body of the Goddess, in both its cosmic and myriad miniature forms. Tripura (also Tripurā): literally, “the three cities.” Polyvalent term that can be the shortened name for Goddess Tripurasundarī. The “three cities” references many triads, including the three stages of time (past, present and future) the three processes of creation, sustenance and destruction, the three forms of the Devī as physical, subtle and supreme, etc. In Sarvāmnāya Śākta Tantric conceptions of the Kathmandu Valley as a Glossary | 347 maṇḍala, the term refers to the three primary cities of Kathmandu, Patan and Bhaktapur. Tripurasundarī: literally, “the beautiful one of the three cities.” This is the primary name of the clan deity of the Śrī-Vidyā tradition, which in Nepalese Sarvāmnāya Śākta Tantra is associated with the Upper Transmission (Ūrdhvāmnāya). The initiation for this tradition is believed to propel the kuṇḍalinī-śakti into the sahasrāra-cakra in the crown of the head. Consequently, Śrī-Vidyā adepts consider Tripurasundarī to be Taleju, the Supreme Goddess of Nepal. Tripurasundarī’s icon is the Śrī-Yantra. Other names for this goddess include Lalitā, meaning “playful,” and Ṣoḍaśī, meaning “sixteen.” The full name of this goddess is sometimes Lalitā Tripurasundarī. The term Tripura references the notion of “embodied creation” as well as “that which is prior (purā) to the triad (of creation).” In this way, a full Tantric etymology of Tripurasundarī is the “goddess within and beyond the triad.” Applied to the Kathmandu Valley as a maṇḍala she is the “goddess within and beyond the three cities (Kathmandu, Bhaktapur and Patan).” Two Truths Doctrine: this doctrine (vāda) originates in both Hindu and Buddhist philosophical traditions no later than the second century of the Common Era. As articulated in the traditions of Sarvāmnāya Śākta Tantra, the doctrine is grounded in the philosophical presupposition that there is a supreme or unconstructed reality transcendent to human language and concepts. This reality, which is the very form of divine power, is termed “supreme” (parā) as well as “unconstructed” (akalpita). It is said to be eternally existent. Within the human body, this supreme power is understood to abide in both the heart and the crown of the head. In the external world, the supreme or highest truth (parā-satya) is the presence of the Godhead which is a real power both within and beyond the world. In addition to the supreme truth, there is a lower truth that is identiied as “constructed” (saṁvṛti, kalpita). This truth is conditioned by language and corresponds to a type of power that is grounded in human institutions and cultures. The brilliance of the Sarvāmnāyā Śākta Tantric tradition is that it is grounded in a theological view that the Tantric adept, through his or her practice, negotiates and integrates both truths and forms of power within his or her being. Consequently, the tradition integrates 348 | the Goddess Within and Beyond the three Cities and afirms both theo- and anthropo-contingent understandings of the nature of power and truth. Viśvarūpa Devī: literally, “the goddess whose form is the universe.” The term captures the panentheistic understanding that the Supreme Goddess contains the universe within her body. In iconic representation the Viśvarūpa Devī can have as many as a thousand heads and arms, symbolizing that she is ininite and eternal. In the daily worship of the Kumārī it is believed that she momentarily assumes the form of the Viśvarūpa Devī. yantra: literally “instrument.” In the context of Tantric ritual, the yantra is a visual, aniconic representation of the Goddess that is associated with the sonic or mantric form of that goddess. Yantras are important objects of external worship that facilitate inner visualization practices by which the adept seeks to assume the identity of his or her Goddess within his or her heart and mind. yoga: literally, “that which yokes or unites.” In the context of Tantra the term is synonymous with sādhanā. The forms of Tantric yoga are multiple and include physical exercises, mantra and visual practices together with “gnostic” and devotional orientations, all designed to awaken the kuṇḍalinī-śakti and bring about a state of perfected empowerment in which the adept comes to realize his or her identity as the deity of the clan into which he or she is initiated. yoni: literally, “vulva, womb.” Just as the phallus is the sign of Śiva on men so the yoni is the sign of the Goddess on women. Bibliography Manuscripts Ajāpastotra, 71 fols. Reel no. H 369/24. Bālasundarīkavaca, 9 fols. Reel no. E 207/19. Kumārīpūjaṇa-balidānavidhi, 27 fols. Reel no. E 2770/12. Mahātripurasundarīsaṁvatsaramahāpūjā, 29 fols. Reel no. E 1406/2. Mahātripurasundarīdevyāḥ śaṅkṣepapūjāpaddhati, 115 fols. Reel no. H 187/5. Śrīvidyāmantra-prakaraṇa, 4 fols. Reel no. E 1751/12. Śrīvidyānitya-pūjāpaddhati, 18 fols. Reel no. M 94/11. Śrī-Vidyā-stavarāja, 9 fols. Reel no. E 1940/22. Tāntrika-pūjā-vidhi, 58 fols. Reel no. 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