DECODING THE BĪJA MANTRA OF GAṆEŚA

Śrī Gaṇapati Atharvaśīrṣa, also known as the Gaṇapati Upaniṣad, was written by Atharva Ṛṣi. It is one of the main texts of the Gāṇapatya Saṃpradāya, a lineage adulating Gaṇeśa as the central divinity, thought to have become established in India from the 6th century onward. It is thought that a minimum of six groups of Gāṇapatyas (devotees of Gaṇeśa) existed, including one Tantric grouping centred on the worship of Ucchiṣṭa Gaṇapati [the Tantric form of Gaṇeśa], although relatively little is known about them.

The Gaṇeśa Upaniṣad belongs to a class of Vedic texts considered to be revelatory [śruti, ‘that which is heard’], and held to be without 'origin'. It is a manifestation of a particular 'Truth'.

Atharva Upaniṣad is not meant to be read, but to be recited.

The 7th verse of the Upaniṣad presents the Bīja or seed mantra of Gaṇeśa. The first perception of a mantra is held to arise from a human-divine contact of some kind; hence the first person to utter the mantra is known as its Gaṇaka [Seer (Sage)]. Here, the metre is ‘nichrat gāyatrī’, while the deity is Gaṇapati.

The aim of this write-up is to simplify the mantra to people who are unfamiliar with the terminology. In no way do I attempt to claim that the information I am offering is an exact translation of the verse. Please forgive any errors.

ga̱ṇādi̎ṃ pūrva̍muccā̱rya̱ va̱rṇādi̎ṃ

tadana̱ntaram anusvāraḥ

pa̍rata̱raḥ ardhe̎ndula̱sitamtāre̍ṇ

hṛ̱ddham etattava manu̍svarū̱pamgakāraḥ

pū̎rva rū̱pamakāro madhya̍m

rū̱pamanusvāraścā̎ntya

rū̱pambindurutta̍rarū̱pamnāda̍ḥ

sandhā̱nam sagͫhi̍tā sa̱ndhiḥ

saiṣā gaṇe̍śavi̱dyā gaṇa̍ka ṛ̱ṣiḥ

nicṛdgāya̍trīccha̱ndaḥ gaṇapati̍rdeva̱tā

oṃ ‘GUNG’ [GAṂ | GAṆAṂ | GAṆAUṂ | GUṂ] ga̱ṇapa̍taye namaḥ || 7||

The letter ‘GA’ is to be enunciated, followed by ‘ṆA’. This one-word mantra is then potentiated with the ‘PRAṆAVA’ ‘OṂ’. ‘GA’ is the first part, ‘ṆA’ is the middle-part, and the end is ‘UṂ’, automatically formed in this conjunction with the bindu (or anusvara, ं). The sacred mantra is formed by these three letters.

If pronounced properly, this mantra has the power of revealing the Divine Lord Gaṇeśa.

OṂ ‘GUNG’ GAṆAPATI | My salutation to you. [inferring that the devotees should bow to the Lord].

Let us now peruse notes from the Varadā Tantra [Tantric text]:

“GA, I speak unto Thee, means ‘Gaṇeśa’. Bindu means the dispeller of sorrow.

Thus, O Maheśvarī, the meaning of the Gaṃ-bīja is spoken to Thee out of love for Thee.”

Gaṃ is uttered, prefixed with Oṃ. The Bindu is the essence (i.e. higher form) of all sounds. The Nāda (Cosmic Sound) is the utterance [of the mantra]. ‘Joining together’ refers to the unification of deity and devotee through the letter recitation of the seed-mantra, which is the essence thought-form of the God.

The terms ‘Bindu’ and ‘Nāda’ represent two particular stages in the process of the manifestation of Śakti. Bindu is generally understood as a 'point'. ‘Nāda’ is etymologically derived from 'sound'. Śakti moves from Nāda to Bindu. Nāda is the maithuna (congress) or yoga of Śiva-Śakti, which in turn produces the bindu, which again differentiates into threefold aspects, although in denser form.

NOTE ON PRONOUNCIATION

‘Oṃ Gung Gaṇapataye Namaḥ’ is the Bīja Mantra of Lord Gaṇeśa. Additionally, recall that ‘Oṃ Gaṃ Gaṇapataye Namaḥ’ is another Gaṇeśa Mantra. The fruits of both these mantras are different. The ‘Gung’ in the first mantra is to be pronounced as ‘Sung’.

There is confusion around the pronunciation of the root word ‘GAṂ / GUNG’. Many pronounce it as ‘gan’, some as 'gaṃ / guṃ' and some as ‘gung’.

If we carefully dissect the terminology, we can understand the word to be composed of:

GA + NA +AUṂ.

Following Sanskrit laws of grammar, the word comes to be ‘Ganauṃ’, which can be pronounced as ‘ga un a uṃ’. With practice, it may sound as ‘Gaṃ / Gung / Ganaṃ / Guṃ’, but it will mostly sound as ‘GAṂ’.

The emphasis here specifically is to clearly pronounce the word with nāda [resonance], and with laya [rhythm]. Although some may argue that the ‘ang’ in Gung is not apparent, through the phonetics emergent from nāda and laya, pronouncing Gaṃ / Ganauṃ does sound like ‘Gung’.

The practice of recitation can be learnt from a master if one is fortunate enough to encounter a genuine one.

JAPA, or recitation, is the spiritual practice of devotedly repeating a mantra, for what generally is a specific number of times such as 108, often while counting each recitation on beads tied in a strand known as the japa mālā. This is done while one conscientiously concentrates on the meaning of the mantra they are reciting. The repetition should be dutifully slow.

Highlighting the significance of japam, Lord Kṛṣṇa decrees in the Bhagavadgītā:

Of all the Vedas, I am the Sāmaveda.

Of all the Yajñas, I am the japa yajña.

The repetition of positive, uplifting, spiritual mantras over and over again lifts consciousness and causes the mūlādhāra cakra to spin clockwise.

There are three ways by which one can do japam:

1. Ucchahi, or loud recitation, which is less effective.

2. Upāṃśu, or soft recitation, which is more effective.

3. Mānasikaṃ, or internal japa, ‘within the mind’, which is most effective.

AUṂ GAṂ GAṆAPATYE NAMAḤ.

 

 

Decoding Guru | Gurutva | Guru Tattva

 Is Guru a teacher, a mentor, or a state?

गुशब्दस्त्वन्धकारः स्यात्‌ रुशब्दस्तन्निरोधकः।

अन्धकारनिरोधित्वात्‌ गुरुरित्यभिधीयते॥ १६॥ 

Advayatāraka Upaniṣad [Śukla Yajurveda]

The syllable ‘GU’ signifies darkness (गुशब्दस्त्वन्धकारः).

The syllable ‘RU’ denotes the obstruction to that darkness (रुशब्दस्तन्निरोधकः).

That (he/she/they/that) which by the virtue of which the light of realisation that obstructs darkness shows the path is termed as GURU.

The term ‘Guru’ is cryptic. It is an expansive algorithm which we spontaneously arrive at as we progress in our lives from linearity to non-linearity. This expansion is facilitated in our moral, social, financial, physical, and mental lives through constant learning and unlearning from various sources that we understand as teachings and as teachers.

There therefore is a difference between a teacher / mentor and a Guru. The former is a person, a flow of thoughts (gyāna ज्ञान) from whom we decide or prepare to absorb from, either by force, choice, or circumstances. The latter is a state of sensorial expansion at which we non-linearly arrive within ourself, a state of Guru tattva ( गुरुतत्व), an unfettered, immovable grounding arrived at through a subconscious stream of vidyā (विद्या) known as Guru. A nivṛtta (निवृत्त) space where the linearity of sense projection ceases to exist, a space within where one is neither forced nor intellectually rationalised by insecurity, false perception of knowledge, detachment, or guilt to surrender. It is a spontaneous process one arrives at without realising it, without trying to achieve it or compete for it. One can therefore never make a Guru, or search for a Guru, or assign or find one. Being a spontaneous state within, one simply arrives at the Guru without any external validation of lineage, birth or justification, the way a new-born child seamlessly surrenders to their mother, without any logical, moral, social, financial insecurities. This state exists for a minimal time in the child and very soon begins to diminish as the child builds their own world through the sensory inputs they receive.

Attaining Gurutva is reverse engineering towards the state of the new-born. Here, we slowly but spontaneously arrive at non-linearity within, where all worlds created out of sense projections become irrelevant. What remains is the absorption of the pure prāṇa (प्राण) energy… The grounding or Gurutattva that has pure light… Nothing is hidden behind it... Here, the sun neither rises, nor does it set…

Guru Pūrṇimā (गुरु पुर्णीमा) commemorates the auspicious time and day when Lord Śiva transformed from an eternal Yogi to the first Guru, or the Ādi Guru, and dispersed the eternal knowledge of Yoga to the Saptaṛṣi. This day, which falls on the full moon of the Āṣāḍha month (July-August) of the Vedic calendar, is celebrated as a mark of gratefulness towards that pure stream of non-linear expansion that flows through the medium of a person, place, or deity, through whom the eternal state of complete prāṇa absorption was found for one in their individual journey…

May we find the Guru within.

                                                  Image credit: NASA, ESA, CSA, and STScI.

 

THE DEVĪ MĀHĀTMYAM: NEURAL PROGRAMMING. MA CĀMUṆḌĀ ALGORITHM

The Devī Māhātmyam is found in the chapters 81-93 of the Mārkaṇḍeya Purāṇa. The text is called Saptaśati, as it contains 700 ślokas (verses). At first glance, the Devī Māhātmyam of the Mārkaṇḍeya Purāṇa seems to extoll the glories of Devī, and her powerful exploits to maintain order, vanquish evil, and establish good. Its spiritual quotient has been understood as an elaboration on the delusions and insecurities one holds in life, on how awareness of Devī cuts through these.

On closer analysis, the expanse of Tantra pathways, and the expanse of Śākta Tantra especially, bring forth cryptic algorithms that can program our neural patterns towards accessing or stimulating expansive hormonal secretions. These complexes radically change the way our sense organs process sensory data and create reactionary worlds around us. Tantra pathways mostly consist of sound patterns in the form of mantra, japa, nāma recitation and kathā retelling.

Incipiently and practically, these patterns were instilled through oral transmission. The instillation stimulated different areas of the neural brain and spinal pathways that exchange information and create responses at a lightning rate.

At present, this neural stimulus is devoid to us, as we access these pathways through linear methods, such as books, commentaries, translations, and academic interpretations.

Let us now proceed to look at the Devī Māhātmyam, which is divided into three sections.

 

Chapter 1

In this chapter, the sura, or the harmony of creation originating from Brahmā becomes entangled in the disharmony or a-sura of Madhu and of Kaiṭabha. Viṣṇuji annihilates the asura Madhu-Kaiṭabha by the withdrawal of Devī, who had placed him in a deep slumber of illusion. Here, the Mahākālī or the Bhadrakālī form of Devī is depicted.

Asura denotes the linear programming of our minds installed from birth by our geographical, ethical, and social moral expositions. These create insecurities and stagnations towards the non-linear sensory expansion of our creativity.

Such stagnation is possible due to the linearisation of accessible prāṇa, which fuels this program in the form of Mahākālī. The moment the linearity is withdrawn, the expansiveness of Mahākālī or Bhadrakālī as the manifestation of micro macro heat signatures is reinstated. In brief, this episode offers insight into how our emotional access is programmed from birth to process information in set patterns, and to react to it on the foundations of the linear feedback we imbibe from the place we are born and grow up in, from the parenting we receive, the friends we make. These mark our emotional, physical and financial choices in life (such as the jobs we choose, the socio-moral life we build) which define the entire strata of choices in our lives. The moment the linearised access that is limiting the expanse of energy is dissolved or deprogrammed, the expanse of our creative power can be accessed through the previously defunct centres of our neural pathways.

From the Sanskrit etymology of the names of the asuras Madhu and Kaiṭabha, we can infer that, figuratively, Madhu is honey, while Kaiṭabha is the bee. Both are an individual part of nature’s algorithm, and yet are dependent on each other. This dependency fuels their very linear existence, and their access to creative energy in the form of stress. The bee is always in search of its fruit, the honey…

The vector of Karma plays its course in a very similar way to the way such linearity functions in our life, as we program our brain towards our own emotional and financial securities.

Annihilating this linearised pathway by withdrawing or cutting off the fuel of limited prāṇa gives us access to the very form of creative energy, a state where the fruit and the eater are inseparable, projecting themselves in multitudes of exponential manifestations of creative expanse.

 

Chapters 2-4

The second segment of the Devī Māhātmyam depicts Devī as the expression of power. With this form, she annihilates Mahiṣāsura, the shape-shifting asura.

Harmony, or sura, is depicted here as the security one seeks in life as peace or stability. On the other hand, the asura is that which keeps shifting the narrative of security, constantly creating chaos. The Māhātmyam depicts the neural pathways of hormonal intelligence that we access by constantly stimulating certain prāṇic expanses in our brain, which program our definition of peace and security. It informs that such programming is stressful, as peace and security simply are projections of our programming. Their existence is only a variation; the absence of perceived chaos - which keeps shifting as Mahiṣāsura.

Creative energy as Mā Durgā, an integral of all hormonal enzymatic complexes that humans have, breaks this shape-shifting linearity of security, establishing an expansive neural program where there are no definitive lines between peace and chaos... Both become inseparable as Devī itself.

This part of the Māhātmyam is considered supreme. Devotees who cannot imbibe the entire 700 verses are therefore advised to just imbibe this part in total submission to the reprogramming of their brain.

 

Chapters 5-13

The last part of the Māhātmyam depicts several narrative threads. A narrative is centred on how the Goddess Kauśikī annihilates the asura Raktabīja with the help of Mā Kālī. The name ‘Kauśikī’ is derived from the term ‘kośa’, or ‘sheath’. Mā Kauśikī emanates from the kośa of Mā Pārvatī. In brief, she is the layered dissipation of exponential energy in the form of Pārvatī Mā. The aura and lustre of Mā Pārvatī imbibed in Kauśikī Mā turn her dark as Kālīka Mā.

Kauśikī Mā is born supremely beautiful. The asuras Chaṇḍa and Muṇḍā, who are the disciples of the asura brothers Śumbha and Niśumbha, glimpse her beauty. They proceed to inform their masters of the Goddess’s lustre, and the two asuras send a marriage proposal to the Goddess. The Goddess retorts that she has vowed to only marry the one who can defeat her in battle and who can take her forcibly. This leads to a chain of events: first, the asuras send a large army to defeat her. They lose. Second, they send their disciples, Chaṇḍa and Muṇḍā. In this episode, the most cryptic algorithm of Mā Cāmuṇḍā is revealed in the Goddess defeating the asuras in her form. Seven Śaktis emerge from their Devatās to assist the Goddess.

Followingly, Śumbha and Niśumbha send Raktabīja to fight the Goddess. When wounded, the asura Raktabīja has the capacity to regenerate from each drop of his blood that falls. To terminate his regeneration, the Goddess therefore instructs Mā Kālī to devour each drop of blood that spills of him, and Kauśikī Mā slays the asura. Subsequently, the Goddess slays Niśumbha and his army. Only Śumbha is left. Alone, Śumbha provokes the Goddess by calling her weak. Taunting her, he laughs that she requires help to defeat him. The Goddess coalesces all her Śaktis in herself as one and kills Śumbha.

The story of Raktabīja encodes the neural programming patterns that lead to different chains of events which are processed through our emotional access. Each thought acts as a drop of Raktabīja that leads to a chain of events, as the senses project a world and enter in it. This continuous process prevents us from accepting all possibilities that exist without prejudice. We instead we hold onto that which offers security.

As one thought gives rise to a linear projection of another, a cascade of emotional stress is caused, leading to disharmony. The only way to reprogram the brain is to first slay the source, and, in this, to prevent the spill that regenerates the same pattern.

When we can program ourselves to slay a thought bubble into annihilation without any trace of its regeneration, we open to complete neural expanse.

Let us now analyse the Sanskrit etymologies of the names of the four asuras.

Chaṇḍa means ‘fierce passion’. Muṇḍā translates as ‘bald’, which signifies ‘vairāgya’, or withdrawal.

Śumbha means ‘self-doubt’, and Niśumbha means ‘doubt of others’. Although to us these signifiers may appear distinct and opposite, they are inseparable and indistinct in the form of sensory projections of emotional patterning. Vairāgya emerges from one’s awareness of over-indulgence and vice versa… as the one who doubts others, doubts the self.

In a nutshell, this paradigm decodes the linear pattern through which the brain is programmed into insecurities and projections. In this programming, we act on extreme tangents in response to emotional stress. Cāmuṇḍā Mā destroys the patterns of indulgence and vairāgya which arise through the doubt of others and self. Hence Mā Cāmuṇḍā sādhanā is nothing but a high-end neural programming of our brain pathways...

The Devī Māhātmyam as a conglomeration of 700 verses stands as a work of cryptic algorithms in each of its distinct narrative threads. The algorithms encode how to access Śakti as distinct through her various iterations, or as a complete merger of all, merger that culminates in the killing of Śumbha, or self-doubt. The Māhātmyam’s recitation, chants, nāma japa, individual sādhanā of Bhadrakālī, Mahākālī, Durgā Mā, and, most importantly, Mā Cāmuṇḍā, offer us an expansive pathway to reprogram our neural networks in a non-linear method that accesses the expanse of our neurohormonal enzymatic intelligence… through sound and breath...

Such works need more exposition towards accessing our sensory processing pathways by exposing their recitation methods of sound and iconography with the help of modern imaging technology and subsequent diagnostic modalities towards human behaviour and human creative expanse.

May the imbibing of the Devī Māhātmyam, not through reading but through mind patterning, help in accessing its energetic quotient of expansion in your life.

Below is a thermal capture of Dr. Sumit immersed in Ma Cāmuṇḍā Sādhanā on the banks of the elusive Ma Cāmuṇḍā lake at 14,000FT in Himachal Pradesh India.

Full video on thesoundbreath YouTube channel.

 

 

THE RATI RAHASYA: Cryptic Elaboration of Behavioural Algorithms

An ancient Indian poet named Kokkoka (known as Koka, or as Koka Pundit), wrote the Sanskrit text Rati Rahasya, also known as the Koka Śāstra, which is a handbook on practical erotica. The text was most likely written in the eleventh or in the twelfth century, although its precise date of composition is unknown. According to the legend, Ratirahasya may have been composed to appease Venudutta, a monarch. Siddha patiya pandita, or "an ingenious man among learned men," is how Kokkoka identifies himself in the book.

Before the Indian subcontinent was subjected to geographic and religious invasions, it was home to extensive exploration of manifold kinds of sensory indulgence. These explorations were of a precise, unbiased technical nature that lied beyond social structures, and highlighted the dangers and pleasures of such explorations.

The works emergent from these explorations hold extensive algorithms that elaborate on the development of physical and psychological discord in humans, as well as describe potent treatments on the lines of Āyurveda, psychiatry, and sound-breath modulations.

Rati Rahasya, though essentially a work on erotica, differs in its nature from Vātsyāyana’s Kāmāsūtra, which is considered to be the holy grail of erotica. Rati Rahasya cryptically informs us about many projections of sensory algorithms that contribute towards the purity of the Eight Rasas.

Rasa here connotes the Tantra algorithm of complete expanse of emotional intelligence that we possess as humans through time. It may be corroborated to the complete neuro-hormonal cocktail that encompasses the emotional experience which we linearly express or emote through bhāva.

Pandit Kokka explains to us analytically and in the envelope of erotica personality traits, sensory projections acquired through linear programming of the brain, body language and methods of precise human interactions. This data, if applied in our modern world, expands beyond erotica and enlists expansive algorithms of personality development, lifestyle behaviour, subconscious programming and projections.

In a nutshell, Rati Rahasya cryptically elaborates on methods of neural programming that offer profound insights and tools which overcome stagnations in modern-day structures, which hover on a spectrum of personality or behavioural malfunctions. It builds on prior works and gives us a precise measure algorithm of Āyurveda and of the Anguli Pramāna, which are the foundational simulation of our brain towards sensory geometric data that subconsciously decides interactive compatibility within humans. It further expounds on methods to access brain pathways through spinal breathing patterns in the form of cryptic sounds or mantras which to the human eye may appear as gibberish. It additionally elaborates on alchemical formulations of the Rasa-śāstra, giving insights towards nanobots as medicines that could be used to program our neural patterns for behavioural development.

Most other works like the Pañcasāyaka (11th century), the Jayamaṅgalā (Yaśodhara's commentary on the Kāmasūtra from the 13th century), as well as the late Kāmaśāstra works - Smaradīpikā and Anaṅgaraṅga (16th century), and the 7th century non-Kāmaśāstra work Amaruśataka by poet Amaru build and elaborate on these very algorithms. With their text being either extant in part or redacted, it is significant to revisit this data in an algorithmic manner to access the expansiveness of data processing as acquired by our sense projections and their constantly changing dynamism with the surroundings. These algorithms, when imbibed in a non-linear way through breath, sound and through constant access by synchronising ourselves with circadian biorhythms, would most definitely grant access to the purest Rasa algorithm… which, as the texts describe, leads to a state of euphoria.

 

Spinal Breath. Sensory algorithms thermal.

                                                

 

MAHĀVIDYĀ MĀTAṄGĪ: ENVIRONMENTAL SCIENCES & ENERGY DYNAMICS

Mātaṅgī is the ninth form of the ten Mahāvidyās, or the Daśa Mahāvidyās.
The Gupta Navarātri of Magha and Aṣāḍha are attributed to the Mahāvidyās, with the Magha one being more so attributed to Mātaṅgī.
 
Apart from Kālī, Tārā and Ṣoḍaśī, less is known about other Mahāvidyās. Their origin iconography, mantra, yantra and subsequent lineages have been obscure due to their oral transmission, as well due to how their knowledge has evolved over time: from the Grāma Devīs attributed to fertility cults, to influences of Buddhism, and to the subsequent naturalisation of their lineages in the Indian diaspora abject to colonial and other invasive ethnic exposures.

Mātaṅgī Devī vidyā is highly secretive. Each Mahāvidyā has their own sādhanās and their own lineages, but sādhakas of Mātaṅgī are rare to find, the reason being Mātaṅgī’s multifarious forms and depictions that are reflected through her various iconographies and upāsanās. In this short article, I will attempt to present an algorithmic form of the Mātaṅgī Mahāvidyā. For simplicity’s sake, we can coalesce into three main forms all the various manifestations we find of her across the texts of Tantra, across the Purāṇas and even across the Upaniṣads.

 
Let us now begin with:

Rājamātaṅgī, Śyāmala, Laghuśyāmalā, Kalyāṇaśyāmalā, Śukaśyāmalā, Rājaśyāmalā etc of Śrīvidyā Tantra

 
She is understood through text as the eternal consort of Śiva. She is running after him, to be one with him. In her dhyāna-mantra, she is identified as the presiding deity of the world (स्मरामि भक्त्या जगताम् अधीशे). This form of her is supreme, as it defines the reverse algorithm of the sum total of all energy that is coalescing or imploding as the eternal balance of Śiva. This form is reflected as the blue spectrum in its Vaikhāri form, and in the nothingness or the perfect black body that absorbs everything in its bīja. Understanding her mathematical algorithm through the Mahāṣodaśi (only energised by dikṣa) or through ritualistic pūjā, the Magha Navarātri becomes an important moon phase in opening up the neural patterns within for the Śrīvidyā upāsaka.

Mātaṅgī, Sumukhi Mātaṅgī, Vāgvādinī, Śārikā, Vaśyamātaṅgī etc

This is a Vedic form attributed to the annals of the Goddess Sarasvatī. Both Mātaṅgī and Sarasvatī represent the Vāk Devī of Ṛgveda (ऋग्वेद दशम मण्डल १२५ सुक्त). Mātaṅgī’s Vedic form is similar to her Śrīvidyā form as Śyāmala. Mātaṅgī here denotes articulated speech. The words with subtle nāda create emotions (rasa and bhāva), which in turn create karma and māyā. These represent the Vaikhāri, the energy modulations of speech that run from subtle to macro. Its integral is Sarasvatī (ahaṃ, अहं), the sum-total of all knowledge that is reflected in the cosmos, yet through its Vaikhāri form of Mātaṅgī it creates the distinction (idaṃ, इदं). Through the expansion of her immense energy located in her macro bīja aiṃ (ऐं), and through her subtle bīja which cannot be written, her sādhaka opens and transcends neurohormonal pathways within through various upāsana and nyāsas, freeing the prāna. This sādhanā holds conjugations with asterism and with the stellar, which is why the Māgha Navarātri is significant here. Mātaṅgī’s Vaikhāri vidyā is so obscure that it can only be learnt from an adept or a Guru, as it involves 10 Vāyus.
Mātaṅgī is reflected as the green-yellow spectrum in her Vaikhāri, and AHAṂ or white (the sum-total of all light) in her bīja.

A small note here is to know the subtle difference between Mātaṅgī and Tārā, who also is associated with Vāka. Tārā is unmanifest speech, the Prākrit Dhāvani. It too represents Sarasvatī, but it has no manifest. It has building blocks, but no design. The moment a design forms, Mātaṅgī sets in. Hence Mātaṅgī is rightly called the Mantraśakti (अकृत्रिमाणां वचसाम्) of all cosmos, a force that manifests (idaṃ). This vidyā represents a neural network of the cosmos, unfolding of which lies at the symposium of Veda, and of how knowledge arrives from sound.

Ucchiṣṭa-Mātaṅgī

 
She is a fierce form of Tantric lineage associated with the wastes and excrements of the world. This form is extremely algorithmic, yet it is highly misunderstood. This form has slowly become associated with the darkest and repressible corners of worship, as her depiction is that of a deity who requests leftover food from soiled hands. In some lineages, even her sādhakas are required to worship her in a soiled form (without bath, soiled clothes, menstruating etc).

 
Opposingly, the manifestation of Ucchiṣṭa-Mātaṅgī represents the following Vedic algorithm: what is created through the Guṇas (Sattva, Raja, Tama), Doṣas (Vāta, Pitta, Kapha) or through the Pañcamahābhūta (5 elements) that manifest serves as food for some and as excrement for others. Nothing is wasted. Both aspects are in balance and must be in balance. If one consumes the good with appreciation, one must also exhume the waste with focus. Awareness is unbiased.
In today’s world, this vidyā seems especially relevant for our planet. The waste and excrements from the resources we consume in stable, progressive societies are dumped in ‘third world countries’, where poverty, filth and diseases spread. 

 
This pattern occurs either globally or locally, and at each level of societal existence.
Notably, wastes are not just of a physical nature: wastes can also be mental and emotional. The Mātaṅgī vidyā of excrement enables the flourishing Bhuvaneśvari vidyā of prosperity. From the solar system to a cell, wastes are always an integral part of the system. Ucchiṣṭa Mātaṅgī vidyā enables the sādhaka to overcome and accept in totality the wastes and exhume this derivative to implode towards the sum-total Parama-Śiva. 

 
Mātaṅgī in this form is reflected as the red spectrum in her Vaikhāri and in her bīja, a point where total light hits total darkness. It is a journey of ahaṃ to idaṃ, and of idaṃ to ahaṃ, with both eventually coalescing in the ultimate Praṇava. Without the Ucchiṣṭa, there is no Śrīvidyā.

The Paraśurāmakalpa-sūtra hence allots 98 letters to Mātaṅgī or Śyāmalā out of the 254. She is to be worshipped at noon out of the time quadrants between Brāhma-muhūrta. Applying the Katapayādi-sūtra, all the 254 finally absorbs in the Mahāṣoḍaśī, a mathematical brilliance ... that leads to the supreme Para… AUM, the one that has no sound, the one that is to be arrived at.

Worship in Māgha Navrātri

 
One can worship Mātaṅgī through the Śrīcakra Āvarna vidhi as taught by one’s lineage. Apart from this, one can worship the 9 forms of Śyāmalā as below:

1 Laghuśyāmalā
2 Vāgvādinī
3 Nakulīśvarī
4 Kalyāṇaśyāmalā
5 Jagadrañjinī-mātaṅgī
6 Vaśyamātaṅgī
7 Śārikā
8 Śukaśyāmalā
9 Rājaśyāmalā

The nine forms above mostly corroborate to the blue and green spectrum of Mātaṅgī. The red spectrum is highly obscure, powerful, and requires strong supervision. Technically, the red, green, and blue spectrum lies at base foundation of digital colour reproduction (the Bayers filter). When the the iconography, yantra and mantra is focused on, it gives the broad spectrum of light within, and through it the point of absolute black body... The Mātaṅgī sādhanā, the Mahāvidyā…

Some important temples of Mātaṅgī in India:

 
1. Tilakwadi-Belgam - Karnataka
2. Nuthi - Radhakrishnaiah Nagar - Madanapalle-Andhra Pradesh
3. Nangur- Sirkazhi - Nagapatnam district - Tamil Nadu (Raja Mātaṅgī Temple)
4. Jhabua - Madhya Pradesh

*DISCLAIMER*
Please do not try any upāsanā apart from the dhyāna-mantra for the Goddess. Prakrit contemplation of her bīja AIṂ without chants or visualisation is enough. Seek expert guidance.

The expounds made here aim to maintain brevity and to generate interest in algorithms of yantra and mantra as energy units. For more in-depth knowledge, those who are interested may refer to various texts of Tantra, such as the Śaktisaṃgamatantra, Śākta Pramoda, the Bhāgavata Purāṇa, Nārāyaṇa Upaniṣad, Kubjikā-tantra.

 

 

Hanumāna Jayanti

Veda, Āyurveda, Yoga, and Tantra algorithms offer blueprints to decode your natural traits and hormonal access, which are expressed across all domains of life - health, economics, career, and relationships. 

The sound container of Lord Hanumāna (हनुमान) is immensely popular. His form and aura are worshipped for many material and spiritual gains with utmost diversity that parallel none. From his Bhakti (भक्ति) aspect of immense surrender to Śrī Rāma to the Tantric Yantric forms of Hanumāna (हनुमान) for receiving powerful Siddhis (सिद्धि), Hanumāna is one all-encompassing force that represents the epitome of algorithms of complete creation & complete withdrawal. 

Hanumāna (हनुमान) is the most powerful of all, carrying the Śiva Tattva (शिव तत्व) within; yet he spontaneously surrenders to Śrī Rāma, not by choice or force or awareness of Śrī Rāma but through a process of complete withdrawal. Yet in his other forms he represents the complete purity of material creation balancing the cosmic Prāṇa (प्राण).

Hence Lord Hanumāna (हनुमान) is worshipped in many forms, through many mantras and in many lineages without any prejudice; from the annals of Bhakti to the Tantric Yantric forms of Hanumāna, to attain material and esoteric siddhis. Though there are innate ways of mantra, yantra to worship him and to absorb the magnum of Hanumāna (हनुमान), there is this one special distinct bīja (बिज) / seed mantra (मंत्र) which epitomises the entire magnanimity of the force Hanumāna (हनुमान). This bīja is the very root of all withdrawal and expressive forces within us & it continuously keeps chugging, yet we are rarely aware of it. Because most times bīja comes across as syllables that make no logical sense. They are mostly used as part of a 9 lettered Bīja Mantra or part of a long Japa Mantra, either as an adjuvant or in a series. Understanding the annals of this special bīja of Hanumāna, firstly by being aware and then under a Guru, can help decode many mysteries within and externally.

 This bija is fraum ( फ्रौं). It is pronounced as phraum. There are 2 versions of it:

1. A version with फ्रॐ 

2. An all-encompassing version that builds on the former represented as फ्रौं

Although it may appear that the only difference between the two forms lies in their writing, I assure you that there is much more to it. Since this small write-up is centred on application, I will concentrate on the first form (फ्रॐ) by expounding only on its Prākṛta Dhvani (प्राकृत ध्वनि) without focusing on its total chant resonance.

Let us look at the etymology of the seed Phraum. Please note that although I am breaking up the syllables for minute understanding, the seed is always integral. For those who meditate on its integrals the derivative appears as an experience.

pha + ra + AUM

 फ् + र् + ॐ = फ्रॐ

Sounded as pha and written as the फ् syllable in Sanskrit, it represents the acoustics of Vāyu (Agni Purāna अग्नि पुराण Chp. 348). In brief, it understands motion by experience of sound. This term is connoted in Sanskrit as jhañjhāvāta (झनझनत्व) by several scholars. An exemplification of this would be: by hearing the sound of lightning, we spontaneously imbibe its motion.

Ra (र्) - This half syllable represents the acoustics of Agni (अग्नि) , or as the Agni Purāṇa (अग्नि पुराण) states in the Chapter 348, the acoustic strength of Indra ( इंद्र), the Vajra (वज्र). To return to the example I gave of lightning, the sound also makes us realise the immense heat of a thunderbolt.

One can therefore understand that, a rare combination, pha + ra represents in acoustics the integral properties of Vāyu & Agni (अग्नि) as one. 

The AUM (ॐ) here is not the 3.5 lettered Nāda, but it is just the extension of PhaRa in the form of propulsion of the thunderbolt. As the thunderbolt is heard and seen with its motion and fire, it represents the release of Praṇava (प्रणव) or AUM or the cosmic Prāṇa. Here, there is no distinct AUM, but a natural continuation of pha + ra if combined in proper unison.

It is not:

फ् + र् + ॐ = फ्रॐ

but

फ् + र् -> फ्र->ॐ

In real world scenario, this represents a rhythm that is constantly propelling the Prāṇa (प्राण), which enables us to live, create things, feel omnipotent, feel surrendered and feel completely withdrawn.

Let us take a simple example. While sleeping, most times we cease to be aware of our surroundings. The sense response is also minimal. The Prāṇa (प्राण) enters the body with the acoustics of Pha / फ. In snoring, one can hear the friction known as Gharśna (घर्षण)), the sound of entering prāṇa. The acoustics of pha as it enters create in symbiosis the acoustics of Ra or Agni (अग्नि) as integral. This propels the Praṇava, the AUM enveloped by Phra, replenishing all energy units in the body. If this system works well, the Vajra of Indra becomes imbibed within and we wake up all refreshed, invincible like a Vajradehi. 

Similarly, this bīja works each moment within us; waking, sleeping, meditating, to keep our Prāṇic system as Vajradehi (वज्रदेहि). It gets stimulated each time we have a sense response of touch, smell, taste, sight and sound. When our Prāṇa (प्राण) gets disturbed in disease, stress etc, this Gharśna of Phra ceases to exist as its acoustics get disturbed. The prāṇic connect with senses becomes volatile. Mind wavers in many directions. The acoustic propel of Praṇava (AUM) is lost. In fear, in failures, in over indulgence, the 22,600 Prāṇa (प्राण) expanse becomes brittle. Hence Hanumāna is also known as Sankatmochana (संकटमोचन), the alleviator of all troubles.

Although there are many ways to achieve this prāṇic balance that are expounded by various schools of thoughts and lineages of bhakti, mantra, Tantra etc, the knowledge of Fraum is the most subtle and shortest way for this. Of course, the bīja in itself is not as simple, and its intricacies must be learnt under a Guru, because any acoustic movement of Prāṇa (प्राण) creates a forwarding resonance that affects how Prāṇa (प्राण) is further exchanged within micro channels. A simple visualisation of the Prākṛtadhvani of Fraum will speed up awareness in all your sādhanās (साधना).

Try this experiment on your own especially if you find difficulty in sleeping due to blocked sinus, bad dreams, nightmares, stress etc, the cases in which the mind is constantly wavering. 

1. If you are unlucky to observe someone snoring in deep sleep, just concentrate and register the sound of inhale, the friction.

2. Wash your eyes, your feet with cold water before going to bed, maybe take a cold bath, wear light clothes

3. As you sleep, close your eyes and nonchalantly visualise the syllable Phra (फ्र) in the form of the acoustics of snore that you registered.

4. Once done, just synchronise the sound with your inhale as the visual letter Phra (फ्र). Do not chant it.

5. No need to visualise or chant AUM (ॐ) on exhale, because if you get the Phra right, the ॐ will follow by itself in sync; there is no other way to it…

6. Keep doing this for minimum 5-6 minutes and then observe the difference.

One can implement this method of visualisation of Fraum in many walks of life and hence Hanumāna Tantra is considered a Saṃpūrṇa Vidyā (संपुर्ण विद्या) / Absolute Knowledge, which needs to be learnt from a Guru.

VERSION 2

As mentioned earlier, this same bīja Fraum changes completely in acoustic and becomes highly powerful as we imbibe the syllable Rāma (रां) in it, the all-encompassing bīja of Prabhu Śrī Rāma. Here, Rāma (रां) denotes the Agni (अग्नि) Tattva, but it is different from the Ra (र) explained previously.

Rāma (रां) resembles the transformational property of Agni (अग्नि) and not its acoustics. It is pure Agni (अग्नि) devoid of sound. This one syllable changes the entire nature of Hanumān Vidyā (विद्या). The same Bīja of Hanumāna (हनुमान) then decodes as:

pha Rām

फ् + रां = फ्रां = फ्र(अ उ ं) -> फ्रौं

Here, the Praṇava (ॐ) is imbibed not as propulsion of Phra (फ्र) but as the acoustic totality of the cosmos. Here, the AUMॐ registers as Nāda and Nādānta. This bīja hence has to be learnt under a Guru as it contains the ultimate Śrī Rāma (रां) Hanumāna (हनुमान) Vidyā (विद्या) which takes one from complete expansion of Siddhis as Hanumāna to complete withdrawal into the state of Prabhu Śrī Rāma.

Aum Fraum Aum Śrī Rāma Rāma Hanumate Namaḥ

ॐ फ्रौं ॐ श्री रां राम हनुमते नम:

A blessed Hanumāna Jayanti to all!

To put this into motion, NLAM has recently created new Yantra tools which dynamically map the sound containers to breath and individualised DNA imprints.

Images by Sumit Ashok Kesarkar: Śri Hanumāna (हनुमान) Yantra in its unique and rare Yantrodhāraka Hanumāna form at temple at Hampi.