The refrain runs:- Kripaya hara vighnam me mama siddhing prayachchha me. Vaishnavi Shakti. As such the Mother is the Destructress of Avidya and therefore as the verse says destructress of all the anguish and sorrow which proceed from it. The earthly father and mother which are mere Angshashaktis are put aside to revere Her as the real Father and Mother of all. Chapter IV The devotee should we well versed in Vaishnavachara that is in Bhaktimarga before he can be permitted to adopt any of the special rites.
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The refrain runs:- Kripaya hara vighnam me mama siddhing prayachchha me. Vaishnavi Shakti. As such the Mother is the Destructress of Avidya and therefore as the verse says destructress of all the anguish and sorrow which proceed from it.
The earthly father and mother which are mere Angshashaktis are put aside to revere Her as the real Father and Mother of all. Chapter IV The devotee should we well versed in Vaishnavachara that is in Bhaktimarga before he can be permitted to adopt any of the special rites.
He should be Udarachittah large minded , Paraninda-sahishnuh patient of ill said of him and Upakararatah one who does good to others. He is required to recite his Mula-mantra if he happens to come across a deserted temple, junction of four roads and such other places which are said to be fit for worship.
He is directed also to bow unnnoticed to Mahakali if he sees certain birds and animals; Gridhra vulture , Kshemangkari Brahmani kite , Jambuki she-jackal , Yamadutika raven , Kurara osprey , Shyena hawk, eagle or falcon , a crow and a black cat. He is further directed to do circumambulation Pradakshina of a corpse and the cremation ground.
The Mantras to be recited on such occasions are noted. Obeisance must also be made when he sees a black flower, red cloth, a king, a prince, an elephant, a horse, a chariot, weapons of war, valorous man Virapurusha , a buffalo, a Kaulika or an image of Mahishamardini. If he sees a jar of wine, fish or flesh, or a beautiful woman, or a Devi Bhairavi, he must bow and recite a special mantra. The Nilatantra gives a fuller list of objects to which obeisance is to be made in this way.
Then comes the ritual prescribed for the worship of Kali in the cremation ground. The Dhyana is revealed in seven verses IV, As this Devi fulfils all Siddhis She is called Dakshinakali.
Chapter V This Chapter deals with rites which are performed for the development of powers enabling the devotee to draw towards him any Deva, lower Spirits or human being he wishes. Vv say that if anything is taken from the subject of the rite which belongs to him or he or she are ill-treated or deceived in any way the Sadhaka is fallen Bhrashta and dies.
Harm also happens to his family from such magic Abhichara. The rite consists of the worship of Dakshinakali. The first Vija is the supreme Shakti Purvang vijang parashakti. The Angganyasa is directed to be performed with the Vija coupled with the six long vowels. In this rite the Brahmana Sadhaka is directed to substitute for wine where is this is mentioned honey in a vessel of copper v 78 or he may perform the Kulapuja with Kula wine.
Chapter VI This part is concerned with the method of acquiring powers Vetalasiddhi enabling the devotee to go anywhere he pleases. The special rite of Sadhana which goes by the name of Shavasadhana is described in this chapter vv The object of this Sadhana in this special instance is the acquisition of the power with which the Chapter deals. Chapter VII This, the last chapter describes the worship of Mahishamardini which, from the large number of stone and metal images discovered in various places, seems to have been very popular at one time.
The worship of Mahishamardini appears to have undergone gradual changes. This is indicated by the Mantra as disclosed in the Kulachudamani.
The Mantra has been revealed in the usual Tantrika garb by the following verse:- Trailokyavijabhutante sambodhanapadang tatah This yields a mantra of nine syllables, namely Ong Mahishamardini Svaha But the text VII, 5 ordains that if the Mantra and its Sadhana is disclosed at all, it may be disclosed to one who is extremely obedient to his Guru, but even then not with its Vija. Only eight syllables should be disclosed, thus reducing the mantra to Mahishamardini Svaha.
It is said that the Mantra of nine syllables should not be imparted but should in the Kali age be kept concealed, and that eight syllables alone should be disclosed with the Mantra, Svaha, but never with the Mantra Namah. It would appear from the Sharadatilaka, a compilation by Lakshmana Deshika of the eleventh century AD that in his day the Mantra of eight syllables alone was known.
The Mantra of ten syllables is not mentioned even by the Kulachudamani. This may be taken to suggest that the worship of Mahishamardini is of great antiquity. Originally the mantra was of eight, nine and ten syllables. But in course of time at the date when the Kulachudamani was reduced into writing the Mantra of ten syllables had already fallen into disuse, while the Mantra of nine syllables was discontinued.
In the eleventh century AD at the daye of the compilation of Sharadatilaka , the Mantra of eight syllables only was known. Another important change is noticeable in the Rishi and Chhanda of this Mantra.
The Commentator also notices that in his day according to some the Rishi was also said to be Markandeya. May it be that the worship of Mahishamardini was gradually sought to be cast into the same form as the worship of Durga? This seems highly probably from another circumstance that according to the Sharadatilaka-tika of Raghava Bhatta, the Pithapuja should be performed as ordained for the worship of Durga.
The image of Mahishamardini is however different from that of Durga. Mahishamardini according to Kulachudamani VII, 13 has eight hands holding on the right side Chakra discus , Khadga sacrificial sword , Vana arrow , Shula trident , and on the left side Khadga, Charma shield , Dhanu bow and Tarjani-mudra vide post. The Devi is said to be of black colour, wearing yellow cloth, and is placed on the body of a black buffalo.
This Dhyana does not exactly correspond with the one which is noted in the Sharadatilaka. The Devi who is said to be of the colour of Garuda stone emerald and bedecked with the crescent moon is described as sitting on the head of the buffalo. So far as this Mudra is concerned, Raghava cites an authority to show that Tarjani-mudra is the same as the Abhaya-mudra.
It appears from the Tantrasara that the Devi is to be worshipped now in this form. The Kulachudamani gives no Shangkha, or Khetaka or Katrika. It has instead two Khadgas and Charma. The Sharadatilaka mentions no Charma or double sword. It introduces Shangkha and Khetaka. The Hymn makes a further departure by changing the Khadga into Katrika. This is exactly what appears to have been in vogue when the Tantrasara came to be compiled about years ago.
The Hymn therefore appears to be of a date later than this. While the images appear to have changed in this way, the mode of worship has remained pretty fairly the same. The details are given with a view to help the reader to follow the ritual.
The worship of Mahishamardini is in general performed in the usual Tantrika way. The text only notices the points of difference which constitute its special features. The most noticeable of these is the Angganyasa which usually embraces six Anggas.
The Sharadatilaka XI, 25 says that in this worship Nyasa is made only upon five Anggas, leaving out the Nyasa of the eyes. The Dhyana is given in verses The Yantra is composed of a lotus of eight petals, in each of which VII, 18 eight Devis are worshipped, described generally as Durga and others Durgadya. They are worshipped with the long vowels a, i, u, ri, lri, ai, au and ah. The Sharadatilaka-tika of Raghava Bhatta says that in selecting the long vowels, ri, lri should be rejected as neuter vowels.
The Tantrasara, however, gives the long vowels as a, i, u, ri, lri, ai, au, ah. The weapons are also be worshipped along with the consonants beginning with ya or in other words the consonants beginning with ya, that is ya, ra, la, va, sha, sha, sa and ha are selected.
The hymn to Mahishamardini incorporated in the Kulachudamani is recited by Bhairava. The text of this hymn appears to have grown defective in course of time. Reference had accordingly to be made not only to the printed edition but to Ms. One Ms. The text, as printed herein may, therefore be taken as fairly accurate. From the hymn vv it appears that whilst the worship of Vishnu and Shiva was popular, and their votaries were applauded, the Kulachara was blamed. A translation of this hymn in English was printed in the volume entitled "Hymns to the Goddess" by A.
As was there pointed out, the text of the Tantrasara used for this translation was in parts corrupt and unintelligble and in others of doubtful meaning. A further translation with commentary has therefore been here made by A.
Avalon of the text as it has now been revised; and the opportunity has been availed of to correct some errors. The following translation and accompanying notes are by the General Editor.
Kagore Kulachudamani Tantra After sipping water, strew the Kula place with grass and Kula flowers and place durva grass, sesame oil and water in the Kula vessel. Brahma and the others are not distinct entities. By performing the yagya on Saptami, Goddess Durga gets pleased easily and showers her blessings lulachudamani on the devotees. Internet Handling Fees 0. After giving a suitable offering, meditate on the being of Bhairava-Bhairavi, offering the remainder.
KULACHUDAMANI TANTRA PDF
Kulachudamani Tantra is an agama in which the goddess answers questions of Lord Shiva in his divine form as Lord Bhairava. Kulachudamani Tantra is a highly secret practice. The Goddess answers the questions of Lord Shiva and explains in detail of her worship in Kulachudamani Tantra. The terrible side of worshipping the Goddess Tripura Sundari and Kali, animal sacrifices, creation of magical spirits, tantric techniques and then unify with goodness is also described in Kulachudamani Tantra. Ashta Siddhis play a major role here.
The Kulachudamani Tantra: 1
All rights reserved. None of this material may be reproduced, apart from purely personal use, without the express permission of the Webmaster Web pages designed by Mike Magee. Really the Moon is the hiding object of the Sun and of the Moon the hiding object is the huge shadow of the earth. Preface Kulachudamani Tantra is a nigama, meaning that instead of Devi asking questions answered by Lord Shiva agama , he asks questions answered by Devi, the goddess. In this tantra the cult goddess is Mahishamardini, a Devi with some similarities to Durga.