Śyāma, is one of the three main Goddesses in the tradition of Śrī Vidyā, and also one of the 10 Mahāvidiyās.
In Śrī Vidyā she’s described as being green in color, dressed in red clothes, intoxicated, playing a vīna and having a parrot by her side.
As one of the 10 Mahāvidyās, She helps us transcend rāga and dveśa.
Her nature is desire and she embodies the attractive power (vaśankara). She is the Great Goddess of the speech and of any other type of exterior manifestation of sound, intellect, inner knowledge, including all forms of art, music and dance.
She’s the manifested and direct revelation of the highest knowledge in the form of human speech, from which all the texts and writings containing great wisdom appeared. She’s also a loving mother, located in the heart, symbolised by the female breasts, full of nourishing milk.
She confers aesthetical refinement, inner knowledge of symbols and archetypes, great artistic and creative talent.
VĀHANA/VEHICLE:
Gīticakra/Geyacakra driven by charioteer Hasantī.
BODY LOCATION:
Breasts (with regards to Laliā), and
Mulādhārā - the location of the Parā sound (with regards to her aṅga devatas).
From a perspective of an aṅga devata, and also from a standpoint of a seeker who’s worshipping Rājaśyāmalā as an iśtadevata, she represents the Absolute. As such, she’s looked at the parā sound which is located in the base cakra. But, if you change the perspective and look at her as a representation of Lalitā, she would be positioned in the Heart.
LEVEL OF SPEECH:
Parāvāc - refers to the “supreme level of speech”. Sound’ (nāda) is the name given to the pulse (spanda) of the supreme level of Speech (parā vāc), which animates the highest reality. It is a form of sound that pervades the universe.
Śyama’s main task is to lead her devotee to the source of all existence. Since most of the people can pay attention to what is directly in front of them and Devi, being the manifestation of sound, uses gross sound to lead a devotee to more subtle levels the final destination being the Supreme Word, the womb of all Creation.
AS A RESULT OF HER SADHANA ONE BECOMES:
more flexible in character
energetic and vibrant, alive and joyful
creative
knowledgable
magnetic and charismatic person
controller of one's mind (recognition that even if one is enjoying one’s senses, it’s still a game, and one doesn’t get attached).
HOW TO PLEASE HER:
actively expressing oneself in a creative way
worshipping women
patronizing arts
doing japa
learning Sanskrit, reciting alphabet
meditating on the sacred texts and the words of the Guru
Description of Rāja Śyāmalā's Chariot (Yantra) in Lalitopakhyana
The 19th Chapter of Lalitopakhyana contains the description of the yantra of Rāja Śyāmalā called Gīticakra/Geyacakra. And the process of its worship is given in the 5th Khaṇḍa of Paraśurāma Kalpa Sutra.
Lalitopakhyana states that there are 7 steps/enclosures in this yantra, even though there are technically 8 (the square enclosure described in vv. 81-90a, is not included it in the count):
Bindu
Triangle
Pentagon
8 Petals
16 Petals
8 Petals
4 Petals
Square
Chapter 19 (Verses 61-92)
61.Seven steps are mentioned in the excellent chariot (named) Gīticakra (Geyacakra also. See verse 63) [see notes on The chariot of Mantriṇīnāthā] that belonged to Mantrināthā and that had great wheels. There listen to those deities of the Devī.
62. Saṅgītayoginī is mentioned as the most beloved deity of Śrīdevī. Her abode was a seat in the middle of the step in the chariot Geyacakra.
63-64. The same first step was the place of residence of Mantriṇī.
Then the deities stationed on the second step in the excellent chariot Geyacakra were Rati, Prīti and Manojā with lutes and bows in their hands. They were dark-complexioned like the Tamāla (a tree with very dark leaves). They were competent to exterminate Dānavas.
65-69a. The deities of the arrows of the god of Love were stationed on the third step. They were five viz.: Drāviṇī, Śoṣiṇī, Bandhinī, Mohinī and Unmādinī. All these five had resplendent bows in their hands. There on the same step were stationed five gods too beneath the deities. They were Kāmarāja, Kandarpa, Manmatha, Makaradhvaja and the fifth one Manobhava. All these were capable of enchanting the three worlds. Marks on their foreheads with Kāstūrī (Musk) shone brilliantly. They glittered with pearls. Their entire body was covered with armour. They had the lustre of flowers of Palāśa (Butea frondosa). They are called Pañcakāmas (Five Kāmas or gods of Love). They eagerly sought the killing of Bhaṇḍāsura.
69b-72a. The deities mentioned before, the chief of whom was Brāhmī and the eighth one was Caṇḍikā (instead of Mahālakṣmī as in vv. 7 and 8 above) stationed on the fourth step of the leading chariot Geyacakra. There in the same step but beneath them were Lakṣmī, Sarasvatī, Rati, Prīti, Kīrti, Śānti, Puṣṭi and Tuṣṭi. These Śaktis are mentioned as Kumārīs (Virgins), O Pot-born sage. Their eyes were red due to anger. They held Kuntas (Lances, spears) and discus in order to kill Daitya of great strength.
72b-76. There were sixteen other deities beginning with Vāmā. They were stationed on the fifth step of that prominent chariot Gīticakra. Listen to their names from me—Vāmā, Jyeṣṭhā, Raudrī, Śānti, Śraddhā, Sarasvatī, Śrībhūśakti, Lakṣmī Sṛṣṭi, Mohinī, Pramāthinī, Āśvasinī, Vīci, Vidyunmālinī, Surānandā and Nāgabuddhikā.
They had the lustre of ruby. They were eagerly desirous of agitating the entire universe. At every step, they made elaborate preparations for the great battle. They were covered with adamantine armours. Others were engaged in loud boisterous laughs. They held various weapons and missiles such as the thunderbolt, batons, Śataghnīs and Bhuśuṇḍikās.
77-79a. Then those stationed on the sixth step of the leading chariot Gīti (i.e. Gīticakra) were the Bhairavas beginning with Asitāṅga. They were dreadful due to their weapons. They held the trident and the drinking bowl. They were blue-complexioned. They were— Asitāṅga, Ruru, Caṇḍa, Krodha, Unmattabhairava, Kapālī, Bhīṣaṇa and Saṃhāra—these were the eight Bhaiṛavas.
79b-80. Then, stationed on the seventh step of the leading chariot Gīti were Mātaṅgī, Siddhalakṣmī, Mahāmātaṅgikā and Mahatī, Siddhalakṣmī repeated again. They were red-complexioned. They held bows and arrows.
81-86a.Beneath the same step were stationed Gaṇapa (the heads of Gaṇas, Kṣetrapālas), Kṣetrapa, Durgāmbā and Baṭuka with weapons in their hands. There itself, beneath the step were stationed Lakṣmī, Sarasvatī, and the treasures Śaṅkha and Padma —all of them held weapons in their hands. They were furious with Bhaṇḍa of fierce valour and exploits, the enemy of the entire world.
The ten leaders of the quarters beginning with Śakra and ending with Viṣṇu were stationed in the same step but beneath, in the forms of Śaktis. They held thunderbolt, spear, Kāladaṇḍa (staff of Kāla), a sword, a noose, a flag, a mace, a trident, the missile of Darbha grass and the discus. They devoutly served Mantrināthā always in order to destroy the Asura followers, the wicked unbelievers, of Bhaṇḍa, thorns for the whole of the universe.
86b-90a. The protectors of the cardinal points resorted to the Gīticakra because they were eager to remind and inform Lalitā (about the task of slaying Bhaṇḍa) through the support of Mantrināthā. All the submissions (and petitions of request) of all Devas to Mahādevī yielded results if they were submitted through Mantriṇī.
Petitions to a queen submitted through the important ones result in the acquisition of fruit by the servants.
Otherwise, how could they even approach Śrīdevī whose refulgence was blazing forth and whose prowess was invincible.
90b-92. Because she was the deity of the lore of Music, she was the most beloved one of Śrīdevī. In the case of fulfilment of tasks she never transgresses what is mentioned by her. In the Śakti empire of Śrīdevī, the deity Mantriṇī was powerful enough to do, undo and alter all activities or to refrain from doing anything. Hence, all protectors of the quarters, desirous of victory of Śrīdevī continued to serve Mantriṇī who was her chief Aide.
Śrī Rāja Mātaṅgī Devī, who emerged out of the sugarcane bow of Śrī Lalitha, was made the prime minister. There was a special charka (chariot) for her to ride - the Geya charka. The chariot had seven tiers, like the seven notes in music and the charioteer was Hasanti Śyāmālā Devī. The devatas seated around her in her chariot are Manmatha with his wives Rati and Prīti, his five forms and his five arrows. Also found are the sixteen virgins (kanyakas), the eight pair of bhairavas and matṛkas. The Dhanurveda (deity of warfare) took a form and presented to her the Bow called Brahma siras. She was praised with 16 names on her march to war, which is found in the ritual manuals. During the war when Visukra engaged in magical warfare by throwing a vighna yantra, she along with Varahi were not affected and prayed to Śrī Lalitha to remove this obstacle. Again on the third day of battle, she engaged with Visukra (The enemy prime minister) and severed his head with an arrow from the above bow. Her Geya chakra was always moving in step with Śrī Chakra and Kiri (of Śrī Vārāhī).
mātaṅgīṃ = Mātaṅgī Devī; bhūṣitāṅgīṃ = adorned with jewels; madhumada+ muditāṃ = (with) sweet intoxicated smile (in Her lips); nīpa+mālāḍhya+veṇīṃ = wearing a garland of nipa (Kadamba) flowers in Her tresses (hair); sadvīṇāṃ = holding the stringed instrument (vīṇa); śoṇa+celāṃ = wearing red coloured garments; mṛgamada+tilakāṃ = having a musk mark on Her forehead; indurekhā+vataṃsāṃ = a mooncrescent (in Her crown); karṇodyat + śaṅkha + patrāṃ = (wearing) bright conch shell as earrings; smita+ madhura+dṛśā = with Her sweet glances; sādhakasya iṣṭa+dhātrīṃ = bestowing upon the sādhaka his wishes; dhyāyet devīṃ = I meditate on Devī; śukābhāṃ = in the colour of parrot (green); śukamakhila kalā+rūpaṃ = (and also) a parrot which represents all arts; asyāśca pārśve = on Her side.
The translation of the above meditative verse is:
O Mātaṅgī Devī - daughter of Mātaṅga muni, you are adorned with jewels, with an intoxicating smile, wearing nīpa flowers on your braid, holding vīṇa - a stringed musical instrument, adorned with red clothes, sporting a musk mark on her forehead along with a crescent moon on her diadem, wearing earrings of conch shells (OR palm leaves folded like an earring), bestowing on the aspirant all his needs by her lovable glance and beautiful smile, you are green like a parrot, and the representative of all art forms resides beside you in the form of a parrot.
We shall try to meditate on her while reciting her mantra.
oṃ aiṃ hrīṃ śrīṃ aiṃ klīṃ sauḥ oṃ namo bhagavati: Imagine a small thread of light from your mulādhāra cakra rising up to the anāhatā (heart) and blossoming into a lotus there of 12 petals. This is found in the above verse as ‘bhūṣitāṅgīṃ - adorned with jewels, the same is the impact of bhagavati'- one who is with bhaga - i.e aiśvarya which means richness or lordship.
śrī mātaṅgīśvari: This address to the deity is also found in the dhyana verse as mātaṅgīṃ. Now meditate on the deity on the lotus as green in colour as said sukābhām.
sarva jana manohari: This refers to the attraction of the mind of all people. The moon is one of the universal soothing attractive objects to the mind of all persons. We can meditate on the moon on her crown. This is said as indurekhāvataṃsāṃ.
sarva mukha-rañjani: This refers to the pleasing nature of Devī with all world, living things. Her face with an intoxicated smile will surely cause all to be pleased. Here the intoxication means that her awareness level is not like that common ordinary people. We can meditate on her face with the charming, intoxicating smile as madhumada muditāṃ.
klīṃ hrīṃ śrīṃ: These are the bijakṣaras of the Devī; klīṃ refers to the tatva sodhanā, hrīṃ to the svasvarūpanusandhāna, and śrīṃ to the immersion in the divine. This can be done by nādhānusandhāna, the immersion of the mind in the harmony of music, since the best instrument of musical harmony is vīṇa, meditate on the ruby studded vīṇa in the hands of the Devī, this is found as sadvīṇām’.
sarva rāja vaśaṅkari : This means that Devī attracts all the emperors in the world five names from this will have the word vaśaṅkari - one who attracts. This is the secret of this mantra’s meanings. There can be no foe; - upanishat says ātmanastu kāmāya sarvam priyam bhavati' - hence all are attracted I subjugated as friends/admirers. Meditate on the earrings made of conch shell / folded palm leaf as said in the dhyana śloka as karṇodyta shaṇka patrām.
sarva strīpuruṣa vaśaṅkari: This means that Devī is further attracting all men and women of the world. This not only refers to humans but also to all living beings inhabiting the world. The Musk deer attracts its partner by the smell of musk. Simultaneously it will also search for the source of the smell not knowing that this smell is emitted from its own body. Meditate on the mark of musk on her forehead as said in the dhyana verse - mṛgamadatilakāṃ.
sarva duṣṭa mṛga vaśaṅkari: This means that Devī further attracts and subjugates all animals which have bad/evil tendencies. This not only refers to the animals but also to the humans who have such tendencies. Parrots have a charming aspect that will attract all and are also the personification of all art forms. The subtle nature of arts will subjugate all. Hence meditate on the parrot near her as said in the dhyana verse - sukham akhila kalārūpamasyāsca pārshve’.
sarva-satva vaśaṅkari: This means that Devī further even attracts and subjugates all the good-natured humans /animals. Flowers have a charming aspect that will attract only the pure good minded living things, ‘nīpa’ as per kaṭapayādi code will refer to 10, which will denote the 5 karmendriyas and 5 gynanendriyas. Also, the kesa (hair) of devatas is allegoric of the universe, it represents the bhuvanādhvā. Thus the created universe and the experience of this universe with the 10 organs are referred to when we meditate on the braided hair with nīpa flowers. This will cause the stillness in the mind which will be now drowned in the satva nature. Hence meditate on the braided hair with nīpa lowers as said in the dhyana verse - nīpamālāḍhyaveṇīṃ.
sarva loka vasaṇkari: This means that Devī in all aspects will effectively attract all living things, whether good or bad. Red colour will universally mean Love, which is all-encompassing. Hence meditate on the red garment of Devī as said in the dhyana verse - śoṇacelāṃ.
amukam me vaśamānaya: This refers to the subjugation of a particular person to me. ‘amukam’ is to be replaced with the name of that person. We find variations in this area in many lineages. Some prefer ‘sarvajanam’, others ‘trailokyam’. We also find ‘rājānam’. Since this is mantra devata is also referred to as Śrī Rājamatangī and as seen from Bhargavarama kalpasutra ‘rāja darsanānhi nyāyah’, the last of the above may be used. Meditate on the smile on her face with a flow of grace to the aspirant as said in the dhyana verse - smita madhuradṛśā sādhakasya iṣṭadhātrīṃ - The aspirant's prayer is for the final anubhava - realization that all this is Brahman.
svāhā sauḥ klīṃ aiṃ śrīṃ hrīṃ aiṃ: This final svāhā and bijaksharas are in the reverse order to merge the aspirant, the deity, and the universe in line with the above thoughts.
While meditating on the above a finer structure in the various parts of the mantra was revealed. The six adhāra cakras and the sahasrāra could be linked to these parts. Thus we find:
sarva jana manohari corresponding to ājñā cakra manastatva,
sarva mukha rañjani to mulādhāra - mukha refers to the earth element,
sarva rāja vaśaṅkari to viśuddhi,rāja is number 16 as per secret code,
sarva strīpuruṣa vaśaṅkari to svashistana - the basic instinct attractive place,
sarva duṣṭa mṛga vaśaṅkari to anāhata, since karunarasa originates from heart,
sarva satva vaśaṅkari to sahasrāra,satva pradhāna guru caranāravinda is there,
sarva loka vaśaṅkari to manipurāka cakra - all world is figuratively said to reside in the stomach of the divine.
Thus we find a vīṇa playing method in the above sequence of the various parts of the mantras on the spinal cord - klīṃ hrīṃ śrīṃ.
The Lalithopakhyana describes the opposite; Viśukra is slain by Śyāmāla Devī and Viśaṅga by Vārāhi. This may be in tune with the idea of battle in the days of yore when equals fought each other. The narration in Lalithopakhyana is by Lord Hayagriva, who took part in the battle. He was placed in the forefront; behind him was Sthambini with the rest of the army. Recitation of Lalitha Sahasranama is by Vasini Vag Devis who were on the seventh tier of the Śrī Cakra raja chariot, flanked by the chariots of Syamala and Mantrini. Hence the difference in the narration in Lalithopakhyana and Sahasranama is evident from the placement of the narrators as above, we may accept the Vasini Vag Devī’s view as clear rather than Lord Hayagriva who might have overlooked or narrated within accepted principles.
I bow to You O Śyāmā, the Mother of Arts [of singing, music & dance], in the abode of Paraśiva, who was made Chief Minister, who’s capable, who’s with the Empress, who sits on the throne; who’s own heart is always full of compassion, may I not become wretched [syn. afflicted, depressed, miserable]. Protect those who have fallen in this forest of existence, consumed by a great raging fire, with showers of nectar. Isolated in this place of bondage please tell me what would be beneficial [for me].
She is the representation of the sound and more specifically the manifested sound.
She’s Mantrini - the Queen of Mantras. Her blessing is needed to for any mantra to become potent.
Connected to the communications center/vaikari she represents Guru Tattva, who teaches us through his instructions.
She represents all types of communications.
Buddhi, intelligence
She represents the antahkarana (manas, ahaṃkara, buddhi),
As the PM of Lalitā she’s the representation an intelligent and trusted advisor.
She’s controller of all of the life forces inside of the body, including the senses.
Hidden knowledge
One of her bījas is Aiṃ, the knowledge of liberation, which is rooted in enjoyment. However, she takes her devotee beyond rāga and dveśa and helps to expand the boundaries of the seeker’s consciousness.
As a Prime Minister, She knows all the State secrets which the public is not privy to.
Her bīja corresponds to the yoni mudra, which contains all of the 7 chakras and the source of all manifestation and knowledge.
Creativity and enjoyment
She’s the expressed outer beauty and harmony, manifested through poetry, music and dance.
She is the bestower of bhoga.
She makes her devote, charismatic, attractive and enigmatic.
Śyāmas skin color is green, just like the stem of the beautiful hibiscus flower, but her clothes are red (the flower petals themselves), which denotes the ultimate attraction principle. This principle is symbolized by the five petals and five stamens - likening them to the 5 arrows of Kāma.
Greenery of nature denotes spring/summer, the time of renewal and restoration. The time of blooming and vibrancy. In the scriptures Kāmadeva is usually accompanied by the spring season.
It also can denote the sound which pervades all of the existence. Śyāma is the life that’s coursing through one’s veins.
Parrot is the vahana of Kāmadeva.
He’s extremely intelligent bird and as such is related to the mind, knowledge and the arts.
The green complexion is associated with deep knowledge and is also the colour of Budha, the presiding deity of the planet Mercury who governs intelligence.
Green in color, it’s one of the cintamani stones “wish-fulfilling jewel”, Kaustubha gem (Krishna wears it), thought-jewel. It’s one of the navaratna stones, connected to planet Budhi (Mercury). It is said that it bestows supreme intellectual capabilities, oratorical skills and concentration. It is also said to cure chronic digestive ailments.
Lalita created Śyāma from her sugarcane bow. It a green color and represents the mind.
The chakra has a green color and contains the wind element bija “yaṃ”.
The mind is in the heart and his nature is the wind, because it’s notoriously difficult to control.
In the scriptures the Deities are often compared to the spring season, which makes the lotus flower of the heart bloom.
The vina (as a general type) was the principal melodic instrument, and early iconographic evidence shows numerous types of ovoid lutes and arched harps, with and without frets and played with either the fingers or a plectrum. Both instruments are descended from the ancient hunting bow and are the ancestors of many different types that are still in use today. The vina was seen as the alter ego of the human body, in a metaphor that works both way: the vocal tract as a human vina, or the vina as the physical equivalent of the human voice. In the connection an important passage from the Aitareya Āraṇyaka (3.2.5) outlines a set of correspondence between the divine vina (the body) and the ordinary wooden vina: the head is equated with the upper gourd resonator or the end of the vina’s neck, the belly with the sounding board or hollow body of the vina, the tongue with the plectrum, the fingers (in the sense of the notes produced) with the strings, the scale degrees produced “by human effort” with those produced by plucking the instrument, the vocal consonants with the contact between finger and string, and the “tightly stitched” body) that is, with referenced to the network of wins) with the set of tensed strings: and both vines are described as covered by a a “hairy hide.”
This is no trivial set of correspondences, and it demonstrates how deeply rooted in Indian tradition is the analogy between the vina (as the protomelodic instrument) and its human counterpart. To point out but one. Particularly appropriate aspect of this comparison, the grid of parallel strings and crosswise frets is an unmistakable analogue of the rigid of speech sounds and articulatory organs as outlined in the early phonetic literature, each considered as a model for the production of sound. Each of the two grids also provides for the scaling of musical space - the internal space of the human body and external space as marked off along the body and strings of the instrument.
Source: Music and Musical Thought in Early India - By Lewis Rowell
Aṅga Devatas are body parts or the sun rays and are non-different from Deity they are connected to. Hence, no distinction is to be seen between the Deity and her Aṅga Devatas. Śrī Vidyā is chiefly about Kuṇḍalinī Yoga. Though it is certainly possible to achieve everything with simply Bālā mantra, other mantras and Aṅgavidyās, higher vidyās etc. are taught by the scriptures for accelerating the spiritual progress. Aṅgavidyās prepare and regulate the nadis and assist the awakening of Kuṇḍalinī. It is believed that without proper Upasana of Aṅgavidyās, no ground work is present for the awakening and the Sadhaka faces great risk.
One objective for doing Aṅgavidyopāsana is to appreciate Devi in her various forms and names, as male and female, and appreciate her play. It cannot be denied that Aṅgavidyās accelerate spiritual progress and amplify the effect of the mūlamantra.
By upāsana of these Devatas as Aṅgas, one is able to concentrate on the upāsana of Mūlavidyā better.
Aṅgavidyās accelerate the process because each has a certain peculiar effect on a certain Cakra / Nadi.
Laghuśyāmā represents paśyanti sound. She provides the inspiration and creative urge, protection and the ultimate knowledge which transcends the duality of our perceptions leading us to liberation. She represents the death instinct; and on the other hand, the instinct of kāma, or desire.
Goddess Vāgvādinī confers, inspiration, wisdom and learning. Her attributes point to her representing contemplative and reflective processes taking place in the madhyama stage of sound. She contains within her the entire alphabet, however it’s not yet broken down by varnas; this is done at a later stage in the viśuddhi cakra.
Nakulī is the Goddess of articulated expression - vaikhari. Starting with this stage, in the viśuddhi cakra the actual letters of the alphabet are born. She was created by Lalitā from her upper palate. She presides over power of discrimination and the supreme command of speech (beauty, strong arguments, etc.). Nakulī also cleanses poisons and has the ability to stop any negative internal tendencies and promotes compassion.
How can I learn Raja Shyamala Sadhna so that I can do this Navratri? Please reply I would like to be initiated so that I can connect my self with her this Navaratri starting 2nd feb.
Shashwat For Rāja Śyāmalā Sādhana, you have to take dīkṣā in Śrī Vidyā go through Mahāgaṇapati, Bālā and Caṇḍī sādhana in the Beginner's Course and then in the Mid-level course Śyāmā will be introduced. For more details, please see this post.
