Paraśurāma's Tenets
In the last chapter of Paraśurāma Kalpa Sūtra we find the tenets to be adhered to by a sādhaka in this upāsana. Out of the many said following tenet is discussed.
strī-vṛndādima-kalaśa-siddha-liṅgi-krīḍā-kula-kumārī-kula-
sahakārāśokaika-taru-pretāvani-matta-vesyā-śyāmā-
rakta-vasanā-mattebhānāṃ darśane vandanam
darśane vandanam - On seeing the list said above an aspirant in this path is to be respectful to them and prostate with his mind only. Otherwise, the action would be against another tenet- ‘gopyam’- break of secrecy in following this path. Darśana will also point to the revealing of divinity. Vandana will mean reverence, thus this will also point to recognizing or venerating divinity in the above list.
Let us discuss each of the above individually -
strī-vṛndā - a group of ladies. One of the thousand names in Lalitā Sahasranama is ‘vimānasthā’ - ‘vi’- (viśeṣana) especially, māna - measured, sthā - placed in, thus this will point to the śakti tattva which has caused the primordial movement to manifest this visible universe which can be measured from the pre-creative state which is immeasurable. The traditional iconography of śakti is female, thus this will mean as-inherent in the female. Devi Māhatmyā also says “tava devi bhedhā striyaḥ samasatāḥ” verily all females are your form. Thus, it is proper to venerate that movement of energy personified as śakti.
strī by ka-ṭa-pa-yādi will point to the number two; vṛnda to a group, thus the whole universe which is an expression of initial spanda personified as a Divine couple is to be venerated is the ‘darśana’ here.
ādima-kalaśa - ādima -the first ‘ma’ in the pañca makāra is madya - which is alcohol or its substitutes according to one’s tradition. kalaśa means a ceremonial pot. Thus, we find veneration instructed on seeing a ceremonial pot full of alcohol (dravya). The instruction is explicit ‘ceremonial’ - viz. during the ritual when the kārṇa kalaśa is established. The primordial couple is invoked in this liquid as ānanda bhairava and ānanda bhairavi mithuna. Thus, we find veneration to that divine couple is said here.
The first ma’kāra is one of the causes of manifestation of brahman as perverse in the initial chapter - ‘ānando brahmanam rūpam tacca dehe vyavasthitam tairabhivyanjakāḥ pañca makārāḥ. Hence this veneration is required.
Looking further this liquid (alcohol), is a transformed one, from sugar. Thus, it will now imply venerating transformation, particularly of mind awareness, ‘kalaśa’ will mean traditionally as this body itself. Thus, to recognize that transformation of mind awareness from body level to the Universal level, which is full of bliss, the divine to be attained is the ‘darśana’ needed here, and to be venerated.
siddha-liṅgi - siddha is an accomplished sādhaka, this word literally also means ‘cooked’. liṅgi means identification. Thus, if we find such an accomplished soul in our midst we are to intuitively recognize and salute him. The qualities of an accomplished soul are that in his presence the mind becomes quiet without much effort, we find all doubts are erased without questions and a great joy fills up instantaneously (a classic example is bhagavān ramaṇa) These being our goal, all accomplished sādhakas, who have the everlasting awareness of the divine couple, are to be venerated for their blessings and guidance in this path.
krīḍā-kula-kumārī - Playful group of young maidens. lalitā triśati has a name: hallīsa lāsya santuṣtā’ and lāsya priyā’, sahasranāma says lāsyā - devi is happy in a group with a playful mood, ‘hallīsa’ is ‘kummi’ in the southern Tamil vernacular or ‘dāṇḍya’ in the northern (esp. Gujarati). This is played by a circular woven motion of dance and clicking two colourfully decorated sticks held in the hands. This will now point to an expression of joy and a great flow of energy, which is identical to the primordial surge during creation, which is the ‘darśana’ here and hence is suitably venerated. ‘krīda’ and ‘kula’ as per ka-ṭa-pa-yādi is thirty-one, which denotes the māyā tattva. kula also will point to the six astral centers in the body and kumāri will denote inherent power in the body called kuṇḍalini. Thus, recognition and veneration of the play of māyā and bliss of kuṇḍalini experience is the ‘darśana’ said here
kula-sahakārāśokaika-taru - the trees of venerative nature blossomed mango tree, aśoka tree, and a single tree is within the vision range. Traditionally certain trees are associated with divinity - the banyan, peepul, and gooseberry (amla), etc, they will bring a sense of calm and joy to devotees. Mango tree blossoms in the spring, wherein all the creatures are in a joyful state of mind. ‘a-‘śoka‘ by the name itself will point to a joyful state, ‘eka taru’ - a single tree within eyesight- indicative of divinity associated with that place. On a whole, recognizing the everlasting joyful state and divinity, which is the recognition of the divine couple as permeated in this entire universe is the ‘darśana’ here.
pretāvani - The literal translation is cremation ground. “preta” means a lifeless being or corpse. (pra(karṣana) itaḥ (gataḥ) yasmāt jīvah-sah). Avani means Earth or place. Thus, places where in the corpse are buried or burnt- the cremation ground is to be venerated. The creation of this body is from the five elements in a universe after pañcīkaraṇa of the five elements and after the soul leaves this body it will return to its original state of elements, either by burial or by burning. The main idea said here is the realization that sthūla deha - the gross body is made up of the five elements as a movement by the divine couple. Recognizing the initial spanda of creation and further gross creation by pañcīkaraṇa of the elements is the ‘darśana’ here.
matta-vesyā - The literal meaning is intoxicated or aroused prostitute, ‘vesya’ by ka- ṭa-pa-yādi code will show fourteen, the vidyās of the Vedic lore - the four vedas, four upa-vedas, and six angās. Elsewhere Paraśurāma also says ‘vesyā iva prakatā vedādi vidyā’. This is the secret in that statement, such an example also points to that the vedic knowledge is open to a common public platform and can be taught in a group or class, while kula sādhana is a one-to-one basis. tantra sadhana is based on vedas, thus to venerate Vedic teachers is the meaning shown here, ‘matta’ is in the sense of the Universal self. (Śrī Kṛṣṇā in Gita says: ‘matta parataram’- Nothing is different from me’, Here ‘matta’ means the identity with the universal self). On a whole, the veneration of the reverend Vedic scholars who have real experience of the universal consciousness, which is again the goal of the tantra sādhana, is the ‘darśana’ here. Referring to the article on ‘Vārāhi’ we find a similar Vedic allurement there, and hence this will now point to the initial upāsana of Vārāhi also.
śyāmā - The dark-hued women. Here the secret message can be unfolded by ka-ṭa-pa-yādi code, ‘śya’ is one and ‘ma’ is five, reversing we get fifty-one. They are the alphabets of the Sanskrit language - mātṛkākṣarās. Thus, to recognize the universal sound and its thought constructions, the compounded intellectual knowledge through time is personified as the divine. In practice, this can also mean the teachers, the musical performer especially singers, an allusion is there to worship Śyāmalā Devi as the second in line to the upāsanā of Lalitā.
rakta-vasanā - Women in red-colored attire/clothes. So, if we find women in red garments we have to recognize the divinity of that situation and be respectful. Red color as per Bhāvanopaniṣat is the recognition of the identity of the attribute-less brahman called Mahākāmeśvara, the blissfull Lalitā and the sādhaka with the sensory organs as being not different from the Ātma. This is verily the upāsanā of Lalitā.
mattebhānāṃ - The ruttish or furious elephant. The elephant is a symbol of huge energy potential, when tamed can perform Herculean tasks at the command of the trainer. It is controlled by a small goad. ‘Ruttish’ is a state of uncontrolled energy exhibition. Thus, to recognize that the divine is uncontrolled energy and grace of the divine has no logical flow is the ‘darśana’ in this way. This is the upāsanā of ‘parā’.
Thus, these tenets have been deeply analyzed by the Grace of Śrī Guru and Lalitā Kāmeśvara, the word ‘sūtra’ itself is a pointer in this direction. ‘Sūcanāt sūtra’ - sūtrā are indicative. Thus, we have done a deep meditation on the real purpose of these sūtrās.
Source: "Meditative Texts - Revised Thoughts on the Way" by Yogamba Sameta Atmanandanatha (Ramesh Kutticad)
Yogamba Sahita Atmanandantha (Ramesh Kutticad) is a Śrī Vidyā Guru from Chennai. He is associated with Guruji since 1996. Smt. and Sri Ramesh have painstakingly written the following scholarly, research. We're grateful to him for allowing us to make these articles available for the public.
