The Sādhaka in his quest for self-realization surrenders to Śrī Guru. A path is shown to him by the Guru to tread for reaching this goal. The Initial step in this path is mantra Japa sādhana. Later a pūjā ritual is instructed and further is the meditation on the identity of the self, universe, and the īśvara.
Mantras are sound with seed letters (bīja akṣaras). Since sound is the property of the subtle element space, it follows that all the sound is eternal (since space is the first subtle element to be created). These letters carry in them a force to awaken the individual and lift the veil of Ignorance. ‘Ma’ represents the Individual consciousness and ‘tra’ represents the all-pervasive consciousness. Thus ‘mantra’ represents the identity of the individual and cosmic consciousness. Another interpretation is ‘Ma’ represents constant repetition and ‘tra’ represents the act of saving. Thus ‘Mantra’ also means that formula or sound combination that saves the one who constantly repeats it.
The seven characteristics of mantra are Ṛṣi, Chandas, Devata, Bīja, Śakti, Kīlaka, and Nyāsa. A discussion of their philosophical aspect is given here:
Ṛṣi: This refers to the sage who has had a vision of the mantra from the subtle space element. On constant penance, the divine chose him to reveal this sound combination of a particular divine energy. He ‘saw’ the mantra and revealed it to this world, ‘ṛ’ denotes the emergence of the sound-bījas from the space into his consciousness and ‘ṣi’ denotes the revealing and sustenance of this combination. Thus this will denote the ‘birth’ and ‘maintenance’ of the mantra. ‘R’ is referred as amṛta bīja in mātṛkā akṣara (Four vowels from ṛ ṝ ḷ ḹ have no change like other vowels, a + i = e like so on, hence amṛta or eternal bīja) hence refers to the Brahman which is eternal, ‘ṣa’ denotes Ākāśa tattva and hence its subtle element sound and ‘i’ denotes the icchā (desire) śakti. On a whole, this refers to the emergence of sound from the Brahman due to the desire of the śakti through the medium called ṛṣi.
Chandas: This refers to a particular rhythm of the above sound combinations. There are seven primary sound rhythms in the Vedic mantras. They are gayatri, uṣnik, anuṣtup, brhati, paṅkti, triṣṭup, and jagati (the seven horses in the chariot of the sun). ‘Cha’ denotes the Universal consciousness and ‘da’ denotes aspiration or desire to merge in it. Thus this denotes a fervent aspiration to merge in the universal consciousness.
Devata: This refers to the particular divine energy form that emerged for blessing the sādhaka. ‘Div’ is the root word which means ‘to illuminate’. Hence this indicates the divine energy which illuminates the universe in a particular form. Upanishad also says ’tasya bhāsa sarvam idam vibhāti’- ‘the effulgence of the Brahman illuminates this entire world.
Bīja: This refers to the seed sound-letter inherent in this unique sound combination causing all benefits on repeating the mantra. As a big tree dwells inside a seed, the divine energy dwelling in this specific sound letter for this sound combination is the subtle cause for the emergence of the mantra, the divine form, and the five subtle elements to build this universe.
Śakti: This refers to the power of the bīja (above). Virility, power, strength are its characteristics. The entire play of this universe and its movement are inherent in this sound letter.
Kīlaka: This refers to the sound-letter which synchronizes mantra and sādhaka. As a pin or shaft on with which a pair of wheels revolves and also link it to the main body of the vehicle (the axle), the divine energy in this sound-letter synchronizes the mantra and the sādhaka.
Nyāsa: This means ‘to keep’. Hence this refers to the keeping of the divine energy in certain parts of hand and body. The mantra is usually divided into six parts or bīja (seed letter) is combined with six long vowels (ā ī ū ai au aḥ) and placed on (1) Five fingers and palm and (2) six limbs ending with certain specific mantras. The six limbs are Hṛdaya (heart), Śiras (head), Śikha (tuft of hair on the head), Kavaca (on both arms like wearing armour), Netra (eyes-knowledge organ), and Astra (by clapping the hands as if sending a missile for protection). The respective ending mantras are namaḥ, Svāhā, Vaṣaṭ, Huṃ, Vauṣaṭ, and Phaṭ. They are employed in magical purposes for worldly gains such as śānti (peace), vaśya (causing attraction), stambhana (causing immobility), vidveṣaṇa (causing enmity between people), ucchādana (causing people to flee), and māraṇa (causing death). A philosophical interpretation of these are:
- Hṛdaya-Namaḥ: Heart denotes the all-pervading Brahman; namaḥ is obeisance to it or rather directing our mind to it. Na also means negation, ma represents individual consciousness (Jīvabhāva). So negation of individual ego and emergence of the cosmic consciousness is denoted here.
- Śiras-Svāhā: Head denotes the highest principle called Brahman and Svāhā is the dissolution of the universe and individual ego in it.
- Śikhā-Vaṣaṭ: The tuft protects the head which is the highest principle called Brahman by the cultivation of radiance through deep contemplation of it, Vaṣaṭ denotes the physical activity connected with this action. Constant awareness that the body and universe are an expression of the divine radiance in denoted by this.
- Kavaca-Huṃ: ‘Kava’ means ‘to catch’ and ‘Huṃ’ means ‘Divine radiance’. This refers to the development of inherent bliss radiating throughout the body.
- Netra-Vauṣaṭ: Netra is the organ of sight and implies organs of knowledge. Vauṣaṭ is seeking divine knowledge. The constant awareness that all that is experienced by knowledge organs are an expression of divine is denoted here.
- Astra-Phaṭ: ‘Asu’ means to throw, ‘tra’ denotes agitation and ‘phaṭ’ is the fire of knowledge. The rejection of all worldly sorrows by recognizing all- pervasive bliss is denoted here.
Thus it is clear that all ṣaḍaṅga mantras are having a repetitive and enforced idea that this universe is an expression ofthe divine and we are identical to it. This is verily the goal of all sādhana.
Dhyāna: After ṣaḍaṅga nyāsa the sādhaka has to do the dhyana of the deity, of that particular form of Brahman which has manifested for the sādhaka according to the upadeśa from the Guru. There is usually a meditative verse which is chanted and the deity visualized as per that śloka.
Pañca Pūjā: Mentally the sādhaka has to offer to that particular form which was visualized in his mind five basic offerings as per tradition. They are Sandal paste (gandha), Flowers (Puṣpa), Incense smoke (dhūpa), lighted lamp (dīpa), and food (naivedya). They represent the five elements earth, space, air, fire, and water which have subtle properties as smell, sound, touch, form, and taste and they represent satsangha(group interaction between sādhakās to exchange ideas and knowledge), indriya nigraha (conquest of senses), kāma krodha lobha moha mada mātsarya visarjana (leaving away the desires, anger, miserliness, deep attachment, arrogance, cruelty), śiva-śakti sāmarasya aikya bhāva (realization of the unity of śiva and śakti - passive and active principle of universe) respectively. The following visualization during the chant of mantras is:
- 4-laṃ gandha tanmātrātmaka pṛthvyātmikāyai(tmane) satsaṅgha rūpa gandham kalpayāmi namaḥ
- 4-haṃ Śabda tanmātrātmaka ākāśātmikayai(tmane) indriya nigraha rūpa Puṣpam kalpayāmi namah
- 4-yaṃ sparśa tanmātrātmaka vāyvāmikāyai(tmane) kāma krodha lobha moha mada mātsarya visarjana rūpa dhūpam kalpayāmi namaḥ
- 4-raṃ rūpa tanmātrātmaka vahnyātmikāyai(tmane) citakalādarśana rūpa dīpam kalpayāmi namaḥ
- 4-vaṃ rasa tanmātrātmaka amṛtātmikāyai(tmane) śiva śakti sāmarasya aikya bhava rūpa naivedyam kalpayāmi namaḥ
- 4-saṃ sarvātmikāyai upaniṣad śravana manana nidhidhyāsana rūpa sarvopacārān kalpayāmi namah
Count of the japa: Usually a rosary of rudrākṣa, sphatika, putra sañjīvani beads are used to count the number ofjapa done. Our elders have shown a rosary of letters (mātṛkākṣara) for counting the number. The process is described: Start with aṃ-mūlamantra āṃ-mūlamantra iṃ-mūlamantra īṃ-mūlamantra uṃ-mūlamantra ūṁ-mūlamantra so on and so forth up to ṣaṃ-mūlamantra saṃ-mūlamantra haṃ-mūlamantra ḻaṁ-mūlamantra kṣaṃ-mūlamantra ḻaṁ-mūlamantra haṃ-mūlamantra saṃ-mūlamantra up to ūṃ-mūlamantra uṃ-mūlamantra īṃ-mulamantra iṃ-mulamantra āṃ-mūlamantra aṃ-mūlamantra.
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.
