kalyāna śrī-kalā

The esoteric lore of the veda and vedānta is cloistered and secreted in the first nine names (nāma) of the compendium of one thousand appellations of śrī-lalitā is the exquisite observation of the erudite and well-informed in śrīvidyā-sādhna. The object of worship and meditation is explained initially with gross imagery (pratīka-bhāva) as a tangible aid for devotion to the supreme reality. Kalyāṇānanda-bhārati subdivision the first five popularly publicised names (śrī-mātā to devakārya-samudyatā) into nine different nāma (śrī-māta; śrī-mahaḥrājṇī; śrīmat-simhāsane-śvarī cidagnikunda sambhūtā; devakārya samudyatā) and vividly on their inherent purport and consummately described the physical portrait that touchingly correlates with the emotive attitude of ‘I am Siva’ (śivāhaṃ).

The gross form (sthūla-śarīra) of śrī-lalitā is visualised as colossal and omnipresent extending the three realms, the physical, the astral and the celestial (bhuḥ, bhuvaḥ and the suvaḥ) or the physical, emotional, and intellectual dimensions. The initial nine names shield and deal with the dahara, loka-tārā and the sadāśiva mandala of śrīkalā-cakra, and metaphorically identify with five organs, the head (śiraḥ), the feet (puccham), the north and south sides (uttara, dakśiṇa pakśa), and the ātma as said in the taittirīya upaniśad. The diamond studded crown embellishing her zenith expands into the suvar-loka, feet fill the earth (bhū-loka), and her trunk exaggerated by four armed hands (catur-bāhu) is housed in the bhuvar-loka. The four armed framework of śrī-lalitā is topological and suggests the four sub-divisions of antaḥkaraṇa (mind-stuff) and the weaponry espouses different mental dispositions (manovrṛtti).

The next following nine nāma (kuruvinda maṇiśreṇī to udyatbhānu sahasrābhā), kalyāṇānanda says, interprets the subtle essence and fine details (sūkśma-rūpa), and carry the instruction guiding the seeker towards spiritual enlightenment and experiential wisdom of ‘śrīmat simhāsanā’.

‘śrī-kalā-cakra’ is the conventional name given to the embodied presence of śivā and śiva coming to the rendezvous on one frame and dealing with salvation and cosmogony. The names ‘gāyatrī-cakra’ and ‘sadāśiva-cakra’ are synonymous with ‘śrī-kalā-cakra’. This ‘sapta-paridhi-yantra’ (the seven-circled version of śrī-kalā) is the genetic code of the cosmos and Individuation. The visible geometrical pattern demands the seeker to be endowed with the ability to decipher the intricacies of geometry to deeply delve into its metaphysical domain. The end result of any metaphysical speculation and successful spiritual practice is intellectual enlightenment. ‘The kingdom of God is within you’, revealed Jesus Christ. Once the seeker’s mental make-up is conditioned on modulation with the higher perspectives of intimate deification and catharsis, he surely would moan in magical ecstasy.

In the present day scientific terminology, ‘sat’ can be likened to the gluttonous ‘black-hole’ with infinite gravitational-pull into which not even the electro-magnetic energy can escape its grasp. Thus, the visible geometrical symbol, a point, is a pointer to the invisible metaphysical truth of ‘sat’. The point when enlarged into a circle with a measurable diameter, is analogous to desire-filled sentient brahman (sabala or saguṇa).

The quality of goodness or purity, which is said to predominate heavenly beings is sattva-guāa; rajo-guṇa qualifies all material substances causing great activity in them; and tamo-guṇa is typical of its darkness and ignorance, the quality that is predominant in demonical beings. Inertia is tamas; rajas is tremendous energy and sattva is balance and calmness. Suggestively white, red and black colours are allotted to understand this triad as colour indicators. Etymologically the epithet ‘guṇa’ has 3 meanings: quality, a strand of rope and secondary. Guṇa are thus such qualities that ensnare the puruśa by intertwining together like the strands of rope and they are of secondary help to the puruśa in his effort to achieve liberation.

śānkhyan puruśa is ātman, the self, the subject, and the knower. He is neither the body (deha), nor the mind (manas); neither ahankara (I-ness) nor the intellect (buddhi). He is not a substance which has a quality of consciousness, but is himself pure consciousness. He is the basis of all knowledge and is the supreme knower. He is above prakṛti, but negative, inactive, solitary observer and witness, and is of the nature of illumination.

Puruśa, being inactive, though conscious, and prakṛti, being essentially unconscious and material by nature, are individually incompetent to conceive cosmic creation. The primary substance prakṛti beyond the influence of the only source of pure-consciousness (puruśa) is inert or in abeyance as the triad of guṇa remains in a state of equilibrium.

ā circle is an epitome of the īnfinite (puruśa) as it has infinite number of points equidistant from its rudimentary central point (sahasra-śīrsśā), īnfinite diameters (sahasra-akśaḥ), and it being an infinite sided polygon (sahasra-pāt). Puruśa-sūkta is the most celebrated vedic poem (ṛV.10.90) suggesting the course of cosmic evolution, and also is the theorem that has postulated a geometrical interpretation to it. ān original rendition, ‘kalyāṇa śrīkalā’, of ‘kalyāṇānanda bhārati’ brought forth a higher level of integration of the philosophy of śanskrit language with mathematics, and geometry, and gave commentary on the compendium of rahasya-nāma of śrī-lalitā-parābhattārikā. śrī kalyāṇānandā’s another work, ‘pūrṇa mīmāmsa’ is one more significant original authentic contribution to advaita-vedānta which unequivocally establishes commonality between jīva and īśvara (jīvo brahmaiva nā parā: śankara).

‘Vṛittam īśvaraḥ’ is one of the deeply esoteric sUtra from pUrNa-mImAmsa. A circle is an infinite sided polygon of 360º, also is a set of infinite vertex points on the circumference which are equidistant from the centre point. Infinite diameters can be drawn in a circle passing through its centre and the centre of the circle does not change. A triangle is a three-sided polygon which hypothetically represents the triad of ‘guNa’, the three basic ingredients (sattva, rajas, tamas) which are the univalent elemental ultimates but not qualities or attributes that are passed on to all created things.

An equilateral triangle where the three sides and angles are in equipoise suggests the typical pre-evolutionary status and contingency. This is akin to the ‘state of singularity’ as said in Astrophysics. The mere proximity of puruśa is sufficient to create distortion in the equilibrium of guṇa resulting in cosmic-unfoldment (guṇa-kśobha). Projection of the Universe is possible only when ‘that-one’ (tadekam) becomes ‘the many’ (idam). When ‘that-one’ is quiet and lazy, tamas predominates; once active, full of energy, rajas predominates, and when perfectly serene and calm, sattva predominates. Thus, the external and internal nature is the simple play of these three energies of nature. Nature’s activities are everywhere, both within and without; but humans arrogate all these activities to himself, to his own ego, and claim himself to be the doer.

Now let us examine the mathematical beauty of śrī-kalā. One central-circle with four more with same measurements drawn around the central-circle on four sides having their centres on the circumference of the central one exactly on the X and Y axis; and two concentric circles, one passing through the four points of intersection of the said four circles; and one outer-most circle tangentially touching the circumference of these four circles, all together make the composite seven-circled ‘śrī-kalā-yantra’. In this complex figure there are 21 intersecting points, (8 intersections on the inner-circle, 4 on the middle-concentric-circle, 4 points on the outer circle and the 5 centre points of all 7 circles). Thus, the seven circles forming seven-enclosures, and 21 intersecting points acting as energy-centres carry the essence of the puruśa-sūkta.

<image src="kalyana-srikala-01.png" alt="" caption="(saptāsyāsan paridhayaḥ triḥsapta samidhaḥ kritāḥ: ṛV:10.90.15)" />

The central cluster of 5-circles in the yantra has a pattern. Their diameter is equal (sajāti) and 4-circles are arranged round the central one in four directions, (paścāt bhūmim adho puraḥ).

Metaphorically this pattern suggests the five-fold ‘becoming’ of brahman. It is also the explicit expansion and quintuple transformation of primordial praṇava (Oṃ) into panca-praṇava (śrīm, hrīm, klīm, aim, souḥ) materialising the five phenomenal vocations of emanation, sustenance, withdrawal, retraction, and grace (panca-kṛtya) of śrī-lalita. They also imply the five faces of paramaśiva (sadyOjāta, vāmadeva, aghora, tatpuruśa, and īśāna). It is said in taittirīya-up (1.7.1) that all evolution is pentadic like a woven fabric. (pānktam vā idam sarvam pānktenaiva pānktam spṛnotīti). The 5 vital-forces (prāṇa), 5 senses (indriya), 5 organs of action (karmendriya), 5 tanmātra, and so on are in a row (pankti) making evolution pentadic. Thus, the central cluster is the replica of hiraṇya-garbha actuated to conduct the said five divine activities. Also, the diameter of the five circles is similar and the essential locus of the central circle symbolises ‘ātman’. the bounding 4 circles form the head, side wings and the tail fin of the ‘ṭittirī’ bird (partridge).

<image src="kalyana-srikala-02" caption="(pascāt bhūmim adho purah)" />

There are two concentric circles, the inner one (the middle circle in the composite figure) passing through the intersections of four circles, and the outer-circle or the bounding-circle (maryādā-vṛtta) touching the circumference of four circles. īn yantra geometry there is always a square or a set of squares indicating the limits of expansion and space. But in śrīkalā-yantra there is no such limit, obviously indicating the stage prior to cosmic-evolution. ṭhus, śrīkalā-yantra is parātparā, the one beyond and foremost which has given birth to ‘parā-śrīmaṇdalam’ and ‘apara-śrīcakra’.

Emanation is basically pentadic and 5 as the basic-number is the causative factor for this universe of names and forms. ṭhe universal canopy is explained in terms of arithmetic-progression (āP) and geometric-progression (GP) of number 5. āP is the repeated addition of number 5. Final figures (5,1,6,2,7,3) are the fadic numbers or master numbers.

In GP, 5 is multiplied repeatedly. Final figures (5,7,8,4) are the fadic numbers or master numbers.

Among these fadic numbers in both AP and GP together, repeats of 5, and 7 are excluded. As a result of this 1,6,2,3 remain in AP and 5,7,8,4 remain in GP. Out of these 5,7,8,4 are arranged on four cardinal directions of the East, the West, the North, and the South, of the outer-circle, and 1,6,2,3 are arranged in intercardinal or ordinal directions around the middle-circle clockwise at the points of intersection starting from the North-East.

<image src="kalyana-srikala-03" caption="Kalyāṇa-śrīkalā-yantra" />

With this arrangement of numbers, four semi-circles with numbers 156, 642, 273, 381 are formed within the space between the outer and middle circles, each making a total of 12, and all four of them make a total of 48, suggesting ‘jagatī-chandas’, a poetic-meter with 12 syllable per line (pāda) and signifying the universe of names and forms (aśṭā-catvārigṃ śaśca me: camakam).

The innermost-circle intersected at 8 points is also known as ‘dahara-vṛtta’ (da=8, hara=intersection). Metaphorically dahara indicates ‘visarga-vṛtta’, being potentiated by the creative-principle, and remaining as a substratum making other four circles possible basing their centres on its periphery, and the concentric middle and the outer circles.

The common-centre which made possible the three concentric- circles is symbolic of the attributeless ‘nirguṇa- brahman’, who on his own volition enlarges to form visarga-vṛtta which may be abstracted as the qualified brahman (saguṇa). The common-centre from which the three concentric-circles with different radii radiate like ripples in a still water pond. Numerically, the common-centre is valued as 9 which is analogous with the numerical value for praṇava (अ:1, उ:3, म्:5), and numbers 1 to 8 are grouped in pairs of ‘8.1, 7.2, 6.3, 5.4’, each forming a fadic number 9 on the eight intersections on the visarga-vṛtta (bhinnā prakṛtiḥ aśṭadhā: BG.7.4).

The three concentric circles formed suggest three levels of psyche (jāgrata, svapna and suśupti). The outermost circle represented by 7854 is read as ‘sadāśiva-vṛtta’ (स्:7, द्:8, श्:5, व्:4) in sankhyā-mātrica encoding. The middle-circle identified by 3162 is ‘lokatāarā-vṛtta’ (ल्:3, क्:1, त्:6, र्:2), and the innermost is dahara-vṛtta.

The eastward portion of dahara-vṛtta marked by numbers 8.1 and 1.8 read in successive and reverse orders indicate male and female brahmin-pair by caste and gender. Similarly, numerical values of 7.2, 2.7; 6.3, 3.6; 5.4, 4.5 respectively suggest the pairing of the consorts of kshtriya, vaisya, and sudra. ṭogether the four pairs suggest the fourfold order of the hindu society which was created according to the differentiation of basic nature (guṇa) and vocation (karma). ṭhis concept of social structuring is designed in the veda and promoted by śrī kriśṇa (BG.4.13).

The space in between the middle and outer circles is the insignia of the state of consciousness (jāgrat-avastha) as the aggregate numerical value of this zone is 48. The space in between the middle and inner circles indicates the dream state (svapna-avastha), which is factually a mere reflection of the state of consciousness. This similarity is also deduced from the fact that the aggregate fadic-total of numbers herein is also 48 (3.1.6.2+8.1+7.2+6.3+5.4=48). The aggregate of power points formed on the inner-circle is 45 (8.1+7.2+6.3+5.4+9=45 suggesting śiva (श्:5, व्:4 =9). Suitably this space suggests the state of unconscious deep-sleep (suśupti).

<image src="kalyana-srikala-04" caption="Four states of consciousness" />

The shared subtle centre of the inner circle numerically valued as 9, is indicative of pūrṇa or śūnya (zero), which is a state of non-difference where perfection is complete and is indicative of turīya, the fourth state, transcending the other three states. Number nine (nava) as the crowning glory embellishes the centre of śrī-kalā as the essential causal principle for this parātpara-yantra and is aptly called the praṇava-bindu. (sarvam hi etat brahmā ayamātmā brahma so ayamātmā catuśpāt: mā.ū.2).

The fadic numerical expression of praṇava is nine (a-1, u-3, ma-5). From praṇava, numbers from 8-1 devolved as the replica of eight-different prakṛti. The same concept is ratified by the vedic axiom ‘praṇavāt aśṭa prakṛtyaḥ’. The space between sadāśiva and lOkatāra circles has within it four arcs, or parts of circles, surrounding the dahara-vṛitta and are marked as 156,642, 273,381, all totalling to fadic 48 (12x4) suggesting the expression of evolution or emanation (jagatī-chandas), grossly implying the empirical world (jagat). Similarly the space between dahara and the middle-circle has within it four spherical triangles formed out of the intersection of the cluster of circles. They are 418, 167, 226, 335, the fadic total of them being 48 also is given to suggest jagat, may be the reflection of the gross empirical world in a state of dream in the human psyche (svapna). The space within the inner-circle (dahara) has numbers 81,72,63,54 and 9 totalling 45 indicating śiva (śi-5, va-4) the abode of brahman being the suśupti state of mind. ṭurīya is however expressed by the central bindu (9) suggesting praṇava-rūpa saguṇa-brahman, the nirguṇa form of him being śūnya (0) or pūrṇa (0). Thus these three circles represent the four states of psyche (jāgrata, svapna, suśupti, turīya avastha).

Brihadāraṇyaka ūpaniśad (1.4.1) addressed brahman with two names, as both ‘aham’ and ‘ahaḥ’, and the same can convincingly be explained by the geometrical expression of śrī-kalā.

ātmai vedamagra āśīt puruśa vidhaḥ,
sonuīkśya nānyat ātmano paśyat,
sohamasmit agre vyāharat, tatoham nāmā bhavat

At the initial stage, before anything else actuated, it was ātma alone existing, then was the manas (as aham) actuated from the ātman. āham is the ‘self’ or ātman of all. Then it glanced at itself when none other than itself existed and uttered ‘I am’. At the origins of the ūniverse, there was only Atma. There was nothing else. There was nothing to fear. In the beginning the universe was but the self, was undifferentiated from the body of virāj, the first embodied born out of the cosmic-egg, who is here meant by the word ‘self’. He reflected on who he was and found nothing else but Himself. He found only himself, the self of all. He first uttered, ‘I am He’. ’Therefore he was called ‘aham’.

The epithet ‘aham’ is an amalgam of three syllables (अ. ह्. म्) or (अ - : - •), the geometric expression of which is represented by the three concentric circles in the śrī-kalā-yantra. āham is a masculine expression symbolising śiva. The word ‘ahaḥ’ is expressed as (अ - : - :), and the cluster of 4 circles around dahara-vṛtta symbolise this feminine epithet (śivā) which is otherwise known as ‘kāma-kalā’. The upper circle is contemplated as the face of śrī-mātā, two adjacent circles are her breasts, and the bottom one is symbolic of nāda-bindu. ṭantrarāja-tantra melodiously sung the glory of kāma-kalā as:

agra-bindu parikalpitānanāṃ
madhya-bindu yugala sthana-dvaīṃ
nāda-bindu kalikāvṛtām parāṃ
naumi kāma-kalāmaya sundarīṃ

Thus siva-sakti equanimity is beautifully explained by srikala yantra.

<image src="kalyana-srikala-05" caption="āhaṃ" layout="half" />

<image src="kalyana-srikala-06" caption="āhaḥ" layout="half" />

Pūraṇa-bindu transforms to form bindu-mithuna symbolising matter and energy. This mithuna is cognised as the masculine and the feminine principles (pati-patni). The name pati is because it fell from divine volition (pātanāt patiḥ). It is sadāśiva (sat eva śivaḥ) as it is the initial expression of sat-brahman, and its feminine expression is patni. Thus, śrī-kalā is the integrated expression of śiva-śakti-sāmarasya, both interdependent but not independent. The three concentric circles symbolise jāgrata, svapna, suśupti states, and their common centre is turīya. Jāgrat state is possible in annamaya-kośa; svapna in prāṇamaya, manomaya-kośa; suśupti is experienced in vijṇānamaya; and ānandamaya-kośa experiences turīya states of consciousness. ṭurīyātīta state which is the principle of ‘aham’ is an individualised experience possible in jāgrata, wherein the manifold diversity of life is attuned to a single harmony.

devī dātrī ca bhoktrī ca
devī sarvamidam jagat
devī jayatu sarvatra
yādevī sāhameva ca

Though devī appears as the giver and enjoyer, she is neither the doer nor the reaper of consequences. Nevertheless, she is the giver of knowledge of pure and supreme-consciousness (śivajṇāna pradāyinī). ‘ātmā tvam girijāmatiḥ’ eulogised śankara the internal brilliance of the spirit and the mind. The axiomatic statement ‘svātmaiva paradevatā lalitā’ from bhāvana-upanishad cognised mind-stuff as lalitā-tripurasundarī. Sage patanjali explains that the supreme supernal ‘being’ is beyond mind-stuff and will only intelligibly shine within after the mind disintegrates and loses identity in that supreme divinity (mano nāso mahodayaḥ). The seeker in essence is his mind-stuff, matter and life, and the starting point of sādhana is the seeker himself. Meditation (sādhana) is an inward process of intensely applying his mind on the one pithy mention he heard (śravaṇa) from his preceptor. ‘śādhaka is verily the treasure (dhana) he is after. śādhaka is himself the end (sā-dhana)’ says the scholar kapāli śāstry. Thus, sādhana makes the sādhaka ‘īśvara himself’.

Though the compendium of appellations is called ‘lalitā-rahasyanāma’, the epithet ‘lalitāmbikā’ appears as the concluding name in the treatise. śrī-lalitā parābhattārikā ultimately is the cognisable (jṇeya), and the purpose of meditation by vocalising her divine names and serenading her nāma-māla is primarily to discern the knowable supreme (jṇeya). The syllable ‘śrī’ symbolises brahman. The energy transcending the universe, both manifest and unmanifest, and its incomparable exceptionality (vilakśaṇata) is summarised in one word ‘lalitā’. Thus, lalitā is satya, jṇāna, ananta, ānanda ātman (brahman), and the prefix ‘śrī’ is the essence of the four adjacencies in perfect congruity (śrī, mātā, śrī, mahaḥ). Esoterically ‘śrī’ is ‘lalitā’ herself.

yā devī paramā śaktiḥ
parabrahma vidhāyinī
brahmānandābhidhānāyai
tasyai devyai namo-namaḥ

The supreme ‘that-one’ (tadekam) known by the syllable ‘śrī’ is the worshipable (upāsya) as well as the knowable (jṇeya). As the worshipable, she is śrī-mātā who is verily the pramāta. Prama is true knowledge and pramāta is the seeker who perceives. Lexicon explains the phrase ‘mātā’ as the creatrix and the mother who conceived and delivered the universe of names and forms. Thus, mātā is that mahā-śakti who is both the knower and the knowable (pramāta and prameya). There is true identity between the both and both are addressed with a common name ‘aham’ representing the masculine and feminine aspects. Thus, śiva, the knower, is worshipable (upāsya) and knowable (jṇeya) as ‘śivāhaṃ’ and ‘śivohaṃ’. In conformity veda and vedānta finessed and deciphered ‘aham’ as ‘mahaḥ’ which is an incremental phase beyond bhuḥ, bhuvaḥ and suvaḥ, and ennobled aham as ātman which is none other than brahman. The inherent māyā-śakti in brahman is lauded as ‘paramā-śakti’ which effectively brings the volition (icchā) of brahman into ‘being’, structures, enacts and brings forth order in the cosmos (parabrahma vidhāyinī) and made the planet earth as a congenial habitat and a transactional platform.