Universe Today

Love Mars? Then This is For You

PDS Montage. Credit: HiRISE

We frequently ooh and aah over the images returned by the HiRISE camera from the Mars Reconnaissance Orbiter, and now there's gonna be a whole lot of oohing and aahing going on. The HiRISE folks have just released more than 1,500 new observations of Mars for the Planetary Data System archive, showing a wide range of gullies, dunes, craters, geological layering and other features on the Red Planet. Take a gander at some of the highlights:
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September 3rd, 2009

"What Was That Big Star Next to the Moon Last Night?"

Anyone ask you that question this morning? Jupiter was only 3 degrees from the Moon last night, making a pretty (and bright!) conjuction. I put out a call on Twitter last night for pictures of the event, and here are a few that were shared. Above is one taken by Kevin Jung in Grand Rapids, Michigan USA. Click the picture for more of Kevin's images. Also, if you looked at Jupiter with a telescope last night (Sept 2) at 4:43 to 6:29 Universal Time (12:43 a.m. to 2:29 a.m. Eastern Daylight Time) you may have also noticed something was missing: Jupiter's moons were hiding! Ganymede and Europa passed in front of the giant planet, while Io and Callisto will passed behind Jupiter (from our point of view) making it nearly impossible to visually detect any moons around Jupiter. Our own Brian Ventrudo explains all on his site One Minute Astronomer. And here's some more images from the conjuction:
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September 3rd, 2009

UFOs, a Green Venus and Sun Gobbling? Isn't That Going a Little Far, Mrs Hatoyama?

Venus? Green? Awesome!

"While my body was asleep, I think my soul rode on a triangular-shaped UFO and went to Venus."

This might sound like a quote taken from the ramblings of a conspiracy theorist or the chant from someone who spent an hour too many at an Amsterdam coffee shop, but it wasn't.

Actually, these are the words of the wife of the Japanese premier-in-waiting Yukio Hatoyama.

Mrs Miyuki Hatoyama might be married to a man Japan nicknames "The Alien," but it looks like it's not him who has dreams of an extraterrestrial nature…
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September 2nd, 2009

Climate Change and Earth's Cryosphere

Even though most of us do not live in the polar regions or don't even see icebergs or ice sheets very often, no matter where you live, the snow and ice of the Earth’s cryosphere has an impact on your climate. NASA released an amazing new view of Earth's frozen regions today, using visual satellite data to show, among other things, how sea ice is disappearing and glaciers are shrinking. These changes in the cryosphere have had a major impact on global climate, as the crysophere is interconnected with other parts of the Earth system. Scientists are currently studying just how much the frozen places on Earth affect global warming, and the best way to view the remote icy parts of our planet is from space. This video shows satellite data in action, with striking high definition visuals and charts.
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September 2nd, 2009

Fake But Funny NASA Press Release

It's nice to see the folks at NASA have a sense of humor and can poke fun at themselves. The following (fake) press release was part of the Flight Day 6 Execute Package sent up to the STS-128 crew on board space shuttle Discovery, now docked at the International Space Station: "Colbert Elated, Stewart Miffed." Also impressive to see how NASA employees can come up with an acronym for almost any occasion:
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September 2nd, 2009

Where In The Universe #69

Here's this week's image for the WITU Challenge, to test your visual knowledge of the cosmos, and I swear, this one is space related. But you know what to do: take a look at this image and see if you can determine where in the universe this image is from; give yourself extra points if you can name any spacecraft involved in this image. We’ll provide the image today, but won’t reveal the answer until tomorrow. This gives you a chance to mull over the image and provide your answer/guess in the comment section. Please, no links or extensive explanations of what you think this is — give everyone the chance to guess.
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September 2nd, 2009

LRO Sees Bouncing, Rolling Boulders on the Moon

Think nothing ever happens on the Moon? New images from the Lunar Reconnaissance Orbiter Camera shows spectacular views of the famous Tsiolkovskiy Crater, and a close-up look reveals boulders that have rolled down the slopes of the crater. In the larger image, below, it is easy to see where the boulders came from by following their rolling, bouncing tracks. These are not small rocks by any means: the largest boulder in this image is about 40 meters wide – half as big as a soccer field! Seeing where the boulders originated from is a great clue to geologists reconstructing the local geology. What do they see here?
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September 2nd, 2009

Do We Look Like This Edge-On?

Unfortunately, the Universe isn't equipped with any three-panel dressing room mirrors, so we can't see what our own Milky Way Galaxy looks like face on, or even from the side. But here's a great new edge-on image of Galaxy NGC 4945, and many astronomers think this hive of stars closely resembles our own spiral galaxy with swirling, luminous arms and a bar-shaped central region. However, looking at this mirror-like image, does our black hole look that big? No, say astronomers from the European Southern Observatory. NGC 4945 has a brighter center that is likely home to a supermassive black hole bigger than the Milky Way's, and it is devouring reams of matter and blasting energy out into space.
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September 2nd, 2009

Astronomers Find Most Distant Supermassive Black Hole Yet

Composite pseudo-color image of the QSO (CFHQSJ2329-0301). The RGB colors are assigned to z0; zr and i0-bands, respectively. The figures are north up, east left. Credit: Goto et al.

A long time ago in a galaxy far, far away there was a supermassive black hole….. Astronomers from the University of Hawaii have spotted a giant galaxy surrounding the most distant supermassive black hole ever found. The galaxy, so distant that it is seen as it was 12.8 billion years ago, is as large as the Milky Way galaxy and harbors a supermassive black hole that contains at least a billion times as much matter as our Sun.
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September 1st, 2009

New Way to Measure Curvature of Space Could Unite Gravity Theory

Einstein's general theory of relativity describes gravity in terms of the geometry of both space and time. Far from a source of gravity, such as a star like our sun, space is "flat" and clocks tick at their normal rate. Closer to a source of gravity, however, clocks slow down and space is curved. But measuring this curvature of space is difficult. However, scientists have now used a continent-wide array of radio telescopes to make an extremely precise measurement of the curvature of space caused by the Sun's gravity. This new technique promises to contribute greatly in studying quantum physics.
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September 1st, 2009

Satellite Images of California Wildfires, Mt. Wilson Update

NASA's Aqua Satellite MODIS Instrument view of the California wildfires. Credit: NASA

The wildfires near Los Angeles have spread to over 100,000 acres. The Los Angeles Times reported that the fire had burned 74 structures and remained out of control, spreading both west and north. As of 6:30 p.m. Pacific Daylight Time on August 31, some 12,000 homes were threatened. Fire fighters struggled to save the Mt. Wilson Observatory from the encroaching fire. Today, fire fighters set controlled backfires in effort to remove the closest vegetation to the various telescope structures. See below for a labeled image of the structures on Mt. Wilson amid smoke from the fires, courtesy of Emily Lakdawalla of the Planetary Society, along with more satellite, ground and helicopter images from the fires.
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September 1st, 2009

Watch Saturn's Rings Disappear (Video)

On September 4, 2009, Earth's orbital motion will carry it through the same plane as Saturn's rings. From our vantage point, the rings will disappear. Usually these ring plane crossings — which only happen about every 15 years — are great opportunities to observe Saturn's moons. But this year's ring plane crossing will be practically impossible to see, as Saturn will be very close to the sun, only 11 degrees away. So, disappointingly, we won't see much. However, amateur astronomer Alan Friedman has given us a glimpse of what this event will look like, without the glare from the sun. Friedman has put together an animation of how the angle of Saturn's rings have changed over the past six years. See the animation below. "It shows the changing plane of the ring system as viewed from my Buffalo backyard from 2004 to 2009," said Friedman. "The final frame has been assembled from earlier 2009 observations to display how the planet will appear with its rings edge on." Gorgeous!

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September 1st, 2009

After Loss of Lunar Orbiter, India Looks to Mars Mission

After giving up on re-establishing contact with the Chandrayaan-1 lunar orbiter, Indian Space Research Organization (ISRO) Chairman G. Madhavan Nair announced the space agency hopes to launch its first mission to Mars sometime between 2013 and 2015. Nair said the termination of Chandrayaan-1, although sad, is not a setback and India will move ahead with its plans for the Chandrayaan-2 mission to land an unmanned rover on the moon’s surface to prospect for chemicals, and in four to six years launch a robotic mission to Mars.

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August 31st, 2009

Is The Milky Way Doomed By Galactic Bombardment?

As scientists attempt to learn more about how galaxies evolve, an open question has been whether collisions with our dwarf galactic neighbors will one day tear apart the disk of the Milky Way.

That grisly fate is unlikely, a new study now suggests.

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August 31st, 2009

Bareket Observatory Celebrates International Year Of Astronomy

The Bareket Observatory in Israel just did something really remarkable – they celebrated the International Year of Astronomy with a live webcast for the entire world! During the event one could listen to live explanations by a U.S. astronomer and enjoying a special musical representation to those who are blind. I had very much been enjoying my conversations with Ido Bareket and had every intention of reminding our readers when the date was going to happen so you could join in… Then the storms hit Ohio. Click to continue…

For the sake of Vishwa Mangala

For the sake of Vishwa Mangala

by admin ~ May 27th, 2009.

From time immemorial, Bharath, the land of the holy Himalayas and Ganges woke up to the call of the cow. ‘Amba’ is the sweet call of love which fell on the ears of the millions and filled the days with joy. But lo, today the call is fading, dying and is becoming a thing of past. For a minute let us re call those joyous days when the calf ran to mother cow which poured her sweet milk along with her heart, not only to her calf but to the whole world.

The picture of the happy cow grazing on the meadow, the calf frisking around, the bulls walking majestically on the village lanes and streets, the bonding between the farmer and the oxen , these scenes cooled one’s eyes and warmed one’s heart. Then there was meaning and poetry in life.

Cow was so inter wined into the fabric of life. It gave us food ; it took us from place to place; it healed the mind and body; it was a treasure house of wealth. It also assumed the role of a warrior when occasion demanded. All these functions of the cow are relevant even today. But we have forgotten its significance in this age of plastic, when milk means, white sachets at our door steps every morning.

We palm off our responsibility by transporting the cows which have stopped giving milk, the male calves and the old oxen to the slaughter houses. At the time of Independence we had 77 breeds of Indian indigenous cows. But today only 33 of these precious breeds remain and that too varieties like Amrith Mahal, Red Sindhi, Krishna, Vechure, Punganoor are in very small numbers.

The main reason for this state of affairs is the greed of man who wants quick money. He wants to become rich over night. As a result farms have become dumping ground for chemical fertilizers, food has turned toxic, the farmers reel under the burden of loans and seek solution in suicide.

Added to this is the environmental exploitation and ecological imbalance. We have to live in a world of polluted air, water, land and mind also. Global warming and technological waste are threatening us.

The only ray of hope at this juncture is to return to the ways of our ancestors - The cow centred way of life.

The advent of Vishwa Mangala Gou Grama Yathra strengthens this hope of an auspicious life to our country and the world. It brings the message of joy and prosperity to the villages and the farmer, through the cow.

The guiding spirit behind this great movement is Shree Shree Raghaveshwara Bharathi Swamiji who has dedicated his whole life to the cause of the cow. All the spiritual leaders of the nation have lent support to this socio-economic revival of Bharath. All cow lovers have come under the banner of this movement.

The Yathra commences on September 30, 2009 on Vijayadashimi day at the battle field of Kurukshetra which marks the beginning of righteous war.

The Yathra will cover a distance of 20,000 kms all over India. It will traverse through Amrithsar, Jammu, Muradabad, Kashi, Siliguri, Kolkatta, Vishakhapattanam, Hyderabad, Chennai, Kanyakumari, Tiruvanantapuram, Bengaluru, Panjim, Mumbai, Rajkot, Jaipur and conclude at Nagpur.

In addition, 15,000 Upa Yathras will cover a distance of 10 Lakh kms. When the Yathra reaches your place let us strengthen the resolve to begin a beautiful life once again.

Let us make this a true freedom movement. We once missed the opportunity to realize the dream of a free India, in spite of Gandhiji’s vision of Grama Rajya. The thirst for true freedom has increased today.

We are taking a new and different path to achieve this goal of a free Bharath.

It will bring us prosperity. To revive the cow centred villages, and to reap the benefit of panchagavya, we must not consider cow as just a milking machine.

When we go back to the cow, the land will become free of chemicals, the food will be free of poison, gobar gas will light the villages and puts the farmer and the village on the path of sustainable development. This is true freedom.

This 108 days spiritual journey to the cow and the village is a meaningful return to prosperity and progress. Let us take a pledge to be a part of this pilgrimage and discover the true meaning of freedom and happiness.

Vande Gou Matharam.

Nityotsava

Nityotsava

By the annihilation of evil desires (durvasana), the unchanging (sthira) Atma manifests itself. This Atma is eternal (nitya), true and therefore without a second and great (mahan, i.e. not limited by time and space). It may also be attained by means laid down in Nityahridaya Tantra (i.e. Yoginihridaya) - Introduction to Tantrarajatantra, Woodroffe

Compiled by Umanandanatha, a disciple of the famous Shri Vidya upasaka Bhasuranandanatha (Bhaskararaya), the Nityotsava is ostensibly based on the Parashurama Kalpasutras, a collection of brief aphorisms outlining many of the features of Shri Vidya, for which see other pages on this Web site.

Some of the material contained in this text has been translated and is also available on this site. See the sections under the heading Shri Kula on the index page.

The Nityotsava contains very little philosophical material on the cults which centre around the famous Shri Yantra, but a wealth of detail on the ritual, the mantras and other features of this complex tantrik form. These include not only the worship of Mahatripurasundari, but also of Ganapati (Ganesh), Dandini (Varahi) and Shyama (Kurukulla). There are also chapters dealing with practices common to all tantrik devata.

Mantras and other ritual details below use the iTrans format, which you can view in their Devanagari characters by copying and pasting into the freeware program Itranslator.

Chapter One

This section is devoted to initiation (diksha), and starts with a salutation to the nine Nathas, to Shiva, to Ganesh, to the Empress (Maharajni = Tripura) and to the gurus of the tradition.

After this, Umanandanatha goes on to describe initiation, starting first with descriptions of the act contained in the Kalanirnaya (Kaulanirnaya?) and the Manthana Bhairava tantras. This section outlines the times for diksha, which are closely linked to Indian sidereal astrology. Initiation in certain of the 27 asterisms brings different results, while the days of the week also have their own merits, while the 15 days of the moon (tithis) also are said to have specific results. The text then quotes from other texts along similar lines.

The text quotes authorities for times which are not suitable for initiation, which mentions a number of yogas (planetary combinations in this context), where malefics, that is the Sun (Ravi), Mars (Bhauma), Saturn (Shani), the nodes of the moon (Rahu and Ketu) and the Waning Moon are conjoined in certain places in a horoscope for the time of initiation.

The next section in this chapter deals with the characteristics of guru and pupil, quoting from the Tantrarajatantra. The guru should be handsome, full of virtues, situated in himself, and know the essence of many tantras. He should be free from doubt, having cut through such doubts by the grace of his own guru. The pupil should be free from greed, controlled of senses, steady, faithful, and devoted to guru, mantra and devata.

The text mentions the nature of Tripura Siddhanta, based as it is on the 35 (36) tattvas of earth, water, fire, air, space (aether), smell, taste, sight, hearing, sound, etc. Then follows details of mantra upasana, the duty of an upasaka of Tripurasundari, and different types of initiation such as Shambhavi diksha, Shakti diksha and Mantri diksha. The text talks of Samayachara, of the Kuladharma, and the competence of people for given mantras.

Chapter Two

This chapter deals with Ganapati (Ganesh) and his ritual worship, including the mantras, tarpana (oblations) and nyasas necessary.

It then goes on to deal with the puja proper, the necessary substances with which to accomplish this, the dhyana of Vighneshvara (Lord of Obstacles), worship of the pitha Shaktis, named in this text as Tivra, Jalini, Nanda, Bhogada, Kamarupini, Ugra, Tejovati, Satya and Vighnashini. Mantras should commence shrI.m hrI.m klI.m and end with namaH. The six limb puja (shadangapuja) is as follows:--

shrI.m hrI.m klI.m OM gA.m hR^idayAya namaH hR^idayashaktishrIpAdukA.m pUjayAmi ..
3 shrI.m gI.m shirase svAhA shirashshaktishrIpAdukA.m pUjayAmi ..
3 hrI.m gU.m shikhAyai vaShaT.h shikhAshaktishrIpAdukA.m pUjayAmi ..
3 klI.m gai.m kavachAya hum.h kavachashaktishrIpAdukA.m pUjayAmi ..
3 glau.m gau.m netratrayAya vauShaT.h netratrayashaktishrIpAdukA.m pUjayAmi ..
3 ga.m gaH astrAya phaT.h astrashaktishrIpAdukA.m pUjayAmi ..

The text then goes on to detail the three aughas or lines of guru related to Mahaganapati, which are divided into the divya (celestial), the siddha and the manava (mortal) lines.

The text then describes puja of the Mahaganapati yantra, which is divided into five parts. The first set of attendants relate to the three lines, the six lines, and the space between the lines. The second avarana relates to the six konas. The third avarana is connected with the junction points (sandhis) of the six konas, and are the six limb devatas. The fourth avarana is related to the eight petals, starting from the west, with the Devis there being Brahmi, Maheshvari, Kaumari, Vaishnavi, Varahi, Mahendri, Chamunda and Mahalakshmi. The fifth avarana relates to the earth-square or bhupura and worships the guardians of the directions, the kshetrapalas, given in the text as Indra, Agni, Yama, Nairriti, Varuna, Vayu, Soma, and Ishana. Each of these forms holds his appropriate weapon, rides his appropriate vahana, and holds his appropriate direction and sub direction in the order given. Thus, although the Nityotsava contains no illustration of the yantra, it can be constructed as triangle, hexagon, eight petals and earthsquare.

After worship of the avarana deities, Gananatha (Ganapati, Ganesh) should be worshipped with sixteen ritual accessories. Then follows a description of the fire sacrifice, the giving of bali, a stotra about tarpana (oblation), a dhyana or meditation on Ganapati, the ashtakam or eight limbed hymn, Suvasini puja, and the purashcharana, or preparatory rites to be performed in his worship.

Chapter Three

This large chapter, called Shri Krama, deals with the worship of Lalita Tripurasundari, and opens with Umanandanatha bowing to his guru, Shri Bhasurananda Natha.

After outlining the contents of this important chapter, Umanandanatha starts by describing the guru meditation, and describes a process known as pranasamyaman, where the vital energy is directed to the top of the head, where the guru is said to reside.

The sadhaka is then recommended to meditate on the ajapa gayatri, the "non-recited" gayatri of 21,600 breaths a human takes every day. Then follow details relating to bathing, and to sandhya or the twilight worship. Here, there is to meditation on the sun as Martandabhairava, seated in union with his Shakti, Prakashashakti. The tantrik Gayatri of Tripurasundari is described as:-

ai.m hrI.m shrI.m ka e I la hrI.m tripurasundari vidmahe ai.m hrI.m shrI.m ha sa ka ha la hrI.m pIThakAmini dhImahi ai.m hrI.m shrI.m sakalahrI.m tannaH klinne prachodayAt.h.

This combines the Gayatri with the 15-lettered vidya of Lalita Tripurasundari.

After these preliminaries, the Shri Krama chapter begins to describe the puja proper, together with the rites necessary when entering a temple. These include worship of the different kalas (parts) of the Sun, Moon and Fire, followed by a short section which describes the material of which a Shri Yantra may be fashioned. Gold, silver, copper and other metallic plates are mentioned, while substances such as sindura, kumkum, and milk are required. The form of the yantra is described, but only as bindu, triangle, eight triangles, two sets of 10 triangles, fourteen triangles, eight petals with filaments, 16 petals with filaments, three circles and four lines. Next comes the procedure of breathing life into a yantra, followed by temple worship, a section which we have translated elsewhere on this site.

The process of bhutashuddhi, or purification of the elements follows, followed by a technique using mantras which is supposed to fence off the area from obstructions, bhutas, and other obstacles.

Nine nyasas are recommended for the worship of Lalita, and these are listed in the text as matrikanyasa, karashuddhinyasa (hand purification), atmarakshanyasa (protection of the atma), chaturasananyasa, Bala six-limbed nyasa, Vashini and the other (Vakdevatas) nyasa, root vidya nyasa, shodhanyasa and chakranyasa. The next section deals with placing of the vesel for the ordinary offering, which are to be upon a design with a bindu, a triangle, a hexagon and a square enclosure. This is followed by a long section describing the preparation of special offering.

Umanandanatha quotes from the Jnanarnava Tantra next to describe the inner yaga or meditation on the Shri Yantra which is to be performed, while the next section deals with the worship of the 64 ritual accessories (upacharas) used in the puja. Then follow the mantras of the Fifteen Nityas, which, unlike in the Tantraraja, are given in full and without special code.

A large section on the different gurus in the Shri Vidya tradition follows this section, and, as in the Ganapati section of Nityotsava, these are divided into celestial, siddha and mortal gurus, both for the vidya (mantra) that begins with Ka (Kadi) and for that which begins with Ha (Hadi).

The celestial gurus in the Kadi group are listed as Paraprakashandanatha, Parashivanandanatha, Parashaktyamba, Kauleshvaranandanatha, Shukladevyamba, Kuleshvaranandanatha and Kameshvaryamba. The siddha aughas are Bhoganandanatha, Chinnanandanatha, Samayanandanatha and Sahajanandanatha. The manava augha consists of Gaganandanatha, Vishvananandanatha, Vimalanandanatha, Madanandanatha, Bhuvananandanatha, Lilanandanatha, Svatmanandanatha and Priyanandanatha. At the close of this lengthy section, mantras are given for other, unknown gurus.

The next section opens with the puja of the attendants of the mandalas of the Shri Yantra, nine in number. As these have been listed in full elsewhere on this site, we refer you to the appropriate sections. This is followed by the sadhaka being enjoined to meditate on Kamakala, which consists of the three bindus and the ardha-matra. Brief instructions for homa, giving bali, pradakshina and circumambulation follow, before a stotra or hymn to Tripurasundari is to be recited.

Following this is Suvasini Puja, with a mantra given for purification of the Shakti which reads ai.m hrI.m shrI.m ai.m klI.m sauH tripurAyai namaH imA.m shakti.m pavitrI kuru mama shakti.m kuru svAhA. The Shakti should then be given various good things such as garments, flower, incense, light, unguents and powders, as well as food and pan. A lengthy section dealing with purification of wine and other substances used in the rite should follow.

Although mentioned briefly above, a lengthy section follows dealing with the right way to create a Shri Yantra, and the number of marmas and sandhis that result from drawing it correctly. This is so interesting that in future we will place it on the site in iTrans format and translate it. Then follows a brief secton of the different prastaras of the Shri Yantra and the pranapratishta of the Shri Chakra, which imbues the device with life and which is translated elsewhere on this site, is given in full. A yantra made of gold lasts for life, one of silver 22 years, copper 12, and on bhurja bark six years.

A lengthy section follows on the homas that may be performed, while the next section describes the mudras or hand-gestures used in the Kadi Shri Vidya cult.

The next section deals with the types of nyasas used when worshipping Tripurasundari. These were mentioned earlier (see above) and a number of them, including the lengthy Shodhanyasa and the Shri Chakra Nyasa are elsewhere on this site.

Instructions on how to perform japa (recitation of the vidya) are then given. Instructions are given for reciting various vidyas such as the Kameshvari mantra, the Kamakala mantra, the Utkilana mantra, and a large number of other mantras relating to Tripurasundari, to her aspects or to various elements of her worship, such as the rosary, are then described in full.

The Fifteen Nitya mantras are given again, as well as special mantras for "miraculous" aspects of Tripura such as Asvarudha, Bala, Annapurna, Svapnavarahi and many others. Some of these aspects, together with the prayogas (applications) relating to them are described in the Tantrarajatantra and other places, and relate to magical powers that a sadhaka can achieve through their use.

A section then follows on optional rites that may be performed in various solar months, and which the Tantrarajatantra also details.

Chapter Four

Details the rites of Shyama, the dusky form of Tripura, who is described elsewhere in Shri Vidya tantras as Tara or Kurukulla, and who is the "mother" form, just as Varahi is the "father" form of the goddess.

The nyasas and the other elements in tantrik puja are described, together with the yantra to be drawn, and the avaranas to be worshipped.

In the central triangle Rati, Priti and Manobhava receive puja, followed by the five arrows in the triangles of the pentangle. On the tips of this star the five forms of Krishna, one with Kali, receive worship, while the eight devatas Brahmi, etc. receive worship in the eight petalled lotus. On the tips or filaments of the lotus Laksmi, Sarasvati, Rati, Priti, Kirti, Shanti, Pushti, and Tushti are worshipped.

The sixteen petalled lotus has sixteen Shaktis or attendants named in the text as Vama, Jyeshtha, Raudri, Shanti, Shraddha, Sarasvati, Kriyashakti, Lakshmi, Srishti, Mohini, Pramathini, Ashvasini, Vichi, Vidyunmalini, Surananda and Nagabuddhika. This is the fourth avarana.

In the outer lotus of eight petals are the Bhairavas Asitanga, Ruru, Chanda, Krodha, Unmatta, Kapali, Bhishana and Samhara. Inside the four petals are Matangishvari, Siddhalakshmi, Mahamatangi, and Mahasiddhalakshmi. This is the sixth avarana. Ganapati, Durga, Vatuka and Kshetrapala are to be worshipped in the square, followed by protectors of the directions.

Then follows a description of recitation of the mantra of Matangi, followed by praise of that aspect of the goddess. Rules for an upasaka (worshipper) of Shyama follow, including details of the purashcharana and so forth required, as well as the types of homa, a description of the Kurma Chakra, purification of the mala or rosary, and a lengthy section on how to purify Rudraksha malas specifically. Optional homas and the dimensions of the fire pits to be used are detailed.

Chapter Five

This chapter of Nityotsava deals with the puja rites of Dandini, in this context similar to the "father form" Varahi. As in previous chapters, the various nyasas, upacharas and other ritual details relating to Dandini are described, together with the gurus of the parampara and the different avaranas of her yantra. The mantras of Varahi and a lengthy Varahi stotra are described.

Chapter Six

This very brief chapter is called the Parapaddhati, and describes the general form of worship or puja for other devatas.

Chapter Seven

Describes a number of practices, pujas and mantras common to all, and makes quotations from Pancharatra texts, the Tantraraja and other sources.

Various chakras used to determine the time of initiation, such as the Kulakula and the Rini-dani are described, as well as a number of mantras which are used to ensure that the root mantra, that is the mantra of the ishtadevata or desired form of divinity, is successful. These purifications relate to the birth, the life and other stages that a mantra is assumed to have.

Yoga and the Nath Sampradaya

Yoga and the Nath Sampradaya

The success of this (Natha) sect was partly due to the fact that its teachers did not recognise caste barriers, and their teachings were adopted by outcastes and kings alike." - Encyclopedic Dictionary of Yoga, Georg Feuerstein.

The heterodox Natha tradition has many sub-sects but all honour Gorakhnath and Matsyendranath as their originators. Here you will find original material, translations and other works relating to this pan-Indian tradition.

The Nathas are believed to be the descendants of earlier cults including the Pashupatas, Kapalikas and Siddhas. They were also intimately connected with the alchemical tradition of Rasayana. There is much more information on this site about the Nath tradition.

The Adinatha Tradition. Discover more about the Nath sect of yogis and yoginis. HH Shri Mahendranatha Paramahamsha Dadaji was the 23rd Adiguru of this tradition. The Nathas are still active to this day. See the eight lotus chakra system of the Kaulas.

Kaula Jnana Nirnaya. English translation of chapter three of this important tantra, attributed to Siddha Matsyendranath.

Ecstasy, Equipoise and Eternity. Written by Mahendranath (Dadaji), explores the origins of the Nathas and their relationship to freedom.

Dattatreya. Written by Mahendranath (Dadaji), covers the great guru of the Nathas and includes valuable material on sama, samarasa and pratibha.

The Naked Saints of India. Written by Mahendranath (Dadaji), and covers the ancient tradition of the naked Indian sadhus.

Dadaji Dhuniwala. Another article by Mahendranath (Dadaji); a fascinating account of Indian sadhu life.

The Yoga Vishaya. Attributed to Minanath (Matsyendranath), this short work deals succinctly with guru, disciple, path, chakras and the Hamsa 21,600 mantra.

The Gorakh Shataka. An ancient text of the Natha tradition, written in the form of a dialogue between Gorakh (Gorakshanath) and Macchendra (Matsyendranath).

Analysis of the Siddha Siddhanta Paddhati by Gorakhnath. This is an important work of the Nathas. It covers the different parts of the psycho-physical organism, shows the relationship between the microcosm and the macrocosm, and the importance of the guru to the tradition. Also view here the remarkable story of the current Nepalese one rupee coin and how it connects to the Nath tradition.

Artwork is © Jan Bailey, 1996-2006. Translations are © Mike Magee 1996-2006. Questions or comments to mike.magee@btinternet.com

Kamadhenu Tantra

Kamadhenu Tantra

That self of the nature of food is pervaded by the self of the nature of vital energy; similarly the self of vital energy is by nature pervaded by the self of the nature of mind - - Katharudropanishad, 24 This text, of 24 chapters, deals at length with the matrikas or letters of the alphabet, considered by the tantrik tradition to represent the goddess as sound. The text used for the abstract below was published by Kalyana Mandir Prakashan. Chapter 22 and most of chapter 23, are missing from this edition.

The word Kamadhenu means the wish-fulfilling cow, and here is adjectivally applied to the Devi in her form as Sarasvati, who rules speech, eloquence, words, music and all letters of the alphabet. She is represented as the shakti or consort of Brahma, one of the trinity (trimurti) in Hinduism.

The tantra is cast in the normal question and answer fashion between Parvati (Shakti) and Mahadeva (Shiva). Chapter one starts with Parvati asking about the 50 letters of the Sanskrit alphabet and their relationship with the tattvas. Shiva says that by knowing this doctrine, a sadhaka can become liberated whilst still alive (jivanmukta). The devi, he says, has different vidyas, or female mantras, so that in her form as the Matrikadevi, she consists of all of the others.

The letters A to Ksha, together with visarga and bindu represent her triple form, the body of the absolute. From the letters come Brahma, Vishnu and Shiva.

Shiva gives a meditation on the letters of the alphabet representing the tattvas in which they are as effulgent as the autumn moon, consisting of five angles which also represent the five devas. She, as the very self of the bindu tattva, is both with qualities and without qualities.

In chapter two, Mahadeva proceeds to describe the fifteen vowels of the alphabet (iTrans transliteration scheme used). The letter aa is the self of Brahma, Vishnu, and Rudra, conch-coloured, and consists of the five (main) breaths or pranas. The first letter of the alphabet, a, is not mentioned here. It is Paramakundali (supreme Kundalini).

The letter i is supremely blissful, like a sweet smelling flower, consisting of Hari, Brahma and Rudra. It is the guru, it is Sadashiva, and also Parabrahma. It is Kundali.

Letter ii is again described as composed of Brahma, Vishnu and Shiva and being fourfold knowledge as well as supreme Kundalini. It consists of the five devas. The letter u is described as effulgent as the yellow champaka flower, and giver of the four aims of mankind, that is dharma, artha, kama and moksha. It also includes the five pranas.

Letter uu is called the supreme bija, very hard to obtain. It is as white as the kunda flower, consists of the three gunas and is called the bestower of happiness, also including the five pranas.

R^i is described also as being of an effulgent yellow colour, is made of the three shaktis and consists of fourfold knowledge.

R^I, the next letter described, is also of a yellow hue, and has a practically identical description to the last letter.

The letter L^i is called the Paradevata, where Brahma resides constantly. It is made up of the five pranas, the three gunas, and is also of a yellow, lightning-like colour.

The next letter, L^I, is effulgent as the full moon, has the self of the three gunas, and also represents the four aims of human existence.

Letter e is called the supreme, celestial self of Brahma, Vishnu and Shiva, and is of the colour of a bandhuka flower, the very self of supreme Kundalini.

Chapter three continues in the same tone as chapter one but then moves on to more detailed matters. Surely Devi must by now be wondering why Shiva is repeating himself, but she politely listens until the sequence of vowels is completed.

The letter ai is called Mahakundalini, and is effulgent as 10 million moons, comprises in itself the three bindus and the five pranas.

The letter o is of the appearance of red lightning, and is made of the three gunas, and like the rest represents the five pranas and is supreme Kundalini.

Also red is the letter au, which is said to bestow the four aims of existence and conjoined with Ishvara, as well as being the five main vital breaths in a human.

The letter am is yellow in colour, consists of all knowledge, has within it the three bindus and the three shaktis, the five pranas and is supreme Kundalini. The letter aH, says Shiva, is red in colour, consists of all knowledge, includes the five devas and the five breaths, and Atma and the other tattvas.

Chapters four to six describe the consonants. Ka is as bright as Kundali and is the essence of the four aims of mankind. The letter Kha is as brilliant as a snow white conch. Ga is pure and the essence of the Shakti.

In chapter seven, Shiva says he will describe the japa of the Matrikas this being the ultimate mantra. The text starts to describe the letters of the alphabet, each of which is preceded and followed by O.m - so O.m a.m O.m, O.m A.m O.m, O.m i.m O.m, O.m I.m O.m and so forth to the letter Ksha. He then gives a dhyana of the Matrika Devi. She is effulgent as a koti of Moons, seated on a white lotus with her three eyes moving playfully to and fro. The white shining Devi has various faces corresponding to the sacred texts and she is adorned with white gems and white clothes.

The chapter goes on to say that a person ends up in hell and all puja is useless without the eight letter groups a-ka-cha-Ta-ta-pa-ya-sha. By worshipping the letters with the bindu and visualing them as effulgent as the sun, doing this a lakh times, a mantrin becomes successful in giving the letters of the alphabet life.

Chapter eight speaks of the greatness of Matrika as the 50 letters. In her are all macrocosms and vidyas and she exists as both the Devi with qualities (gunas) and without qualities (nirguna). She is the self of all Vishnu mantra, Shiva mantra, Ganesha mantra, Saura mantra, Shakti mantra. The fifty letters as fifty young maidens are the self purana, of veda, and of smriti. In her form like this she is the self of Brahma, Vishnu, Rudra, Ishvara and Sadashiva. She is also the very self of Kundalini.

The brief ninth chapter describes the chief nadis in the human body, with sushumna in the centre, wound around by the ida and pingala nadis. The vital breath (prana) flows through these. By reciting the fifty letters of the alphabet with the out and in breaths, 12 times at the three twilights (sandhya), one does jiva nyasa and becomes the equal of Shiva.

Chapter 10 describes how the Matrika is related to the body. The letter a is on the forehead, the letter A is on the mouth, the letter i is on the right eye, the letter I is on the left eye, the letter u is on the right ear, the letter U is on the left ear, the letter R^i is on the right nostril, and the letter R^I on the left nostril. The letter L^i is on the right cheek, while the letter L^I is on the left cheek. The letter e is on the upper lip, the letter E on the lower lip, the letter o is on the upper teeth, while the letter au is on the lower teeth. The letter A.m is on the head, while the letter aH is the face itself.

The five letters of Ka-varga are on the right arm, while the five letters of cha-varga are on the left arm. On the right foot are the the Ta-varga, while ta-varga is on the left foot. The pa is on the right of the body, while pha is on the left of the body. The letter ba is on the back, while the letter bha is on the navel. The letter ma is on the belly, while the letter ya is on the heart. The leter ra is on the right shoulder, while the letter la is on the left shoulder. This chapter goes on to describe a correlation between the letters of the alphabet and the tattvas, then correlating different letters with the five elements aether, air, fire, earth and water. The letters are then related to 50 forms of Devi.

Chapter 11 is the Kulluka and Setu chapter, while chapter 12 deals with Matrika Dhyana as well as bija dhyana. The subject of bija dhyana is continued in chapter 13 and the effects of pronouncing each of the Matrikas separately.

Chapter 14 deals of dhyanas of the letter Ka using different colours and scents. When red, the bija bestow kingship, when white and used with white sandal it gives liberation, with rochana it subjugates, with aguru or kumkuma it causes delusion, and with black it causes destruction and death. Placing the letter Ka on the forehead using rochana is called the "people deluding" tilak.

The fifteenth chapter describes the merits of visualising the ishta devata in the heart lotus of 12 petals and visualising a bija in each petal along with the vidya of the desired devata causes unity with the deity.

The sixteenth chapter describes a rite to be performed on a Saturday (Shani) or Tuesday (Mangala). This involves a detailed puja using the full set of ritual accessories, and a number of detailed nyasas. Copper plates for each letter of the alphabet are to be inscribed with each of the Matrikas, and anointed with various sweet smelling substances.

In chapter seventeen, it's said that the letter ka is the root of all the varnas, and so a person should worship this letter with every effort. Chapter eighteen continues to praise the greayness of the letter ka, described as the Lamini Devi. Various prayogas for obtaining success are prescribed. The nineteenth chapter continues this topic and says that success in worshipping ka and Kamini causes one to realise the essence of the Kamadhenu. Kamini continues to be eulogised in chapter twenty, which describes Kamini as the form of light, while she should be meditated upon in the 1,000 petal lotus - the subject is continued in chapter twenty one.

There's a break in the tantra with only a fragment of chapter twenty three remaining, chapter twenty two is completely missing in this edition.

The last chapter, chapter twenty four, closes with a dhyana of devi as having two arms, golden, with fair limbs, wearing yellow clothes, adorned with various bright jewels, newly adolescent, as bright as the moon, with long fingers and shining nails, the colour of kadamba, chewing paan, with a sindura forehead mark.

Artwork is © Jan Bailey, 1996-2006. Translations are © Mike Magee 1996-2006. Questions or comments to mike.magee@btinternet.com

Kamadhenu Tantra

Kamadhenu Tantra

That self of the nature of food is pervaded by the self of the nature of vital energy; similarly the self of vital energy is by nature pervaded by the self of the nature of mind - - Katharudropanishad, 24 This text, of 24 chapters, deals at length with the matrikas or letters of the alphabet, considered by the tantrik tradition to represent the goddess as sound. The text used for the abstract below was published by Kalyana Mandir Prakashan. Chapter 22 and most of chapter 23, are missing from this edition.

The word Kamadhenu means the wish-fulfilling cow, and here is adjectivally applied to the Devi in her form as Sarasvati, who rules speech, eloquence, words, music and all letters of the alphabet. She is represented as the shakti or consort of Brahma, one of the trinity (trimurti) in Hinduism.

The tantra is cast in the normal question and answer fashion between Parvati (Shakti) and Mahadeva (Shiva). Chapter one starts with Parvati asking about the 50 letters of the Sanskrit alphabet and their relationship with the tattvas. Shiva says that by knowing this doctrine, a sadhaka can become liberated whilst still alive (jivanmukta). The devi, he says, has different vidyas, or female mantras, so that in her form as the Matrikadevi, she consists of all of the others.

The letters A to Ksha, together with visarga and bindu represent her triple form, the body of the absolute. From the letters come Brahma, Vishnu and Shiva.

Shiva gives a meditation on the letters of the alphabet representing the tattvas in which they are as effulgent as the autumn moon, consisting of five angles which also represent the five devas. She, as the very self of the bindu tattva, is both with qualities and without qualities.

In chapter two, Mahadeva proceeds to describe the fifteen vowels of the alphabet (iTrans transliteration scheme used). The letter aa is the self of Brahma, Vishnu, and Rudra, conch-coloured, and consists of the five (main) breaths or pranas. The first letter of the alphabet, a, is not mentioned here. It is Paramakundali (supreme Kundalini).

The letter i is supremely blissful, like a sweet smelling flower, consisting of Hari, Brahma and Rudra. It is the guru, it is Sadashiva, and also Parabrahma. It is Kundali.

Letter ii is again described as composed of Brahma, Vishnu and Shiva and being fourfold knowledge as well as supreme Kundalini. It consists of the five devas. The letter u is described as effulgent as the yellow champaka flower, and giver of the four aims of mankind, that is dharma, artha, kama and moksha. It also includes the five pranas.

Letter uu is called the supreme bija, very hard to obtain. It is as white as the kunda flower, consists of the three gunas and is called the bestower of happiness, also including the five pranas.

R^i is described also as being of an effulgent yellow colour, is made of the three shaktis and consists of fourfold knowledge.

R^I, the next letter described, is also of a yellow hue, and has a practically identical description to the last letter.

The letter L^i is called the Paradevata, where Brahma resides constantly. It is made up of the five pranas, the three gunas, and is also of a yellow, lightning-like colour.

The next letter, L^I, is effulgent as the full moon, has the self of the three gunas, and also represents the four aims of human existence.

Letter e is called the supreme, celestial self of Brahma, Vishnu and Shiva, and is of the colour of a bandhuka flower, the very self of supreme Kundalini.

Chapter three continues in the same tone as chapter one but then moves on to more detailed matters. Surely Devi must by now be wondering why Shiva is repeating himself, but she politely listens until the sequence of vowels is completed.

The letter ai is called Mahakundalini, and is effulgent as 10 million moons, comprises in itself the three bindus and the five pranas.

The letter o is of the appearance of red lightning, and is made of the three gunas, and like the rest represents the five pranas and is supreme Kundalini.

Also red is the letter au, which is said to bestow the four aims of existence and conjoined with Ishvara, as well as being the five main vital breaths in a human.

The letter am is yellow in colour, consists of all knowledge, has within it the three bindus and the three shaktis, the five pranas and is supreme Kundalini. The letter aH, says Shiva, is red in colour, consists of all knowledge, includes the five devas and the five breaths, and Atma and the other tattvas.

Chapters four to six describe the consonants. Ka is as bright as Kundali and is the essence of the four aims of mankind. The letter Kha is as brilliant as a snow white conch. Ga is pure and the essence of the Shakti.

In chapter seven, Shiva says he will describe the japa of the Matrikas this being the ultimate mantra. The text starts to describe the letters of the alphabet, each of which is preceded and followed by O.m - so O.m a.m O.m, O.m A.m O.m, O.m i.m O.m, O.m I.m O.m and so forth to the letter Ksha. He then gives a dhyana of the Matrika Devi. She is effulgent as a koti of Moons, seated on a white lotus with her three eyes moving playfully to and fro. The white shining Devi has various faces corresponding to the sacred texts and she is adorned with white gems and white clothes.

The chapter goes on to say that a person ends up in hell and all puja is useless without the eight letter groups a-ka-cha-Ta-ta-pa-ya-sha. By worshipping the letters with the bindu and visualing them as effulgent as the sun, doing this a lakh times, a mantrin becomes successful in giving the letters of the alphabet life.

Chapter eight speaks of the greatness of Matrika as the 50 letters. In her are all macrocosms and vidyas and she exists as both the Devi with qualities (gunas) and without qualities (nirguna). She is the self of all Vishnu mantra, Shiva mantra, Ganesha mantra, Saura mantra, Shakti mantra. The fifty letters as fifty young maidens are the self purana, of veda, and of smriti. In her form like this she is the self of Brahma, Vishnu, Rudra, Ishvara and Sadashiva. She is also the very self of Kundalini.

The brief ninth chapter describes the chief nadis in the human body, with sushumna in the centre, wound around by the ida and pingala nadis. The vital breath (prana) flows through these. By reciting the fifty letters of the alphabet with the out and in breaths, 12 times at the three twilights (sandhya), one does jiva nyasa and becomes the equal of Shiva.

Chapter 10 describes how the Matrika is related to the body. The letter a is on the forehead, the letter A is on the mouth, the letter i is on the right eye, the letter I is on the left eye, the letter u is on the right ear, the letter U is on the left ear, the letter R^i is on the right nostril, and the letter R^I on the left nostril. The letter L^i is on the right cheek, while the letter L^I is on the left cheek. The letter e is on the upper lip, the letter E on the lower lip, the letter o is on the upper teeth, while the letter au is on the lower teeth. The letter A.m is on the head, while the letter aH is the face itself.

The five letters of Ka-varga are on the right arm, while the five letters of cha-varga are on the left arm. On the right foot are the the Ta-varga, while ta-varga is on the left foot. The pa is on the right of the body, while pha is on the left of the body. The letter ba is on the back, while the letter bha is on the navel. The letter ma is on the belly, while the letter ya is on the heart. The leter ra is on the right shoulder, while the letter la is on the left shoulder. This chapter goes on to describe a correlation between the letters of the alphabet and the tattvas, then correlating different letters with the five elements aether, air, fire, earth and water. The letters are then related to 50 forms of Devi.

Chapter 11 is the Kulluka and Setu chapter, while chapter 12 deals with Matrika Dhyana as well as bija dhyana. The subject of bija dhyana is continued in chapter 13 and the effects of pronouncing each of the Matrikas separately.

Chapter 14 deals of dhyanas of the letter Ka using different colours and scents. When red, the bija bestow kingship, when white and used with white sandal it gives liberation, with rochana it subjugates, with aguru or kumkuma it causes delusion, and with black it causes destruction and death. Placing the letter Ka on the forehead using rochana is called the "people deluding" tilak.

The fifteenth chapter describes the merits of visualising the ishta devata in the heart lotus of 12 petals and visualising a bija in each petal along with the vidya of the desired devata causes unity with the deity.

The sixteenth chapter describes a rite to be performed on a Saturday (Shani) or Tuesday (Mangala). This involves a detailed puja using the full set of ritual accessories, and a number of detailed nyasas. Copper plates for each letter of the alphabet are to be inscribed with each of the Matrikas, and anointed with various sweet smelling substances.

In chapter seventeen, it's said that the letter ka is the root of all the varnas, and so a person should worship this letter with every effort. Chapter eighteen continues to praise the greayness of the letter ka, described as the Lamini Devi. Various prayogas for obtaining success are prescribed. The nineteenth chapter continues this topic and says that success in worshipping ka and Kamini causes one to realise the essence of the Kamadhenu. Kamini continues to be eulogised in chapter twenty, which describes Kamini as the form of light, while she should be meditated upon in the 1,000 petal lotus - the subject is continued in chapter twenty one.

There's a break in the tantra with only a fragment of chapter twenty three remaining, chapter twenty two is completely missing in this edition.

The last chapter, chapter twenty four, closes with a dhyana of devi as having two arms, golden, with fair limbs, wearing yellow clothes, adorned with various bright jewels, newly adolescent, as bright as the moon, with long fingers and shining nails, the colour of kadamba, chewing paan, with a sindura forehead mark.

Artwork is © Jan Bailey, 1996-2006. Translations are © Mike Magee 1996-2006. Questions or comments to mike.magee@btinternet.com