Shodashi Tripura Sundari * षोडशी महाविद्या हैं भुक्ति-मुक्ति-दायिनी ( Dus Mahavidya Series )
In the principally Shakta theology of Śrī Vidyā the goddess is supreme, transcending the cosmos that is her manifestation.She is worshiped in the form of a mystical diagram (Sanskrit: yantra), a central focus and ritual object composed of nine intersecting triangles, called the Shri Yantra or Śrī Cakra.
The Meru Chakra is a three-dimensional form of this, made of rock crystal or metal, often a traditional alloy of silver, antimony, copper, zinc and pewter that is held to enhance the flow and generation of its beneficial energies, covered in gold.
The worship of the Sri Chakra is central to the Shri Vidya system of Hindu worship. Four isosceles triangles with the apices upwards, representing Shiva or the Masculine. Five isosceles triangles with the apices downward, symbolizing female embodiment Shakti. Thus the Sri Yantra also represents the union of Masculine and Feminine Divine. Because it is composed of nine triangles, it is known as the Navayoni Chakra.
"These nine triangles are of various sizes and intersect with one another. In the middle is the power point (bindu), visualizing the highest, the invisible, elusive centre from which the entire figure and the cosmos expand. The triangles are enclosed by two rows of (8 and 16) petals, representing the lotus of creation and reproductive vital force. The broken lines of the outer frame denote the figure to be a sanctuary with four openings to the regions of the universe".
Together the nine triangles are interlaced in such a way as to form 43 smaller triangles in a web symbolic of the entire cosmos or a womb symbolic of creation. Together they express Advaita or non-duality. This is surrounded by a lotus of eight petals, a lotus of sixteen petals, and an earth square resembling a temple with four doors.
The various deities residing in the nine layers of the Sri Yantra are described in the Devi Khadgamala Mantra.
The Shri Chakra is also known as the nava chakra because it can also be seen as having nine levels. "Nine" comes from" Nava" of Sanskrit. Each level corresponds to a mudra, a yogini, and a specific form of the Deity Tripura Sundari along with her mantra. These levels starting from the outside or bottom layer are:
Trailokya Mohana or Bhupara, a square of three lines with four portals
Sarva Aasa Paripuraka, a sixteen-petal lotus
Sarva Sankshobahana, an eight-petal lotus
Sarva Saubhagyadayaka, composed of fourteen small triangles
Sara Arthasadhaka, composed of ten small triangles
Sarva Rakshakara, composed of ten small triangles
Sarva Rogahara, composed of eight small triangles
Sarva Siddhiprada, composed of 1 small triangle
Sarva Anandamaya, composed of a point or bindu
The Sri Chakra (called the Shri Yantra) is the symbol of Hindu tantra, which is based on the Hindu philosophy of Kashmir Shaivism. The Sri Yantra is the object of devotion in Sri Vidya.
The two dimensional Sri Chakra, when it is projected into three dimensions is called a Maha Meru (Mount Meru).
Lalita Tripura Sundari Devi is considered to be the most potent incarnation of Parvati or simply Her saguna roopa. She, along with Sadasiva is responsible for the Pancha-Krityas - Sristi or creation, Sthithi or protection, Samhara or destruction, Thirodhana or concealment of the world in Maya and Anugraha or final liberation . She is best known as the Devi glorified in the Lalita Sahasranama and as the subject of the Lalitopakhyanam (story of the goddess Lalita) in Hinduism.
She is called Tripura because she is identical with the triangle (trikona) that symbolizes the yoni and that forms her chakra She is also called Tripura because her mantra has three clusters of syllables. Here Tripura is identified with the alphabet, from which all sounds and words proceed and which is often understood to occupy a primordial place in tantric cosmology. She is three-fold, furthermore, because she expresses herself in Brahma, Visnu, and Siva in her roles as creator, maintainer, and destroyer of the universe. She is threefold also because she represents the subject (maul), instrument (mina), and object (meya) of all things. Here again, she is identified with reality expressed in terms of speech, which involves a speaker, what is said, and objects to which the words refer.
https://en.wikipedia.org/wiki/Tripura_Sundari_Temple
The slokas are organized in such a way that Devi is described from head to feet (kesadhi padham). There are basically five works (pancha krtyam). They are creation (srishti), protection (sthiti), destruction (samharam), hiding (thirudhanam) and blessing (anugraham). Devi herself has been described as "pancha krtya parayana" in the sloka and the five tasks are described as follows:
srshtikarthi brahmma roopa gopthree-govinda-rupini samharini-rudra-rupa thirodhanakareeswari sadasiva-anugrahadha panchakruthya-parayana
This means Devi is the aspect of Brahma, while creating sristhi, aspect of Vishnu while sustaining sristhi, aspect of Rudra during dissolution sanghara. These five entities (Brahmma, Vishnu, Rudra, Isvara and Sadasiva) are known as "pancha-brahma". Lalitha has designated the five functions to these brahmam. Sometimes, Devi will take away the life from these five brahmmam and make them inactive, performing all the five tasks herself. At that time they will be called "pancha pretam" that is lifeless bodies.The first three slokas are: Srimata (great mother) – srshti; Sri Maharajni (great ruler) – sthithi; Srimat Simhasaneswari (one who sits on the lion throne) – samharam. The rest of the slokas cover thirodhanam and anugraham.
The next names – "chidhagnikunda sambhutha devakarya samudhyatha" tells us that devi arose from the fire of knowledge to help devas in their task (war against asuras – bhandasura).
From the namAa- Udhyath bhanu sahasraba till sinjanamani manjeera manditha sree padambuja, all her parts like her face, fore head, eyes, mouth, tongue, voice, hands and legs have been described.Thereafter, Devi's place (Chintamani gruham), her war against bandasura, kundalini shakti, and her properties have been described. A common image of the goddess depicts a parrot and a sugarcane with her. Sugarcane represents the sweetness of her mind.
तृतीया महाविद्या – त्रिपुर सुंदरी (श्री कुल)
षोडशी माहेश्वरी शक्ति की विग्रह वाली शक्ति है। इनकी चार भुजा और तीन नेत्र हैं। इसे ललिता, राज राजेश्वरी और त्रिपुर सुंदरी भी कहा जाता है।
त्रिपुरासुन्दरी दस महाविद्याओं (दस देवियों) में से एक हैं। इन्हें ‘महात्रिपुरसुन्दरी’, षोडशी, ललिता, लीलावती, लीलामती, ललिताम्बिका, लीलेशी, लीलेश्वरी, तथा राजराजेश्वरी भी कहते हैं। वे दस महाविद्याओं में सबसे प्रमुख देवी हैं।
त्रिपुरसुन्दरी के चार कर दर्शाए गए हैं। चारों हाथों में पाश, अंकुश, धनुष और बाण सुशोभित हैं। देवीभागवत में ये कहा गया है वर देने के लिए सदा-सर्वदा तत्पर भगवती मां का श्रीविग्रह सौम्य और हृदय दया से पूर्ण है।जो इनका आश्रय लेते है, उन्हें इनका आशीर्वाद प्राप्त होता है। इनकी महिमा अवर्णनीय है। संसार के समस्त तंत्र-मंत्र इनकी आराधना करते हैं। प्रसन्न होने पर ये भक्तों को अमूल्य निधियां प्रदान कर देती हैं।चार दिशाओं में चार और एक ऊपर की ओर मुख होने से इन्हें तंत्र शास्त्रों में ‘पंचवक्त्र’ अर्थात् पांच मुखों वाली कहा गया है। आप सोलह कलाओं से परिपूर्ण हैं, इसलिए इनका नाम ‘षोडशी’ भी है।
एक बार पार्वती जी ने भगवान शिवजी से पूछा, ‘भगवन! आपके द्वारा वर्णित तंत्र शास्त्र की साधना से जीव के आधि-व्याधि, शोक संताप, दीनता-हीनता तो दूर हो जाएगी, किन्तु गर्भवास और मरण के असह्य दुख की निवृत्ति और मोक्ष पद की प्राप्ति का कोई सरल उपाय बताइये।’ तब पार्वती जी के अनुरोध पर भगवान शिव ने त्रिपुर सुन्दरी श्रीविद्या साधना-प्रणाली को प्रकट किया।”भैरवयामल और शक्तिलहरी’’ में त्रिपुर सुन्दरी उपासना का विस्तृत वर्णन मिलता है।ऋषि दुर्वासा आपके परम आराधक थे। इनकी उपासना ‘‘श्री चक्र’’ में होती है।
आदिगुरू शंकरचार्य ने भी अपने ग्रन्थ सौन्दर्यलहरी में त्रिपुर सुन्दरी श्रीविद्या की बड़ी सरस स्तुति की है। कहा जाता है- भगवती त्रिपुर सुन्दरी के आशीर्वाद से साधक को भोग और मोक्ष दोनों सहज उपलब्ध हो जाते हैं।।
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http://www.rkmkhar.org/events-calendar/shodashi-puja-6/
On 5th June 1872, on Phalaharini Kali-puja night, Bhagawan Sri Ramakrishna worshipped Sarada Devi as Shodashi, the Mother of the Universe. The Mother of the Universe is variously worshipped —as Durga, Kali, Tara, Shodashi and so on. But, in his room he uttered the “mantras” which are related to Shodashi and worshipped Sarada Devi duly with flowers, bel leaves and sweets, among other things.
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Her most important temple is the Kanchi Kamakshi temple in Kanchipuram, Tamil Nadu. Kanchipuram is one of the moksha puris. Sage Durvasa done intense penance in Kanchipuram and the pleased Lalita Tripura Sundari appeared and agrees to reside in Kanchi for the benefit of her devotees. Adi Sankaracharya installed the Sri Chakra in this temple. It is also the place of Kanchi Kamakoti mandali.
Many temples of Goddess Raj Rajeshwari are also found in Uttarakhand, where she is considered as the Kul-devi. A temple of Tripura Sundari is located at tripuradevi village in Berinag and Tripura Sundri amma (Thibbadevi) temple in Muguru is located in the Tirumakudal Narsipur taluk of Mysore district in Karnataka.
Goddess RajaRajeshwari Temple is in Rajarajeshwari Nagar, Mysuru Road, Bengaluru, Karnataka, which is a prime location in Bengaluru. Many people throng to this place because of presence of the Goddess.
Tripura sundari in her form Raja Rajeshwari is worshiped in Kandamangalam Sree Rajarajeshwari temple located in the village Kadakkarapalli, Cherthala taluk, Alappuzha district, Kerala. The temple is named as Kanadamangalam by Sree Narayana Guru (social reformer and spiritual leader) which comprises two words "Kandal" which means if you see and "mangalam" which means good fortune.
Bala Tripura Sundari Temple is also in Dolpa district of Nepal.
https://en.wikipedia.org/wiki/Bala_Tripura_Sundari_Temple
https://en.wikipedia.org/wiki/Saundarya_Lahari
The Soundarya Lahari of Adi Shankaracharya deals exhaustively about the nature of the Goddess and her worship.
The Lalitopakyana tells of the epic battle between her forces and the forces of the arch-demon Bhandasura.
The Tripura Sundari Ashtakam by Adi Shankaracharya describes her as a Mother wearing a blue and red-spotted dress and holding a pot of honey.
Mantra :-
Aum Aim Hreem Shreem Aim Kleem Sowm Kleem Aim Aum Namo Bhagavati Tripura Devi Mama Vasam Kuru Kuru Swaha
ॐ
॥ अथ त्रिपुरसुन्दरि अष्टकम्॥
कदम्बवनचारिणीं मुनिकदम्बकादम्बिनीं
नितम्बजितभूधरां सुरनितम्बिनीसेविताम् ।
नवाम्बुरुहलोचनां अभिनवाम्बुदश्यामलां
त्रिलोचनकुटुम्बिनीं त्रिपुरसुन्दरीमाश्रये ॥ १॥
Meaning
अहं : I;
त्रिपुरसुन्दरीं : (in/to) Goddess tripurasundari;
आश्रये : seek shelter in (pay obeisance to).
The remaining phrases are adjectives that qualify the accusative noun
(dvitIyA vibhakti) ``tripurasundarIM᳚;
कदम्ब वन चरिनीं : who is roaming in the kadamba forest.
Kadamba is a kind of tree (Nauclea cadamba). It is
said to put forth orange coloured fragrant buds at the roaring of
thunder clouds. A withered relic of the kadamba tree is still preserved
in the precincts of the Madurai MeenakShi temple. Here,
kadamba forest stands for the universe which devi permeates.
मुनि कदम्ब कादम्बिनीं : a galaxy of clouds to the galaxy of rishis
(sages). Just as the bank of clouds quenches the thirst of the
earthly beings, so does tripurasundari quench the
spiritual thirst of the munis (sages).
नितम्ब : hip;
जित भूधरां : conquering (excelling) the mountains
(whose hip excels the mountain);
सुर नितम्बिनी सेवितां : who is served by celestial damsels;
नवांबुरुह लोचनां : whoes eyes resemble fresh lotus;
अभिनवांबुद श्यामलां : who is swarthy like the newly formed
nimbus.
त्रिलोचनकुटुम्बिनीं : who belongs to the family of the three-eyed
one (Lord shiva);
कदम्बवनवासिनीं कनकवल्लकीधारिणीं
महार्हमणिहारिणीं मुखसमुल्लसद्वारुणीम् ।
दयाविभवकारिणीं विशदलोचनीं चारिणीं
त्रिलोचनकुटुम्बिनीं त्रिपुरसुन्दरीमाश्रये ॥ २॥
Meaning:\
(अहम्) त्रिपुरसुन्दरीं आश्रये : (as in the above shlokaM);
कदम्ब वन वासिनीं : (as in shlokaM 1);
कनक वल्लकी धारिणीं : who holds a golden VINa;
महार्ह मणि हारिणीं : who wears a garland of precious gems;
मुख समुल्लसद् वारिणीं : whose face glows deeply with ambrosia;
दयाविभव कारिणीं : bestowing prosperity through mercy;
विशद लोचनीं : clear eyed;
चारिणीं : wandering.
कदम्बवनशालया कुचमरोल्लसन्मालया
कुचोपमितशैलया गुरुकृपालसद्वेलया ।
मदारुणकपोलया मधुरगीतवाचालया
कयाऽपि घननीलया कवचिता वयं लीलया ॥ ३॥
Meaning:\
वयं : we;
लीलया : by her inscrutable play;
कवचिता : (we) are arrayed in panoply.
the remaining phrases qualify the noun ``lIlayA᳚;
कदम्बवन शालया : by her abode in the kadamba forest (meaning here,
the entire universe);
कुचमरोल्लसन् मालया : by the garland gracing her massive bosoms;
कुचोपमित शैलया : by her bosoms rivalling the mountains
(represents her cosmic motherhood, and eagerness to
nourish the entire world).
गुरुकृपालसद् वेलया : by splendid flow of Her Grace;
मदारुण कपोलया : with cheeks rudded by wine;
मधुरगीत वाचालया : by her melodious musical voice;
कयापि घन नीलया : by her cloud-like blue.
कदम्बवनमध्यगां कनकमण्डलोपस्थितां
षडम्बुरुहवासिनीं सततसिद्धसौदामिनीम् ।
विडम्बितजपारुचिं विकचचन्द्रचूडामणिं
त्रिलोचनकुटुम्बिनीं त्रिपुरसुन्दरीमाश्रये ॥ ४॥
Meaning:\
(अहम्) त्रिपुरसुन्दरीं आश्रये : (as in shlokam 1);
कदम्ब वन मध्यगां : who is in the midst of kadamba forest;
कनक मण्डलोपस्थितां : seated on the golden disc;
षडम्बुरुह वासिनीं : who resides in six lotus flowers;
सतत सिद्ध सौधामिनीं : a lightning to the constant siddhas;
विडम्बित जपा रुचिं : splenderously mocking the scarlet (red)
Hibiscous flower;
विकच चन्द्र चूडामणिं : with cloudless moon for her
crest jewel;
त्रिलोचन कुटुम्बिनीं : (as in shlokam 1).
कुचाञ्चितविपञ्चिकां कुटिलकुन्तलालंकृतां
कुशेशयनिवासिनीं कुटिलचित्तविद्वेषिणीम् ।
मदारुणविलोचनां मनसिजारिसंमोहिनीं
मतङ्गमुनिकन्यकां मधुरभाषिणीमाश्रये ॥ ५॥
Meaning:\
(आहं) : I;
आश्रये : seek shelter in (Her, who is);
कुचाञ्चित विपञ्चिकां : with a Vina gracing her bosom;
कुटिल कुन्थलालंकृतां : adorned with curly tresses of hair;
कुशेसय निवासिनीं : residing in lotus;
कुटिल चित्त विद्वेषिणीं : scorning the evil-minded ones;
मदाऱुण विलोचनां : reddish eyed from nectar;
मनसिजारि सम्मोहिनीं : captivating the enemy of Cupid (shiva);
मतङ्ग मुनि कन्यकां : daughter of sage matanga;
मधुर भाषिणीं : mellifluously conversing.
स्मरप्रथमपुष्पिणीं रुधिरबिन्दुनीलाम्बरां
गृहीतमधुपात्रिकां मदविढणर्नेत्राञ्चलाम् ।
घनस्तनभरोन्नतां गलितचूलिकां श्यामलां
त्रिलोचनकुटुम्बिनीं त्रिपुरसुन्दरीमाश्रये ॥ ६॥
Meaning:\
(अहम्) त्रिपुरसुन्दरीं आश्रये : (as in shlokam 1);
स्मर प्रथम पुष्पिणीं : who bears the first flower of manmatha
(Cupid);
रुधिर बिन्दु नीलाम्बरां : clad in blue garments spotted
sanguine (red);
गृहीत मधु पात्रिकां : holding a bowl of wine;
मद विढर्ण नेत्राञ्चलां : eyes inebriated languishing at the ends;
घन स्तन भरोन्नतां : close set with high and heavy bosom;
गलित चूलिकां : with locks dishevelled;
श्याम्लां : swarthy one;
त्रिलोचन कुटुम्बिनीं : (as in shlokaM 1).
सकुङ्कुमविलेपनां अलकचुम्बिकस्तूरिकां
समन्दहसितेक्षणां सशरचापपाशाङ्कुशाम् ।
अशेषजनमोहिनीं अरुणमाल्यभूषाम्बरां
जपाकुसुमभासुरां जपविधौ स्मराम्यम्बिकां ॥ ७॥
Meaning:\
(अहं) : I;
अम्बिकां : ambikA Mother (dvitIya vibhakti);
जपविधौ : in (during) Japa (meditation);
स्मरामि : remember;
The remaining phrases qualify the noun: ambikAM:;
स कुङ्कुम विलेपनां : smeared with vermillion;
अलक चुम्बि कस्तूरिकां : forelocks grazing the dot of musk;
स मन्द हसितेक्षणां : with looks soft and smiling;
स शर चाप पाशाङ्कुशां : bearing arrows, bow, snare and goad;
अशेष जन मोहिनीं : deluding the entire people;
अरुण माल्य भूशाम्बरां : wearing (decorating her body with)
red garments;
जपाकुसुम भासुरां : shining with the japA flower\
NOTE: This particular shlokam is considered very sacred, and it
is included in the ᳚dhyANa shlokaM᳚ segment of both lalitA
sahasranAmaM, as well as lalitA trishati.
पुरन्दरपुरंध्रिकां चिकुरबन्धसैरंध्रिकां
पितामहपतिव्रतां पटपटीरचर्चारताम् ।
मुकुन्दरमणीमणीं लसदलङ्क्रियाकारिणीं
भजामि भुवनांबिकां सुरवधूटिकाचेटिकाम् ॥ ८॥
Meaning:\
(अहं) : I;
भुवनाम्बिकां : mother of the entire world (dvitIya vibhakti);
भजामि : worship (salute) The remaining words qualify the noun ᳚ambikAM᳚;
पुरन्दर पुरंध्रिकां : ruling over the entire srI puraM;
चिकुर बन्ध सैरन्ध्रिकां : who has the celestial queen for plaiting tresses;
पितामह पतिव्रतां : consort of Lord brahma;
पट पटीर चर्चा रतां : skilful for anointing sandal paste;
मुकुन्द रमणी मनीं : gem of vishNu's spouse;
लसद् अलंकृया कारिणीं : adorning with lustrous gems;
सुरवधूटिका चेटिकां : having heavenly damsels for servant maids.
॥ इति त्रिपुरसुन्दरि अष्टकम् सम्पूर्णम् ॥
दशमहाविद्या अर्थात महान विद्या रूपी देवी। महाविद्या, देवी दुर्गा के दस रूप हैं, जो अधिकांश तान्त्रिक साधकों द्वारा पूजे जाते हैं, परन्तु साधारण भक्तों को भी अचूक सिद्धि प्रदान करने वाली है। इन्हें दस महाविद्या के नाम से भी जाना जाता है।बस इसके लिए कठिन परिश्रम और एक काबिल गुरु की आवशकता हैं।
महाविद्या विचार का विकास शक्तिवाद के इतिहास में एक नया अध्याय बना जिसने इस विश्वास को पोषित किया कि सर्व शक्तिमान् एक नारी है।जैसे की दुर्गा और उसके १० रूप।
शाक्त भक्तों के अनुसार “दस रूपों में समाहित एक सत्य कि व्याख्या है – महाविद्या” जो कि जगदम्बा के दस लोकिक व्यक्तित्वों की व्याख्या करते है। महविद्याएँ तान्त्रिक प्रकृति की मानी जातीं हैं जो श्री देवीभागवत पुराण के अनुसार महाविद्याओं की उत्पत्ति भगवान शिव और उनकी पत्नी सती, जो कि पार्वती का पूर्वजन्म थीं, के बीच एक विवाद के कारण हुई। जब शिव और सती का विवाह हुआ तो सती के पिता दक्ष प्रजापति दोनों के विवाह से खुश नहीं थे। उन्होंने शिव का अपमान करने के उद्देश्य से एक विशाल यज्ञ का आयोजन किया, जिसमें उन्होंने सभी देवी-देवताओं को आमन्त्रित किया, द्वेषवश उन्होंने अपने जामाता भगवान शंकर और अपनी पुत्री सती को निमन्त्रित नहीं किया। सती पिता के द्वार आयोजित यज्ञ में जाने की जिद करने लगीं जिसे शिव ने अनसुना कर दिया, जब तक कि सती ने स्वयं को एक भयानक रूप मे परिवर्तित (महाकाली का अवतार) कर लिया। जिसे एख भगवन शिव भागने को उद्यत हुए। अपने पति को डरा हुआ जानकर माता सती उन्हें रोकने लगी। तो शिव जिस दिशा में उस दिशा में माँ का विग्रह रोकता है। इस प्रकार दशो दिशाओं में माँ ने ओ रूप लिए थे वो ही दस महाविद्या कहलाई। तत्पश्चात् देवी दस रूपों में विभाजित हो गयी जिनसे वह शिव के विरोध को हराकर यज्ञ में भाग लेने गयीं। वहाँ पहुँचने के बाद माता सती एवं उनके पिता के बीच विवाद हुआ।।।
॥ सिद्धकुञ्जिकास्तोत्रम् ॥
शिव उवाच
शृणु देवि प्रवक्ष्यामि, कुञ्जिकास्तोत्रमुत्तमम्।
येन मन्त्रप्रभावेण चण्डीजापः शुभो भवेत॥1॥
न कवचं नार्गलास्तोत्रं कीलकं न रहस्यकम्।
न सूक्तं नापि ध्यानं च न न्यासो न च वार्चनम्॥2॥
कुञ्जिकापाठमात्रेण दुर्गापाठफलं लभेत्।
अति गुह्यतरं देवि देवानामपि दुर्लभम्॥3॥
गोपनीयं प्रयत्नेनस्वयोनिरिव पार्वति।
मारणं मोहनं वश्यंस्तम्भनोच्चाटनादिकम्।
पाठमात्रेण संसिद्ध्येत्कुञ्जिकास्तोत्रमुत्तमम्॥4॥
॥ अथ मन्त्रः ॥
ॐ ऐं ह्रीं क्लींचामुण्डायै विच्चे॥
ॐ ग्लौं हुं क्लीं जूं सः ज्वालयज्वालय ज्वल ज्वल प्रज्वल प्रज्वल
ऐं ह्रीं क्लीं चामुण्डायै विच्चे ज्वलहं सं लं क्षं फट् स्वाहा॥
॥ इति मन्त्रः ॥
नमस्ते रूद्ररूपिण्यै नमस्ते मधुमर्दिनि।
नमः कैटभहारिण्यै नमस्ते महिषार्दिनि॥1॥
नमस्ते शुम्भहन्त्र्यै च निशुम्भासुरघातिनि।
जाग्रतं हि महादेवि जपं सिद्धं कुरूष्व मे॥2॥
ऐंकारी सृष्टिरूपायै ह्रींकारी प्रतिपालिका।
क्लींकारी कामरूपिण्यै बीजरूपे नमोऽस्तु ते॥3॥
चामुण्डा चण्डघाती च यैकारी वरदायिनी।
विच्चे चाभयदा नित्यं नमस्ते मन्त्ररूपिणि॥4॥
धां धीं धूं धूर्जटेः पत्नी वां वीं वूं वागधीश्वरी।
क्रां क्रीं क्रूं कालिका देवि शां शीं शूं मे शुभं कुरु॥5॥
हुं हुं हुंकाररूपिण्यै जं जं जं जम्भनादिनी।
भ्रां भ्रीं भ्रूं भैरवी भद्रे भवान्यै ते नमो नमः॥6॥
अं कं चं टं तं पं यं शं वीं दुं ऐं वीं हं क्षं।
धिजाग्रं धिजाग्रं त्रोटय त्रोटय दीप्तं कुरु कुरु स्वाहा॥7॥
पां पीं पूं पार्वती पूर्णा खां खीं खूं खेचरी तथा।
सां सीं सूं सप्तशती देव्या मन्त्रसिद्धिं कुरुष्व मे॥8॥
इदं तु कुञ्जिकास्तोत्रंमन्त्रजागर्तिहेतवे।
अभक्ते नैव दातव्यंगोपितं रक्ष पार्वति॥
यस्तु कुञ्जिकाया देविहीनां सप्तशतीं पठेत्।
न तस्य जायतेसिद्धिररण्ये रोदनं यथा॥
॥ इति श्रीरुद्रयामले गौरीतन्त्रे शिवपार्वतीसंवादे कुञ्जिकास्तोत्रं सम्पूर्णम् ॥
॥ ॐ तत्सत् ॥
यह स्तोत्र श्रीरुद्रयामल के गौरी तंत्र में शिव पार्वती संवाद के नाम से उदधृत है. दुर्गा सप्तशती (Durga sapshati) का पाठ थोड़ा कठिन है. ऐसे में कुंजिका स्तोत्र का पाठ ज्यादा सरल भी है और ज्यादा प्रभावशाली भी है. मात्र कुंजिका स्तोत्र के पाठ से सप्तशती के सम्पूर्ण पाठ का फल मिल जाता है.
इसके मंत्र स्वतः सिद्ध किए हुए हैं. इसलिए इन्हें अलग से सिद्ध करने की आवश्यकता नहीं है. यह अद्भुत स्तोत्र है, जिसका प्रभाव बहुत चमत्कारी है. इसके नियमित रूप से पाठ से समस्त मनोकामनाओं की पूर्ति हो जाती है. नवरात्र में यदि इसका पाठ किया जाए तो और शुभ होगा.
सिद्ध कुंजिका स्तोत्र के 5 लाभ
सिद्ध कुंजिका स्तोत्र का पाठ बहुत फायदेमंद है. व्यक्ति को वाणी और मन की शक्ति मिलती है. व्यक्ति के अंदर असीम ऊर्जा का संचार होता है. व्यक्ति को खराब ग्रहों के प्रभाव से छुटकारा मिलता है. जीवन में धन समृद्धि मिलती है. तंत्र-मंत्र की नकारात्मक ऊर्जा का असर नहीं होता है.
सिद्ध कुंजिका स्तोत्र का पाठ कैसे करें?
शाम के समय या रात्रि के समय इसका पाठ करें तो उत्तम होगा. देवी के समक्ष एक दीपक जलाएं. इसके बाद लाल आसन पर बैठें. लाल वस्त्र धारण कर सकें तो और भी उत्तम होगा. इसके बाद देवी को प्रणाम करके संकल्प लें. फिर कुंजिका स्तोत्र का पाठ करें. कुंजिका स्तोत्र का पाठ करने वाले साधक को पवित्रता का पालन करना चाहिए.
https://en.wikipedia.org/wiki/Khadgamala
https://en.wikipedia.org/wiki/Shri_Yantra
Devi Khadgamala Stotram – śrī dēvī khaḍgamālā stōtraṁ
prārthanā |
hrīṅkārāsanagarbhitānalaśikhāṁ sauḥ klīṁ kalāṁ bibhratīṁ
sauvarṇāmbaradhāriṇīṁ varasudhādhautāṁ triṇētrōjjvalām |
vandē pustakapāśamaṅkuśadharāṁ sragbhūṣitāmujjvalāṁ
tvāṁ gaurīṁ tripurāṁ parātparakalāṁ śrīcakrasañcāriṇīm ||
asya śrīśuddhaśaktimālāmahāmantrasya, upasthēndriyādhiṣṭhāyī varuṇāditya r̥ṣiḥ, daivī gāyatrī chandaḥ, sāttvika kakārabhaṭ-ṭārakapīṭhasthita kāmēśvarāṅkanilayā mahākāmēśvarī śrī lalitā bhaṭ-ṭārikā dēvatā, aiṁ bījaṁ klīṁ śaktiḥ sauḥ kīlakaṁ mama
khaḍgasiddhyarthē sarvābhīṣṭasiddhyarthē japē viniyōgaḥ |
mūlamantrēṇa ṣaḍaṅganyāsaṁ kuryāt ||
dhyānam |
āraktābhāṁ trinētrāmaruṇimavasanāṁ ratnatāṭaṅkaramyāṁ |
hastāmbhōjaissapāśāṅkuśamadana dhanussāyakairvisphurantīm |
āpīnōttuṅgavakṣōruhakalaśaluṭhattārahārōjjvalāṅgīṁ |
dhyāyēdambhōruhasthāmaruṇimavasanāmīśvarīmīśvarāṇām ||
lamityādi pañca pūjāṁ kuryāt, yathāśakti mūlamantraṁ japēt |
laṁ – pr̥thivītattvātmikāyai śrīlalitātripurasundarī parābhaṭ-ṭārikāyai gandhaṁ
parikalpayāmi – namaḥ
haṁ – ākāśatattvātmikāyai śrīlalitātripurasundarī parābhaṭ-ṭārikāyai puṣpaṁ
parikalpayāmi – namaḥ
yaṁ – vāyutattvātmikāyai śrīlalitātripurasundarī parābhaṭ-ṭārikāyai dhūpaṁ
parikalpayāmi – namaḥ
raṁ – tējastattvātmikāyai śrīlalitātripurasundarī parābhaṭ-ṭārikāyai dīpaṁ
parikalpayāmi – namaḥ
vaṁ – amr̥tatattvātmikāyai śrīlalitātripurasundarī parābhaṭ-ṭārikāyai
amr̥tanaivēdyaṁ parikalpayāmi – namaḥ
saṁ – sarvatattvātmikāyai śrīlalitātripurasundarī parābhaṭ-ṭārikāyai
tāmbūlādisarvōpacārān parikalpayāmi – namaḥ
(śrīdēvī sambōdhanaṁ-1)
ōṁ aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ ōṁ namastripurasundari |
(nyāsāṅgadēvatāḥ-6)
hr̥dayadēvi, śirōdēvi, śikhādēvi, kavacadēvi, nētradēvi, astradēvi,
(tithinityādēvatāḥ-16)
kāmēśvari, bhagamālini, nityaklinnē, bhēruṇḍē, vahnivāsini, mahāvajrēśvari, śivadūti, tvaritē, kulasundari, nityē, nīlapatākē, vijayē, sarvamaṅgalē, jvālāmālini, citrē, mahānityē,
(divyaughaguravaḥ-7)
paramēśvaraparamēśvari, mitrēśamayi, ṣaṣṭhīśamayi, uḍḍīśamayi, caryānāthamayi, lōpāmudrāmayi, agastyamayi,
(siddhaughaguravaḥ-4)
kālatāpanamayi, dharmācāryamayi, muktakēśīśvaramayi, dīpakalānāthamayi,
(mānavaughaguravaḥ-8)
viṣṇudēvamayi, prabhākaradēvamayi, tējōdēvamayi, manōjadēvamayi, kalyāṇadēvamayi, vāsudēvamayi, ratnadēvamayi, śrīrāmānandamayi,
(śrīcakra prathamāvaraṇadēvatāḥ-30)
aṇimāsiddhē, laghimāsiddhē, [garimāsiddhē], mahimāsiddhē, īśitvasiddhē, vaśitvasiddhē, prākāmyasiddhē, bhuktisiddhē, icchāsiddhē, prāptisiddhē, sarvakāmasiddhē, brāhmi, māhēśvari, kaumāri, vaiṣṇavi, vārāhi, māhēndri, cāmuṇḍē, mahālakṣmi, sarvasaṅkṣōbhiṇī, sarvavidrāviṇī, sarvākarṣiṇī, sarvavaśaṅkari, sarvōnmādini, sarvamahāṅkuśē, sarvakhēcari, sarvabījē, sarvayōnē, sarvatrikhaṇḍē, trailōkyamōhanacakrasvāmini, prakaṭayōgini,
(śrīcakra dvitīyāvaraṇadēvatāḥ-18)
kāmākarṣiṇi, buddhyākarṣiṇi, ahaṅkārākarṣiṇi, śabdākarṣiṇi, sparśākarṣiṇi, rūpākarṣiṇi, rasākarṣiṇi, gandhākarṣiṇi, cittākarṣiṇi, dhairyākarṣiṇi, smr̥tyākarṣiṇi, nāmākarṣiṇi, bījākarṣiṇi, ātmākarṣiṇi, amr̥tākarṣiṇi, śarīrākarṣiṇi, sarvāśāparipūrakacakrasvāmini, guptayōgini,
(śrīcakra tr̥tīyāvaraṇadēvatāḥ-10)
anaṅgakusumē, anaṅgamēkhalē, anaṅgamadanē, anaṅgamadanāturē, anaṅgarēkhē, anaṅgavēgini, anaṅgāṅkuśē, anaṅgamālini, sarvasaṅkṣōbhaṇacakrasvāmini, guptatarayōgini,
(śrīcakra caturthāvaraṇadēvatāḥ-16)
sarvasaṅkṣōbhiṇi, sarvavidrāviṇi, sarvākarṣiṇi, sarvahlādini, sarvasammōhini, sarvastambhini, sarvajr̥mbhiṇi, sarvavaśaṅkari, sarvarañjani, sarvōnmādini, sarvārthasādhikē, sarvasampattipūraṇi, sarvamantramayi, sarvadvandvakṣayaṅkari, sarvasaubhāgyadāyakacakrasvāmini, sampradāyayōgini,
(śrīcakra pañcamāvaraṇadēvatāḥ-12)
sarvasiddhipradē, sarvasampatpradē, sarvapriyaṅkari, sarvamaṅgalakāriṇi, sarvakāmapradē, sarvaduḥkhavimōcani, sarvamr̥tyupraśamani, sarvavighnanivāriṇi, sarvāṅgasundari,
sarvasaubhāgyadāyini, sarvārthasādhakacakrasvāmini, kulōttīrṇayōgini,
(śrīcakra ṣaṣṭhāvaraṇadēvatāḥ-12)
sarvajñē, sarvaśaktē, sarvaiśvaryapradāyini, sarvajñānamayi, sarvavyādhivināśini, sarvādhārasvarūpē, sarvapāpaharē, sarvānandamayi, sarvarakṣāsvarūpiṇi, sarvēpsitaphalapradē, sarvarakṣākaracakrasvāmini, nigarbhayōgini,
(śrīcakra saptamāvaraṇadēvatāḥ-10)
vaśini, kāmēśvari, mōdini, vimalē, aruṇē, jayini, sarvēśvari, kaulini, sarvarōgaharacakrasvāmini, rahasyayōgini,
(śrīcakra aṣṭamāvaraṇadēvatāḥ-9)
bāṇini, cāpini, pāśini, aṅkuśini, mahākāmēśvari, mahāvajrēśvari, mahābhagamālini, sarvasiddhipradacakrasvāmini, atirahasyayōgini,
(śrīcakra navamāvaraṇadēvatāḥ-3)
śrīśrīmahābhaṭ-ṭārikē, sarvānandamayacakrasvāmini, parāpararahasyayōgini,
(navacakrēśvarī nāmāni-9)
tripurē, tripurēśi, tripurasundari, tripuravāsini, tripurāśrīḥ, tripuramālini, tripurāsiddhē, tripurāmba, mahātripurasundari,
(śrīdēvī viśēṣaṇāni, namaskāranavākṣarī ca-9)
mahāmahēśvari, mahāmahārājñi, mahāmahāśaktē, mahāmahāguptē, mahāmahājñaptē, mahāmahānandē, mahāmahāskandhē, mahāmahāśayē, mahāmahā śrīcakranagarasāmrājñi namastē namastē namastē namaḥ |
phalaśrutiḥ |
ēṣā vidyā mahāsiddhidāyinī smr̥timātrataḥ |
agnivātamahākṣōbhē rājārāṣṭrasya viplavē ||
luṇṭhanē taskarabhayē saṅgrāmē salilaplavē |
samudrayānavikṣōbhē bhūtaprētādikē bhayē ||
apasmārajvaravyādhi-mr̥tyukṣāmādijē bhayē |
śākinī pūtanāyakṣarakṣaḥkūśmāṇḍajē bhayē ||
mitrabhēdē grahabhayē vyasanēṣvābhicārikē |
anyēṣvapi ca dōṣēṣu mālāmantraṁ smarēnnaraḥ ||
sarvōpadravanirmukta-ssākṣācchivamayōbhavēt |
āpatkālē nityapūjāṁ vistārātkartumārabhēt ||
ēkavāraṁ japadhyānam sarvapūjāphalaṁ labhēt |
navāvaraṇadēvīnāṁ lalitāyā mahaujasaḥ ||
ēkatragaṇanārūpō vēdavēdāṅgagōcaraḥ |
sarvāgamarahasyārthaḥ smaraṇātpāpanāśinī ||
lalitāyā mahēśānyā mālā vidyāmahīyasī |
naravaśyaṁ narēndrāṇāṁ vaśyaṁ nārīvaśaṅkaram ||
aṇimādiguṇaiśvaryaṁ rañjanaṁ pāpabhañjanam |
tattadāvaraṇasthāyi dēvatābr̥ndamantrakam ||
mālāmantraṁ paraṁ guhyaṁ paraṁ-dhāma prakīrtitam |
śaktimālā pañcadhā syācchivamālā ca tādr̥śī ||
tasmādgōpyatarādgōpyaṁ rahasyaṁ bhuktimuktidam ||
iti śrīvāmakēśvaratantrē umāmahēśvarasaṁvādē śrī dēvīkhaḍgamālāstōtraratnam
https://vignanam.org/veda/sri-devi-khadgamala-stotram-telugu.html
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