For instance for the first episode ( Prathama-charita), the Rishi is Brahma the Devata is Mahakali the Chhandas is Garyatri its Shakthi is Nanda its Bija is Raktha-dantika and its Viniyoga is securing the grace of Sri Mahalakshmi. Each of its episodes ( charita) is associated with a Rishi (the sage who visualised it), a Chhandas (its meter), a presiding deity ( pradhna-devata), and viniyoga (for japa). The Devi Mahatmya or Durga Saptashati is treated like a Vedic hymn, rik or a mantra. Thus, he reveres the Devi Mahatmya as a great Mantra-maya scripture, as also an esoteric text on Yoga Shastra and Sri Vidya. And, this also is called Ajapa-japa.]īhāskararāya asserts that the Goddess is present in every word and every sound of the Devi Mahatmya and, the recitations of these words can reveal her. Thus, the Hamsa mantra is repeated (Japa) by everyone, each day, continuously, spontaneously without any effort, with every round of breathing in and out. A person is said to inhale and exhale 21,600 times during a day and night. This virtually becomes Ham-sa mantra (I am He I am Shiva). A person exhales with the sound ‘Sa’ and, she/he inhales with the sound ‘Ha’. The term Ajapa-japa is also explained in another manner. When this proceeds for a long-time, it is said the consciousness moves upward ( uccharana) and becomes one with the object of her or his devotion. Such instinctive and continuous recitation is called Ajapa-japa. It seeps into his consciousness and, it goes on automatically, ceaselessly and inwardly without any effort of the person, whether he is awake or asleep. Now, the Japa no longer depends on the will or the state of activity of the practitioner. After long years of constant practice, done with devotion and commitment, an extraordinary thing happens. The efficacy of the Japa does depend on the will, the dedication and the attentiveness of the person performing the Japa. Ordinarily, Japa starts in Vaikhari form (vocal, muttering). It moves from Vaikhari through Madhyamā towards Pashyanti ‘ and, ideally, and in very rare cases, to Para vac. The reverse is said to be the process of Japa (reciting or muttering the mantra). It is both the means ( upaya) and the end ( upeya). Therefore, some describe mantra as a catalyst that’ allows the potential to become a reality’. It is said mantra gives expression to the identity of the name ( abhidana) with the object of contemplation ( abhideya). It is said when one utters a deity’s Mantra, one is not naming the deity, but is evoking its power as a means to open oneself to it. And, that leads to the realization ( Anubhava) of the bliss ( Ananda) of one’s identity with her ( Pratyabhijna). And, beyond that is the Para, the contemplation, absorption into the very essence of the Devi. If an idol or a Yantra is the material ( Sthula) form of the Goddess, the Mantra is her subtle form ( Sukshma-rupa). The silent form of mantra is said to be superior to the whispered ( upamasu) utterance. That is followed by the Mantra repeated in the silence of one’s heart ( tushnim). Here, it is union of mind ( Manas) and word ( Vac). In its next stage, it unites harmoniously with the mind. It is the living sound, transcending beyond the mental plane the indistinct or undefined speech ( anirukta) having immense potential. The Shaiva text Shiva Sutra describes Mantras as the unity of Vac and consciousness: Vac-chittam ( ārādhakasya citta ṃ ca mantras tad dharma yogata ḥ– Shiva Sutra: 2.1). Mantra is said to connect, in a very special way, the objective and subjective aspects of reality. The Mantra, in its sublime form, is rooted in pure consciousness. Its inner essence has to be grasped in humility, earnestness and faith. Its subtle sounds attempt to visualize the un-differentiated divine principle. , its relevance is in its inherent Shakthi. It is the harmonious and powerful union of mind ( Manas) and word ( Vac). It is the living sound, transcending beyond the mental plane. [The term Mantra is explained as mananat trayate mantrah the contemplation of which liberates. Bhāskararāya approaches the text of the Devi Mahatmya as “the mantra whose form is a multitude of verses ( ślokas), consisting of three episodes ( caritas), each one describing the glory of one of the three different aspects of the Supreme Goddess – Maha-Kali, Mahālak ṣh mī and Maha-Sarasvathi. It is the bridge between the physical and the formless Reality. The Tantra School recognizes Vac as the embodiment of the Shakthi. And, in his Guptavati, he reveres Devi Mahatmya as a mantra of the Devi, embodying her divine presence. He adopted the Tantra approach in his spiritual pursuit. As mentioned earlier, Bhāskararāya Makhin was essentially a Shakta and was also an ardent Sri Vidya Upasaka.
0 kommentar(er)
