Category Archives: tantra

Ways to perceive nada

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What are the sources through which the yogi can perceive nāda? There are two main ways. The first is mantra yoga (tantras), the second is haṭha-yoga (prāṇāyāma, mudrās, etc.). Here is what the Śāradā-tilakam tantra (Рrathamaḥ paṭalaḥ) tells us:

सच्चिदानन्दविभवात् सकलात् परमेश्वरात् ।
आसीच्छक्तिस्ततो नादो नादाद् बिन्दुसमुद्भवः ॥७॥

saccidānandavibhavāt sakalāt parameśvarāt ।
āsīcchaktistato nādo nādād bindusamudbhavaḥ ॥7॥

From the eternal goodness of Parameśvara, whose nature is Eternity-Knowledge-Bliss, Śakti (power) manifested first, then the vibration (nāda) manifested from the power, and bindu manifested from the peak of the tension of nāda.

That is, if you practice yoga, then by doing practices to activate Śakti, such as bhastrikā–prāṇāyāma, etc., Śakti can release the pulsation, the vibration of nāda. Or, if you practice mantras, then “activating the mantras“, awakening them in various ways, you will also come to the perception of nāda.

Of course, these methods in the traditions have always been directly transmitted from Gurus to their students. It is more than just information or theory, although knowledge of the theory, one way or another, can help.

About the “tantrikas”, saying that Yoga is “the path of paśu”.

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I have translated a short passage from the Rudrayamalatantra Uttarakāṇḍa, dedicated to those “tantrikas”, who criticise the Yoga path:

श्वासाभ्यासं विना नाथ अष्टाङ्गाभ्यसनेन च ।
विना दमेन धैर्येण कुलमार्गो न सिद्ध्यति ॥१६-३६॥

O Nātha, without the breathing practice along with the practice of the eight limbs [of yoga];
Without control and stability, there will be no perfection in the Kula path. (16-36)

तथा पूरकयोगेन रेचकेनापि तिष्ठति ।
विना कुम्भकसत्त्वेन यथैतौ नापि तिष्ठतः॥१६-३७॥ 

The same is true with inhalation and exhalation.
Without the essence of holding [breathing], these two are also unstable. (16-37)

तथा योगं विना नाथ अष्टाङ्गाभ्यसनं विना ।
कुलमार्गो महातत्त्वो न सिद्ध्यति कदाचन ॥१६-३८॥ 

O Nātha, also without yoga, without practicing its eight parts.
The Kula path will never be successful in the highest essence. (16-38)

कुलमार्गं विना मोक्षं कः प्राप्नोति महीतले ।
कुलमार्गं न जानाति योगवाक्यागमाकुलम् ॥१६-३९॥ 

How can one achieve spiritual liberation on this earth without the Kula path who knows neither the path of kula, nor the doctrine of yoga, nor the kaula-agama? (16-39)

The fifth makara in tantra practice

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I translated a small part of the Experience in Spiritual Practice (साधना के अनुभव), the book by Rameshchandra Sharma. I think this information will be useful for many practitioners to understand the maithuna topic in Tantrism. It is necessary to practice the maithuna ritual when the sexual energy stagnates in the area of the mūlādhāra and svādhiṣṭhāna cakras. When the kuṇḍalinī ascends, the practice with it becomes a form of yoga, which is mainly contemplative. Of course, these boundaries are very relative, however, there is a general principle of connecting the two poles in order to sublimate our vision and energy. Here is the text:

The Fifth of the Five Makaras

In tantric sādhanā, the practice of pañcamakāra is found. Practice with madya (wine), māmsa (meat), etc., it can also be done with their substitutes. In the pañcamakāra, the fifth is associated with the sense-oriented pūjā, which is known as maithuna. In essence it leads to the regulation of the semen. Maithuna is also called “lata–sādhanā“, it is a special practice for awakening the svādhiṣṭhāna–cakra.

Often after the awakening of the kuṇḍalinī, when vāyu (energy) rises to the svādhiṣṭhāna–cakra, kāma (passion), ascending there, begins to transform into what we know as yoga–sādhanā. Through the identification of a woman with Devī (Goddess) and himself with Śiva, the practitioner leaves the gross states of the physical body, and his spirit and consciousness are directed to the sphere of spiritual consciousness. This often happens when practicing a mantra with prāṇāyāma. The power in the svādhiṣṭhāna or maṇipūra–cakra begins to intensify and the practitioner through asceticism becomes an ūrdhvareta – one, whose ascending sexual power is sublimated. Near the maṇipūra–cakra (just below it) in a woman is the womb (garbhāśaya), which is the most important area in their body. 

So, from the svādhiṣṭhāna–cakra to the maṇipūra–cakra there is a point of two poles, the connection of the spiritual and the physical. and through the practice of japa you connect these centers in a pure sāttvic state. In a state of full bloom of power, at the beginning of the practice, you use a special method, thanks to which the power increases and moves further in the direction of the anāhata–cakra. Mental worship is the essence, thanks to which everything basic happens there.

In the daily pūjā you can invoke the Goddess into a red flower (yellow in the case of Bagalāmukhī), and invoke Śiva in a white flower. Place the flower where the Goddess is on top of the white flower of Śiva, that will be the symbol of viparīta-rati, symbolically connecting Śiva and Śakti.

Bagalāmukhī as a relevant Goddess for śaktas, śaivas and vaiṣṇavas.

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I would like to give a short quote from the Svatantra Tantra about the appearance of the Goddess Bagalāmukhī and her connection with Śrīvidyā, also Viṣṇu and Śiva.

अथ बक्ष्यामि देवेशि बगलोत्पत्ति कारणम्।
पुरा कृत युगे देवि वात क्षोभ उपस्थिते।।

Now, Mistress of the Gods, listen to the reason for the appearance of Bagalāmukhī. A long time ago, a great hurricane appeared in the Satya Yuga.

चराचर विनाशाय विष्णुश्चिन्ता परायणः।
तपस्यया च संतुष्टा महात्रिपुर सुन्दरी।।

All living and non-living began to collapse. Seeing this, Viṣṇu fell into contemplation and in this way he satisfied Mahātripurasundarī.

हरिद्राख्यं सरो दृष्ट्वा जल क्रीड़ा परायणा।
महाप्रीति हृदस्थान्ते सौराष्ट्र बगलाम्बिका।।

Seeing how in the playing waters of the Haridra lake (Turmeric lake) in Saurāṣṭra (now Gujarat), Mother Bagalāmukhī appeared in the heart of the Goddess (Tripurasundarī).

Further, the text says that heat (or light) emerged from Śrīvidyā (Tripurasundarī) and from there spread everywhere, stopping the hurricane. This happened on the fourteenth lunar day (Caturdaśī tithi) connected with Tuesday when the sun was in Capricorn (Makara), also on the night known as Vīrarātri (the heroic night).

Bagalāmukhī is considered as a part of Śrīvidyā Tantra and in her four-armed form she is in many ways identical to Tripurasundarī. There is also a story in the Rādhā Tantra about how Viṣṇu practiced tapasya and could not get success in sadhanā, after which the Goddess Śrī (Tripura) appeared to him and said that he need to manifest with her in Mathura, she would manifest in the form of Rādhikā. And worshiping Kalī in her by the kaulācāra methods, he, being Kṛṣṇa, will reveal all his siddhis. This happened because of the worshipping Rādhā as Parakīya–śakti, Viṣṇu (Kṛṣṇa) gained all success and destroyed many demons. The most interesting thing in all these stories is that the Goddess Śrī can be considered as Lakṣmī, but she is also Tripurasundarī, and we know that Śiva is Bhairava of Tripurasundarī. Thus, based on the analysis of these stories, we see that Viṣṇu and Śiva are one Deity –– Harihara. Also, Lakṣmī and Śrī, who were worshiped by Kṛṣṇa, may be Kalī, whom Kṛṣṇa invoked in them. This wonderful story allows you to cover a lot. We also know that Bagalāmukhī is a stambhinī–śakti, she can represent not only the power of Mahāmṛtyuñjaya, but also the sthiti–śakti of Viṣṇu. The Sāṃkhyāyana Tantra (Paṭala 35) describes Bagalāmukhī as one who is revered as Kalī in the uttara and urdhva āmnāyas. There is also a description of her as the one on the left side of which is Kalī, and on the right side is Tripurasundarī. Bagalāmukhī includes these two Goddesses who embrace Kalī and Śrī Kūlas.

The role of suṣumṇā in the mantra realisation

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Looking through the Bengali text, the Bṛhattantrasāra, written by Guru Kṛṣṇānandāgamavāgīśa, I found an interesting point regarding the mantra practice, where the Gautamīya-tantra is quoted. We know that there is a classical practice of puraścaraṇa in the form of japa, homa, tarpaṇa, mārjana and brāhmaṇa bhojana. However, it speaks of a certain “exception”, which, in my opinion, is a transitional moment of sādhanā, “joining” in itself the goals of vāmācāra and yoga of the Nāthas (vajrolī). I decided to share this piece of text with you, maybe it will give someone an additional understanding of the tantra and Nātha yoga practice.

गौतमीये –
पशुभावे स्थिता मन्त्राः प्रोक्ता वर्णास्तु  केवलाः ।
सौषुम्ने  ध्वन्युच्चरिता  प्रभुत्वं प्राप्नुवन्ति ते
मन्त्राक्षराणि चिच्छक्तौ प्रोतानि परिभावयेत्
तामेव परमव्योम्नि परमामृतबृंहिते
दर्शयत्यात्मसद्भावं पूजाहोमादिभिर्व्विनेति
मूलमन्त्रं प्राणबुद्ध्या सुषुम्नामूलदेशके
मन्त्रार्थं तस्य चैतन्यं जीवं ध्यात्वा पुनः पुनः

In the Gautamīya Tantra:

The mantras practiced in the paśu bhava are recited only at the letter level. The Suṣumṇā-related, practiced sounds are overflowing with power. During jāpa, the mantrāksharas should be fully connected to the power of consciousness. That (mantra) in the highest space is nourished by the highest bliss. Pūjā, homa and etc. are not required for this type of practice, practice the main mantra* through the power of consciousness in the root area (the base) of suṣumṇā (genitals). Practice meditation over and over again with that mantra essence, the consciousness of a living being.

* Mūla–mantra (the root mantra) is the main mantra of a Deity. For example, Śiva’s mantra is oṃ namaḥ śivāya, Gaṇeśa’s mantra is oṃ gaṃ gaṇapataye namaḥ, etc.

Mudrā in practices of yoga and tantra

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We know that there are different types of mudrās in yoga, as well as in the practices of pūjā. What is common between them and what is the difference?

Let’s start with the grammatical meaning of the term. मुद्रा / mudrā originates from the root मुद् / mud, which could be of two classes. The first class चुरादिः / curādiḥ treats मुद् / mud as संसर्ग / saṃsarga – ‘mixing, unification’, which may in the sense coincide with the meaning of the terms ‘yoga’ or ‘bandha’ (binding, unification). Another class is भ्वादिः / bhvādiḥ, in which the root मुद् is interpreted as हर्ष / harṣa – ‘joy’. That could shed light on the understanding of mudrās in general, in spite of all their differences.

Then, what could be considered as mudrās? Firstly, there are yogic mudrās, such as mahāmudrā, mahābandha, etc. Secondly, there are hand mudrās, which are mostly used in pūjās in India. Thirdly, the mudrās as certain states of consciousness, for example, khecarī–mudrā as continuous awareness, not as curling of the tongue back into the mouth above the palate. Although some of these mudrās may have names similar to ones in haṭha-yoga, but mudrā could be a state of consciousness, let’s say, as mahāmudrā in Buddhism. Fourthly, various forms of the Goddesses are called mudrās. Fifthly, money with certain images, signatures on documents, certain signs that convey some important meaning are called mudrās. Sixthly, certain attributes are sometimes called mudrās. For instance, in the Vaiṣṇava Śrī  Sampradāya such attributes, as a sacred thread (yajñopavīta), ashes (bhasma), skull (kapāla) and others, are also called mudrās. Or, in the Nātha Sampradāya – earrings, symbolising the archetype of Śiva, are also sometimes called mudrās. The attributes, which are hold by Deities are also sometimes called mudrās. Seventhly, in Kaśmīr Śaivism, Abhinavagupta divides mudrās into three categories: 1) performed by the body (dehodbhava) mentioned above, 2) states of consciousness (manobhava), which were also mentioned above, 3) he also names mantras, as vaghava–mudrā.

For further clarification, I would like to give one more example, this time from a Western tradition. Some Greek philosophers, Aristotle, Plato for instance, had such a view regarding the genesis that there is the supreme consciousness or spirit, and there is an inert and lifeless matter. So, when the supreme consciousness comes into contact with that matter, then forms reflecting the paramount plan of the Creator arise. I think, it considers the meaning of the term ‘mudrā’ in a right way. Each created form is a transmitter and a reflection of the supreme consciousness, therefore everything in the world is arranged, everything interacts with everything and everything is in its place. That very well reflects a concept such as ṛta from the Vedas or the later one – dharma. When you peer into the essence of phenomena, through that you can come to the awareness from an ultimate source.

So, what do all these mudrās have in common, despite all the differences? All of them contain a certain, highly significant archetype. Even if we practise, for instance, such mudrās as mahāmudrā from haṭha-yoga or viparītakaraṇī, these are not just body poses. Of course, nowadays, most haṭha-yoga practitioners utilise these practices without any attempt to go deeper into their essence. But, if you take a look at the descriptions of all yoga techniques, then the mudrās are described in a poetic, colorful language there, and very few people understand that we can meditate on the very description of these methods. Thus, jānu-śīrṣāsana ceases to be just a body pose, when you realise that one leg represents the solar channel and the other – the lunar one, etc.

Probably, you know that sometimes we can understand each other without words, on the level of gestures or glance. Why is that so? Because, all these levels transmit the meaning and precisely that element of ‘meaning’, especially when it comes to the ultimate meaning, makes them all mudrās. So, the speech that has become logos, which tries to convey a very high meaning, becomes both a mantra and a mudrā. A nāth, who wears kuṇḍalas (attributes of Śiva), wears them realising himself as Śiva and he never takes them off, since they are forever, eternal, just like Śiva himself. Kuṇḍalas are a symbol of your meditation, or of something that is beyond sleep, wakefulness, and generally any worldly change. Although of course, not everyone knows that meaning, even among those who receive and wear them. Unfortunately, that is not explained to everyone who receives them. And if there is something high and meaningful, you never remain indifferent, and if that is really so, then you cannot be insincere. A mudrā is something that affects you very deeply, you can attain samādhī and samādhī itself could also be a mudrā. If it is a level of essentiality, the differences are conditional there. A mudrā instantly makes you both attentive and responsible. For example, you signed an agreement that you will be going to work at a certain time, put a signature there. It connects you with something, because there is also bandhana. But, this bandha does not have a negative meaning, because the other meaning of the root and the term as a whole is something that gives joy. If there is a high meaning and the joy associated with it, then it becomes a practice of mudrā. Hand mudrās, with which you resonate with deities, thereby creating a subtle and deep channel of communication, work on the same principle. That is the use of the essential meaning displayed in a sign, in this case, performed by various positions of hands. If there is a mantra, and you engage with it and get into its higher meaning, then it becomes mudrā too. If mudrās activate a connection with the Divine in you, that connection gives you perfections, therefore it is believed that mudrās grant siddhis.

Vajrolī in Buddhism and Indian traditions

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Recently, one of my students asked me a question, “Is it true that there is semen retention in Vajrayana (in the practice of karma–mudrā of the Completion stage), but is it not so in Indian tantras?”

First of all, I think that it is wrong to sacrifice a human nature to religious corporations, dividing it into Tibetan and Indian one. There is a tendency to think that if you are a Tibetan, you can retain semen, and if you are an Indian, the practice must necessarily be different. The  retention  of ejaculation in the practice of maithuna or karma–mudrā is an allegory. In Indian kaulācāra, this kind of practices implies ejaculation, as an analogue of pūrṇāhuti in agnihotra. After which, this substance is mixed with wine and then used in pūjā. There is a lot of evidences of that fact, for example, in the Guhyasamāja-tantra:

विण्मूत्रशुक्ररक्तादीन् देवतानां निवेदयेत्।
एवं तुष्यन्ति सम्बुद्धाः बोधिसत्त्वा महाशयाः॥२१॥

viṇmūtraśukraraktādīn devatānāṃ nivedayet।
evaṃ tuṣyanti sambuddhāḥ bodhisattvā mahāśayāḥ ॥21॥

It is necessary to offer the secretion: urine, semen, female bodily fluids and offer them to the Deities. Thus, it will satisfy the great awakened ones, buddhas and bodhisattvas.

Prior to that, there is a recommendation to practice intercourse with a beautiful young woman. In order, for example, to offer semen in pūjā, it is obvious that there must be present a finalised ritual of maithuna. And there is quite a bit of such recommendations in Vajrayana. These kinds of transgressions in Vajrayana, which seems to be full of  savagery to the common man, in fact, are not much different from saptamakaras in aghora, which took a lot from traditions like kāpālikas.

If you read a description of vajrolī or amarolī in the Haṭha-yoga-pradīpikā, you will see that there is a recommendation to mix the released semen with ash and apply it as a tilaka. That is, it means that ash is a symbol of amṛta, as well as semen. It says of the same principles as in the description from the Guhyasamāja-tantra and other Buddhist texts. Here is a very similar fragment from the Yoni-tantra:

भक्त्या द्रव्यं जपेन्मन्त्रं जप्त्वा मैथुनमाचरेत् शु्क्तोत्सरणकाले च शृ्णु पार्वति सुन्दरि
योनितत्त्वं समादाय तिलकं क्रियते यदि शतजन्मावर्ज्जितं पापं तत्क्षणादेव नश्यति ॥20-21॥

bhaktyā dravyaṃ japenmantraṃ japtvā maithunamācaret 
śuktotsaraṇakāle ca śṛṇu pārvati sundari
yonitattvaṃ samādāya tilakaṃ kriyate yadi
śatajanmāvarjjitaṃ pāpaṃ tatkṣaṇādeva naśyati ॥20-21॥

The sādhaka should chant the mantra and enjoy the ‘substances’ during the practice of maithuna. Listen, beautiful Parvatī, if a sādhaka makes himself a tilaka with ‘yoni fluids’ after an orgasm, then he will instantly forsake all the sins associated with a hundred births. (20-21)

The requirement given here is very similar to the one from the Haṭha-yoga-pradīpikā. Probably, the goal here is not to retain semen so that there is no ejaculation at all. If the process is contemplative, then such a suspension or extension of the act occurs naturally. And the practitioner accomplishes that not by themselves and not because their ego wants it, like they can feed it by being ‘good technicians’. Here, the Goddess also controls the process through you. And the prolongation of the act is needed more in order to satisfy the Goddess in a woman, so she will bestow siddhi through her satisfaction. And at the end of the ritual, pūrṇāhuti is being done in the form of an orgasm. A prolongation of the act may occur due to the desire to satisfy the Divine. But not at all in order to demonstrate some kind of  ‘athletic abilities’ to stretch time, in which many people mistakenly believe. Each practice has a main task that must not be forgotten, otherwise it loses its true purpose and value, no matter how exclusive the technique may look. As we can see, ūrdhvaretā could be understood as  retracting substances back, but that is not by drawing them back into the genitals. That could be, for instance, the communion in the form of tilaka (as ūrdhva is the head area), and so on. And the most important thing is what happens on a psychic level, psychic vibes are significant. For a yogin who understands the essence of this practice, the physical side may be less relevant. They can perceive the sexual energy of life and flowering in their essence. Therefore, for some, a yogic practice is simply the essence of such ceremonies, even without their external implementation.

Symbolism of the Chinnamastā image

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Today is an interesting day, the birthday of Nṛsiṃha, the incarnation of Viṣṇu, and of the Goddess Chinnamastā. According to the Toḍala-tantra, the Ten Mahāvidiyās are associated with the Ten Viṣṇu avatārs.

What do the images of Chinnamastā and Nṛsiṃha have in common? According to one legend, Nṛsiṃha came to destroy the demon Hiraṇyakaśipu. Hiraṇyakaśipu, performing austerities, asked Brahmā not to be killed either outdoors or indoors, either on the ground or in the air, either by humans or animals. Then Viṣṇu appeared in the form of a half-man and a half-lion, he killed the demon on the porch of his palace, placing him over his knee. So the demon was killed in a way that he did not expect. There is also a continuation of this story,  in which Nṛsiṃha gets drunk on the blood of the killed demon and becomes infected with it. After that, Śiva appears in the form of Śarabheśvara and neutralises the blood of the demon in Nṛsiṃha. Śarabheśvara is depicted not  just as a lion, but with wings, i.e. he has a great  ability of manifestation in various  realms, since he is able to  fly through the air. Two Goddesses appear from his wings, one is Pratyaṅgirā and the other is Śūlinī Durgā, both of which are related to the elimination of the negative influence or witchcraft on the practitioner. In fact, Śarabheśvara is nothing more than an enhanced form of Nṛsiṃha. I heard from Indian tantrikas that there are no contradictions here, because Viṣṇu and Śiva are  fused in the form of Harihara.

If you  look at the  image of Chinnamastā, you will see that it stands on Kāma, the God of sex, who is in the intercourse with his companion Rati (Goddess of passion). Thus, Chinnamastā  gets energy from passion, but in its essence, this passion is also self-transformation or sublimation. Chinnamastā chopped off her own head and holds it in her hand, while her head drinks a stream of blood from the body. Two other streams are drunk by her two companions. This is a symbol of the three channels, where Chinnamastā herself symbolises suṣumṇā and the other two Goddesses – the channels iḍā and piṅgala. In other words, Chinnamastā is a certain single reality that is present in all channels, in the power of passion and creation. In fact, it is a single indestructible force within every living form. Her mantra is the same as the Vajravārāhī mantra in Buddhism,  who is also known there as the Goddess Khecharī (mudrā) of white color. The name Chinnamastā in the mantra is “Vajravairocanī” (‘the shining lightning’), and the term vajra  could also mean “indestructibility”.

From my experience of worshiping Chinnamastā, I can say that this form is associated with a deep comprehension of one element or aspect of self, through which it is possible to penetrate into all others. You  kind of unite them and go beyond them. In yoga, for example, you exhale smoothly (rechaka) and automatically comprehend the essence of the correct inhalation (pūraka). Through both of them you comprehend the essence of the retention (kumbhaka). Kumbhaka – from the root कुम्ब् / kumb ( something which encompasses, embodies in itself). Therefore,  a  vessel is often a symbol of female genitals  (yonī), from the root यु / yu, – something which connects, forms and holds in itself. Yonī  could also mean something that is associated with  various forms of birth, all creation comes from it, all forms of life, they dissolve in it. Kumbha or a vessel is a symbol of the body, both individual and the body of the universe, all life (amṛta) and the whole universe is in it. A vessel is a symbol of the unity of external and internal space (vyoman), the void inside  and outside a vessel is one in its essence. Therefore, there is one single reality in all our bodies. We  could say that these are parts: inhalation, exhalation, retention, like other parts of yoga, besides prāṇāyāma, āsana, pratyāhāra, dhāraṇā, yama, niyama, etc. All of them are one single sādhanā, one yoga, like other yogas (rāja, karma, jñāna, laya). Unfortunately, people have separated all these methods now, although they have one goal and one reality. Once you comprehend one aspect well, you automatically come to the comprehension of its inextricable connection with  all others. Chinnamastā is a very paradoxical symbol, it is a symbol of cutting off all worldly things and at the same time it is a symbol of presence in everything. It is the transcendental, indestructible,  radiant emptiness that generates an abundance of life forms and is present in each such form.  Surely, she is associated with the complete absence of oneself in something, but also with the complete presence of oneself there. Chinnamastā is a symbol of spiritual death in which there is no conditioning by births, she is also a symbol of the fullness of life and the infinite wealth of life. Fear of death and fear of life are usually related. A yogi is one who dies for the world and through this death he is resurrected to a new vision of life in all its beauty and fullness. In this regard, Chinnamastā is a part of the Kālī pantheon (Kālī–kūla), because Kālī is connected with time, which is divided into parts, into segments. The term Kālī is feminine from kāla (‘time’), which is  masculine.  It comes from the root कल् (kal),  which is the first gaṇa (group of roots) of ten in Pāṇini, and means सङ्ख्यान (saṅkhyāna – “to count”) , and कला (kalā) is from the same root – “a part of something  general, art, etc.” She teaches to control prāṇa, and through the management of prāṇa leads to going beyond time or death.

 The meaning of the circle principle (the cakra)

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According to the Pāṇini’s grammar, the term cakra comes from the root कृ / kṛ, meaning “movement”. Abhinavagupta, in the Tantrāloka (āhnika 19, ślokas 106-107), explains that the term is really from the root kṛ, but it also means vikāsa (expansion), tṛpti (satisfaction), paśotkartanātkṛtiśaktitaḥ (what cuts off the fetters and what is the power of activity). Further, he says that the term is connected with the root कस् / kas or कः / kaḥ, which is translated as “who,” by which denote Ātman, Brahman, light and much more in different sources. Abhinavagupta chooses the meaning of light, pleasure.

Based on these sources, I would deduce the following: kaḥ is Brahman or Ātman, and ṛ, which means “movement”, is Śakti. Since Brahman is infinite in nature, no matter what energies emanate from Him, they close on Him forming reverse or circular motions. This also has the principle of movement, repetition – japa in Sanskrit. Since this is natural for Śakti and Brahman, it can be called ajapa-japa. The circle symbolises infinity, it evenly embraces all sides, without emphasis on any one relative to the rest, hence probably, the principle of vairāgya, or liberation from fetters (pāśa) comes. Uniformity is possible only when there is a center in a circle or bindu, which means Ātman. Accordingly, if you take the cakras in the subtle body, then these are different spheres or levels of comprehension of Ātman. For example, Gorakṣanāth, in the Gorakṣa-vacana-saṃgraha (93-100), gives the practice of comprehending the Ātman in each cakra of your body. Not only cakras are arranged by the circle principle, but also channels of the subtle body, the movement of prāṇa in the iḍā and piṅgala occurs in a spiral. The circular movements are harmonious, they generate and accumulate prāṇa, while all “broken” and “ragged” ones (that are reflection of weak control and awareness) – destroy and waste power. Therefore, the cakra or cakras are essential elements of our spiritual development.

Gorakśanātha-upāsanā according to the Kalpadruma Tantra

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I translated the tantric Gorakśanātha-upāsanā according to the Kalpadruma Tantra at the request of my students.

विनियोगः। viniyogaḥ ।

ॐ अस्य श्री गोरक्ष मन्त्रस्य बृहदारण्यक ऋषिः अनुष्टुप् छन्दः श्री गोरक्षनाथो देवता गों बीजम् विमला शक्तिः   हंसेति कीलकं निरञ्जनात्मक सर्व तत्त्व सिद्धये जपे विनियोगः ।।

oṃ asya śrī gorakṣa mantrasya bṛhadāraṇyaka ṛṣiḥ anuṣṭup chandaḥ śrī gorakṣanātho devatā goṃ bījam vimalā śaktiḥ haṃseti kīlakaṃ nirañjanātmaka sarva tattva siddhaye jape viniyogaḥ ।।

The ṛṣi of the Śrī gorakṣanātha–mantra is Bṛhadāraṇyaka, the rhythm is anuṣṭup, the Divine is Gorakṣanātha, the bija is goṃ, the Śakti is Vimalā (pure), the kīlaka is haṃsa, the ritual of japa for success in the essential purity of all tattvas.

ऋष्यादिन्यासः । ṛṣyādinyāsaḥ । (the nyāsa starts from the head and so on)

ॐ बृहदारण्यक ऋषये नमः। शिरसि ।
oṃ bṛhadāraṇyaka ṛṣaye namaḥ । śirasi (touch the crown of the head)

ॐ अनुष्टुप् छन्दसे नमः । मुखे ।
oṃ anuṣṭup chandase namaḥ । mukhe (the face)

ॐश्री गोरक्ष देवताय नमः । हृदि ।
oṃ śrī gorakṣa devatāya namaḥ । hṛdi (the heart)

ॐ गो बीजाय नमः । गुह्ये ।
oṃ go bījāya namaḥ । guhye (the perineum)

ॐ विमला शक्तये नमः । पादयोः ।
oṃ vimalā śaktaye namaḥ । pādayoḥ (the feet)

ॐ हंसेति कीलकाय नमः । नाभौ ।
oṃ haṃseti kīlakāya namaḥ । nābhau (the navel)

करन्यासः । karanyāsaḥ । (the palm nyāsa)

ॐ ह्रीं श्रीं गों गोरक्षनाथाय अङ्गुष्टाभ्यां नमः ।
oṃ hrīṃ śrīṃ goṃ gorakṣanāthāya aṅguṣṭābhyāṃ namaḥ । (connect two thumbs of your hands)

ॐ ह्रीं श्रीं गों गोरक्षनाथाय तर्जनीभ्यां नमः ।
oṃ hrīṃ śrīṃ goṃ gorakṣanāthāya tarjanībhyāṃ namaḥ । (connect two index fingers)

ॐ ह्रीं श्रीं गों गोरक्षनाथाय मध्यमाभ्यं नमः ।
oṃ hrīṃ śrīṃ goṃ gorakṣanāthāya madhyamābhyaṃ namaḥ । (connect the two middle fingers)

ॐ ह्रीं श्रीं गों गोरक्षनाथाय अनामिकाभ्यां  नमः ।
oṃ hrīṃ śrīṃ goṃ gorakṣanāthāya anāmikābhyāṃ namaḥ । (connect two ring fingers)

ॐ ह्रीं श्रीं गों गोरक्षनाथाय कनिष्ठिकाभ्यं नमः ।
oṃ hrīṃ śrīṃ goṃ gorakṣanāthāya kaniṣṭhikābhyaṃ namaḥ । (connect two little fingers)

ॐ ह्रीं श्रीं गों गोरक्षनाथाय करतल-कर-पृष्ठाभ्यां नम: ।
oṃ hrīṃ śrīṃ goṃ gorakṣanāthāya karatala-kara-pṛṣṭhābhyāṃ namaḥ । (connect the back of the palms)

हृदयादिन्यासः । hṛdayādinyāsaḥ । (nyāsa starts from the heart and etc.)

ॐ ह्रीं श्रीं गों गोरक्षनाथाय हृदयाय नमः ।
oṃ hrīṃ śrīṃ goṃ gorakṣanāthāya hṛdayāya namaḥ । (touch the heart)

ॐ ह्रीं श्रीं गों गोरक्षनाथाय शिरसे स्वाहा ।
oṃ hrīṃ śrīṃ goṃ gorakṣanāthāya śirase svāhā । (touch the head)

ॐ ह्रीं श्रीं गों गोरक्षनाथाय शिखायै वषट् ।
oṃ hrīṃ śrīṃ goṃ gorakṣanāthāya śikhāyai vaṣaṭ । (touch the crown of the head)

ॐ ह्रीं श्रीं गों गोरक्षनाथाय कवचाय हुं ।
oṃ hrīṃ śrīṃ goṃ gorakṣanāthāya kavacāya huṃ । (touch your shoulders)

ॐ ह्रीं श्रीं गों गोरक्षनाथाय नेत्रत्रयाय वौषट् ।
oṃ hrīṃ śrīṃ goṃ gorakṣanāthāya netratrayāya vauṣaṭ । (touch three eyes)

ॐ ह्रीं श्रीं गों गोरक्षनाथाय सर्व विद्यापतये नमः अस्त्राय फट् ।
oṃ hrīṃ śrīṃ goṃ gorakṣanāthāya sarva vidyāpataye namaḥ astrāya phaṭ ।
(circle with your right hand above your head clockwise and hit the left palm with index and middle fingers three times)

अथ ध्यानम् । atha dhyānam । (now is dhyāna)
(The text from the Kalpadruma Tantra)

निरञ्जनो निराकारो निर्विकल्पो निरामयः।
अगम्योऽगोचरोऽलक्ष्यो गोरक्षः सिद्धिवन्दितः॥
nirañjano nirākāro nirvikalpo nirāmayaḥ। 

agamyo’gocaro’lakṣyo gorakṣaḥ siddhivanditaḥ॥

Unsullied, devoid of image, free from vikalpas and disease, incomprehensible, unattainable, beyond of the symbols – Gorakṣa, revered by the siddhas.

समस्त रस भोक्ता यो यः सदा भोगवर्जित ।
सदा समरसो यश्च श्री गोरक्षनमोऽस्तु ते ॥
samasta rasa bhoktā yo yaḥ sadā bhogavarjita । 

sadā samaraso yaśca śrī gorakṣanamo’stu te ॥

To Him, who enjoys all races and who is always free from pleasures, who forever abides in samarasya, may there be worship to you, Śrī Gorakṣa!

हठयोग विधाता च मत्स्यकीर्ति विवर्धनः ।
योगिभिर् मनसा गम्यः श्री गोरक्षनमोऽस्तु ते ॥
haṭhayoga vidhātā ca matsyakīrti vivardhanaḥ । 

yogibhir manasā gamyaḥ śrī gorakṣanamo’stu te ॥

To the creator of haṭhayoga and to that who increased the fame of Matsyendra, the one whom yogis comprehend in their hearts, may there be worship to you, Śrī Gorakṣa!

सिद्धानाञ्च महासिद्धिः ऋषीणां च ॠषीश्वरः ।
योगीनाङ्चैव योगीन्द्रः श्री गोरक्षनमोऽस्तु ते ॥
siddhānāñca mahāsiddhiḥ ṛṣīṇāṃ ca ṝṣīśvaraḥ । 

yogīnāṅcaiva yogīndraḥ śrī gorakṣanamo’stu te ॥ 


To the great siddha among the siddhas, to the lord of the ṛṣi among the ṛṣis, to the lord of the yogis among the yogis, may there be worship to you, Śrī Gorakṣa!

विश्वतेजो विश्वरूपं विश्ववन्द्य सदाशिवः ।
विश्वनामा विश्वनाथः श्री गोरक्षनमोऽस्तु ते ॥
viśvatejo viśvarūpaṃ viśvavandya sadāśivaḥ । 

viśvanāmā viśvanāthaḥ śrī gorakṣanamo’stu te ॥

Universal light manifested in the image of the Universe, revered by all, Sadāśiva, who is called by all kinds of names, the lord of everything, may there be worship to you, Śrī Gorakṣa!

अनन्तलोकनाथश्च नाथनाथशिरोमणिः।
सर्वनाथसमाराध्यः श्री गोरक्षनमोऽस्तु ते ॥
anantalokanāthaśca nāthanāthaśiromaṇiḥ। 

sarvanāthasamārādhyaḥ śrī gorakṣanamo’stu te ॥ 


To the Lord of infinite worlds, the greatest (lit. “head precious adornment) of the Nāthas, to the Lord of all, to the one who is respected, may there be worship to you, Śrī Gorakṣa!

शून्यानाङ्च परं शून्यं परेषां परमेश्वरः ।
ध्यायताञ्च परं धाम श्री गोरक्षनमोऽस्तु ते ॥
śūnyānāṅca paraṃ śūnyaṃ pareṣāṃ parameśvaraḥ ।
dhyāyatāñca paraṃ dhāma śrī gorakṣanamo’stu te ॥ 


To the highest emptiness among the voids, to the Supreme Lord for others, to the highest state for the meditators, may there be worship to you, Śrī Gorakṣa!

Then you can practice japa using the mantras from the above tantras, they can be found here: http://matsyendranatha.com/?p=554: