Gorakśanātha-upāsanā according to the Kalpadruma Tantra

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 gorakṣanāthamantra 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:

 

The meaning of touching sacred objects (murti, feet, etc.), then self heart and head afterwards.

Why it is common in India to touch sacred objects and then, after that – your own head or heart? For the most people in the West it is still not clear. Let us address, first of all, the yogic sources. For instance, in the Gheraṇḍa Saṁhitā, in the description of sthūla-dhyana (6. 2-14), there are two techniques of contemplation.

The first technique is a contemplation of the Deity in your own heart, usually it is a heart chakra with eight petals, located according to the eight directions (cardinal and inter-cardinal) where east in us is located in front of us. There are various descriptions of that technique, where different Deities are contemplated in the heart, there are various features of eight petals, and in some cases it is recommended to submerge into nāda e.t.c.

Another technique, described in the Gheraṇḍa Saṁhitā is Guru-chakra, which is located above ājñā-chakra and at the base of sahasrāra-chakra. Sometimes it is considered as a part of sahasrāra, that is why they are often identified as the same phenomenon. This chakra consists of twelve petals with each akṣara having a special meaning, this is navātma-mantra. Navātma-mantra includes in itself main elements (tattvas) of the Universe (brahmanda). That is a very common form of dhyana, where it is recommended to meditate on Guru, who is identified as Śiva.

Actually, the practise is considered a secret, although it may seem simple to someone. But, in our age of information, there is no more secrets after the rise of the Internet. Today we have a different kind of problem – sincerity. That is why, I think, having exclusive knowledge without śuddha-bhakti will get benefits for no one. And for those who are devoted to the true Guru and Deity, the Truth will be revealed by itself.

So what are these two areas, the head and the heart? In a tantric pūjā these are two places, connected with the invocation of a Deity in yourself, in your heart, where the Deity through the upper dvādaśānta should descent from sahasrārachakra to the heart. After that, using your breath, you ‘relocate the Deity’ into a flower, which is then placed in your palms. That is being done with the dvādaśānta, which is located in front of your nose. We know that there is inner dvādaśānta, through which prāṇa is absorbed with the inhale into our heart. There is also external dvādaśānta, when we are exhaling and the flow goes outwards. Practises of these dvādaśāntas can be found, for example, in the Vijñāna-bhairava-tantra. In such texts as Siddha-siddhānta-paddhati, Advaya-tāraka-upaniṣad, the Maṇḍalabrāhmaṇopaniṣad, external dvādaśānta is described as bahir-lakṣya (an external object of contemplation). In a tantric pūjā, that bahir-lakṣya is used for āvāhana – the invocation and the spreading of the Deity outside and placing it in mūrti, yantra e.t.c. Also, these elements are used during the completion of a pūjā (worship), when we ‘absorb the Deity’ inside ourselves into the heart and it is going back to the head area, beyond the body. Respectively, these areas are the most important places of perception, and everything starts and ends with them. The same centres are used by nāthayogis when they are performing śāmbhavī or nādi-pūjā, when while squatting they make a bow and bent their upper bodies. It is possible that many people who are touching sacred places, feet of saints e.t.c. are doing so automatically, without consideration of what is it about. Nevertheless, your Guru-chakra is your temple, your heart is your temple, your palms are your temple and all external objects in which everything is invoked is also your temple. As for the lower centres, the areas of mūlādhāra, svādhiṣṭhāna e.t.c. – these are worshipped in kaula-, aghora-mārga and are not for the ‘open pūjās’. Although the descent of Śakti from sahasrārachakra downwards to mūlādhāra or the ascent backwards is also a subject of internal yogic practises. Sometimes the internal yogic processes could be a part of external pūjās, complementing each other. But in which cases, what and how to use it – these things are always better to learn from your Guru, as it is not possible to transmit everything openly and publicly.

Elements of yoga in Tantras

Despite the fact that some traditions criticise methods of other sampradāya, sometimes it happens, however, that they themselves utilise them. For example, Abhinavagupta and others criticised Patañjali’s methods. Even though you can often come across the usage of methods of yoga in Kaśmir Śaivism and other tantric traditions, they are actually considered there as an integral part of tantra. In the same way as tantra, they are supporting elements on the path of yoga. I can cite a simple example of such quotations from the description of several techniques from Vijñāna Bhairava Tantra (VBT), which were commented by Śivopadhyaya. In one part, he explains a method from VBT quoting Patañjali, and in another he quotes Viveka-mārtaṇḍa of Gorakśanāth.

सर्वस्रोतोनिबन्धेन प्राणशक्त्योर्ध्वया शनैः |
पिपीलस्पर्शवेलायाम् प्रथते परमं सुखम् || ६७ ||

sarvasrotonibandhena prāṇaśaktyordhvayā śanaiḥ |
pipīlasparśavelāyām prathate paramaṁ sukham || 67 ||

By blocking all channels (jñānendriyas), the force of prāṇa slowly goes upwards. Then there is a sensation like the motion of an ant, and it comes the highest state of euphoria.

First of all, it is clear that it is a description of yoni-mudrā (or ṣaṇmukhi-mudrā). Also, there is an interesting description of kuṇḍalinī movement, which is characterised as pipīlikā-calana (like the motion of an ant) in Nātha texts. That could often be found in Nātha texts in the description of Śakti uprising, in addition to some other motions like vihaṅgama (bird), sarpa (snake) etc. Furthermore, Śivopadhyaya, in his comments to this technique quotes Patañjali, where he defines prāṇāyāma.

.बाह्याभ्यन्तरस्तम्भवृित्तः देशकालसङ्ख्यािभः पिरदृष्टो दीघर्सूक्ष्मः॥५०॥

bāhyābhyantarastambhavṛttirdeśakālasaṅkhyābhiḥ paridṛṣṭo dīrghasūkṣmaḥ 50

The fluctuations of prāṇa could be outward and inward (exhales and inhales), it could also come to a standstill (of breathing). It should be observed, that this process would be elongating, subtle, happens according to time, place and quantity.

Also, Śivopadhyaya cites sutra 49, where Patañjali defines prāṇāyāma as a cessation (vicchedaḥ) of inhales and exhales (śvāsapraśvāsa). Although the term ‘viccheda’ could indeed be translated like that, I would define it in other way. It could also mean ‘cutting off’, like something that is no longer needed ‘comes off’. If the goal of prāṇāyāma is calming of consciousness and prāṇa (with which it’s connected), than it is exactly ‘cutting off’ prāṇavṛtti and cittavṛtti. But, it is actually happening in a natural way with the involvement in the process of proper contemplation. Consciousness, being agitated by the sensual experience is unable to calm down, it is fragmented. Only when the practise enables an involvement in higher orientations and higher dimension, it subsides and everything in excess ‘comes off’, ‘cuts off’ by itself. It happens as at the level of sensual perception, as well as of prāṇa and mind.

Equally interesting explanation of the quotation from the Viveka-mārtaṇḍa, also the Bhagavadgītā appears in the description of a technique from VBT in the other part of the text:

मध्यजिह्वे स्फारितास्ये मध्ये निक्षिप्य चेतनाम् |
होच्चारं मनसा कुर्वंस् ततः शान्ते प्रलीयते || ८१ ||

madhyajihve sphāritāsye madhye nikṣipya cetanām |
hoccāraṁ manasā kurvaṁs tataḥ śānte pralīyate || 81 ||

With the middle of the tongue (it is the tip, if you look at it from the particular angle), pointed in the centre of something that is widely open (the head area – ‘ākāśa’), you should mentally recite the uprising sound ‘ha’, dissolving your mind in calm.

Śivopadhyaya quotes this śloka:

कपालकुहरे जिह्वा प्रविष्टा विपरीतगा|भ्रुवोरन्तर्गता दृष्टिर्मुद्रा भवति खेचरी ॥

kapālakuhare jihvā praviṣṭā viparītagā|bhruvorantargatā dṛṣṭirmudrā bhavati khecarī

When the tongue points backwards and enters the cavity of skull, and the look is directed between the eyebrows – it is khecarī-mudrā.

Śivopadhyaya points out that it is from the Viveka-mārtaṇḍa (68), although you can come across it in many texts – it seems that many authors have copied it from Gorakśanāth. You can see it in the Dhyānabindu Upaniṣad, the Yogacūḍāmaṇi Upaniṣad, in the Haṭha Yoga Pradīpikā, the Gheraṇḍa Saṁhitā etc. It’s quite obvious that Śivopadhyaya implies khecarī-mudrā, which is known in haṭhayoga in particular, in spite of the fact that in Kaśmir Śaivism it is also known as the practise performed inside consciousness. It is clear, that in India, some masters could claim that practises from different traditions cannot be mixed, but other gurus boldly mixes them and see their interconnection. I incline towards the latter approach. It is interesting that Śivopadhyaya quotes śloka from the Bhagavadgītā while commenting this śloka from VBT:

स्पशार्न्कृत्वा बिहबार्ह्यांश्चक्षुश्चैवान्तरे भ्रुवोः।
प्राणापानौ समौ कृत्वा नासाभ्यन्तरचािरणौ ।।५.२७।।

sparśānkṛtvā bahirbāhyāṃścakṣuścaivāntare bhruvoḥ
prāṇāpānau samau kṛtvā nāsābhyantaracāriṇau ।। 5.27।।

Leaving with external (world) the tangency (of consciousness), concentrating the look between the eyebrows, a yogin balances prāṇa and apāna.

This technique is known in haṭhayoga as bhrūmadhyadṛṣṭi or śāmbhavī-mudrā. It is for a reason, that it is often associated with sādhana of khecarīmudrā. However, in Kaśmir Śaivism, this practise means the way to achieve pratimilanasamādhi, or bhairavīmudrā (the union of internal and external spaces), that is often acquired through the practise of maithuna in kaula ritual. Then in accord with the Tantrāloka and the Mahārtha Mañjarī (the text which is connected with Gorakśanāth according to nāthas), the sound ‘ha’, which is made during mahākśobha (orgasm) – is the sound of anāhata, which dissolves (laya) the mind. However, it is more likely that in this practise it is implied ‘the internal coition’ of Kuṇḍalinī Śakti, upraised to Śiva in sahasrāra cakra, where Śakti was released in the space above the crown of the head.

All these methods, actually, could become the one unified process for those who don’t stuck in modern yoga, where everything is being ‘divided’,everyone ‘comes up with something new’ because of the obsession with markets and trade concepts.

 

My perception of the right āsana

Over the years of yoga practice, I have developed my own definition of what the true āsana is. The right āsana is that, which leads to the interconnection of the two main dimensions of all. And through this in particular you will find explanations of any categories of āsanas. What those dimensions are, physical and spiritual or other explanations will be found for this, for everyone at their stage of practice, this can vary and can always be flexible. But, for any practitioner at any moment, this awareness of polarities must be total.

One more meaning of the Gorakṣanātha’s name

The name Gorakṣanātha in Sanskrit or its derivative Gorakhnāth in Hindi, if translated literally, will not carry much meaning. It could literally be translated as: rakṣa (a protector) and go (of cows). But, if you meet some Indians, who have heard about Gorakṣanātha and associated him with yoga, most likely they will explain go as senses. Thus, many translate it as “one, who protects the senses or controls the senses,” which is often interpreted as the practice of pratyāhāra, etc. Of course, the control of indriyas, redirection of prāṇa and perception of ātman within oneself are very important in yoga. However, while reading Yāska’s Nirukta and Śrī Aurobindo’s most interesting works, the Secret of the Veda, I found an even deeper meaning of the term goŚrī Aurobindo gives many references to the Rig Veda, where the term go (like the sun rays) refers to the Absolute as a whole. Yāska says in Nirukta:

आदित्योऽपि गौरुच्यते |
ādityo’pi gaurucyate |

The sun is also called ‘go’.

In further explanation, there is a quotation of the hymn from the Yajur Veda (adhyāya 18 / 40) containing suṣumṇa:

सुषुम्णः सूर्यरश्मिश्चन्द्रमा गन्धर्वस्तस्य नक्षत्राण्यप्सरसो भेकुरयो |
suṣumṇaḥ sūryaraśmiścandramā gandharvastasya nakṣatrāṇyapsaraso bhekurayo |

Suṣumṇa, whose moonbeams are like the sun, is gandharva playing with nakṣatras, who are āpsaras.

In the other ślokas of this hymn, gandharva is the wind and his āpsaras are the waters, etc. Different elements are divided into male and female poles through the images of the ganharva and āpsaras.

Interestingly,Yāska connects the rays of suṣumṇa with go, this is also found in other parts of his Nirukta. Aurobindo in his Secret of the Veda, has many references to the Rig Veda as well, where cows can be understood to mean the light of the sun, ātman and Absolute in general. Indeed, if you look in the dictionaries, then go can mean both the sun and the moon, and light as such. Accordingly, Gorakṣanātha can be perceived as one, who unites (yoga) the power of ha (sun) and ṭha (moon) within suṣumṇa. The veneration of Śiva Gorakṣanātha awakens suṣumṇa, unites opposites, He is the patron saint of this path.

Four levels of speech

The earliest mention of the four speech levels I found in the Rig Veda (1.164.45):

च॒त्वारि॒ वाक्परि॑मिता प॒दानि॒ तानि॑ विदुर्ब्राह्म॒णा ये म॑नी॒षिणः॑॥
गुहा॒ त्रीणि॒ निहि॑ता॒ नेङ्ग्॑यन्ति तु॒रीयं॑ वा॒चो म॑नु॒ष्या वदन्ति॥ ४५॥

catvāri vāk parimitā padāni tāni viduḥ brāhmaṇā ye manīṣiṇaḥ।
guhā trīṇi nihitā neṅgayanti turīyaṃ vāco manuṣyā vadanti ॥ 45 ॥

Speech is divided into four categories; they are known by the wise brāhmaṇās.
Three of them are hidden, and the fourth category is spoken by ordinary people.

Yāska, in his Nirukta, gives other interpretations of this śloka – he does not link them to the four forms of vāk(c), which are popular in Vedanta, Tantrism and Nātha yoga, but of course, not everything has to do with his Nirukta. Basically, in terms of meaning, I think that there is the form of speech, which can be heard by everyone and the other three are at the level of manas (madhyamā), buddhi (the awakened “seeing” consciousness of paśyantī). The level of parā is Brahman himself. Parā is not a manifested creative vibration or logos, but it is a creation in the form of a seed in its potential, the latent one. We could call it the primordial Parabrahman, who is not manifested and from whom we are not initially separated. Further, it manifests itself in the form of its free will (svatantriya), in the likeness of a flash of light (sphoṭa) and the spontaneous expansion of the sound (anāhata), that is a natural expression of the will (icchā) of the Absolute, who is Śabda-brahman. This level is called paśyantī (seer). It should be clarified here, that unlike parā, we, as the ones who are seeing, are not separable from the object of our vision, i.e. there is nothing separate from us, but in the case of paśyantī, a separation of the object from the subject (us, as Absolute) already appears. Although, even when there is a separation, our expression is still conditionally separated from us. After that, the logos itself reveals its purpose in the form of the archetypal image of our consciousness, which still exists at the stage between the physical and the subtle levels. Therefore, it is called madhyamā (the middle). Then, we “express our thought” – this is vaikharī (physical level). To make it easier to understand, we can correlate vaikharī with kriyāmadhyamā with jñāna and paśyantī with icchā, and parā is the unity of Atman and Paramātmā (Brahman), Śiva and Śakti.

About Bhuvaneśwari

On the Bhuvaneśwari jayantī I want to write something about her famous and very significant mantra ह्रीँ (hrīm̐), which is sometimes called Mahāmāyabīja (the seed syllable that includes all dimensions). According to the Vedas, the first sound of the original yajña and creation was the famous praṇava Om. Out of it three mātras () three worlds arose, it is also a form of anāhatanāda creating or absorbing the creation. The practice of nāda is very significant for layayoga. However, each tradition has its own forms of praṇava, for example, in the Śаivasampradāya it is the bīja हुं (huṃ), in the Kaulasampradāya it is the bīja ऐँ (aim̐), in the Trika tradition it is the bīja सौः (sauḥ), and for the Śаktas the praṇava will be ह्रीँ (hrīm̐). Since so many do not at all distinguish the concept of tantra with śaktiupāsanā, in India praṇava is often associated with tantrism. Thus, the Goddess Bhuvaneśwari is the Mother of all worlds, of different dimensions (bhuvanas) and is very significant for Śaktism in general.

Alternative view on Rādhā and Kṛṣṇa

Speaking of Rādhā, we cannot leave out her śaktimānKṛṣṇa. As you know, a number of Tantras correlate Kṛṣṇa with Kālī, who is manifested through him. However, Tantras are an immense ocean of the most diverse possibilities, multidimensional perception of apparently one and the same phenomenon. So for example, according to the Tantra-rāja-tantra (34/11), the Goddess Lalitā Tripurasundarī is also manifested through Kṛṣṇa:

कदाचिदाद्या ललिता पुंरूपा कृष्णविग्रहा |
kadācidādyā lalitā puṃrūpā kṛṣṇavigrahā |

Sometimes (kadācit) the primordial (ādyā) Lalitā appears in the masculine form of Kṛṣṇa (puṃrūpā kṛṣṇavigrahā).

It may seem contradictory for those, who are used to dividing the  worshipping of Lalitā and Kālī in a strict way, but Kālī  could also be a part of Śrīkula. When through Śrīkula you obtain the experience of fullness, you come to the liberation from limitations of time, for which Kālī is responsible. Therefore, she is also inseparable from Tripurasundarī. We can say that Kāmakalā Kālī (the highest form of Kālī), worshiped in Urdhvāmnāya (of Kālī–kula krama), is most strongly associated with Tripura. Or, we can consider Tripurasundarī itself as Rakta Kālī (Red Kālī). Thus, we can see one reality from different perspectives.

The unity of Śrī and Kālī-kula is  revealed in the story described in the kaula text the Rādhā Tantra. In short, it describes a long story of how Viṣṇu with the blessings of Tripurasundarī is embodied in the form of Kṛṣṇa, and Lakṣmī in the form of Rādhārānī (in fact, she herself is considered as a manifestation of Tripurasundarī). They both worshiped Kālī and also Kāmākhya, where Kṛṣṇa invokes Kālī into the Rādhā’s body. The first part of the Rādhā-tanra describes the famous mantra of Lalitā Pancadaśī, it also speaks of Ten Mahāvidyās, of which Tripurasundarī is the main one (tasmād daśasu vidyāsu pradhānaṃ tripurā parā). These Mahāvidyās are worshiped in a special way in Śrīyantra by experienced practitioners. The Rādhā Tantra speaks of her as giving realisation of the four puruṣarthas (dharmārthakāmamokṣadāyinī), and because of her worship in kaula-sādhana, Kṛṣṇa realised all siddhis. We know many stories about the successes of Kṛṣṇa, and all His siddhis, according to the Rādhā Tantra, were achieved through this upāsana. The text also frequently mentions  the term ‘yoga’ in relation to tantric sādhana; in the second part of the RT (ślokas 3-4), the union of Kṛṣṇa and Śakti (Rādhā) is called Śakti Yoga. The famous Hare Kṛṣṇa maha-mantra can also be found in there. There is also a description of the preliminary practice of purification (karṇa-shuddhi), the ability to purely hear the tantric mantras of Mahāvidyā. Periodically, recommendations for contemplating sacred places in one’s own body are given there (Ch. 5, ślokas 11-12 or Ch. 14, ślokas 1-2), for example, Govardhan Hill in sahasrāracakra, etc. It also refers to the kula-kuṇḍalinī awakening through yoni-mudrā (Ch. 15 / 19-21). Apparently, the text speaks of yoni-mudrā as the body of the Goddess, rather than the technical practice of haṭha-yoga in the likeness of ‘ṣaṇmukhi–mudrā’. Although, for a long time, it is no secret that the essential elements of tantra are also connected with many practices of the well-known and popular haṭha–yoga, the essence of which is currently understood by  a very small number  from millions of practitioners.

From my point of view, Gaudiya Vaiṣṇavism was once influenced  exactly by vāmācāra, but in a Vaiṣṇava Śakti format. In the  course of time, most likely, everything came down to formal substitutions (anukalpa) and symbolism, so the doctrine became more refined.

Today is the Rādhāṣṭamī festival associated with Śrī Rādhika, Śakti of Kṛṣṇa.

My congratulations and blessings to everyone. Jay Śrī Rādhe!

Yoga is the highest aim of a man

I always proceed from the fact that yoga, in its most essential form, is the prerogative of very few individuals. We can slowly go to it, this also includes our constant seeks and researches, but not everyone in this life reaches the point. Vyāsa, commenting on Patāñjali, gives such a definition of yoga योगः समाधिः  yogaḥ samādhiḥ“Yoga is samādhi”. We also find a great deal in the texts of the Nāthas and the most essential elements from yoga in diverse Tantras. But, we know that tantric practices have traditionally been largely kept in secret. So, what should be the attitude to yogic sādhanā, if it is the essence of tantric sādhanā? If you look at ancient yoga texts, secrecy is often mentioned there. The question is, what part of the yogic tradition and practice should be open and for whom, and which is closed? This is a very slippery moment, each guru, in one case or another, himself defines this boundary. With whom, when and what boundaries should be, and with whom should they not be at all, depends on each specific situation.

Reflection on the terms of ‘kṛṣṇa’ and ‘arjuna’ in the Rigveda

In the Rigveda (6-9-1), the terms kṛṣṇa and arjuna are found in a slightly different context than we all see in the Mahābhārata.

कृ॒ष्णमह॒रर्जु॑नं च॒ वि व॑र्तेते॒ रज॑सी वे॒द्याभि॑:।
जाय॑मानो॒ न राजावा॑तिर॒ज्ज्योति॑षा॒ग्निस्तमां॑सि॥ १॥

ahaśca kṛṣṇamahararjunaṃ ca vi vartete rajasī vedyābhiḥ
vaiśvānaro jāyamāno na rājāvātirajjyotiṣāgnistamāṃsi ॥1॥

The two beings (rajasī) rotate alternately (vi vartete), by means of these forces the dark period of the day (night) (ahaḥ kṛṣṇam) and the light period of the day (day) (ahaḥ arjunam) must be known (vedyābhiḥ). Fire (agniḥ), being born (jāyamānaḥ) within each person (vaiśvānaraḥ), like a king (na rājā), coming into being and overcoming (ava atirat) darkness (tamāṃsi) by light (jyotiṣā).

The text of the Rigveda does not directly say what kṛṣṇa (is dark day) and arjuna (is bright day), but I found clarification in Nirukta (2-21) by Yāska, he explains that these are the day and night – ‘ahaḥ ca kṛṣṇaṃ rātriḥ śuklaṃ ca ahaḥ arjunam’ (black and white days are also day and night). In this hymn of Vaiśvānara it is said that Vaiśvānara is beyond sleep and wakefulness, also Śankarācārya in his comments to this verse connects it with a state of consciousness, which is beyond sleep and wakefulness. We can also recall the famous metaphorical statement of the Gītā that when ordinary people sleep, the yogi is awake, and vice versa, e.g. the yogi focuses on dimension that is beyond normal human states. For the yogi, “the battle of Kṛṣṇa and Arjuna” is a process of victory over constantly changing impermanence during sleep and wakefulness. On the other hand, day and night are also forms of the Deities in the Vedas. For example, by falling asleep we give ourselves into the hands of Goddess Ratri, it returns us to our being and thereby restores the vital forces that are lost during the day. Sleep and awakening are a kind of “micro-rebirth,” in tantric yoga there are enough practices associated with sleep or dreams.