Kundalini Mantras


From this nāma onwards till 111, the subtlest form of Lalitāmbikā, which is kuṇḍalinī, is discussed.





कुलामृतैक-रसिका (90)
Kulāmṛtaika-rasikā
कुलसङ्केत-पालिनी (91)
Kulasaṅketa-pālinī

She likes the taste of kulā, which means the nectar or the ambrosial essence that flows from the sahasrāra.  When kuṇḍalinī reaches the crown cakra and conjoins with Śiva, a few drops of nectar like fluid, ambrosia flows into the throat.  This is also called amṛta varśini.





कुलाङ्गना (92)
Kulāṅganā
कुलान्तस्था (93)
Kulāntasthā
कौलिनी (94)
Kaulinī
कुलयोगिनी (95)
Kulayoginī

She hails from a lineage whose women protect the honour of their families.

She is the subject of Kula, which means Śaktī.  Śaktī prevails everywhere i.e. omnipresent.

She is the core of kaula worship.  Kaula worship is a tantric worship under śākta method. Therefore she is called kaulīnī.

Kaulā also means mental worship through yogic methods. That is why she is called as Kulayoginī.





अकुला (96)
Akulā
समयान्तस्था (97)
Samayāntasthā
समयाचार-तत्परा (98)
Samayācāra-tatparā


She does not have genealogy, hence akula.  She was created by Śiva and hence no parentage.  Akula also means beyond kula.

She is the centre of samayā doctrine.  Samayā means internal or mental worship. Mental worship is more powerful than external rituals.

Worshipping Lalitai in the cakra-s of kuṇḍalinī, beginning from mūlādhāra cakra is called samayācāra.
This type of mental worship can be done only upon initiation from a Guru.




मूलाधारैक-निलया (99)
Mūlādhāraika-nilayā
ब्रह्मग्रन्थि-विभेदिनी (100)
Brahmagranthi-vibhedini

She resides in mūlādhāra cakra.  Mūla means root and ādhāra means support. That is why mūlādhāra cakra is called the base (foundational) cakra.
She pierces the brahma granthi.  There are three knots called granthi-s in three places in the path of Kuṇḍalinī.  These granthi-s are to be pierced to make the Kuṇḍalinī ascend to the higher cakra-s.  First of such granthi-s is found above the mūlādhāra cakra and below the svādhiṣṭhāna cakra.  Kuṇḍalinī has to pierce the brahma granthi to reach the svādhiṣṭhāna cakra.




मणिपूरान्त-रुदिता (101)
Maṇipūrāntha-ruditā

She is well decorated and seated on the throne in the manipuraks cakra.

Verse 40 of Soundarya Lahari speaks about the bow of lighting emanating from the manipuraka chakra.

It's said that in deep stage of meditation, one will be able to see bright light in the form of a bow.

विष्णुग्रन्थि-विभेदिनी (102)
Viṣṇugranthi-vibhedinī

She pierces the second knot called Viṣṇu granthi, which is just above the navel cakra.  Lord Viṣṇu resides in maṇipūraka cakra and that is why the knot above this cakra is called Viṣṇu granthi.





आज्ञा-चक्रान्तरालस्था (103)
Ājñā-cakrāntarālasthā
रुद्रग्रन्थि-विभेदिनी (104)
Rudragranthi-vibhedinī

She resides in ājñā cakra which is also known as third eye.  This is the last of the six cakra-s and this cakra belongs to one’s guru from where he gives his commands to the sādhaka.  In this cakra, a sādhaka gains a little knowledge about the Brahman.
She breaks the Rudra granthi and proceeds to sahasrāra.  This is the last of the three knots.  Once this last granthi is passed over, all the vāsana-s (impressions) go away leading to supreme knowledge.   Till this point Kuṇḍalinī had to cross too many resistances to reach Her final destination.








सहस्राराम्बुजारूढा (105)
Sahasrārambujārūḍhā
सुधासाराभि-वर्षिणी (106)
Sudhāsārabhi-varṣiṇī

She has now reached Her destination, the sahasrāra, where Śiva is waiting for Her.  Sahasrāra is just below the brahmarandhra, an orifice in the skull that connects to cosmos (The existence of this orifice has not been medically proved.  Perhaps this is like the pores that exist in our skin through which sweat comes out.  But one can distinctly feel the cosmic connection through this orifice).  The union of Śiva and Śaktī takes place at sahasrāra.
There is one soma chakra in the middle of sahasrāra.  When Kuṇḍalinī reaches this cakra, out of the heat generated by Her presence, the ambrosia which is stored there gets melted and drips through the throat and enters the entire nervous system.








तडिल्लता-समरुचिः (107)
Taḍillatā -samaruciḥ
षट्चक्रोपरि-सम्स्थिता (108)
Ṣaṭcakropari-samsthitā

She shines like a line of lightning.  In the advanced stage of Kuṇḍalinī meditation, one can realize the entire spinal cord glowing like a flash of lightning. She shines like a lightning when She is with Śiva.

She is above the six cakra-s starting from mūlādhāra to ājñā cakra-s.  She is now at sahasrāra, which is not a cakra. To realise the Brahman in sahasrāra, one has to cross the lower cakra-s, all of which are associated with worldly acts.  Sahasrāra is above the worldly acts.  That is why She is said to be above these six cakra-s, meaning that the Brahman is above the six cakra-s.





महासक्तिः (109)
Mahāsaktiḥ

Maha means festivals and asaktiḥ means great liking.  She has a great liking for festivities. Maha also means supremacy, "ā" means on all sides and Śaktī means supreme.  Her supreme power is spread across everywhere.

कुण्डलिनी (110)
Kuṇḍalinī

She is in the form of a three and a half coiled snake in mūlādhāra cakra.  Her subtlest form is described in this single nāma. The vital energy of prāṇa is called kuṇḍalinī.  This lies in the mūlādhāra cakra in the midst of fire that keeps biological body warm.  Any modification in the intensity of this fire causes sickness.  The sound of the Kuṇḍalinī can be felt by anyone.  If one closes both his ears tightly, he can listen to a hissing sound, the sound of Kuṇḍalinī from within.

बिसतन्तु-तनीयसी (111)
Bisatantu-tanīyasī

She is like the minute fibre of a lotus stalk. This is the last of the nāma-s that describe Her subtlest form.  She is like a young girl in the lower cakra-s as She makes sound in the mūlādhārā cakra, gets dressed like a bride in the navel cakra and proceeds to meet her spouse Śiva in sahasrāra.

With this nāma the description of Her Kuṇḍalinī form ends and from the next nāma, the description of Her blessings begin.

Pancadasi Mantras

Here is a very brief description of pancadasi mantra.

In Hinduism, the term "Bija" is used to mean mystical seed syllables contained within mantras. They do not have precise meanings but are said to carry connections to spiritual principles. The best known bija mantra is OM.



The main mantra of Lalithambika is pancadasi which consists of 15 bijas. Pancadasa means fifteen. Pancadasi mantra consists of three groups of bijas, each line is called as kuta. There are three kutas known as vagbhava kuta, representing Lalithambika's face, kamaraja kuta, representing the portion between Her neck and Hip and Sakthi kuta representing the portion below Her hip.  The whole form of Lalithambika is made up of these three kutas, and this is the reason why pancadasi is considered as most powerful.





श्रीमद्वाग्भव-कूटैक-स्वरूप-मुख-पङ्कजा (85)
Śrīmadvāgbhava-kūṭaika-svarūpa-mukha-paṅkajā

Beginning from this nāma, Her Pañcadaśī mantra is being explained.
Now, the description of Her subtle form begins.  Her subtle form comprises of three divisions viz. subtle, subtler and the subtlest.  Subtle form is Pañcadaśī mantra.  Her subtler form is kāma-kalā,   Her subtlest form is kuṇḍalinī śaktī . In this nāma, Her face is compared to the first kūṭa viz. vāgbhava-kūṭa of Pañcadaśī mantra, which gives knowledge and wisdom.




कण्ठाधःकटिपर्यन्त-मध्यकूट-स्वरूपिणी (86)
kaṇṭhādhaḥ kaṭiparyantha-madhyakūṭa-svarūpiṇī

Madhya kūṭa or the middle group of Pañcadaśī mantra refers to that portion between Her neck and the hip.  Previous nāma indicates jñāna śaktī, this nāma is indicative of icchā śaktī.

Icca, kriya and gnana shakthi are the three parts of the creative cosmic power called shakthi. It is the combination of these three shakthi that operates the universe. In order that something to be done, it's required for the three shakthis to be in harmony






शक्ति-कूटैकतापन्न-कट्यधोभाग-धारिणी (87)
Śakti-kūṭaikatāpanna-kaṭyadhobhāga-dhārinī

Śaktī kūṭa, the last of the three kūṭa-s is compared to Her hip downwards.  This nama is indicative of Kriya Shakthi. Which means "The power to act". Kriya means action and shakthi means intelligent energy




मूलमन्त्रात्मिका (88)
Mūlamantrātmikā
मूलकूटत्रय-कलेबरा (89)
Mūlakuṭatraya-kalevarā

Mūla means root.  Mūlamantra means root of the mantra.  Mantra here means Pañcadaśī.  She is the root of the Pañcadaśī mantra, which is the root of all other mantra-s. The Pañcadaśī mantra is superimposed on Her physical form.

Killing of Bhandasura



The demon Bhandasura










देवर्षि-गण-संघात-स्तूयमानात्म-वैभवा (64)
Devarṣi-gaṇa- saṃghāta -stūyamānātma-vaibhavā

Deva + rṣi + gaṇa.  Deva means gods and goddesses, rṣi means sage and gaṇa means demigods. She is worshipped by gods, goddesses, sages, demigods and goddesses.  Stūyamānātma means worshipping.  Vaibhavā means all pervading.  Only Brahman or Pramātman is all pervading.






भण्डासुर-वधोद्युक्त-शक्ति-सेना-समन्विता (65)
Bhaṇḍāsura-vadhodyukta-śakti-senā-samanvitā

She is ready with Her army to wage a war against Bhaṇḍāsura.  Her army consists of various goddesses mentioned in Śrī Cakra. The secretive meaning of this nāma is – Lalitai is ready to give us liberation from the cycles of birth and death, provided we have inclination to know about Her.  Bhaṇḍāsura is an embodiment of ignorance and resultant evil acts.  She is ready to wage a war against ignorance and its associated acts.





सम्पत्करी-समारूढ-सिन्धुर-व्रज-सेविता (66)
Sampatkarī-samārūḍha-sindhura-vraja-sevitā

She is worshipped by herds of elephants headed by Sampatkarī.  Sampatkarī Devi has already been discussed in nāma 9.  There is also a mention about Sampatkarī Vidyā, which is considered as very powerful.





अश्वारूढाधिष्ठिताश्व-कोटिकोटिभि:-आवृता (67)
Āśvārūḍhā-dhiṣṭhitāśva-koṭikoṭibhi-rāvṛtā

Lalitai is surrounded my many horses headed by Aśvārūḍhā Devi. The left lower arm of Lalithambika is represented by Aśvārūḍhā Devi. She is the chief of the horses used in the war.  The face of this Devi also looks like a horse.






चक्रराज-रथारूढ-सर्वायुध-परिष्कृता (68)
Cakrarāja-rathārūḍha-sarvāyudha-pariṣkṛtā

Cakrarāja is the chariot of Lalitāmbikā in which She travels along with all types of weapons.  Weapons mean the ways of attaining suddhavidyā or pure knowledge which is called the knowledge of the Brahman.  This chariot consists of nine tiers. This Cakrarāja is said to mean the Śrī Cakra, the place of Lalitāmbikā.  Pariṣkṛtā means adorned.





गेयचक्र-रथारूढ-मन्त्रिणी-परिसेविता (69)
Geyacakra-rathārūḍha-mantriṇī-parisevitā

Two chariots always accompany the Cakrarāja chariot.  Out of the two, the first one is being discussed here, which is called Geyacakra chariot.  This is the chariot of Mantrinī Devi who is also called Śyamalā Devi.





किरिचक्र-रथारूढ-दण्ड-नाथा-पुरस्कृता (70)
Kiricakra-rathārūḍha-daṇḍa-nāthā-puraskṛtā

Kiricakra ratha is the chariot of Daṇḍanāthā Devi who is also called Vārāhī Devi.  This Devi is considered as very powerful. Kiri means Vārāha.  Vārāha means boar (pig).  Her face is like a pig.  Her chariot is also in the shape of a pig.  She is called Daṇḍanāthā because she always carries a daṇḍa (staff) with her.  Kiri means rays of light and light here means creation.
Vārāhī is the chief of Her army.  Vārāhī has the capacity to drive away the evil forces.  If Vārāhī is worshiped on the 18th day of the month of āṣāḍha (July-August), it's believed that she showers prospers on the worshipper.





ज्वालामालिनिकाक्षिप्त-वह्निप्राकार-मध्यगा (71)
Jvālāmālinikākṣipta-vahniprākāra-madhyagā

Jvalāmālini, one of the tithi nityā Devi-s constructed a fortress of fire during the war with Bandasura and Lalitai resides in the midst of this fortress.   Tithi Nityā Devi-s are the goddesses of each lunar day. Jvālāmālini is the goddess of fourteenth tithi, called caturdaśi.  Lalitāmbikā is called mahā nityā representing both full moon and the new moon (16th day).





भण्डसैन्य-वधोध्युक्त-शक्तिविक्रम-हर्षिता (72)
Bhaṇḍasainya-vadhodhyukta-śakthivikrama-harṣitā

When Her śaktī-s (army) destroy the army of the demon Bhaṇḍasurā, She is delighted.
Bhaṇḍa also means ignorant soul afflicted with duality, sainya (army) vadha means destruction.  Lalitai is delighted when one destroys duality.  When duality is removed, it is an indication of the removal of the veil of māyā.





नित्या-पराक्रमाटोप-निरीक्षण-समुत्सुका (73)
Nityā-pārākramāṭopa-nirīkṣaṇa-samutsukā

Nitya means tithi nitya devi-s. Lalitai is happy on observing the valour of these fifteen tithi nityā devi-s during the war.





भण्डपुत्र-वधोद्युक्त-बाला-विक्रम-नन्दिता (74)
Bhaṇḍaputra-vadhodyukta-bālā-vikrama-nanditā

Bālā is daughter of Lalitai and is nine years old.  Bhandāsura had thirty sons.  In spite of Lalitai advising Her daughter not to go to the battle field, Bālā prevails upon her mother and wages a war against all the thirty sons of Bhandāsura and destroys them.





मन्त्रिण्यम्बा-विरचित-विशङ्गवध-तोषिता (75)
Mantriṇyambā-viracita-viśaṅgavadha-toṣitā

She is delighted with the destruction of demon Viśaṅgavadha by Mantrinī (ṣyamalā) Devi.  Viśaṅga and Viśukra are the two brothers of Bhandāsura.  There were created by Bhandāsura from his shoulders.





विशुक्र-प्राणहरण-वाराही-वीर्य-नन्दिता (76)
Viśukra-prāṇaharaṇa-Vārāhī-vīrya-nanditā

Viśukra is the brother of Bhandāsurā. Vārāhī Devi slays Viśukra and Lalitai is happy with the bravery of Vārāhī Devi. Vārāhī is supposed to be the most powerful of the three Devi-s, Bala,  Mantrini and Varahi. She cannot tolerate any indiscipline.





कामेश्वर-मुखालोक-कल्पित-श्रीगणेश्वरा (77)
Kāmeśvara-mukhāloka-kalpita-śrīgaṇeśvarā

Gaṇeśhā was born out of a mere glance of Lalitai at Kāmeśvara.  Gaṇeśhā is the first son of Śiva and Pārvathī.  Bhandāsura during the war witnesses the destruction of his army.  In order to avoid further causalities to his army he orders a yantra by name jaya vignaṁ to be kept in the midst of the army of Lalitai.

महागणेश-निर्भिन्न-विघ्नयन्त्र-प्रहर्षिता (78)
Mahāgaṇeśa-nirbhinna-vighnayantrā-praharṣitā

Gaṇeśa was created to remove the yantra, jaya vignaṁ planted by Bhandāsurā.  Gaṇeśā removes that yantra and helps the army of Lalitai to regain their self confidence. Lalitai is delighted with Gaṇeśa, when he removes the yantra.





भण्डासुरेन्द्र-निर्मुक्त-शस्त्र-प्रत्यस्त्र-वर्षिणी (79)
Bhaṇḍāsurendra-nirmukta-śastra-pratyastra-varṣiṇī

She counters the weapons used by Bhandāsura, by using Her own.  Here, two types of weaponaries are mentioned.  One is astra that is thrown at the enemies in a battle field.  Modern day bombs can be compared to this.  Another is śastra, which is always held in hand, like a gun.  The weaponaries of Lalitai aids our efforts in attaining bliss by destroying avidyā.  Weapons coming out of Her hands are aimed at us in destroying the illusion of duality.





कराङ्गुलि-नखोत्पन्न-नारायण-दशाकृतिः (80)
Karāṅguli-nakhotpanna-nārāyaṇa-daśākṛitiḥ

She created ten incarnations (dasa-avatāra) of Śrī Nārāyaṇa from Her nails.  Bhandāsura created ten demons like Rāvana and others from his missile Sarvāsurāstra.  These ten demons were killed by Lord Mahā Viṣṇu during His ten incarnations.  Nārāyaṇa means jīva and Īśvara.






महा-पाशुपतास्त्राग्नि-निर्दग्धासुर-सैनिका (81)
Mahā-pāśupatāstrāgni-nirdagdhāsura-sainikā

She burns the army of the demons with the astra called mahā-pāśupatā.  This astra produces fire that causes the destruction of the entire enemy camp.






कामेश्वरास्त्र-निर्दग्ध-सभण्डासुर-शून्यका (82)
Kāmeśvarāstra-nirdagdha-sabhaṇḍāsura-śūnyakā

Śūnyaka is the capital of Bhandāsura.  Bhandāsura is burnt along with his capital city by the fire from astrā of Kāmeśvara.
With this nāma the war with Bhandāsura ends with the killing of Bhandāsura and his warriors along with the destruction of his kingdom.





ब्रह्मोपेन्द्र-महेन्द्रादि-देवसंस्तुत-वैभवा (83)
Brahamopendra-mahendrādi-devasaṃstuta-vaibhavā

The victorious Lalithai is celebrated and worshipped as the supreme and omnipresent power by  Gods like Brahma, Vishnu and Shiva.





हरनेत्राग्नि-सन्दग्ध-कामसंजीवनौषधीः (84)
Haranetrāgni-sandagdha-kāmasaṃjīvanauṣadhīḥ

Manmatha, the god of love is burnt by the third eye of Śiva.  Śaktī resurrects Manmatha.  Sañjīvana is a herbal medicine that causes resurrection.  Therefore She is praised as sañjīvana for Manmatha.  The motherly nature of Lalitai is highlighted here.


Her abodes





सुमेरु-मध्य-शृङ्गस्था (55)
Sumeru-madhya-śṛṅgasthā

From this nāma till 63, the narration of Her abode begins.

Sumeru means in the midst of mountains called meru.  She lives in the centre of Meru Mountains. Possibly this could be the description of Śrī Cakrā.

श्रीमन्-नगर-नायिका (56)
Śrīman-nagara-nāyikā

She owns this auspicious and wealthy city called Śrī Nagara.





चिन्तामणि- गॄहान्तस्था (57)
Cintāmaṇi-gṛuhāntasthā

She lives in a palace constructed out of Cintāmaṇi, one of the most valuable gems.  This gem is supposed to give whatever is desired.  This palace is on the northern side of Śrī Nagara, the city.  All the gods and goddesses go to this place to worship Her.  This is supposed to be the place of origin of all mantra-s.


पञ्च-ब्रह्मासन-स्थिता (58)
Pañca-brahmāsana-sthitā

She is seated on a throne made up of five Brahmans.  The five Brahmans are Brahma, Viṣṇu, Rudra, Īśāna and Sadāśiva.






महापद्माटवी-संस्था (59)
Mahāpadmāṭavī-saṃsthā

She dwells in a great forest full of lotus flowers.  Lotus flower grows only in water.  Nature’s bounty has been mentioned here.  Big mountains with high peaks were referred earlier.  Now indirectly the water bodies are mentioned.  Mahāpadma also refers to a type of elephant.

कदंबवन-वासिनी (60)
Kadaṃbavana-vāsinī

She lives in the middle of kadaṃba trees whose flowers have divine fragrance.  Her Cintāmaṇi graha is surrounded by a forest of kadaṃba trees.





सुधा-सागर-मध्यस्था (61)
Sudhā-sāgara-madhyasthā

She resides in the middle of the ocean of nectar.  Sudhā means nectar, sāgara means ocean and madhyasthā means centre.  Sudhā-sāgara is a place in sahasrāra.  Just before sahasrāra, there is a place called soma cakra.  When kuṇḍalinī reaches this soma cakra, due to the extreme heat, a liquid flows down through the throat.  This liquid is called sudhā as its viscosity and taste resembles nectar.  This liquid is also called amrṭavarśinīi.

कामाक्षी (62)
Kāmākṣī

She has lovely eyes.  Her eyes are full of grace, compassion and mercy for the universe.

कामदायिनी (63)
Kāmadāyinī

She fulfils whatever  is desired.  There are several interpretations for this nāma.  Kāma means Kāmeśvara, a form of Śiva.  Dāyini means giver.

Sitting Posture






शिव-कामेश्वराङ्कस्था (52)
Śiva-kāmeśvarāṅkasthā

Her seating posture begins from this nāma.  She sits on the left thigh of Śiva.  Heart is on the left side and She is said to be Śiva’s heart.

शिवा (53)
Śiva

There is no difference between Śiva and Śaktī; hence she is called as Śiva.  Śiva also means auspiciousness.  She is the embodiment of auspiciousness.

स्वाधीन-वल्लभा (54)
Svādhīna-vallabhā

Her consort (Śiva) belongs to Her alone

Physical Description





चम्पकाशोक-पुन्नाग-सौगन्धिक-लसत्-कचा (13)
Campakāśoka-punnāga-saugandhika-lasat-kacā

Campaka, aśoka, punnāga, saugandhika are the four types of fragrant flowers that adorn Her hair.  But Her hair does not get fragrance because of these flowers, whereas these flowers get their fragrance from Her hair.  Her hair is always sweet smelling.





कुरुविन्द-मणिश्रेणी-कनत्-कोटीर-मण्डिता (14)
Kuruvinda-maṇiśreṇī-kanat-koṭīra-maṇḍitā

Kuruvinda is a rare type of ruby, which is red in colour.  This particular type of ruby is said to enhance love, wealth and devotion for Viṣṇu (Viṣṇu is Her brother).  These rubies adorn Her crown.  When She is meditated upon with this red crown, spirituality and prosperity will increase.





अष्टमी-चन्द्र-विभ्राज-धलिक-स्थल-शोभिता (15)
Aṣṭamī -candra-vibrāja-dhalika-sthala-śobhitā

Her forehead appears like the moon on the eighth day.  Eighth day from the full moon or new moon is called asḥṭamī.  The moon appears beautiful with even curves on both sides on eighth lunar day.





मुखचन्द्र-कलङ्काभ-मृगनाभि -विशेषका (16)
Mukacandra-kalaṇkābha-mṛganābhi-viśeṣakā

She is wearing a kastūri (kastūrikā a fragrant paste) tilaka (a mark on the forehead made with coloured earths, sandal-wood, or unguents, either as ornament or as a sectarian distinction) and this is compared to the spot that we see in the moon.





वदनस्मर-माङ्गल्य-गृहतोरण-चिल्लिका (17)
Vadanasmara-māṅgalya-gṛhatoraṇa-cillikā

Her face is compared to the palace of lord Manmatha (the god of love - cupid) and Her eyebrows are compared to the festoons adorning his house.  Cillikā means eyebrows





वक्त्र-लक्ष्मी-परीवाह-चलन्-मीनाभ-लोचना (18)
Vaktra-lakṣmī-parīvāha-calan-mīnābha-locanā

Her eyes appear like fishes moving in a pond.  Her face is compared to a pond and Her eyes to fishes.  Fishes move very quickly.  She also moves Her eyes quickly as She has to shower Her grace on the entire universe.
Because of the beauty of Her eyes She is also known as Mīnākṣī, Mīnalocanī, etc.





नवचम्पक-पुष्पाभ-नासादण्ड-विराजिता (19)
Navacampaka-puṣpābha-nāsadaṇḍa-virājitā

Her nose resembles like a newly blossomed champaka flower.





ताराकान्ति-तिरस्कारि-नासाभरण-भासुरा (20)
Tārākānti-tiraskāri-nāsabharaṇa-bhāsurā

She wears a nose stud that outshines the stars.  Her nose stud is made up of rubies and pearls.  Tārā means stars





कदम्ब-मञ्जरी-क्ल्प्त-कर्णपूर-मनोहरा (21)
Kadamba-mañjarī-klpta-karṇapūra-manoharā

She wears the petals of kadamba flowers in Her ears or flowers kept in Her hair flow down to Her ears.  These flowers are grown outside Her Cintāmani graha (The palace where She lives).  These flowers have divine fragrance, which is derived from Her ear lobes





ताटङ्क-युगली-भूत-तपनोडुप-मण्डला (22)
Tāṭaṅka-yugalī-bhūta-tapanoḍupa-maṇḍalā

She wears Sun and Moon as Her ear rings.  This means She controls all the activities of the universe, as sun and moon are responsible for sustaining life





पद्मराग-शिलादर्श-परिभावि-कपोलभूः (23)
Padmarāga-śilādharśa-paribhāvi-kapolabhūḥ

Her cheeks are shining, soft and reflecting.  Padmarāga is a type of ruby, red in colour.
Her cheeks reflect red colour as Her complexion itself is red.





नवविद्रुम-बिम्बश्री-न्यक्कारि-रदनच्छदा (24)

Navavidruma-bimbaśrī-nyakkāri-radanacchadā
Her lips outshine fresh coral and the bimba fruit. Bimba fruit is normally compared to beautiful lips.  Both are red in colour.





शुद्ध-विद्याङ्कुराकार-द्विजपक्ङ्ति-द्वयोज्वला (25)
Śuddha-vidhyāṅkurākāra-dhvijapakṅti-dvayojvalā

Her teeth appear like Śuddha-vidyā, which means Śrī Vidyā.  Śrī Vidyā is considered as the most secret and powerful ritual worship of Lalitāmbikā.  This involves a lot of rituals and each ritual has its own meaning and interpretation. Śuddha means pure, vidyā means knowledge and Śuddha-vidyā means pure knowledge.  This is considered pure because this upāsana mārg or the cult of Śrī Vidyā worship emphasizes the non-duality, ‘I am That’ concept.





कर्पूरवीटिकामोद-समाकर्षि-दिगन्तरा (26)
Karpūravīṭikāmodha-samākarṣi-digantarā

Karpūravītikā is a combination of fragrant ingredients, used to chew along with the betel leaves.
The ingredients are finely powdered and mixed with powdered sugar candy.  This Karpūravītikā powder when used with betel leaves for chewing gives immense fragrance and delicious taste).  When She chews this, it provides fragrance to the entire universe.





निज-सल्लाप-माधुर्य-विनिर्भर्त्सित-कच्छ्पी (27)
Nija-sallāpa-mādurya-vinirbhartsita-kacchpī

Sarasvatī’s veena (veena is musical instrument with strings) is called kachapi.  It produces a superb melody, in the hands of Sarasvatī Devi, the goddess for fine arts.  The voice of Lalitai is more melodious than Sarasvatī’s veena.





मन्दस्मित-प्रभापूर-मज्जत्कामेश-मानसा (28)
Mandasmita-prabhāpūra-majjatkāmeśa-mānasā

Smita means smile and mandasmita means a special benevolent smile.  Kāmeśa is Śiva.  When Lalitai is sitting on the left thigh of Śiva, they are known as Kāmeśvara and Kāmeśvarī.  This form is different from their Ardhanārīśvara form.  Śiva is immersed in that beautiful special smile of Lalitai.





अनाकलित-सादृश्य-चिबुक-श्री-विराजिता (29)
Anākalita-sādṛśya-cibuka-śrī-virājitā

She is seated with the most beautiful and incomparable chin.





कामेश-बद्ध-माङ्गल्य-सूत्र-शोभित-कन्धरा (30)
Kāmeśa-baddha-māṅgalya-sūtra-śobhita-kandharā

Her neck is adorned with the māṅgalya sūtra tied by Kāmeśvara.  The tying of māṅgalya sūtra is not discussed in Veda-s and possibly a custom followed in later days.





कनकाङ्गद-केयूर-कमनीय-भुजान्विता (31)
Kanakāṅgada-keyūra-kamanīya-bhujaanvitā

kanaka – golden; aṅgada – bangles or bracelets; keyūra is a type of ornament worn in the upper arms.  She wears these ornaments.





रत्न-ग्रैवेय-चिन्ताक-लोल-मुक्ता-फलान्विता (32)
Ratna-graiveya-cintāka-lola-muktā-palānvitā

She wears a gems embedded golden pendent and a pearl necklace.  These ornaments dangle in Her neck.

The dangling of these ornaments is compared to mind.   This is the meaning of lola-muktā-palānvitā.  While worshipping Her, one has keep to keep his mind steady, without distractions.





कामेश्वर-प्रेमरत्न-मणि-प्रतिपण-स्तनी (33)
Kāmeśvara-premaratna-maṇi-pratipaṇa-stanī

She offers her devotion to Kāmeśvara (Śiva) in return for His love. The subtle meaning is that She will give Her blessings to Her devotees, twice the amount of devotion offered to Her.





नाभ्यालवाल-रोमालि-लता-फल-कुचद्वयी (34)
Nābhyālavāla-romāli-latā-phala-kucadvayi

Her two bosoms are the fruits of the creeper  that springs from Her navel.  The significance of this nāma is on the navel and heart cakra-s.  Meditating on the heart cakra by upwardly moving the kuṇḍalinī from navel cakra, gives fruits of meditation.





लक्ष्य-रोम-लताधारता-समुन्नेय-मध्यमा (35)
Lakṣya-roma-latādhāratā-samunneya-madhyamā

Her waist is compared to a creeper as described in the previous nāma.  The secretive meaning is that ātma is subtle and can be known only by keen observation (through meditation)





स्तनभार-दलन्मध्य-पट्टबन्ध-वलित्रया (36)
Stanabhāra-dalanmadhya-paṭṭabandha-valitrayā

In order to support the weight of her breasts she wears a golden belt around her waist where there are three folds, indicating her three activities of creation, sustenance and dissolution





अरुणारुण-कौसुम्भ-वस्त्र-भास्वत्-कटीतटी (37)
Aruṇaruṇa-kausumbha-vastra-bhāsvat-kaṭītaṭī

Aruna means from the sun and kausumbha is a flower.  So as the rising Sun and as the extracts of the kausumbha, everything associated with her is red in colour which in turn indicates compassion.
She wears a red silk cloth around Her waist.





रत्न-किङ्किणिका-रम्य-रशना-दाम-भूषिता (38)
Ratna-kiṅkiṇikā-ramya-raśanā-dāma-bhūṣitā

She is adorned with girdle studded with mini bells and gems.





कामेश-ज्ञात-सौभाग्य-मार्दवोरु- द्वयान्विता (39)
Kāmeśa-jñāta-saubhāgya-mārdavoru-dvayānvitā

The beauty of Her thighs is known only to Her consort and Creator Kāmeśvara.  This indirectly refers to the secretive nature of Śaktī kūṭa of Pañcadaśī that begins from this nāma.





माणिक्य-मुकुटाकार-जानुद्वय-विराजिता (40)
Māṇikya-mukuṭākāra-jānudvaya-virājitā

Each of Her knees is like a single piece of ruby (again red colour) appearing like a crown.





इन्द्रगोप-परिक्षिप्त-स्मरतूणाभ-जङ्घिका (41)
Indragopa-parikṣipta-smaratūṇābha-jaṅghikā

Her calf muscles look like the long narrow case of arrows that is carried by Lord Manmatha, the god of love.





गूढ-गुल्फा (42)
Gūḍha-gulphā

She has round and well shaped ankles that are hidden.



 कूर्म-पृष्ठ-जयिष्णु-प्रपदान्विता (43)
Kūrma-pṛṣṭha-jayiṣṇu-prapadānvitā

The arch of her feet is more beautiful and curvier than tortoise’s shell. But this comparison is not accepted by Adi Shankaracharya, who, in Soundarya Lahari, says,  "The toes of your feet are the ones that sustain this whole universe "





नखदीधिति-संछन्न-नमज्जन-तमोगुणा (44)
Nakhadīdhiti-saṃchanna-namajjana-tamoguṇā

The rays of Her nails remove the ignorance of those who bow before Her.





पद-द्वय-प्रभा-जाल-पराकृत-सरोरुहा (45)
Pada-dvaya-prabhā-jāla-parākṛta-saroruhā

The beauty of Her feet is much more than a lotus.  There are opinions that She has four feet.  They are known as śukla, rakta, miśra and nirvāna. The first two rest in ājña cakra, the third on the heart cakra and the fourth on the sahasrāra.  They stand for creation, sustenance, dissolution and the last one for liberation (or recreation)





सिञ्जान-मणि-मञ्जीर-मण्डित-स्रीपदाम्बुजा (46)
Siñjāna-maṇi-mañjīra-maṇḍita-srīpadāmbujā

She wears anklets made out of precious gems that shine.
It is to be noted that five nāma-s 42 to 46 describe only about Her feet. 

मराली-मन्द-गमना (47)
Marālī-manda-gamanā

Her walking gait is like a female swan. 

महा-लावण्य-शेवधिः (48)
Mahā-lāvanya-śevadhiḥ

She is the treasure house of beauty.  Saundarya Laharī says “The best of thinkers such as Brahma and others are at great pains to find a suitable comparison to your beauty.





सर्वारुणा (49)
Sarvāruṇā

Sarvam + aruṇam = everything in red.  Everything associated with Her is red.  This fact has been highlighted in various nāma-s.

अनवद्याङ्गी (50)
Anavadyāṅgī

Every part of Her body is flawless and in accordance with samudrikā lakśana or śāstra.  She is nirguṇa Brahman (without attributes) as well as saguṇa Brahman (with attributes).

सर्वाभरण-भूषिता (51)
Sarvābharaṇa-bhūṣitā

She is adorned with all types of ornaments.