Śrī Rāja Mātañgi Mediation

O Loveable guru! Guide us in darkness; lead us to light with music

Śrī Rāja Mātañgi Devi, who emerged out of the sugarcane bow of Śrī Lalitā, was made
the prime minister. There was a special charka (chariot) for her to ride- the Geya charka.
The chariot had seven tiers, like the seven notes in music and the charioteer was Hasanti
śyāmalā Devi. The devatas seated around her in her chariot are manmātha with his wives
rati and preeti, his five forms and his five arrows. ālso found are the sixteen virgins
(kanyakas), the eight pair of bhairavas and mātrukās. The Dhanurveda (warfare deity)
took a form and presented to her the Bow called Brahma siras. She was praised with 16
names on her march to war, which is found in the ritual manuals. During the war when
Viśukra engaged in magical warfare by throwing a vighna yantra, she along with Vārāhi
were not affected and prayed to Śrī Lalitā to remove this obstacle. āgain on the third day
of battle, she engaged with Viśukra (The enemy prime minister) and severed his head
with an arrow from the above bow. Her Geya cakra was always moving in step with Śrī
Cakra and Kiri cakra (of Śrī Vārāhi).

Mātañgīm bhūṣitāñgīm madhumadamuditām nīpamālādhyaveṇīm

sadvīṇām śoṇacelām mṛkamadatilakāmindurekhāvatamsām
karṇodyat śañkha patrām smita madhuradṛśā sādhakasyeṣTadātrīM
dhyāyet devīm śukābhām śukamakhila kalārūpamasyāscapārśve

Her mantra has 98 syllables and she is meditated in the Heart cakra (anahata), along with
her añga upāñga, pratyañga devatās and the Śyāmalā gurupāduakā during the early
morning- bed side raśmi mālā mantra recitation.
The translation of the above meditative verse is:” O Mātañgi devi- daughter of mātañga
muni, you are adorned with jewels, with a intoxicating smile, wearing nīpa flowers on
your braid, holding vīṇa- a stringed musical instrument, adorned with red clothes,
sporting a musk mark on her forehead along with a crescent moon on her diadem,
wearing earrings of conch shells (OR palm leaves folded like an earring), bestowing on
the aspirant all his needs by her loveable glance and beautiful smile, you are green like a
parrot, and the representative of all art forms resides beside you in the form of a parrot.”
We shall try to meditate on her while reciting her mantra.
Om āim hrīM Śrīm āim klīM sauh Om namo bhagavati: Imagine a small thread of
light from your mulādhāra cakra rising up to the anāhatā (heart) and blossoming into a
lotus there of 12 petals. This is found in the above verse as ‘bhūṣitāñgīm’- adorned with
jewels, the same is the impact of ‘bhagavati’- one who is with bhaga – i.e aisvarya which
means richness or lordship.
Śrī mātañgīsvari: This is an address to the deity also found in the dhyāna verse as
‘Mātañgīm’. Now meditate on the deity on the lotus as green in colour as said
‘sukābhām’

Sarva jana manohari: This refers to the attraction of mind of all people. The moon is
the soothing attractive object to the mind of all persons, universally. We can meditate on
the moon on her crown .This is said as ‘indurekhāvatamsām’

Sarvamukha rañjani; This refers to the pleasing nature of Devi with all world, living
things. Her face with an intoxicated smile will surely cause all to be pleased. Here the
intoxication means that her awareness level is not like that common ordinary people. We
can meditate on the her face with the charming, intoxicating smile as ‘madhu mada
muditām’

klīM hrīM ŚrīM: These are bījakṣaras of the Devi -‘klīM’ refers to tattva sodhana,
‘hrīM’ to sva svarūpānusandhāna and ‘Śrīm’ immersed in divine. This can be done by
nādānusandhāna, immerse of mind in harmony of music, since best instrument of musical
harmony is vīna, meditate on ruby studded vīna in hands of Devi, this is found as
‘sadvīṇām’.

sarva rāja vaśañkari: This means that devi attracts all Emperors in the world. We can
see that five names hereafter will have an appendage ‘vaśañkari’- one who attracts. This
is secret of this mantra’s meanings. There can be no foe- upaniṣat says “ātmanastu
kāmāya sarvam priyam bhavati” – hence all are attracted / subjugated as friends /
admirers. Meditate on the earrings made of conch shell / folded palm leaf as said in the
dhyāna sloka as ‘karṇodyat śañkha patrām’

sarva strīpuruṣa vaśañkari: This means that devi further attracts all men and women
in this world. This not only refers to the humans also to all living beings inhabiting the
world. The Musk deer attracts its partner by the smell of musk. Simultaneously it will
also search for the source of the smell not knowing that this smell is emitted from its own
body. Meditate on the mark of musk on her forehead as said in the dhyāna
verse-‘mṛkamadatilakām’.

sarva duṣtamṛga vaśañkari: This means that devi further attracts and subjugates all
animals which have bad /evil tendencies. This not only refers to the animals but also to
the humans who have such tendencies. Parrots have a charming aspect which will attract
all and are also personification of all art forms. The subtle nature of arts will subjugate
all. Hence meditate on the parrot near her as said -‘smita madhuradṛśā
sādhakasyeṣTadātrīM’.

sarva satva vaśañkari: This means that devi further even attracts and subjugates all the
good natured humans /animals. Flowers have a charming aspect which will attract only
the pure good minded living things. ‘nīpa’ as per kaTapayādi code will refer 10, which
will denote the five karmendriyās, five gyānendriyās. ālso the keśa (hair) of devatā is
termed as bhuvanādhvā which is allegoric of the universe. Thus the created universe with
the above are referred when we meditate on the braided hair with nīpa flowers. This will
cause the stillness in the mind which will be now drowned in the satva nature. Hence
meditate on braided hair with nīpa flowers as said -‘nīpa mālādhya veṇīm’

sarva loka vaśañkari: This means that devi in all aspects will effectively attract all
living things, whether good or bad. Red colour will universally mean Love, which is all
encompassing. . Hence meditate on red garment of Devi -‘śoṇa celām’

amukam me vaśamānaya: This refers to the subjugation of a particular person to me.

‘amukam’ is to be replaced with the name of that person. We find variations in this area
in many lineages. Some prefer ‘sarvajanam’, others ‘trailokyam’, We also find ‘rājanam’.
Since this is mantra devata is also referred as Śrī rājamātañgi and as seen from Bhārgava
rāma kalpasutra ‘rāja darsanānhi nyāyah’, the last of the above may be used. Meditate on
the smile on her face with a flow of grace to the aspirant as said in ‘smita madhura drsā
sādhakasya ishTa dhātrīm’- The aspirant’s prayer is for the final anubhava- realization
that all this is Brahman.

svāhā sauh klīM āim ŚrīM hrīM aiM: These final svāhā and bījakṣaras are in the
reverse order are to merge the aspirant , the deity and the universe in line with the above
thoughts.

While meditating on the above a finer structure in the various parts of the mantra was
revealed. The six ādhāra cakras and the sahasrāra could be linked to these parts. Thus we
find ‘sarva janamanohari’ corresponding to āgyā cakra- manas tatva, ‘sarva mukha
rañjani’ to mulādhāra- mukha refers to the earth element, ‘sarva rāja vaśañkari’ to
visuddhi- rāja is number 16 as per secret code, ‘sarvastrīpuruṣa vaśañkari’ to
svashistāna- the basic instinct attractive place, ‘sarva dushtamrga vaśañkari’ to anāhata,
since karunā rasa originates from heart, ‘sarva satva vaśañkari’ to sahsrāra- (satva
pradhāna guru caranāravinda) the most noble guru’s feet are ever present there, ‘sarva
loka vaśañkari’ to manipuraka cakra- all world iss figuratively said to reside in the
stomach of the divine. Thus we find a veena playing method in the above sequence of the
various parts of the mantras on the spinal chord- klīM hrīM ŚrīM.

1. sangītayoginī: sangīta is music, yoga in union. She is the Devi who shows the

way to union with divine through music.

2. śyāmā: dark hued. Devi is meditated in a dark hue, of green.

3. śyāmalā: This is an extension of the above, here we are directed to meditate Devi

in all dark hued objects in this world, like rain bearing clouds, etc.
4. mantra nāyikā: The word mantra means that which transforms the person who

chants into a realm of mindless state, nāyikā means one who is queen – skill full

in performing this deed

5. mantriṇī: This is an extension of the above where in we discover that the Divine

in this form is especially for this transformation Mantriṇi also means a minister.

6. sacivesānī: This is further light on the above name, saciva means minister and

īsāni is the head, so she is the prime minister in the court of Śrī Lalitāmbika-

kāmeśvara

7. pradhāneśī: pradhāna means important, īsi means head, since as seen above , the

role of a prime minister as the important head in the court on advice to the

emperor , that’s why Śrī bhārgava rāma in kalpasutra says about the importance

of śyāmalā upāsanā as ‘rājadarsanāt hi nyāyah’

8. śukapriyā: śuka means parrot and priyā means fond of, Thus this points to the

parrot loving nature of this deity. Parrot signifies the Vedas / all arts which are

repetition of what is heard. Hence we may conclude that this deity is the Queen of

all art forms. From Secret code Ka Ta payādi we find ‘su’ and ‘ka’ are ‘5’ and ‘1’,

reading it will be 15 which will denote Śrī Lalitāmbika. Since Śyāmalā is fond of

and also is adored by Śrī Lalitā, this name is thus interpretated.

9. vīṇāvatī: Vīna is a stringed musical instrument and she is meditated as holding a

vīna. vīṇa is also denoting the spinal chord and the SuShuMnā māraga inside it.

Śyāmalā being the devi of all the ādhāra cakras as seen above is vīṇāvati.
 10. vaiṇikī: Her skill in playing the vīna is stressed here. This relates to the sādhana

guidance of the divine in the nādānusandhāna. ās a continuation of the above

name we can interpret that the kundalini sādhana is implied here.

11. mudriṇī: Mudrā is the ring which bears royal sign, Lalitā sahasra nama also says

‘mantriṇi nyasta rajyadūh’, The rule of Lalitā devi’s empire-sāmrājya is by

Śyāmalā on the power of the ring bearing the royal authorizing sign given to her

by Śrī Lalitāmbika. āll gestures which cause bliss are called mudrā. This devi

being the form of bliss will mean the same.

12. priyakapriyā: priyaka: a flower called priyaka , priyā= fond of that flower

13. nīpapriyā :a flower called nīpa , priyā= fond of that flower, even in the meditative

verse we find a reference to her hair braided and having nīpa flowers.

14. kadambeśī: kadamba= a special tree called kadamba, īsi= she is the queen of that

tree..

15. kadambavanavāsinī: kadamba is a special type of tree as seen above , vana= forest

full of that type of tree; vāsini= lives in that forest.

16. sadāmadā: sadā- always, madā- intoxicated. The conscious level of the devi and

her aspirant are not like the ordinary, they are different is indicated here.

The Lalitopākhyāna describes the opposite; viśukra is slain by Śyāmalā Devi and viṣanga
by vārāhi. This may in tune with the idea in battle in the days of yore, when equals only
fight. The narration in Lalitopākhyāna is by Lord Hayagrīva, who took part in the battle.
He was placed in the forefront; behind him was stambhini with the rest of the army.
Recitation of Lalitā sahasranāma is by vaśini vāk devis who were on the seventh tier of
the Śrī Cakra rāja chariot, flanked with the chariots of śyāmalā and mantrini. Hence the
difference in the narration in lalitopākhyāna and sahasranāma is evident from the
placement of the narrators as above, we may accept the vaśini vāk Devi’s view as clear
rather than Lord hayagrīva who might have over looked or narrated within accepted
principles
a. Laghu Śyāmalā Meditation

O Lord Datta , loveable kula guru, shower your blessings

māṇikya vīṇāmupalālayantīm madalasām mañjulavāk vilāsām

māhendra nīladyuti komalāñgīm mātañgakanyām manasā smarāmi

The above is the meditation verse (dhyāna sloka) of Śrī Laghu Śyāmalā Devi, who is the
añga devatā, primary attendant, of Śrī RājaMātañgi. Laghu means easy, so this Devi is
easy to approach and confers boons on a little effort. She takes part in the war of Śrī
Lalitā with Bhandasura rides a chariot and slays kurūṣa, on the first day.

Her mantra in Nityotsava is “āim namah ucchisTa cāṇdāli mātañgi sarva vasamkari
svāhā”.

We shall try to find an identity of the meditative verse with the mantra.

māṇikya vīṇāmupalālayantīm: Śyāmalā devi is mediated as playing the ruby studded

veena. Veena represents backbone and suṣumna nadi with other two (ida and pingala) are
the strings in it. Thus we find a subtle reference to Kundalini, which can be meditated as
Vāgbīja ‘aim’. This vowel on continuous repetition will sound like the playing of the
veena.

madalasām mañjulavāk vilāsām: She is meditated as in a intoxicated state, uttering

soft language . This is the vaikhari (gross) speech, which can be meditated as ‘ucchiṣTa
cāṇdāLī’. UcchiṣTa also means left over after eating which here is the spoken word.

māhendra nīladyti komalāñgīm: She is meditated as of blue hued with beautiful body.
In prayogas of six types (ṣaTkarmas) said in tantra deity is to be meditated as blue hued
for attraction (vaśīkaraṇa), so this attractive force can be seen as ‘sarva vaśañkarī’.
mātañgakanyām: She is addressed as daughter of sage mātañga, which can be seen in
‘mātañgi’

manasā smarāmi: Thus above Devi is deeply meditated. Deep meditation involves a
complete identification with deity, which is main purport of mantra ‘namah’ and ‘svāhā’.
‘na’ is negation of self represented by ‘ma’ ; ‘svāhā’ is oblation into fire which consumes
offered materials, thus we are directed to wholly involve and deeply meditate on deity
resulting in complete unification of individual consciousness with Universal
consciousness resulting in experience of unlimited bliss.
Let us now see philosophical import of slaying of asura “kurūṣa”, this name is
constructed from two words ‘kuru’ and ‘uṣā’ which will mean work and indulgence. So
a workaholic is denoted here. He has no time for sādhana. Once he is initiated and starts
the sādhana, he has to find a time out of busy work schedule. The initial bliss enjoyed on
japa and puja will cause further interest and will pull him into this process. This is the
slaying of the asura by this devi.

b. Vagvādini Meditation

O Dearest Lord Datta, shower your blessings on us!!

amalakamala samsthā lekhinī pustakodyat

karayugala sarojā kunda mandāragaurā
dhṛta sasadhara khaṇdollasi koTīrapīThā
bhavatu bhava bhayānām bhan~ginī bhāratī nah

The above is meditation verse (dhyāna sloka) of Śrī vāgvādini Devi, who is the upāñga
devata, secondary attendant, of Śrī Rājamātañgi. Vāk is the spoken word; vādana is its
delivery, or constant interactions through spoken words. In sādhana an aspirant in initial
level will have lots of doubts and misgivings. These have to be cleared with Śrī Guru
only. Bhārgavarāma also says ‘guru vākya śāstradau sarvatra asamśayah’- don’t doubt the
words of Śrī Guru or the scriptures. In this order Guru’s words have a preference over
scriptures, thus if his words are contrary to the scriptures, they have to be obeyed to the
letter and in spirit, which will only lead the seeker in the sure path of self realization.
Vagvadini takes part in the war of Śrī Devi Lalitā with Bhandasura, riding on a swan and
slays drughaṇa, on the third day.

Her mantra in Nityotsava is “āim klīM sauh vada vada vāgvādini svāhā”

This is an attempt to find the mantra in the dhyāna sloka.

amalakamala samsthā lekhinī pustaka ; seated on a White lotus holding a pen (which
is like a iron needle) and a palm leaf book. This is the vāgbhava bīja ‘āim’ which bestows
all knowledge, the book represents śāstras.

udyatkarayugala sarojā kunda mandāra gaurā; The above are held in brilliant lotus
like hands, which have a whitish jasmines flower like brilliance. This can be meditated as
‘klīM’, which is the kamarāja bija bestowing all worldly comforts and pleasures. The
lotus born in muddy clay water (prthvi tatva) and its smell (gandha tatva) will represent
the worldly comforts. Jasmine will represent pleasures by its intoxicating perfume.

dhṛta sasadhara khaṇdollāsi koTīrapīThā: wearing a crescent moon on her crown is

meditated here, the same svarupa meaning is seen in Parā’s meditative verse as ‘candra
kalāvatī’ . Hence the parā bīja ‘sauh’ can be meditated here

bhāratī: This means one who shines forth, seen in the mantra as ‘ vāgvādini’

bhavatu bhava bhayānām bhan~ginī nah: Let our fear of the worldly activities be
destroyed is the purport of this verse. The dispelling of the fear of samsāra is by constant
awareness and realization of the universal consciousness. This can be achieved by the
grace of Śrī Guru. The aspirant has to tread the path of sādhana as instructed by him,
any doubts on the path shall be asked and cleared repeatedly, till the sādhaka is sure that
he is on the right path and have the final realization. The repeated clearance is denoted by
‘vada vada’ and the final realization is by ‘svāhā’
Let us now see philosophical import of the slaying of asura “drughaṇa”. This asura’s
name means ‘iron hammer of a blacksmith’. This will be the hardest one, and shall break
or dent other any metal pieces or things. Thus we can infer the deepest misgivings and
doubts of an aspirant personified as this asura, Śrī Vagvadini devi being the
personification of the repeated clearance of doubts and constant vigil in the sādhana by
Śrī Guru, which will remove these hindrance, in turn this is slaying of this asura.

c. NakuLī- Mediation

Our most humble salutations to the lineage from

Śrī Mahā Kamesvara to our guru
With a prayer to dispel the darkness called ignorance
by lighting the lamp of knowledge in our minds

nakulī vajradantālī sādhya jihvāhi damsini

bhakta vakṛtva jananī bhāvanīyā sarasvatī

The above is the meditation verse of NakuLī, pratyañga Devi of Śrī Rājamātañgi.
During first day of war with Bhandasura, five of his commanders, named Karaṇga,
Kākavāsita, vajraloma, vajramukha, vajradanta ventured into battle. They created an
illusion of serpent goddess called sarpiṇi, who projects out a horde of snakes of different
species. Śrī Devi Lalitā brought forth Śrī Nakulī devi from her palate (upper part-
inside of mouth). Śrī Nakulī discharged akṣīṇanakulāstra (ā weapon that shall produce
an Un-exhaustible horde of mongoose) which produced a horde of mongoose with
diamond like teeth. They fought and slew enemy horde of snakes. Finally she discharged
Garudāstra, which swallowed illusion called sarpiṇi. She engaged with above
commanders in a battle and severed heads of commanders with a sword. On third day
of war, she killed viṣeṇa.
Her mantra in Nityotsava is
“OṣTāpidhānā nakuLī dantaih parivṛtā pavih;
 sarvasyai vāca īshāna cāru māmiha vādayet”

Nakula means mongoose- traditionally considered as an enemy of serpents. It is also

believed that mongoose will smear some herbal roots/ leaves on its mouth before a fight
with serpent to protect it from venom of snake.

A translation of above ṛg mantra: “O! Nakuli devi your lips which cover teeth are
smeared with thunder-bolt like speech, you are head of all spoken words, Let my speech
here be beautiful”. Here Thunder-bolt like speech is allegoric to mastery in logic and
debate. On a whole this refers to undefeated position in all debates. This is also concurred
in Lalitā sahasranāma phalasruti which said that Nakuli will cause undefeated position in
debates to a person who chants this sahasranāma.

Kula also refers to six astral centers in central path called suṣumn ā nādi, called as
ṣaTcakras, in body. Kundalini śakti- which is personified as a snake will move from
lowest cakra mūlādhāra, piercing all five cakras above it, to reach sahasrāra which is
called a-kula, not of six centers, but highest-above all.

Na-kula means nayati- kule, which means guiding through these centers. Thus we are
amazed to see revelation that this devi is devoted to continuous monitor of Kundalini’s
movement- snake, on right path in form of guidance from Śrī Guru, not allowing it to
move in a haphazard manner or getting suspended in or between cakras. This haphazard
movement or suspension in or between cakras may cause mental de-balance and other
physical ailments are only due to unqualified or undirected sādhana by aspirant. This
Kula sādhana is mainly through verbal instructions by guru, Hence this devi is
personification of his verbal directions, which continuously light way for a seeker.

This is an attempt to find mantra in dhyāna sloka.

nakulī – sarasvatī : We find both as an address to deity, which is also found in mantra
as “nakulī”
vajradantālī : This means diamond like teeth, mantra says “OṣTāpidhānā dantaih”-
Teeth covered by lips. .

sādhya jihvāhi damsini: This is an allegory to snake poison being bitten on opponents
tongue , this is clearly said in mantra as “parivṛtā pavih;” aspirants lips are smeared
with thunderbolt like speech, which shall quell any objections from opponent.

bhakta vakṛtva jananī : This points to source of above act of silencing of opponent,
which is from mouth of aspirant. This is referred in mantra as “sarvasyai vāca
īshāna” – The Head / lord of all speech and its source is mouth.

bhāvanīyā: Thus above devi as described is visualized by aspirant. The result of this
visualization is beautiful speech in a debate, which is denoted in mantra as “cāru
māmiha vādayet”.

Let us now see philosophical import of slaying of all above asuras. They are
representatives of different types of people who will hinder improvement of a sādhaka in
his sādhana.
1. Karaṇga: The name means a skull- empty. There fore this will point to a dull
witted person with no knowledge. He will try to confuse sādhaka by his illogical
empty arguments.
2. kākavāsita: The name means breath like a crow. Crows are traditionally believed
to live long due to their lower rate of breath. This will now point to a person who
has some prānāyāma skills. He will suggest other ways, calling them better,
fruitful with less effort and finally will lead the sādhaka astray. Only a sure
committed belief on the guru’s words and a total surrender to Śrī Guru is the
sure way of attainment in this sādhana.
3. vajra loma, vajra mukha and vajra danta: vajra means diamond, the one of the
most hardest substance.
 A. Loma means sweat, Hence a person who believes in physical work-out i.e.
a staunch body builder. He will try to raise the kundalini by this method.
B. Mukha means the face and hence all sensory organs in it, thus we find a
person fully indulging in pleasure of the sense organs. In ancient times
there was a theory called cārvāka siddhāntā which was like this.
C. Danta means teeth, hence speech by direct revelation. This is now a
knowledgeable adept in debates with lots of logic.
4. viṣeṇa: Viṣa is poison, eṇa means moon and hence mind (candra mā manaso
jātah). This will now refer to persons with poisoned minds who will also try to
poison sādhaka’s mind with lots of data against this sādhana from smṛtis and
other sources. .
Thus we find these auras are unshakeable and deeply rooted tendencies in us and also are
seen as people in our environment. Slaying / Removal of this asura / tendency will be by
Śrī Guru’s grace personified as this deity.
The following is a procedure for placement of the mantra on the teeth of sādhaka for
fullest realization of grace of this devi as per prapañca sāra sāra sañgraha.
O- Left extreme upper molar
ṣTā- next molar
Pi- next molar
dhā- next molar
nā – next molar
na – left upper canine
ku- left upper incisors
Lī - next incisors
Da - next incisors
Ntaih - next incisors
Pa-right upper canine
Ri- right upper molar
Vr- next molar
tā - next molar
pa- next molar
vih- right extreme upper molar

sa- right extreme lower molar

rva- next molar
syai- next molar
vā- next molar
ca – next molar
ī – right lower canine
Sā- right lower incisors
na - next incisors
cā - next incisors
ru - next incisors
mā-left lower canine
mi- left lower molar
ha- next molar
vā - next molar
da- next molar
yet- left extreme lower molar