Some issues of tradition

In discussions with R and some others a few topics have repeatedly come up. While I am tempted to delve into them in depth, I feel my study of the data on these matters is inadequate to present as definitive a view as I would like. But I still cannot hold back the temptation to place few points here, despite my incomplete study. The main topics in question are:
1) What is the origin of shrIvidyA and what were the original forms of the shrIvidyA mantra-s? The pa~nchadashI and its derivative were definitely not the earliest forms, and we have briefly discussed pre-pa~nchadashI shrIvidyA and bAlA which were earlier. In a sense the initiation pattern starting with bAlA and going to higher pa~nchadashI derivatives actually mirrors history. The now declined tripura-bhairavI form of shrIvidyA with 9 nityA-s (e.g. as in shArada-tilaka) was an intermediate element in historical development. This is true of many tantric traditions where ritual and initiation patterns follow historical development (as in biology we observe ontology following evolution). abhinavagupta in developing anuttara-trika from the existing trika systems actually consciously follows this pattern. The roots of shrIvidyA lie in the early kula texts, which also spawned other kula traditions like kAli-kula, samayA-kula and the poorly studied tvaritA.
2) Is prapa~nchasAra’s shrIvidyA the pa~nchadashI? While the commentarial tradition might hint the tripura-bhairavI form, the root tantra itself seems to primarily follow the bAlA mantra.
3) Was mokSha the original goal of shrIvidyA? It was just one of the many goals generally acknowledged by kaula systems.
4) Was advaita vedAnta connected to shrIvidyA from its inception? Is the mahApaduka mantra a “genuine” aspect of shrIvidyA? Are sha~Nkara and gauDapAda really connected to shrIvidyA?
advaita vedAnta has its origins in one set of the diverse ideas presented by philosophers from the vedic period. Its subsequent development stood on the great philosophical exegesis of sha~Nkara’s school. Tradition also connects sha~Nkara’s school with a certain form of shrIvidyA, which tends to ignore or remove the kula doctrines and this is certainly the form of shrIvidyA practiced by modern initiates affiliated with sha~Nkara’s tradition. But there are some issues amongst these initiates: 1) Many of the modern initiates while very knowledgeable about their paddhati-s and mantra prayoga-s have a relatively poor understanding of the root sources: the diverse kula texts including the root tantra-s of shrIvidyA. 2) Many aspirants as well as lay devotees actively practice texts like lalitA-sahasranAmaM and saundaryalaharI but do not recognize or in some cases deny the kula doctrine at their core. 3) They pay tremendous importance to the mahApaduka mantra which incorporates upaniShadic mahAvAkya-s [*1]. There is no evidence that the mahApaduka mantra was central to any kula teaching. But it does resemble the ene-mene-dapphe-daDapphe [*2] of bauddha-s being incorporated as a mantra.

From early times the brAhmaNa-s migrated out of their smArta baseline to develop new systems of philosophy or knowledge. In some cases they converted entirely to these systems, like the nAstIka-matas, or in other cases created versions that spanned a spectrum from purely smArta to something which might contradict smArta norms[*3]. Likewise, in shrIvidyA’s development from early on there were forms in line with smArta norms (e.g. prapa~nchasAra and shAradA-tilaka) as well as those transgressing smArta norms (e.g. parashurAma kalpa sUtra-s; though from the very adoption of a mImAMsaka style is indicative of the brahminical origins of the PKS), both systematized by Brahmins of ultimately smArta origin. The pa~ncha-makara might not necessarily be adopted by those who remain smArta because their norms are violated by the 5 ma-s, but the principle of kAmakala worship and the ShaT-chakra-s, both of which are drawn plainly from the original kula doctrine, are retained at the heart of shrIvidyopAsana by even these smArta-s. But nowhere in any of their early sources do we find the mahApaduka and upaniShadic statements. Now the smArta-s appear to have created another set of Agama-s much closer to their own pattern of worship – the shubhAgama pa~nchaka. But interestingly these hardly have any popularity compared to the root tantra-s which follow the unadulterated kula doctrine. Now I have only seen fragments of these and these are clearly later in provenance than the early kula texts.

advaita of the early kaula-s of matsyendra’s successors does not mean the same as the vedantic advaita. There a-dvaitam appears (at least to me) to be interpreted as the lack of duality in worship – thereby allowing the more kaula elements (the pure-impure distinction breaks down). So the vedantic advaita does not in anyway appear to be inherent to the kula doctrine.

So, in conclusion, I believe the evidence favors the advaitins of the sha~Nkara tradition have only secondarily adopted shrIvidyA and are behind the creation of the mahApAduka mantra. They have even gone to the extent of claiming that one can get the guru-status or a higher level mantrAdhikAra only with this mahApAduka dIkSha. My personal opinion is that every one is entitled to their own tradition. So, if some one is affiliated with a sha~Nkara maTha they may follow their maThAdhipati and Acharya-s, but the claims regarding mahApaduka are not binding on all tAntrIka-s.

[*1] praj~nAnaM brahma; tat-tvam-asi; ayaM AtmA; brahma aham brahmAsmi; .
[*2] dharmatrAta rendering the words of the tathAgata in devabhASha states in the udAnavarga: ene mene tathA dapphe daDapphe cheti | sarvasmAd viratiH pApAd duHkhasyAnto niruchyate || 26.18
[*3] Thus we see Brahmins of originally smArta origin diversifying in their practice into, for example, non-mantra mArga pa~nchAyatana shivopAsana with otherwise purely smArta norms, smArta mantra-mArga shivopAsana (as in prapa~ncha-sAra), lAkula-s (and their kAlAmukha successors) who observed smArta norms but additional unique forms of shivopAsana, saiddhAntika-s who followed shivadharma in addition to all the smArta norms (though considering shivadharma primary) and bhairavAchAra mantra-mArgin-s who transgressed smArta norms. Thus, in these diverse movements the scholastic tradition emerged from the smArta ranks.

Posted in Heathen thought

Transmission of the kAli kula tantras according to the chinchini-mata sAra samuchChaya

There was a muni named shIlAchiti in the shivapITha of shrIshaila. His son was a siddha named vidyAnanda who looked like a shAbara tribesman. He lived in shmashAna-s and performed nightly vIrasAdhana by meditating on his chakras. He went to the mountain range to the north of shrIshaila and there in a gold mine [*] dear to the gods he worshiped, desirous freedom. A tantric niShkriyAnanda was pleased with him and initiated him into the kAli krama (CMSS 7). He then transmitted the tradition of kAli krama in bhAratavarSha.

* “This cave of gold” might be identified as either one of 3 caverns recognized today: dattAtreya cave, “Akkamahadevi” cave or umAmaheshvara cave.

Posted in Heathen thought

Some thoughts on medieval Sanskrit authors amongst our co-ethnics

Our co-ethnics represent one of the last great waves of brahminical settlers to the Southern country – a rather continuous process happening over 2500 years. Among them were many students of the shAstra-s, creators of sAhitya-s, vedic ritualists and more secretly transmitters of tantric lore. They were at the heart of what might be called one of the final waves of Sanskrit creativity before the transition to the “modern” era. Their Sanskrit creativity partially overlaps in temporal terms with that of their more westerly neighbors the Nambuthiri-s, whose efflorescence spawned one of the greatest endogenous scientific and mathematical developments in Hindu thought. Their activities also partially overlapped in temporal terms with the Sanskrit creativity in the va~Nga country resulting in the evolution of nyAya thought in a peculiar new direction – the navadvIpa school. There are several names among our medieval co-ethnics, whose productivity spans a wide range of topics. Some of these represent interesting and unusual mental feats. One such is the form of poetry known of viloma-kAvya – i.e. a poem which makes sense when read in both forward and reverse direction.
For example:
Forward (describes rAmachandra):
taM bhUsUtA-muktiM udAra-hAsaM vande yato bhavya-bhavaM dayA-shrIH |
Reverse (describes kR^iShNa):
shrIyAdavaM bhavya-bha-toya-devaM saMhAra-dA-muktim utAsubhUtAM ||

Two such works shabdArthachintAmaNi by chidambara kavi of Thanjavur (and in it from our same ancestral agrahAra) and yAdava-rAghavIya of veNkaTAdhvarin (notable vedic ritualist who performed soma rites in addition) from Kanchi were produced in the 1600s.

One of the greatest names among these was appayya dIkShita – the center of many an apocryphal tale, to which we will add. [This is not apocryphal] His grandfather nR^isiMha [acchan] dIkShita was an adviser of the emperor kR^iShNadeva rAya of vijayanagara. kR^iShNadeva was a man of many women, including scholarly ones among them who could write decent Sanskrit poetry. With one such wife he had gone to see the image of viShNu in the temple of varadarAja at Kanchipuram. acchan saw the beauty of kR^iShNadeva’s wife and composed verse. In this he stated that having seen kR^iShNadeva’s wife viShNu looked for a moment at the kaustubha to make sure that shrI had not left him to stand by kR^iShNadeva. So kR^iShNadeva named him vakShasthAlAcharya after the vakShasthala where the kausthubha rests. He composed Sanskrit lyrics on viShNu at varadarAja which were apparently used in the spring festival at Kanchi. He was an advanced vedic ritualist and performed multiple soma sacrifices. His second wife was a shrIvaiShNava woman of the family of shrIvaikuNThAchArya, which included devote vaiShNava-s and some expert pA~ncharAtra tantrics. Through her he had 8 sons who were learned brAhmaNa-s and founded agrahAra-s.

His 5th son, rangarAja-adhvarin was a great soma sacrificer and extraordinary student of the shAstra-s. He adopted an interesting philosophical position which accommodated vaiSheshika, nyAya, mImAmsa and advaita with the last as the overarching structure. He attacked bauddha philosophies and also was quite strong in his criticism of sAMkhya. He modified yoga in his own way to accommodate it within his philosophical framework. He performed the most grand vishvajit soma sacrifice.

His elder son was vinAyaka-subrahmaNya, who became famous as appayya. He overlapped with the reign of veNkaTapati of Penukonda who was in the midst of a life and death struggle against the Islamic Jihad that we have discussed in length before. veNkaTapati had patronized appayya and honored him at his court. This in no small measure illustrates the importance of the post-Talikota struggle of the last Vijayanagaran rulers in providing a safe haven for Hindu intellectual activity. His grand-nephew was the illustrious Sanskrit writer and minister nIlakaNTha dIkShita. One of his sons was gIrvaNendra who was imparted a kaumAra rahasya by my ancestor. gIirvaNendra wrote a kaumAra sAhitya known as kArttikeya-vijayaM.

Posted in Heathen thought, History

Why this thought?

For some reason suddenly a train of thought arose in our mind which as stirred by the crashing waves of the rasArNava. It was about something from the ancient past – from around the time vidruma and lambaka had fallen. In our mind’s eye we saw that eddy which had sucked in satya-druha. We looked into it and it was completely dry now. In fact a hot stream of air emanated from it. We thought of the great German poet JW von Göthe. Then for some reason we vaguely remembered the lines of his poem An Belinden. The lines, while not perfectly coming to mind, kept sticking there, even as we heard the howling of the wind and the mirthful laughter of revelers around us. So I looked it up. Later I found an approximate verse translation of the same (appended). For some reason we again felt that poetic connection with Herr von Göthe.

Warum ziehst du mich unwiderstehlich,
Ach, in jene Pracht ?
War ich guter Junge nicht so selig
In der öden Nacht ?

Wherefore drag me to yon glittering eddy,
With resistless might?
Was I, then, not truly blest already
In the silent night?

Heimlich in mein Zimmerchen verschlossen,
Lag im Mondenschein,
Ganz von seinem Schauerlicht umflossen,
Und ich dämmert ein;

In my secret chamber refuge taking,
‘Neath the moon’s soft ray,
And her awful light around me breaking,
Musing there I lay.

Posted in Life

One waves of the samaramahodadhi

On the darsha day we sat to perform our kratu. But we noticed that there was an error. We quickly regrouped and performed a prAyashchitta. But some fear lingered still if something might slip past. It was sent our way just after the meridian hour. By the aid of the deva-s we back-hurled the initial strike by brahma hour. We noticed that the ari was immediately facing the effects of the rebound. The ari wised up and rapidly to recourse to their prayogin-s. We faced a sudden strike and were reeling under it for some time. But because of the earlier mantra-s we were stabilized by the deva-s and managed to get pass its effects. We watched like that Atman watching the sharIra. As in Conan Doyle’s “Final Problem” they stood together in the narrow corridor. We had seen the mAraNa strikes before but this was different — It utterly stupefied us. Suddenly the opening mantra-patra-s with the sAmidheni-s were missing from the kosha. We had put them in there just after the prAyashchitta. Everything else was intact. We realized that we were under the gaze of a cheTakI. Then the dhumAvatI strike entered our maNipUra chakra. As we said this was not aimed at mAraNa but it inactivated us – we simply could not deploy anything on the ari. We were reduced to utter powerlessness – neither mantra-s nor kriyA-s seemed possible; our sight was blinded from seeing our ari. We remembered where it all began: Like kumbhakarNa moving against the vAnaras in his last battle it advanced! We were tunneled back in time against our control. We stood in the realm of the first sorrow. We were at the place on which we turned our back effortlessly when the prayoga of kAmeshvarI saw us through. It was a partly gloomy day just as today. The muni was then vulnerable and we needed to protect him. We had taken out that rahasya grantha of rasAyana with a green cover. At that point out of nowhere “Pandey” appeared. We were distracted for a few moments and the rasAyana grantha was gone just as the mantra-patra-s. We stood there as though paralyzed inside a shmashAna with a vetAla relentlessly holding on to us. Like vipula we entered Jx to escape for a while. A full circle we thought as we emerged from him. By the mantra of kumAra we were stabilized.


We are not easily swayed by the unreal despite our use of colorful language. But the dhUmAvatI attack launched on the maNipUra chakra is something which will make even a skeptic of true abhichara sit up and observe. In Hindu martial tradition striking a blow at the level of the maNipUra chakra is supposed to be highly effective in knocking the wind out of the opponent. When targeted via abhichAra its effects are distinctly different from those of attacks targeting other chakra-s. An abhichAra strike on the Aj~na chakra, while pretty destructive in the immediate aftermath, can be more easily controlled by counter-prayoga (or so we have felt in the long samara who history has only be partially narrated). But that targeting the maNipUra (alone or in combination with another chakra) can also “knock wind out” and really suppress the ability to perform counter-prayoga, allowing the ari to take control. It is only if one has performed a long previous purashcharaNa one could survive the effects of such an attack without assistance. One might discount the existence of things like the maNipUra chakra – even if one is not a yogi, but faces such an attack one will be convinced of its existence. In the case of Jx it was different but he first learned of chakra-s due to such a prayoga. Jx had been struck in the Aj~na by Fourier and never really faced the strike of the kind we did. But now Fourier was gone and his abhichAra-s completely broken so the third vIra and Jx were free.

After some examination we discovered that the valaga-s from which strikes were launched were in green and blue bags – so strong was the effect that even after they were destroyed the cheTakI-s were not curtailed. saMdhya: the old name has changed after the dUradR^iShTi attack.

Posted in Life

The saMvartAmaNDala sUtra-s

OM namo akulavIrAya

We beheld him, he who stands with the trident in the midst of the blaze of the dissolution of the universe. We beheld the 62 taijasa mayUkha-s shooting forth! We worshiped nandin at ODDiyAna, kArttikeya at pUrNagiri and vighna at kAmarUpa.


tava svAdhiShThAne hutavaham adhiShThAya nirataM
tam IDe saMvartaM janani mahatIM tAM cha samayAM |
yadAloke lokAn dahati mahati krodha kalite
dayArdrA yaddR^iShTiH shishiram upachAraM rachayati || saundaryalahari 39

O geneatrix, I worship in your svAdhiShThana, saMvarta presiding over the fiery realm, and also that great samayA, whose glance moist with mercy initiates the cooling winter to the worlds when his (saMvarta) wrathful eruption [fire from the 3rd eye] burns the worlds.

The core of the samayA-kula doctrine is provided by the saMvartAmaNDala sUtra-s with which the principal tantra-s of the pashchimAmnAya open. The saMvartAmaNDala sUtra-s of the kubjikA-mata tantra are shorter than those of the ShaTsAhasra-saMhitA, hence I provide the latter – the bR^ihat-saMvartAmaNDala sUtra-s. I had a deep discussion of these with R1’s father who provided me with a text of them. A printed version was published by the late Dutch scholar Jan Schroterman using 3 Nepali manuscripts. R1’s father and his father had access to multiple Nepali manuscripts, which might have even perished since. They also studied the commentary the saMvartArtha-prakAsha which deals with the bR^ihat version. R1’s father explained that the commentarial tradition records 9 human teachers of the doctrine of different varNa-s. This choice of nine of the teachers seems to be an attempt to keep in line with the bhairava’s name navAtman.

brAhmaNa teachers:
trivikrama deshika, a sAmavedin from oDDiyAna.
dAmodara deshika, a R^igvedin from the Konkans.
govinda from mathurA
vishNusharman from kAshI.
kShatrIya teacher:
udayarAja from Orissa
vaishya teacher:
dehila, a merchant from Andhra (shrIshaila)
shUdra teachers:
bAhila from Assam
sehila from Kashmir
mAhila, a liquor-store owner from the kundApura sector of oDDiyAna

An interesting biographical tale is narrated regarding trivikrama deshika: He was born in a learned Brahmin family in oDDiyAna, where he learned the sAmaveda and as well as prayoga-s from all other veda-s and became a notable scholar. trivikrama was sent as an ambassador to Shri Lanka, where he was converted to the theravAda bauddha school. He then became a governor of a Lankan province and began persecuting Hindus with much vigor. Once he encountered a mantravAdin named unmanishanAtha in a graveyard performing sAdhanA. He tried to wake him up but failed. Finally, that mantrin awoke and looked at trivikrama and he had a sight of the glory of samayA and aghora (as in saundarya-lahari 34/39/41). He returned to the Hindu fold and became a teacher of the kula doctrine. He was attacked by pAShaNDa mantra-vAdin-s who followed the doctrine of shuddhodhana-putra at kAnyakubja, but he decimated them using the khAdakAstra mantra combined with the nR^isiMha or the trivikrama mantra. He then assumed the name vyomAnandanAtha.

In both the kubjikAmata and ShaTsAhasra saMhitA the sUtra-s are worked into verse approximating the sragdharA Chandas. I have marked the individual sUtra boundaries with ‘..’

The bR^ihat saMvartAmaNDala sUtra-s (ShaTsAhasra saMhitA)
|| huM shivAya shrI-kula-gaNAdhipataye namaH ||

. saMvartAmaNDalaante krama-pada-nihitAnanda-shaktiH subhImA .
. sR^iShTi-nyAye chatuShkaM akula-kulagataM . pa~nchakaM caanya-ShaTkaM |
chatvAraH pa~nchako.anyaH punar api chaturaH . . ShoDashaaj~naabhishekaM .
. devyAShTau mUrti-madhye . . *ha sa kha pha ra kalA bindupuShpaM* . . kha-mudrA . ||1||

. bAlaM kaumAra-vR^iddhaM . . parama-shiva-kalA chakradevI kramAnAM .
. shrInatham chandrapuryAM nava-nava-kalitaM yugma bhedais ti sAraM . |
. siddhAs trINy avatAraM . . prathama kaliyuge ko~NkaNe chaadhikAraM .
. teShaM vai putra-shiShyA . . nava-puruSha-kramAs-teShu madhye dvirAShTau . ||2||

. santAnaM gotra-piNDaM krama-pada-sakalaM ShoDashAntaraM kramAntaM
sheShA vai maNDalANAM pari-bhrama-vimalaM pUjaya-sadbhAva-vR^indaM . |
. AdAv aShTAdashaantaM kula-krama-sakalaM maNDalotthAna-pUrvaM .
. saMskAraM trih-kramottham pashu-mala-kShaya-kR^it piNDa-shuddhiH shivaagnau . ||3||

. madhye vishrAma-bhUmau prasaram anubhavaM pratyayaM svAdhikAraM
saMsR^iShTaM yena tasmai namatha guruvaraM bhairavaM shrIkubjesham . ||4||

. vR^ittyAdhyuShTakramaarthaM rachitam anubhavaM kha~njinI-mUrti-pUrvaM .
. divyaughaM deva-saMj~NaM punar api aparaM mAnavaM triH-kramaughaM . |
. bhedaanekair vibhinnaM sakala-pada-kramaM maNDalaM ShaTprakAraM .
. sa~NketaM kAdipUrvaM . . sakala-guNa-yutaM maNDalaM bhairavaM tam . || 5 ||

Posted in Heathen thought

The “paurANic” element of the pashchimAmnAya

In the days after the fierce battle of dvAdashAnta, after we had overthrown the kR^ityAstra that struck us, we were resting in the city of the karnATa-s. There while meditating on the aghora mantra we experienced that connection with samayA and kubjIshAna. That great bhairava, who is navAtman, appeared in the li~Nga briefly manifesting that indescribable luster of the pashchimAmnAya. Through the utter darkness we saw the path of the mantra vidyA.


The atharvavedins developed a connection with the pashchimAnAya, as a result of which they acquired certain practices related to their tantric worship as well as laukIka worship and mythography. The quest for these aspects of worship leads us to what may be termed the “paurANic” aspects of the pashchimAmnAya. While the agni-purANa has assimilated a large amount of pashchimAmnAya material it does not really preserve any of the unique and distinctive paurANic material of this tradition. The paurANic material of kubjikAmata represents a variant that is not found in any of the surviving purANa-s I have acquainted myself with. Instead the source of these materials is the kubjikAmata tantra (kulAlikAmnAya version), where they are provide as a frame material for the tantric narrative as well as 3 stotras that are used by the atharvavedins in laukIka stuti of kubjikA. Below are some paurANic tales of the tradition briefly summarized:

The tale of the origin of the pITha-s
The mountain lord himavant lived in his great realm of santAnabhuvana. The bhairava (navAtman) appeared in this realm and stood in silence for a while. The coming of kubjIshAna terrified the denizens of santAnabhuvana who appeared along with himavant to bow to him. himavant praises the bhairava with a stotra (the kubjIshAna stotraM) and asks to make himself comfortable as everything is the bhairava’s abode. He also offers that his daughter kAlikA would attend to his needs. After kAlikA spends a while with navAtman, he grants her a boon. She asks to become his wife, which the bhairava grants. Then kuleshvarI asks him the rahasyas, in reply to which bhairava reveals to her the siddhakrama, which he says is their common possession. He asks her to establish the tradition in bhAratavarsha by generating many successors. He asks kuleshvarI to go to kaumAraparvata and then the bhairava vanishes.

Struck by his disappearance and to search for her husband kuleshvarI proceeds to chandraparvata and ascends a beautiful rocky spur and absorbs to whole of existence into a li~Nga-like form called udyAna-bhairava. Now navAtman is irritated by the absorption of the universe and shouts that only chandraparvata is now left. So he goes there and praises the li~Nga, but she does not emanate. So, he praises her with the kubjikA daNDakam and she emerges from the li~Nga as samayA or kubjikA. She is surprised as to who can stand looking, saying that it is as difficult as facing a dreadful cobra. She then grants a boon to the bhairava, who asks her to keep her word to go to kaumAraparvata and generate the successors who would promulgate the pashchimAmnAya throughout bhArata-varSha. While she refuses initially, the bhairava eventually convinces her to do so.

Going to kaumAra parvata she creates a great forest with several li~Nga-s installed therein and with her toe she draws a line which becomes a great river. The she wandered in trikUTa, kiShkindha and himagahvara and founded the 4 pITha-s of oDDiyAna, jAlandhara, pUrNagiri and kAmarUpa. She then created a fifth pITha of mAta~nga (which is not on earth as per some accounts, in Himachal as per others). Then she returns to the bhairava after touring whole of bhArata-varSha. Then the bhairava asks her to promulgate the pashchimAmnAya starting from oDDiyAna in the extreme north-west of bhArata-varSha.

The kumAra tale of the pashchimAmnAya
As samayA was wandering over bhArata-varSha a drop of her sweat fell on the ground and generated the dreaded asura krau~ncha who caused much terror. The deva-s asked kAma to strike bhairava to induce him to dally with kubjikA. While he burns kAma, he does dally with his shakti and as result kumAra is born. Then the spear armed kumAra slays krau~ncha.
[Note the emphasis on krau~ncha as against tAraka or mahiSha of the usual kaumAra tradition.]

The narrative of the bhairava or the core tantra of the kubjikA tradition
The core elements of the kubjikA tradition are provided in the form of a usual tantric narrative embedded within the paurANic frame, which recedes into the background once the core issues are discussed. These include:
-The aSTavimshati krama: the 12 shloka-s, the pa~ncha ratna-s, the tadgraha and the 6-formed nyAsa.
-The key mantra of practice of the samayA vidyA is the complex mantra known as the umAmAheshvara-chakra KMT 5.1-33. The mantra itself has 3 sections. This is some ways like what the vyomavyApin mantra is for the Urdhvasrotas saiddhAntika-s.
-In attacking abhichArika practice the follower of the pashchimAmnAya uses the juShTachaNDAlI vidyA, which is one of the most effective prayogas.
-In the defensive mode he uses the rudra-kubjikA prayoga. As per the AVins associated with the kubjikA tradition rudra-kubjikA is the manifestation of pratya~NgirA.
-As we have mentioned before one of the highest sAdhana-s of the pashchimAmnAya is the prayoga of the sampUrNa-maNDala in which the great aghora aShTAkapAla is worshiped. Here every syllable of the mighty aghora mantra expresses itself.

Posted in Heathen thought