sinjAna-maNi-manjIra-manDita-srI-padAmbujA

शुक्लाम्बरधरम् विष्णुम् शशिवर्णम् चतुर्भुजम्|

प्रसन्नवदनम् ध्यायेत् सर्व विघ्नोपशान्तये||

श्रीगुरुभ्योनमः

शरणम् करवाण्यम्ब चरणम् तव सुन्दरि|

शपे त्वत्पादुकाभ्याम् मे नान्यः पन्था अयनाय||

sinjAna-maNi-manjIra-manDita-srIpadAmbujA

sinjAna-maNi – tinkling gems

manjIra – मञ्जु मनोहरम् ईरयति ध्वनतीति मञ्जीरः – gives out a pleasant sound as it jingles

manDita – decorated with

srI-padAMbuja – auspicious lotus feet

Pranams to Amma whose auspicious feet are adorned with gem-studded anklets that give out a pleasant sound as they jingle. 

While the previous nama is related to the unending vast expanse of the Supreme Consciousness in various forms, this nama seems to be related to their names associated with the sound/vak.

We have observed earlier, that the brightness of the vast expanse of creation seen on the toe nails of Amma, is only a fraction of the lustre of the Param Brahma. A similar analogy is drawn for the Sabda/Nada (sounds) also.

तत्रैक गुणमाकाशम् शब्द इत्येव तत्स्मृतम|

तस्य शब्दस्य वक्ष्यामि विस्तरम् विविधात्मकम्| 

(नारद पुराणम्-42.89,90)

The unique characteristic of the celestial sky is sound. This Sabda Brahma has evolved into the immeasurable creation.

ब्रह्मायम् वाचः परमम् व्योमम् (ऋग्वेदम् – 1.164.3)

ऋतस्य प्रथमज वाचः (ibid 1.164.37)

From the lustre (ruta) of Param Brahma first, sound (sabda/nada) was emanated.

While discussing the earlier nama, we noted that cosmic water was the first to be issued out from the Param Brahma. Sound is produced from this celestial primordial water. (सलिल समृद्धे घोषवान् -  नारदपुराणम् 42.51,52)

To create is an action. If any action takes place, it is natural to produce sound. But the sound produced here is unstruck or unheard (anAhata).

अनाहतो हतश्चैव स नादो द्विविधो मतः|

आकाशसंभवो नादो यः सोऽनाहत संज्ञितः|| (संगीतमकरन्दम् -1.4)

Nada is of two types, anAhata and Ahata. anAhata nada is one that comes from within. This is also known as unstruck/unheard (aSravaNa). The cosmic nada is anAhata.

वेदशब्देभ्य एव आदौ प्रुथक् संस्थाश्च निर्ममे (मनुस्मृति -1.21)

वेदत्रयात् समुधृत्य प्रणवम् निर्ममे पुरा| (गान्ध्रर्व तन्त्र्-18.57)

The Vedas are anAhata and the Pranava in the three Vedas is anAhata.

चत्वारि वाक् परिमिता पदानि तानि विदुर् ब्राह्मणा य़े मनीषिनः|

गुहा त्रीनि निहिता नेङ्गयन्ति तुरीयम् वाचो मनुष्या वदन्ति ||

 ( ऋग्वेदम् -1.164.45)

The cosmic sound emanated from the consciousness filled Parameswara, has four stages para, pasyanti, madhyama and vaikhari. Among these, the first three are hidden (inaudible/guhyam/anAhata) while the last one issues out as audible (Ahata) sound. Only seers can hear those anAhata sabdas. It is this one fourth of the celestial cosmic nada that constitutes all the sounds in the creation that has evolved with the 1/4^th of lustre of the Supreme Consciousness. 

These vaikhari sounds produced from the cosmic sounds are again manifested as para, pasyanthi, madhyama and vaikhari in the creation. The same principle applies here, too. The first three are secretive and the fourth one is only heard.

शब्द्ब्रह्ममयम् यत्तन्महावाक्यादिकम् द्विज|

तद्विचारोद्भवम् ज्ञानम् परम् मोक्षस्य साधनम् || 

(नारद पुराणम् -33.65)

Maha Vakyas, the embodiment of the Sabda Brahma, representing the essence of Vedas and Puranas, for example तत्त्वमसि, अहम् ब्रह्मोस्मि, are the means of salvation, when meditated upon.

Sounds from the jingling bells of anklets on Amma’s feet, indicative of Sabda Brahma are reflective of these Mahavakyas. Vagdevatas refer to these sounds as Sri-pada. In Sanskrit, pada means word, Sri means auspicious or great.

Ajatasatru in Brihadaranyaka Upanishad refers to this very Sabda Brahma in the feet as the vital force that is produced as one walks.

स य एतमेवमुपास्ते सर्वम् हैवास्मल्लोक आयुरेति नैनम् पुरा कलात्प्राणो जहाति

  (बृहदारण्यकोपनिषद् -2.1.10)

The above mantra from Gargi-Ajatasatru’s discourse says that the sound produced behind while walking is the vital force/Sabda Brahma.

We have seen earlier that Vagdevatas used ratna only in three namas, in the entire Sahasranama stotra. These three namas describe the para, pasyanthi, madhya and vaikhari vak sthanas (places). 

रत्नकिङ्किणिकारम्यरशनादामभूषिता – waist (kati) – (muladhara) para, (nabhi/navel) pasyanti   

कामेश्वरप्रेमरत्नमणिप्रतिपणस्तनी – heart – madhyama

रत्नग्रैवेयचिन्ताकलोलमुक्ताफ़लान्विता – neck – vaikhari

The sound form of the infinite consciousness is para vak.

बिन्दोस्तस्माद् भिद्यमानाद् रवोऽव्यक्तात्मको भवेत्|

स रवः श्रुति संपन्नैः शब्दब्रह्मेति कथ्यते | 

(प्रपञ्चसार तन्त्र् -1.44)

चैतन्यम् सर्वभूतानाम् शब्दब्रह्मेतिमेमतिः|

तत्प्राप्य कुण्डलीरूपम् प्राणिना देहमध्यगम् |

 (शारदातिलक तन्त्र् -शब्दब्रह्मोत्पत्ति)

Parameswara, the Supreme Pure Consciousness is residing in all creatures as Sabda Brahma in the muladhara.

The waist portion consisting the muladhara, decorated by the ratna kinkini waist band is the abode of para vak which is nothing but the Sabda Brahma.

Though Amma’s ornaments represent energy vibrations, only the girdle and anklets are described to be making sounds, by the Vagdevatas. The secret behind this may be that these two are where the Sabda Brahma  is concentrated at. 

The superficial meaning is that Amma’s anklets’ sounds (Maha Vakyas) grant salvation to people who meditate upon them.

Praying that I may be engrossed in the anklets’ anAhata  sounds of Amma forever,

श्रीमात्रेनमः

pada-dvaya-prabhAjAla-parAkruta-sarOruhA

शुक्लाम्बरधरम् विष्णुम् शशिवर्णम् चतुर्भुजम्|

प्रसन्नवदनम् ध्यायेत् सर्व विघ्नोपशान्तये||

श्रीगुरुभ्योनमः

दधानो भास्वत्तामममृतनिलयो लोहितवपु-

र्विनम्राणाम् सौम्यो गुरुरपि कवित्वम् च कलयन्|

गतौ मन्दो गङ्गाधरमहिषि! कामाक्षि! भजताम्

तमः केतुर्मातस्त्व चरण पद्मो विजयते! 

(मूक पञ्चशति-पादारविन्द शतकम् – 59)

Oh! Empress of Gangadhara!! Kamakshi!! Your feet exhibit the nature of the planet Surya (Sun) due to their brightness, Chandra (Moon) for their character of showering your disciples with nectar (amrutatva), Angaraka (Mars) in view of their redness, Budha (Mercury) by virtue of their tenderness, Guru (Jupiter) because of  the characteristic of imparting knowledge to your devotees, Sukra (Venus) in bestowing poetic skills to your worshippers, Sani (Saturn) owing to their slow motion, Rahu (tamaH) and Ketu (enemy) for removing the darkness of your faithful believers. This way, praying to your lotus feet, you grant all the worldly pleasures that are presented by the navagrahas.  

pada-dvaya-prabhAjAla-parAkruta-sarOruhA

pada-dvaya – pair of feet

prabhAjala – brightness

parAkruta – defeats

सरस्याम् रोहतीति सरसीरुहम्; रुह बीज जन्मनि प्रादुर्भावे च

sarOruha – one that is born from saras (lake/water) – lotus

This nama with dvaya describes the lotus feet of Amma. Pranams to Amma whose feet’s radiance defeats that of lotuses.

पद्यते गम्यते अनेनेति पादः Since one’s feet are used to take steps for walking, these are called pAda. The third and the last dvaya used in the Sakthi kuta part of Amma in this nama (पदद्वयप्रभाजालपराकृतसरॊरुहा), is indicative of the Kriya Sakthi and is symbolic of the duo Uma and Maheswara.

Vagdevatas only mentioned that Amma’s feet’s lustre wins over that of lotuses. But Adi Sankara in Soundarya lahari 87th sloka, हिमानी हन्तव्यम् हिमगिरि निवासैक चतुरौ listed all the features in which Amma’s feet are surpassing lotuses. To begin with, lotuses wither away in snow. But the lotus feet of Amma whose maternal and husband’s abodes are the snow mountains, have got a natural efflorescence. Secondly, lotuses bloom when the sun rises and fade away during sunsets (moon ascends), whereas Amma’s feet are eternally blossomed to show mercy on her devotees. The third point on which lotuses are scored over by Amma’s feet is that, lotuses have goddess Lakshmi bestridden on them. But Amma’s feet grant Lakshmi to her devotees. Due to these reasons, Sankara Bhagavatpada claims that Amma’s lotus feet outshine the lotuses!!

In the previous nama, Vagdevatas praised the brightness of Amma’s toenails and in this nama they are eulogising that of her feet. While toenails are a part of the feet, what is the secret behind describing toenails and feet’s lustre separately in two namas? As seen in the previous nama, if toenails are indicative of the anatha koti Brahmanda srushti, what do the feet indicate?

Hidden meaning:

Vagdevatas compared the brilliance of the feet with those of lotuses.  Though Amma’s feet are addressed as  lotuses (padAmbuja, pAdAbja) directly elsewhere in the same stotra, they have not referred to the feet as lotuses in this nama.

Let us see the two things that are being compared here. One is padadvaya and saroruha, the other.

We have seen the secret behind the cognizable creation, given in the following Nasadiya sukta mantra.

आसीत्तमसागूढम् अग्रे प्रकेतम् सलिलम् सर्वमा इदम्| (10.129.03)

Further,

तामिद् गर्भम् प्रथमम् दध्र आपो यत्र देवा स्समगच्छन्त विश्वे|

(ऋग्वेद -10.82.06)

आप एवदमग्र आसुः (बृहदारण्यकोपनिषद् 5.5.1)

आप एव ससर्जाऽऽदौ तासु वीर्यमवासृजत् 

(मत्स्य पुराणम् 2.28, मनुस्मृति 1.08)

यदमोघ मपामन्तरुप्तम् बीजमजत्वया

अतश्चराचरम् विश्वम् प्रभवस्तस्य गीयसे

 (कुमारसंभवम् – द्वितीय सर्ग -5)

All these statements from the scriptures regarding creation, talk about salilam, apa, i.e., water. When Parameswara desired to create, He first created the primordial cosmic waters and put the seed in it. All the manifested mobile, immobile creation have evolved from that seed. Since saras refers to water-body, the one that has sprouted from the saras, the saroruha, is suggestive of this manifested creation.

Amma’s feet are brighter than the saroruha means that, the feet’s (padadvaya) radiance is much more than that of the perceptible infinite creation.

The entire creation has evolved from one and only one Param Brahma, the Supreme Consciousness. This Param Brahma is called (Pradhana) Purusha in the scriptures.

पुराण्यनेन सृष्टानि नृतिर्यगृषिदेवताः | 
शेते जीवेन रूपेण पुरेषु पुरुषो ह्यसौ| 

(श्रीमद्भागवतम् 7.14.37)

The source of creation, sustenance and absorbance, the Supreme Consciousness created human beings (nru), animals/insects (tiryak),  seers (rushi), other God forms (devatas) and then He himself entered into the creation. That is why He is called Purusha.

पुरिशयनायात्पुरुषः Since He is dwelling in the entire creation, He is called Purusha.

एतावानस्य महिमाऽतो ज्यायाँश्च पूरुषः| 

(ऋग्वेदम् – पुरुषसूक्तम् – 10.90.03)

The whole grand creation consisting of infinitely many cosmic eggs, is due to Purusha’s huge own capacity, intelligence and capability.

सत्यम् ज्ञानम् अनन्तम् ब्रह्म (तैत्तिरीयोपनिषद् 2.1.1)

हन्त ते कथयिष्यामि दिव्या ह्यात्मविभूतयः|

प्राधान्य्तः कुरुश्रेष्ठ नास्तन्त्यो विस्तरस्य मे|| 

(श्रीमद्भगवद्गीत 10.19)

The Brahma’s expanse of manifestation is very vast.

पादोऽस्य  विश्वा भूतानि त्रिपादस्यामृतम् दिवि|

 (ऋग्वेदम् – पुरुषसूक्तम् – 10.90.03)

But in order to design/create such a vast expanse consisting of many cosmic eggs (Brahmandas), only one pAda measure of Parameswara’s capacity is being used. The rest three pAdAs is the bright energy filled celestial sky. In Vedic terminology, pAda means one quarter measure, and so four pAdAs means full. Now, if we look at the numerical representation of padadvaya, pada (feet) are indicative of the number 2 and dvaya represents 2, so padadvaya is indicative of two times two, ie., four, which is supposed to be the total effulgence of Pradhana Purusha.

The entire manifested creation that has crores and crores of Cosmic eggs, has taken place with just one fourth of the wholesome lustre of the पूर्णमदः पूर्णमिदम् Pursha. The same is said by Lord Krishna in Bhagavadgita 10.42^nd sloka विष्टभ्याहमिदम् कृत्स्नम् एकांशेन स्थितो जगत्|

A fraction of the resplendence of Siva and Sakthi combined  (prior to creation) Sat-cit-ananda  known as ParamBrahma or Pradhana Purusha is used for the above mentioned creation.

So, this nama seems to be indicating that the magnificence/effulgence of the projected creation comprising of anantha koti Brahmandas (saroruha) is negligible, in comparison with that of the wholesome Parameswara’s.

Praying that soon I may have the darshan of Amma’s glowing feet,

श्रीमात्रेनमः

nakha-dIdhiti-sanchanna-namajjana-tamOguNA

शुक्लाम्बरधरम् विष्णुम् शशिवर्णम् चतुर्भुजम्|

प्रसन्नवदनम् ध्यायेत् सर्व विघ्नोपशान्तये||

श्रीगुरुभ्योनमः

आशौशवान्ममतया कलितस्त्वयासा-

वानृण्यमम्ब तव लब्धुमना मृगाङ्कः|

स्वात्मानमेव नियतम् बहुधा विभज्य

त्वत्पादयोर्विनिदधे नखरापदेशात्|| 

 (Nilakanta Dikshita Ananda Sagara Stavam – 64)

Amba!! You pampered Moon since his childhood by wearing the crescent on your head. It looks like, Moon wanted to show his gratitude for this. So he divided himself into ten parts and placed one each in your toenails.

 

nakha-dIdhiti-saNchanna-nama-jjana-tamOguNA

nakha – nails

dIdhiti – brightness, lustre

saNchanna – enveloped, covered

namat-jana – people who bow before her

tamOguNa – tamOguNa

Pranams to Amma whose toenails’ effulgence envelops the tamoguna of people who bow before Her. Just as how as brightness spreads, the darkness automatically gets dispelled, so does Amma’s toenails’ brilliance, that  removes the darkness in the minds of Her devotees.

अप्रकाशोऽप्रवृत्तिश्च प्रमादो मोह एव च|

तमस्य़ेतानि जायन्ते विवृद्धे कुरुनन्दन|| (Bhagavadgita 14.13)

When tamoguna starts growing in an individual, aprakasa (ajnana, aviveka, fear), apravruthi (inertia, laziness), pramada (ajaagratha), moha will sprout and increase in magnitude. Lord Krishna addressed aprakasa first among all other characteristics, showing the importance of this feature. Lack of sadasat knowledge is aprakasa. In fact, it is because of this, that the rest develop.

Vagdevatas extol Amma’s toenails’ luminescence to be the one that eradicates the tamoguna of people who bow before Her.

AdiSankara Bhagavatpada hails the greatness of Amma’s toenails in the 89^th sloka नखैर्नाकस्त्रीणाम् करकमल सङ्कोच शशिभिःas follows:  Oh!! Chandi! It is natural for lillies to get folded when moon appears. In a similar way, when the celestial ladies come to pray to your feet possessing moonlight like lustrous toes, their lilly like hands automatically get folded and look like lilly buds. The kalpavrukshas in heaven fulfill the wishes of only celestial ladies, through their tender leaves, whereas, your divine feet satiate the wishes of not only the celestial ladies who bow before you, but also the poor, ordinary people, as and when they seek them.

Sankara Bhagavatpada imagines that Amma’s feet are mocking at kalpavrukshas, for Amma’s feet are more benevolent than the kalpavrukshas.

Hidden meaning:

तम असीत्तमसागूढम् अग्रे प्रकेतम् सलिलम् सर्वम् इदम्|  

(nAsadIya sUktam – 10.129.03)

नसीदहो न रात्रिरासीन्न सदासीन्ना सदासीत् तम एव पुरस्तादभवद् विश्वरूपम्| सा विश्वरूपस्य रजनी हि एवमस्यार्धोऽनुभाष्यः 

 (Mahabharatam Santi Parva – Ch342-8Sl)

तमो वा इदमग्र आसीदेकम् (Maitrayanyupanishad 5.2)

The prajnana (Supreme Consciousness) in the form of Visvarupa, that is neither day nor night, neither sat nor asat which existed before creation is tamas.  This tamas is the night for the Visvatma. (sOkAmayatA bahusyAm prajAyEyEti-Taittiriya Upanishad)The all pervading, and all alone ParamBrahma wished to become many and evolved into this entire creation. This creation is the Visvatma’s day and tamas is the night. As the wee hours’ sun rays chase away the darkness, the creation enveloping the entire infinite vast expanse removes the tamas completely. The same fact is asserted secretively in cryptic Rig-vedic passages (1.158) by Dirghatamas rishi.

The Vagdevatas reference to the tamoguna in this nama could be taken for the tamas that existed prior to creation. Once the creation comes into existence, the tamas disappears. In order to see the connection between the creation and Amma’s toenails, we need to refer to the following sloka by Brahma deva in Devi Bhagavatham.

नख दर्पण मध्ये वै देव्याश्चरणपञ्कजे|

ब्रह्माण्डमखिलम् सर्वे तत्र स्थावरजङ्गमम्|| (Canto 3-Ch 4- SL 20-30)

In the mirror like toenails of the lotus feet of Amma, we saw entire mobile, immobile creation in a cosmic egg (Brahmanda) that consists of Brahma, Vishnu, Rudra, Vayu, Agni, Yama, Sun, Moon, Varuna, Tvastha, Indra, Kubera gods, Apsarasas, Gandharvas, rivers, oceans, hills, mountains, Visvavasu like others, Narada, Tumbura like others, HaHa, HuHu, Asvini devatas, Ashta vasus, Siddhas,  Pitru devatas, Anantha like serpents, Kinneras, Rakshasas, Brahma loka, Vaikunta loka and Kailasam.

The hidden meaning of this nama is that, the creation (seen in the toenails of Amma) has effaced the tamas that existed prior to the creation.

The description of saguna rupa of Amma began with the (EkamEvaAdvitIyam brahma) ParamBrahma, that is ajara, amruta, abhaya, asoka and anantha (infinite) and ended with the entire creation described at the feet. This one to many genesis, is in fact camouflaged in these namas by the Vagdevatas.

In the Bhairava-Yamala tantra, Mahadeva himself said that Sri-Chakra is the one that describes the creation, maintenance and dissolution of the cosmic egg (Brahmanda) and the Amma herself is Sri-Chakra rupini.

कलाविद्यापराशक्तिः श्रीचक्राकाररूपिणी|

तन्मध्ये बैन्दवम् स्थानम् तत्रास्ते परमेश्वरी||

सदाशिवेनसम्युक्ता सर्वतत्त्वातिगामिनी|

चक्रम् त्रिपुरसुन्दर्या ब्रह्माण्डकारमीश्वरी|

पञ्चभूतात्मकम् चैव तन्मात्रात्मकमेवच||

इन्द्रियात्मकमेवच मनस्तत्त्वात्मकम् तथा|

मायादितत्त्वरूपम् च तत्त्वातीतम् तु बैन्दवम्|

बैन्दवे जगदुत्त्पत्ति स्थिति संहारकारिणी|

From this, we can surmise that, Vagdevatas allusively established/delineated the evolution of the Sri-Chakra through these saguna rupa namas.

Praying that the splendour of Amma’s toenails may eradicate the darkness in my heart forever,

Sri-mAtrEnamaH