22) Tāṭaṅka-yugalī-bhūta-tapanoḍupa-maṇḍalā
The Sun and the Moon have become pendants to Her ears.
In meditation the cool orbs of the sun and moon are seen as a consequence of following the sound channel wherever it leads. This cause effect relationship between sound and light forms is described as a pendant.
The sun is the creative energy of the cosmos, it is the king of the day. The moon is the queen of the night, waxes and wanes creating moods of hope and gloom; it represents the mind, the bindu. The womb of moon is filled by the light of the sun during the bright half of the month and is emptied of it during the dark half of the month. The moon empties its light contents into the subconscious mind, to become the inspiration behind love and fear and such other deep rooted emotions.
This cosmic love exchange between the sun and the moon is related to the life cycle (menstrual cycle) of woman. The biorhythm follows the cosmic rhythm. Passions wax and wane with the waxing and waning of the moon.
If one loses the self centeredness and becomes cosmic centered, one can see the sun, moon and the earth all at once by appropriate positioning in space. To such a person, there are no waxing and waning cycles, because one sees the full moon all the time, and the sun does not set. The seven great sages are therefore described as the seven stars in the saptaṛṣi maṇḍala, meaning they have become invariant parts of the cosmos. Viewed from that distance, the sun is just another star, and the moon and earth can't even be seen. Such then is the detachment of the sages for this world.
23) Padmarāga-śilādarśa-paribhāvi-kapolabhūḥ
The land of Her cheeks puts mirrors made of red padmarāga jewels to shame.
The jewels of course are the blushes of color playing hide and seek on Her cheeks.
The word padmarāga can also mean, the lotus of attachment. Since lotus is a numerical symbol representing 1021 (one followed by twenty-one zeroes) the love She can express is monumentally large; this is the other meaning of padmarāga. The word rāga means love or attachment.
From outer space the whole earth looks like a blue diamond set in the white silver of clouds, with red patches like jewels peeping through the cloud cover. The earth is the cheek of Lalitā. In the olden days it used to be imagined that the earth looked like a fire ball, red in color except in the places occupied by the oceans.
When Kuṇḍalinī occupies the sex center, a raging fire of lusty love is generated. This is seen as the maṇḍala of fire, called the vahni maṇḍala. When Kuṇḍalinī comes to the heart center, the Sun is seen in meditation along with the unstruck sound of Oṁ called praṇava, or Anāhata. When Kuṇḍalinī reaches the thousand petalled lotus in the crown of the head the Moon is seen in meditation.
The sex drive or libido is of red colour, of fire; the seat of emotions, the heart, is of orange colour, of the rising Sun; the seat of desires is of bluish white color, of the Moon, of the mind, and of the seed of man. Water and oceans seen, in meditation reflects the release of sexual tensions. This symbolism is rooted in the experiences of meditation, of seeing the fire, the Sun and the Moon. The transcendent personality of Lalitā obviously carries this symbolism as Her cheeks and the starry ornaments of Her ears.
24) Navavidruma-bimbaśrī-nyakkāri-radanacchadā
Her lush lips defeat the brilliance of polished coral-red stones.
From the lips come descriptions of meditative experiences; these lips are as red, as full of eros, the love of life and joy as the experience of Brahman which they try to convey.
25) Śuddha-vidyāṅkurākāra-dvijapaṅkti-dvayojjvalā
Her two rows of teeth shine like pure knowledge in sprouting form.
The 32 mantras constituting the pūrṇa dīkṣā, or the full initiation are Her pure white teeth. One of the enumerations of the pūrṇa dīkṣā are the following mantras from raśmi mālā.
Tripada Gāyatrī at Mūlādhāra
Indra at Anāhata
Sūrya at Ājñā
Praṇava at Brahmarandhra
Turiya Gāyatrī in the Moon
Mahā Viṣṇu at Mūlādhāra
Tara at Brahmarandhra
Gaṇapati at Mūlādhāra
Śiva Śakti at Heart, Anāhata
Parā Brahma at Brahmarandhra
Varṇamālā in the Moon
Kuṇḍalinī in the Moon
Bālā Mūlādhāra
Annapūrṇā at Mūlādhāra
Aśvārūḍhā at Mūlādhāra
Śrī Pādukā at Mūlādhāra
Mātaṅgī at Anāhata
Vāgvādinī at Anāhata
Nakulī at Anāhata
Śrī Guru Pādukā at Anāhata
Mātāṅgīśvari at Anāhata
Rājaśyāmalā at Anāhata
Kādi Vidyā (Suddha) at Anāhata
Vārāhī at Ājñā
Svapna Vārāhī at Ājñā
Tiraskariṇī at Ājñā
Śrī Pādukā at Ājñā
Vārtālī at Ājñā
Kādi Pūrti at Brahmarandhra
Rājarājeśvarī at Brahmarandhra
Para Ṣoḍaśi at Brahmarandhra
Mahā Guru Pādukā at Brahmarandhra
There are definite places in the body corresponding to each of these mantras. The places and the moods which go with them are indicated below.
Mūlādhāra. This is the procreative centre of the female, the external genitals called the vulva and the internal genitals called the womb. The mood is ecstasy of coitus.
Svādhiṣṭhāna. This is the erect nether virile of the male, emitting seed. The mood is orgasmic bliss, relaxing from the tension.
Maṇipūra. This is the navel centre. The mood is anger, flames.
Anāhata. This is the heart centre. The mood is participation in song, dance, gay abandon, floating away in air.
Viśuddhi. This is the neck centre. The mood is space like calmness.
Ājñā. This is the centre between the eyebrows. The mood is detachment, vairagya, and control of all desires, by just being a passive witness to them.
Brahmarandhra, or Sahasrāra. The womb of Brahman, supra-mental union with the divine Śakti, where bindu tarpaṇam happens in the secrecy of oneself. The experience is that of being Ardhanārīśvara, of unending orgasmic bliss called Brahmānanda, of the peace that passeth understanding.
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