r/Tantrasadhaks

Is this real ?

The Bṛhannīlatantra has a rather unusual origin story explaining how Sarasvatī became Nīlasarasvatī that is not widely known.

The story opens after a war between the Devas and Asuras. The demon brothers Hayagrīva and Somaka, defeated by Viṣṇu's discus and driven into the ocean, grow frustrated with their loss.

Realizing that fighting the Devas directly isn't working, they decide to strike at the source of their power: the havis (sacrificial offerings) made by Brahmins on Earth through Vedic mantras.

To cut off this divine supply, the demons perform intense tapas to Śabdākarṣaṇī (the power that attracts speech) and ask for a specific boon:

>"Grant us the power to draw away and absorb every sound"

When the boon is granted, speech and mantric power leave the earth. The Goddess Sarasvatī—the very embodiment of speech (śabdarūpiṇī)—is forcibly pulled out from the mouths of priests and scholars.

They drag her down to the subterranean region (pātāla), submerge her in a pit of Hālāhala poison, bind her with serpent ropes, and seal the entrance with mountains.

The Brahmins cannot chant the mantras as they are forgotten, and yajña can no longer happen. Without the sacrifices and havis, the Devas lose their strength.

Viṣṇu then intervenes, assuming the form of the giant Matsya. After a prolonged battle lasting a thousand years, he slays Hayagrīva and Somaka. He finds Sarasvatī submerged in the poison pit, almost lifeless.

After several failed attempts, Viṣṇu finally revives her using a six-syllabled mantra.

Upon waking, Sarasvatī is distraught. Her original moon-white complexion has turned completely dark blue due to her prolonged immersion in the Hālāhala poison pit.

To relieve her distress, Viṣṇu speaks to her, uttering a famous praise on the cosmic dignity of the color Blue (Nīla):

>"Do not grieve, O Mother of Speech! Why view blue as a flaw? The sky that encompasses all is blue; the life-giving rain clouds are blue; Indra, the lord of the gods, is blue. Shiva’s throat, stained by poison, is blue; Mṛḍānī (Parvati) is blue; and I myself, though filled with Sattva, am blue. Just as kohl (añjana) around the eyes enhances the beauty of a woman, this blue tint does not lessen your glory—it crowns it. From this day forward, you shall be celebrated across the three worlds as Nīlasarasvatī."

Sarasvatī subsequently returns to the mouths of the Brahmins, restoring Vedic speech, mantra, and yajña, allowing the Devas to regain their strength.

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A few things particularly stand out in this narrative:

First, the power of speech (Vāk) is shown to be the hidden force sustaining the Devas themselves. This mirrors the core Tantric doctrine of the Mātṛkās (the phonemes)—the understanding that sound and speech are not merely means for communication, but the primary building blocks of the manifest universe.

Second is the nature of the transformation itself. What truly happens to Sarasvatī when she is submerged in the Hālāhala poison pit and subsequently revived? This is something worth pondering.

I recall Shri Rajarshi Nandy ji sharing in one of his videos that the blue lotus (Nīlotpala) held by Mā Tārā represents spontaneous illumination—a rare form of knowledge sometimes called Mahāprajñā. Maybe this could be the true significance of her transformation into blue.

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If you found this story interesting, I'd be curious to hear what you thought about it.

MAHANIRVANA TANTRA

CHAPTER III

THE WORSHIP OF THE SUPREME BRAHMAN

PART I

The Supreme Brahman and the Brahma Mantra

The previous chapter established the Supreme Brahman as the ultimate object of worship and explained that all forms of worship ultimately reach the Supreme.

Parvati now asks Shiva to explain how that Supreme Brahman is to be approached through worship. She has heard that the worship of Brahman can grant both Bhukti, enjoyment and worldly fulfilment, and Mukti, liberation. She therefore asks about the method of worship, the Mantra, Dhyana and the observances connected with it.

The chapter now moves from the nature of Brahman to the practical Sadhana through which the Supreme is approached.

Parvati asks about the worship of the Supreme

Parvati begins by praising Shiva as the Lord of all Devas and the Guru of even Brihaspati. She recalls that He has revealed the Scriptures, Mantras and Sadhanas and has already explained the nature of the Supreme Brahman.

She now asks Him to explain how the Supreme Atman is to be approached, what Mantra is to be used, what meditation is to be performed and what observances accompany the worship.

Shlokas 1 to 4

Devadeva Mahadeva Devatanam Gurorguro

Vaktam Sarvashastranam Mantranam Sadhanasya Cha

Kathitam Yat Param Brahma Paramesham Paratparam

Yasyopasanato Martyo Bhuktim Muktim Cha Vindati

Kenopayena Bhagavan Paramatma Prasidati

Kim Tasya Sadhanam Deva Mantrah Ko Va Prakirtitah

Kim Dhyanam Kim Vidhanancha Pareshasya Paratmanah

Tattvena Shrotumicchami Kripaya Kathaya Prabho

Meaning

Parvati asks Shiva to explain the essential method of worshipping the Supreme Brahman. She asks how the Supreme Atman may be pleased and realised, what Sadhana is prescribed, which Mantra is to be used, what Dhyana should be performed and what observances belong to this worship.

She is not merely asking for another description of Brahman. She wants to know how a person can actually approach and realise that Supreme Reality.

Shiva describes the Supreme Brahman

Shiva begins by telling Parvati that He is about to reveal an extremely secret and supreme Truth. He describes Brahman first according to Its essential nature before explaining the practical Sadhana connected with Its worship

Shlokas 5 to 8

Atiguhyam Param Tattvam Shrunu Matpranavallabhe

Rahasyametat Kalyani Na Kutrapi Prakashitam

Jneyam Bhavati Tad Brahma Saccidvishvamayam Param

Tatha Tattvasvarupena Lakshanairva Maheshvari

Sattamatram Nirvishesham Avangmanasagocharam

Asattrilokisadbhanaṃ Svarupam Brahmanah Smritam

Samadhiyogaistadvedyam Sarvatra Samadrishtibhih

Dvandvatitairnirvikalpairdehatmadhyasavarjitaih

Meaning

Shiva explains that Brahman is the Supreme Truth, beyond ordinary perception and beyond the limitations of speech and mind. It is pure Being, Consciousness and the Reality underlying the universe.

Brahman may be understood through Its essential nature or through the characteristics by which It can be recognised.

The Supreme is beyond distinctions and beyond the ordinary divisions created by the mind. It is known through Samadhi by those who have developed an equal vision toward all things, who have gone beyond pairs of opposites, who are free from mental distinctions and who no longer identify the body with the Self.

Brahman known through the universe

Shiva then explains another way in which Brahman can be recognised.

The entire universe arises from Brahman, exists through Brahman and ultimately dissolves into Brahman. The manifested universe therefore serves as an indication of the Reality from which it has arisen.

Shlokas 9 to 11

Yato Vishvam Samudbhutam Yena Jatancha Tishthati

Yasmin Sarvani Liyante Jneyam Tad Brahma Lakshanaih

Svarupabuddhya Yad Vedyam Tadeva Lakshanaih Shive

Lakshanairaptumicchunam Vihitam Tatra Sadhanam

Tatsadhanam Pravakshyami Shrinushvavahita Priye

Tatradau Kathayamyadye Mantroddharam Maheshituh

Meaning

That Brahman from which the universe has arisen, through which it exists and into which everything returns can also be known through these characteristics.

Those who seek to approach Brahman through such indications are given a specific Sadhana.

Shiva now begins to explain that Sadhana, starting with the formation and revelation of the Brahma Mantra.

The Brahma Mantra

Shiva first explains how the Mantra is formed.

Shloka 12

Pranavam Purvamuddhritya Saccitpadamudaharet

Ekam Padante Brahmeti Mantroddharah Prakirtitah

Meaning

The Pranava is uttered first, followed by the words Sat and Chit, and the word Brahma is placed at the end after Ekam. This gives the form of the Brahma Mantra.

The Mantra

Om Saccidekam Brahma

This is the Brahma Mantra.

Shlokas 13 to 16

Sandhikramena Militah Saptarnoyam Manur Matah

Tarahinenena Deveshi Shadvarnoyam Manurbhavet

Sarvamantrottamah Sakshaddharmarthakamamokshadah

Natra Siddhadyapekshasti Narimitradidoshanam

Na Tithirna Cha Nakshatram Na Rashiganana Tatha

Kulakuladinayamo Na Sanskaro'tra Vidyate

Sarvatha Siddhamantroyam Natra Karya Vicharana

Bahujanmarjitaih Punyaih Sadgururyadi Labhyate

Tada Tadvaktrato Jnatva Janmasaphalyamapnuyat

Meaning

When the words of the Mantra are joined according to the rules of Sandhi, the resulting Mantra is described as having seven letters. When the Pranava is omitted, it becomes a six-letter Mantra.

Shiva declares this to be one of the highest Mantras, capable of granting Dharma, Artha, Kama and Moksha.

The usual calculations concerning Tithi, Nakshatra, Rashi and the suitability of a Mantra are not required here. The text also states that the traditional Mantra Samskaras are not necessary in this case because the Mantra is already considered fully efficacious.

Shiva then emphasises the importance of receiving the Mantra from a Sadguru. Obtaining such a Guru is itself described as the result of merit accumulated through many births, and receiving the Mantra directly from the Guru makes human birth fruitful.

The fruit of receiving the Mantra

Shiva next describes the significance of receiving the Brahma Mantra from the Guru.

The disciple is said to obtain the four Purusharthas, Dharma, Artha, Kama and Moksha, and to attain fulfilment both in this life and beyond it.

Shlokas 17 to 22

Chaturvargam Kare Kritva Paratreha Cha Modate

Sa Dhanyah Sa Kritarthashcha Sa Kritih Sa Cha Dharmikah

Sa Snatah Sarvatirtheshu Sarvayajneshu Dikshitah

Sarvashastreshu Nishnatah Sarvalokapratishthitah

Yasya Karnapathopantaprato Mantramahamanih

Dhanya Mata Pita Tasya Pavitram Tatkulam Shive

Pitarastasya Santushta Modante Tridashaih Saha

Gayanti Gayanim Gatham Pulakanchitavigrahah

Asmatkule Kulashrestho Jato Brahmopadeshikah

Kimasmakam Gayapindaih Kim Tirthaih Shraddhatarpanaih

Kim Danaih Kim Japairhomaih Kimanyairbahusadhanair

Vayamakshayatruptah Sma Satputrasyasya Sadhanat

Meaning

The person who receives the Mantra is described as one who has obtained the four aims of human life: Dharma, Artha, Kama and Moksha.

Shiva describes such a person as blessed, accomplished and righteous. Receiving the Mantra is compared with having bathed in all sacred places and having participated in all Yajnas.

The significance extends beyond the individual. The mother and father of such a person are described as blessed, and the entire lineage is considered purified. The ancestors are portrayed as rejoicing because someone in their family has received the knowledge of Brahman.

The imagery expresses the immense importance that the Tantra places upon Brahma-Upadesha and initiation into the Brahma Mantra.

What happens to one initiated into the Brahma Mantra?

Shiva now explains why the Mantra is given such importance.

Shlokas 23 to 30

Shrunu Devi Jagadvandye Satyam Satyam Mayochyate

Parabrahmopasakanan Kimanyaih Sadhanantraih

Mantragrahanamatrena Dehi Brahmamayo Bhavet

Brahmabhutasya Deveshi Kimavapyam Jagattraye

Kim Kurvanti Grahah Rushta Vetalashchetakadaya

Pishacha Guhyaka Bhuta Dakinyo Matrikadayah

Tasya Darshanamatrena Palayante Parangmukhah

Rakshito Brahmamantrena Pravrito Brahmatejasa

Kim Vibheti Grahadibhyo Martanda Iva Chaparah

Tam Drishtva Te Bhayapanna Simham Drishtva Yatha Gajah

Vidravanti Cha Nashyanti Patanga Iva Pavake

Na Tasya Duritam Kinchid Brahmanishthasya Dehinah

Satyaputasya Shuddhasya Sarvpranihitasya Cha

Ko Vopadravamanvichedatmapaghatakam Vina

Ye Druhyanti Khalah Papah Parabrahmopadeshine

Svadroham Te Prakurvanti Natirikta Yatah Satah

Sa Tu Sarvahitah Sadhuh Sarvesham Priyakarakah

Tasyanishthe Krite Devi Ko Va Syannirupadravah

Meaning

Shiva declares that the worshipper of the Supreme Brahman has no need for other forms of Sadhana merely for the purpose of attaining the Supreme.

The disciple who receives the Mantra is described as becoming Brahmamaya, filled with or pervaded by Brahman. Shiva then uses powerful imagery to describe the protection associated with the Brahma Mantra. Adverse planetary influences and various classes of spirits are said to flee from one who is protected by the power of Brahman.

The deeper point of the passage is connected with the nature of the Brahma-upasaka. Such a person is described as purified by truth, established in Brahman and devoted to the welfare of all beings.

Those who attempt to harm such a person are therefore said to harm themselves, because the Brahma-upasaka is established in the same Supreme Reality that pervades all beings.

The Mantra must be understood

Shiva then gives an important qualification.

The Mantra should not merely be repeated mechanically. The Sadhaka must understand its meaning and its Chaitanya, the awakened awareness of the Reality represented by the Mantra.

Shlokas 31 to 34

Mantrartham Mantrachaitanyam Yo Na Janati Sadhakah

Shatalakshaprajapto'pi Tasya Mantro Na Sidhyati

Atosyarthancha Chaitanyam Kathayami Shrinuspriye

Akaren Jagatpata Samhartta Syadukarat

Makaren Jagatsrashta Pranavartha Udahritah

Sacchabdena Sada Sthayi Chicchaitanyam Prakirtitam

Ekamadvaitam Ishani Brihattvad Brahma Giyate

Mantrarthah Kathito Devi Sadhakabhishtasiddhidah

Meaning

Shiva states that even extensive repetition of the Mantra does not produce its full result when the Sadhaka does not know its meaning and Chaitanya.

He therefore explains the components of the Mantra.

The A, U and M of the Pranava are associated with the functions of preservation, dissolution and creation. Sat represents eternal Being. Chit represents Consciousness. Ekam means One, without a second. Brahma refers to the vast and all-pervading Supreme Reality.

The Mantra is therefore not presented merely as a collection of sounds. Its words point directly toward the nature of Brahman.

The awakening of the Mantra

Shiva now explains Chaitanya more specifically.

Shlokas 35 to 38

Mantrachaitanyametattu Tadadhishthatridevata

Tajjnanam Parameshani Bhaktanam Siddhidayakam

Asyadhishthatri Deveshi Sarvavyapi Sanatanam

Avitarkyam Niratankam Vachatitam Niranjanam

Vangmayakamaladyena Tarahinenena Parvati

Diyate Vividha Vidya Maya Shrih Sarvatomukhi

Taarena Tarahinena Pratyekam Sakalam Padam

Yugmayugmakramenapi Mantroyam Vividhah Bhavet

Meaning

The Chaitanya of a Mantra is the knowledge of the Devata who presides over it. In the case of this Mantra, the presiding Reality is the omnipresent, eternal and ineffable Brahman.

Shiva then explains that the Mantra can be modified through different Bija Mantras. When the appropriate Bija associated with Sarasvati, Maya or Kamala is used instead of or in relation to the Pranava, different forms of knowledge, Siddhi and prosperity are said to arise.

The Mantra can therefore occur in different forms according to the way its components are arranged.

Rishi, Chandas, Devata and Viniyoga

Shiva next identifies the traditional elements associated with the Mantra before explaining its Nyasa.

Shlokas 39 to 40

Rishih Sadashivo Hyasya Chhando'nushtubudahritah

Devata Paramam Brahma Sarvantarayami Nirgunam

Chaturvargaphalavaptyai Viniyogah Prakirtitah

Anganyasakaranyasau Kathayami Shrinuspriye

Meaning

Sadashiva is identified as the Rishi of the Mantra. Its Chandas is Anushtubh. The Devata is the Supreme Brahman, described as Nirguna and as the Inner Ruler present within all beings.

The Viniyoga is the attainment of the four Purusharthas: Dharma, Artha, Kama and Moksha.

Shiva now proceeds to explain Kara-nyasa and Anga-nyasa.

Kara-nyasa and Anga-nyasa

The teaching now moves from understanding the Mantra to ritually placing it upon the body.

Shlokas 41 to 43

Taram Saccidekamiti Brahmeti Sakalam Tatah

Angushthatarjanimadhyanamikasu Maheshvari

Kanishthayoh Karatalaprishthayoh Suravandite

Namah Svaha Vashat Hum Vaushat Phadantairyathakramam

Nyasanyoktavidhina Sadhakah Susamahitah

Hridadikaranaparyantamevameva Vidhiyate

Meaning

Shiva instructs the Sadhaka to place the different parts of the Mantra upon the fingers and hands, accompanied by the prescribed Mantra endings such as Namah, Svaha, Vashat, Hum, Vaushat and Phat.

After Kara-nyasa, the Sadhaka performs Anga-nyasa, beginning with the heart and proceeding according to the prescribed method.

Nyasa transforms the body into a ritual field in which the Mantra is consciously established.

Pranayama

After Nyasa, Shiva gives the method of Pranayama to accompany the Brahma Mantra Sadhana.

Shlokas 44 to 48

Pranayamam Tatah Kuryanmulena Pranavena Va

Madhyamanamikabhyanch Dakshinahastasya Parvati

Vamanasaputam Dhritva Dakshinanasaputena Cha

Purayet Pavanam Mantri Mulamashtamitam Japan

Angushthena Dakshinanasaṃ Dhritva Kumbhakayogatah

Japed Dvatrimshatavrittya Tato Dakshinanasaaya

Shanaishanaistyajedvayum Japan Shodashadha Manum

Vamanasapute'py evam Purakumbhakarechakam

Punardakshinatah Kuryat Purvavat Surapujite

Pranayamavidhih Prokto Brahmamantrasya Sadhane

Meaning

Shiva describes a specific pattern of Pranayama accompanied by repetition of the Pranava or Mula Mantra.

The breath is inhaled, retained and exhaled while the Mantra is repeated the prescribed number of times. The same sequence is then performed through the opposite nostril.

The three stages are Puraka, Kumbhaka and Recaka, corresponding to inhalation, retention and exhalation.

This completes the Pranayama prescribed for the Brahma Mantra Sadhana.

Dhyana of the Supreme Brahman

Having explained the Mantra, its meaning, its ritual placement and the accompanying Pranayama, Shiva now gives the Dhyana.

The Sadhaka's attention turns inward toward the Supreme Brahman within the heart.

Shlokas 49 to 50

Tato Dhyanam Prakurvita Sadhakabhishtasadhanam

Hridayakamalamadhye Nirvishesham Niriham

Hariharavidhivedyam Yogibhirdhyanagamyam

JananamaranaBhitibhramsi Saccitsvarupam

Sakalabhuvanabijam Brahma Chaitanyamide

Meaning

The Sadhaka should now meditate upon the Supreme Brahman in order to accomplish the desired spiritual aim.

The meditation places Brahman within the lotus of the heart. Brahman is without distinctions, beyond personal desire and accessible to Yogis through meditation.

It is the Reality that removes the fear of birth and death. It is of the nature of Sat and Chit, Being and Consciousness, and is described as the seed or source of all the worlds.

From Dhyana to Worship

The meditation now becomes worship.

Shloka 51

Dhyatvaivam Paramam Brahma Manasairupacharakaih

Pujayet Paraya Bhaktya Brahmasayujyahetave

Meaning

Having meditated upon the Supreme Brahman in this manner, the worshipper should perform worship with mental offerings and with supreme devotion, with the aim of attaining union with Brahman.

This marks the end of the first part of the chapter.

The next section begins by explaining these mental offerings and how the elements themselves become the articles of worship.

Terms and Meanings

Bhukti: Enjoyment, worldly fulfilment or experience of the fruits of life.

Mukti: Liberation.

Brahman: The Supreme, all-pervading Reality.

Paramatman: The Supreme Self.

Sadhana: A spiritual discipline undertaken for the attainment of a particular goal.

Sadhaka: One who performs Sadhana.

Dhyana: Meditation or sustained contemplation.

Svarupa: The essential or true nature of something.

Lakshana: A characteristic or indication by which something may be known.

Samadhi: A state of deep meditative absorption.

Dvandva: A pair of opposites such as pleasure and pain, heat and cold.

Nirvikalpa: Beyond mental distinctions and conceptual divisions.

Dehatma-adhyasa: Identification of the body with the Self.

Pranava: Om.

Sandhi: The joining of sounds according to Sanskrit grammatical rules.

Tithi: A lunar day.

Nakshatra: A lunar constellation.

Rashi: A sign of the zodiac.

Sadguru: A true or competent spiritual Guru.

Brahma-Upadesha: The transmission or teaching of Brahman, particularly through the Mantra given by the Guru.

Chaitanya: Consciousness or awakened awareness. In the context of a Mantra, it refers to knowledge or awareness of the Devata presiding over that Mantra.

Bija: A seed syllable used in Mantric practice.

Rishi: The seer associated with a Mantra.

Chandas: The metre of a Mantra or verse.

Devata: The presiding Deity or Divine Reality associated with a Mantra.

Viniyoga: The intended purpose or application of a Mantra.

Nyasa: Ritual placement of Mantras upon parts of the body.

Kara-nyasa: Placement of Mantras upon the fingers and hands.

Anga-nyasa: Placement of Mantras upon different parts of the body.

Pranayama: Regulation of the breath.

Puraka: Inhalation.

Kumbhaka: Retention of the breath.

Recaka: Exhalation.

Purusharthas: The four aims of human life: Dharma, Artha, Kama and Moksha.

Dharma: Righteousness, duty and the principle of right living.

Artha: Material prosperity and the legitimate means of sustaining life.

Kama: Desire, enjoyment and fulfilment of legitimate worldly aspirations.

Moksha: Liberation from bondage and the cycle of birth and death.

Nirguna: Without attributes or limiting qualities.

Brahmamaya: Permeated by or identified with Brahman.

Brahma-Sayujya: Union with Brahman.

​

When we hear the name Bhairava, we often imagine a fierce and powerful form of Shiva.

And then there is Batuka Bhairava - Bhairava in the form of a child.

There is something very beautiful about this form that I have been reflecting on.

Why the Form of a Child?

When you relate to a child, the relationship naturally becomes more personal.

You talk to him.

You tell him things.

You ask him for help.

You become emotionally connected.

And perhaps this is one of the beautiful aspects of Batuka Bhairava upāsanā.

The sādhaka is not only doing mantra japa as a mechanical practice. Gradually, an emotional relationship with the Devatā can develop.

You begin talking to Baba.

“Baba, please guide me.”

“Baba, help me with this.”

“Baba, I don't understand.”

There is a certain innocence and intimacy in that relationship.

Bhāva Becomes Part of the Sādhana

We often think of sādhana in terms of mantra, counting, discipline and ritual.

All of these have their place.

But there is also bhāva - how you relate to the Devatā.

With Batuka Bhairava, that relationship can become very intimate.

You may find yourself remembering Batuka even when you are not sitting for japa.

You may talk to him during the day.

You may share your happiness, your worries, your mistakes.

The Devatā slowly stops being only something you sit in front of during your formal practice.

There is a relationship.

And perhaps that relationship itself becomes part of the sādhana.

The Child and the Guru Principle

There is another aspect that I find fascinating.

Bhairava is deeply connected with the Guru principle and with the removal of ignorance.

Yet here that principle is approached through the form of a child.

Perhaps this reminds us that the Divine does not always have to be approached through intellectual understanding.

Sometimes the relationship comes first.

You don't need to understand everything before you can speak to Baba.

You simply begin.

And as the sādhana deepens, understanding may come in its own way.

From Form to the Devatā

Perhaps this is one of the beautiful things about Devatā upāsanā in general.

We begin with a form.

We give the Devatā a name.

We repeat the mantra.

We visualize the form.

We develop a relationship.

And slowly, the form can begin to reveal something much deeper.

With Batuka Bhairava, you may begin by seeing a child.

But behind that child is Bhairava.

And perhaps the deeper the relationship becomes, the more one starts to perceive the vastness of the Devatā behind the form.

For me, this is what makes Batuka Bhairava so beautiful.

Not simply the idea of Bhairava appearing as a child, but the possibility of developing a relationship with the Devatā through affection, trust and bhāva.

You don't just remember Bhairava.

You begin to feel that Baba is with you.

Jai Batuka bhairava 🙏