By and large, sadhana is individual spiritual effort used as a tool to achieve the purpose of life. There has to be some form of consistency and commitment. It is rather a want to do sadhana as opposed to wishing. Before one turns to the illusory world, it is sadhana that gives an opportunity to clear up your own consciousness to relate to the Divinity within. It gives you the wonderful experience to attune yourself with the highest inner self.
A regular sadhana leads to a good control of life. That would lead to deeper sadhanas and pave the way for a meaningful intimacy with the Infinite. Sadhana can be a mantra meditation, a specific yoga asana practice such as surya namshkaram, particular kriya which includes asana, pranayama, mudra etc, a focused visualization, even a regular daily walk in silence and contemplation of the Divine. A guru would be the best person discuss this personal to holder issue.
Those not having a guru should trust your known, repeat, you own intuition. Consider all the alternatives available to you to decide what suits your station in life. Allocate some time to think before you embark on a particular route. By thinking, one means thinking in a constructive way and not until your eyes pops out of the socket. Have fun!
Various Shakti sadhanas have their roots, if not direct links to Tripura Sundari or the Divine Mother. The Goddess Tripur Sundari, one of the Ten Mahavidyas, brings good luck, beauty, magnetism, wealth, health and all comforts in life along with spiritual upliftment. While individual Shakti Tantra may name their preceptors, Tripura Sundari Sadhana holds a distinct position highly acclaimed by rishis and sages. This is attributable to the power of the Divine Mother Tripura Sundari herself. Even in the early stages of accomplishment, a sadhak is replete with divine blessing and energy.
Great Maharishis and sages have had much to say about Tripura Sundari Sadhana. Rishi Vashishta, preceptor of Lakshmi Tantra said ‘Very lucky are those who get to try Tripur Sundari Sadhana’. Maharishi Vishwamitra said it in the reverse. He goes a step forward and states – Unfortunate are those who overlook this Sadhana and try small rituals. ‘My life’ said Guru Gorakhnath, ‘would have remained unfulfilled if I had missed trying the Tantra form of Tripur Sundari Sadhana. This was all summed up well by the great acharya Adi Shakara: The essence of spiritual Sadhanas is Tripur Sundari Sadhana. Through it one could succeed in all other Sadhanas in the world.
Hara Hara Mahadeva.
(draft Tantra)
by Yogi Ananda Saraswathi
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BALA TRIPURASUNDARI. Bala is the child status of Mother Tripurasundari who is the Beautiful Goddess of the Three Cities. ‘Maha’ Tripurasundari implies her greatness. As Rajarajeswari, Mother is the Supreme Ruler, the Queen of Queens. As Sodashi, she is sweet sixteen, going about playfully as Lalita. Bala is the nine-year old younger version of Lalita.
In Shaktam, Mother Goddess worship tradition, Tripurasundari is the primary goddess known as Sri Vidya. She is the sum total of Mahavidyas, the Wisdom Goddesses and the ultimate primordial Shakti. Mother is described as the garland of the alphabet and is said to have given birth to the three worlds. Hence she is the beauty of three worlds. She is the light of manifestation.
Vidya means knowledge, specifically feminine knowledge or energy of the Goddess. In this context, Her aspects are variously called. Her first aspect is Bala Tripura. Bala means girl and this is the most highly erotic of the Goddess’s aspects. Bala has a thousand names; these names explain the hidden essence of Bala especially in Tantra. Bala means ‘girl’ and Bala Tripura is depicted as the Red Goddess.
Bala is the adolescent version of the Goddess. Tripurasundari is the mother version. Tripurabhairavi is the version in whom menstruation has ceased. Each of these aspects has their own attributes and characteristics.’ Bala is said to reside in the heart. It is said that Sri Bala Tripura is prone to give quick siddhi. Invoking Devi and worshipping her, calls for strict adherence to ritual accessories according to tantric rules. The tantric aspect of this vidya comes from a guru. Bala’s root mantra is ‘aim klim sauh'. Rishi Nyasa in prayer states: Wearing red clothes, with a Kala of the Moon as Her ornament, effulgent as the rising Sun, holding Book and Rosary, bestowing boons and banishing fears, I meditate on Bala on the Red Lotus. Bala Tripura is the Giver of Happiness.
Sodashi, Lalita and Bala have their manifestations overlapping. Sodashi is a sixteen year old embodying sixteen types of desire. In Tantra, the fifteen syllables in the Panchadasakshari mantra and the final seed syllable are represented by Sodahi. Here Bala is also referred to as Beauty of the Three Cities.
SYMBOLISM: Why do we need child deities? Children have innocence and purity of heart painted all over them. Unfortunately mental rubbish is collected during the growing years. Otherwise there is abundant affection in children vice-versa. Heart abounds with joy. We all know how much we stoop down to children and do our pep-talk and childlike lingo. One cultivates proximity with ease and tenderness, Bala allows us to engage in sweet talk and indulge in her innocence. This conversation should be cultivated with all saguna forms including the ferocious Mother Kali.
Puranas pick up this plot and teach us a thing or two. The child Sri Krishna has various spiritual symbolism behind his lilas. He finished off Kakasuran and Boodhana. The demon, Surapadman who challenged the child Balamurugan met is fatal end. Bala Tripurasundari annihilated the demon Panda. At the other end of this ferociousness is the sweetness of Bala. Her name is a reflection of the Mother Goddess Tripurasundari herself. So, Bala is the stepping stone to Vidhya Upasana. Indeed, the Shaktam treatise, the Tripura rahasyam, portrays Tripurasundari’s indulgence like a child-play.
BRAHMANDA PURANA: Bala is not all too young to be non-participative and joins the warring Mothers. She joins to battle against the demon Bhanda. Chapter 26 of this Purana expresses: Caturbahu is the chief son representing his father, Daitya Bhanda. The Lalita Devi in Bala provoked an interest to fight him. Despite being nine-year old, the Lalita in Bala speaks. Afterall, she was always perpetually present at Lalita’s feet. Even-tough slender bodies, she shared the Mother’s features adept in martial arts and exploits. By being the vital breath of Lalita and as her fourth eye. She became furious with Caturbahu and proved herself worthy of being worshiped as Shakti.
So, she addressed the Great Mother, "Mother, the sons of Bhaņḑa, the great Daitya, have come to fight. I wish to fight with them. I am interested in this because I am a young girl. My arms throb with an itching sensation for war. This is my playful activity. It should not be curbed by your orders for prohibition. Indeed I am a girl loving toys and playful pastimes. By this play of fighting for a moment, I shall become delighted mentally."
The merciful Mother replied, "Dear child, your limbs are very tender and soft. You are only nine years old. This is your first step and performance. Your training in warfare is fresh and recent. You are my only daughter. Without you, my breathing activity does not go on even for a moment. You are my very vital breath. Do not go ito war when Daņḑini, Mantrini with crores of Shaktis engaged in battle. Dear child, why do you commit this blunder?"
But Bala does not give up and persist her adolescent curiosity to join the fight. On seeing her steadfast, Lalita gave in to Bala’s plea. In the likes of Karna, Lalita took off one of her amour and gave it to Bala. Then She gave her requisite weapons. Lalita then caused a palanquin from the staff of her bow. As Kumarika, the Virgin Goddess, drove to the warfront with a hundred swans pulling the palanquin.
LALITHA SAHASRANAMAM: Even a child with resolve, can accomplish a desired task. Bala is mentioned in mantra 965 and in line 996 Bala is ‘Leela Vonodhini’ confirming her child status of Para Brahma Swarupini, performing the triple functions of creation, preservation and destruction. Her war feat of killing 30 sons of Panda Asura, is given in line 74, “pandaputhra vadod yukta, Bala Vikrama Nandita.” Balavikramandhitha is a general reference to Bala fighting and killing Banda’s sons.
LALITHOPAKYANAM: The dialogue between Hayagriva and Agasthya Muni from the Brahmanda Purana, enunciates the story of Bhandasura’s annihilation, Bala, the nine year old princess and alita Parameswari. It describes Lalita’s residence in Shrinagaram, her esoteric worship in Sri Chakra and Her Mantra Japa. Srividya Upasakas hold the Lalithopakhyanam close to their hearts for a deeper understanding of Lalitha Sahasranamam.
DEVIRAHASYA: Tantrik devata worship are structures along Panchanga meaning ritual ‘five limbs’. These are described in Devirahasya which contains several Panchangas for for different aspects of Shiva-Shakti. It contains mantra, yantra, puja and sadhana of the different Devas and Devis. Rahasya means secret implying that Tantric Puja is one for professional practitioners. It gives useful insight to tantrika sadhakas and sadhvinis. The ‘pushpacarana’ is the preparatory stage proceeding to ardous puja proper of few hours chanting and rituals.
PANCHANGA. The Panchangas are 1. Patala, 2. Paddhati, 3. Kavacha or Armour, 4. Sahasranama and 5. Stotra. The mantra is given in coded form descriving the meditation image and the yantra of the Devas and Devis. Ritual worship of the avaranas, the devas attendants is the second limb. The third limb, kavacha or armour for warding off evil is usually worn on the body. Sahasranama chanting is the fourth limb. The fifth limb is the Stotra which is the hymn of praise for the tutelary devata of the sadhaka.
TANTRIC BALA: The Devata is visualised in the heart, then drawn out through the breath to be placed on the yantra. On ‘installation’ and ‘invocation’ rituals are offered and sahasranama is chanted. The devata is then drawn back into one’s heart with a further inner and outer purification process and veneration.
Tripurabhairavi is the Mother and Bala is an adolescent woman. Bala is the Red Goddes and is the most erotic of the three phases of growth. Bala Panchanga relates to Bala worship. Her root mantra is ‘aim klim sauh’ which is sometimes varied during the rituals.
BALA TRIPURASUNDARI PANCHARATHNAM: Describes Bala Tripurasundari’s attributes more as a growing daughter of Lalita with exquisite beauty and grace.
1.Neelalakaam , sasi mukhim , nava pallavoshtim,
Chambeya pushpa sushumojjwala divya naasaam,
Padmekshanaam mukura sundara kanda bhagaam,
Thwaam saampradham Tripurasundari devi Vandhe
I salute you Tripura Sundari , who is correct ,who has blue hair,
Moon like face , who has lips like the new tender leaves,
Who has the divine nose like the splendid light of the Champa flowers,
Who has the neck resembling in beauty the bud of a lotus flower.
2.Sri Kunda kudmala sikojjwala dandabrundaam,
Mandasmitha dhyuthi thirohitha charu vaanim,
Nanaa mani sthakitha hara sucharu kandim,
Thwaam saampradhaam Tripurasundari devi vandhe.
I salute you Tripura Sundari , who is correct
Who has a row of teeth which are as pretty as buds of jasmine,
Whose pretty smile completely hides her pretty speech,
And whose very pretty neck wears a necklace studded with different type of gems.
3.Peenasthanim ganabujaam vipulabhja hasthaam,
Brungavali jitha shobitha romarajim,
Mathebha kumbha kucha bara sunamra madhyaam,
Thwaam saampradhaam Tripurasundari devi vandhe.
I salute you Tripura Sundari , who is correct
Who has full breasts , solid hands and very broad arms,
Who has a row of hair growth ,which wins over a row of bees in beauty,
And whose middle is slightly bent due her heavy breasts resembling an elephant's head.
4.Rambojwaloru yugalaam , mrugaraja bhadraam,
Indradhi deva makutojjwala pada padmaam,
Hemambaraam kara druthanchitha Gadga valleem,
Thwaam saampradhaam Tripurasundari devi vandhe.
I salute you Tripura Sundari , who is correct
Who has shining eyes like Ramba, who is gentle lady resembling a deer,
Whose lotus like feet is lighted by the shine of crowns of Indra and other devas,
Who wears a golden cloth and in her hands holds a sword.
5.Mathebha vakthra jananim , mruda deha yukthaam,
Sailagra madhya nilayaam , vara sundaraangim ,
Kotiswarakhya hrudhi samsthitha Pada padmam,
Thwaam saampradhaam Tripurasundari devi vandhe.
I salute you Tripura Sundari , who is correct
Who is mother of elephant faced Ganesa, .
Who has share of the body of Lord Shiva,
Who lives in the middle of the peak of the mountain,
Who is blessed with pretty limbs,
Whose lotus feet is kept in the heart of billionaires.
Bale thwath pada yugalam dhyathwaa sampradhi nirmitham,
Naveenam pancha rathnam cha daryarthaam charana dwaye.
Oh Bala, meditating on your feet, this new prayer of five gems,
which has been rightly written, has decorated your feet. (Translated by Sri P.R.Ramachander)
Hara Hara Mahadeva.
(draft Gods and Goddesses, Minor Deities and Sages)
Yogi Ananda Saraswathi
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BALA TRIPURASUNDARI is the consort of Lord Kumara Bhimeshwara Swami, a manifestation of Lord Shiva. Their deities are found in the Sri Chalukya Kumararama Sri Bhimeshwaraswamy Temple in Samalakota in East Godavari, Andhra Pradesh in South India. Lord Shiva is known as Kumara Bhimeshwara. The temple traces its origins to a Linga broken to five pieces and one of it was installed in Samalakota. The Sivalinga in this temple is said to be installed by Lord Kumaswamy. The main festivals observed here are Mahasivarathri, Karthika Masan and Saravanarathri festivals. These are Shaivite festivals.
PANCHARAMA KSHETRAS: According to sthala purana, five ancient kshetras situated in Andhra Pradesh are ‘yogashetra’ or those that have been blessed with Shiva’s boon. Yogam means fated to have. All the five kshetras derive their sacredness from a single Sivalinga fractured into five pieces. Archaeological excavation takes the history back to more than one thousand years.
STHALA PURANA: Maharshi Marichi married Daksha’s thirteen daughters, the eldest of them was Diti Devi. Of her, Hiranyaksha and Hiranyakasipa were born and grew to be demonic in character. Later Mahavishnu’s Varahavatara and Narasimhavatara got rid of them. Diti was saddned by this and served Kasyapa to conceive a child. A forewarned Indra becomes proactive to stop another demon being born.
The foetus was destroyed with his Vajrayudha and fragmented into seven pieces. The fragments survived because Diti was an ardent Shiva bhakta and did Shiva Vrata phala. They were born as Saptha Maruthulu without much powers and ended up as Indra’s parivara in Swarkalokha.
Ditti was not giving up, she went back to Kasyapa and prompted him to plant his seeds again. He advises Diti to do penance for Lord Shiva for ten thousand years. She finally got the Lord’s blessings. After that, she served Kasyapa and Vajranga was born out of this union. Vajranga grows up to be gargantuan and Diti seeks vengeance and convinces the son to attack Indra. Soon enough Vajranga occupies swargalokha and imprisons Indra and his allies.
This comes to Lord Brahma’s knowledge and he convinces Kasyapa, the natural father to follow. The unfairness of occupying Indra’s seat was put forward with a bargain that Vajranga would be taught ‘Satwika Swabhva’ being the essence of Tatwajnana. Something else was also thrown in as bargain as Vajranga was still angered by Indra entering his mother’s womb to kill his ‘brothers’. Brahma created Varangi and gifted her to Vajranga. He started practicing Satwika Swabhava and left his demon behavior without raja and tamo gunas. Regretfully Varangi served the satva husband but with kamabhava and was of persistence.
She asked of Vajranga to bless him with a child that would defeat Mahavishnu and conquer the trilokhas. This put Vajranga in a dilemma as he had no more enemity with deities as such. This is all predicated by satwaguna. But Varangi has her ways to convince the husband to do penance to Brahma. Lord Brahma was satisfied and appeared before him. Vajranga asked him for a child with great strength and taponidhi. Brahma invoked Lord Shiva in his mind for a moment and blessed Vajranga that his wish would come true. After this Varangi became quick with child and gave birth to a child. Grandfather Kasyapa named him Taraka.
Taraka is another giant carrying all the negative signs of the world at his birth. His growth could not be impeded. One day Taraka got Varingi’s blessings to go to forest. He reached Madhuvana ehere he did penance to get the blessings of Lord Brahma. Here again Brahma ends up giving two boons. First that there would not be another equal in strength and the second he could be killed only by a child born of Siva-vrya or the semen of Shiva. Now, getting Brahma’s blessings, Tarasukara conquered the Trilokas by force. His kama was still not satiated and he does severe penance to Lord Shiva for protection.
Lord Shiva was happy with Taraka severe austerities and asked him what was his wish. Taraka asked for a Shivalinga that can protect him from all harm. Lord Shiva blessed him with a Shiva Linga that was fifty feet long. He also blessed him that as long as the Shiva linga was on his person, no physical harm can come to him. With the Linga hanging around the neck (cf Lingayat practice) Taraka started a cruel rule of the world.
Taraka had to be brought down. Devas and Devis joined forces. Brahmanda Purana has a good description of Shaktis’ participation where Bala Tripurasundari throws in her weight with Lalita’s blessings. Kumara Swamy and the Shaktis come face to face with Taraka. One is not clear if the Kumara Swamy referred to in the sthala purana refers to Kumara Bhimeshwara or to Lord Skanda. So, we will leave it as Kumara Swamy. He used his Shakti as aayudha or weapon. Taraka is torn into pieces but they reunite to give rise to another Taraka. This splintering and reunification goes on for many many years.
Enter Mahavishnu. He tells Kumara Swamy that it is only by breaking the Shivalinga that Taraka could be killed. Now the catch is this. The fragmented Shivalinga would also unite. So Mahavishnu advises that once the broken pieces touch the earth they should be swiftly planted permanently and worshipped with Lord Shiva’s blessings.
Now, Lord Kumara Swamy targeted the Shiva Linga on Taraka’s neck and shot his Aagneasthra, Weapon of Fire. The Linga broke as advised but tried to reunite by chanting Omkara nada. Five Gods were assigned to plant the Shiva Linga and invoke Shiva. Surya deva planted the first Shivalinga piece and constructed a temple and frustrated their the reunion by the Linga pieces. These five Lingas have scaly marks formed by Lord Kumara Swamy’s Agneyasthra weapon of fire.
SIVALINGA INSTALLATION: Five Shivakshetras are formed from Taraka’s single Shivalinga. They form five different Shivalinga temples and collectively get called Pancharama Kshetra. They are:
AMARARAMA: On the banks of Krishna river in Guntur district. The other four are in Godavari district. Lord Indra installed the Linga and worshipped the Lord Amara Lingeswara Swami here. His consort is Bala Chamundeswari Ammavaru Mata.
DRAKSHARAMA: This is located in Draksharamam near Ramachandrapuram. Lord Surya installed the Linga as Bhimesvara Swamy. His consort is Manikyamba Ammavaru. It is said that Lord Rama and Indra prayed to Shiva here. Manikyamaba Devi, one of eighteen Shaktipeethas is present here in Draksharama.
SOMARAMA: Is located in Bhimavaram. The Linga was planted and installed by Lord Chandra. The Deity here is Someshwara Swamy and his consort is Sri Rajarajeswari Ammavaru. Lord Chandra is said to have prayed here to get rid of his sins, hence the name Someshwara. It is said that the Linga here changes its color according to the lunar month; black at the time of Amavasya, white at the time Pournami.
KSHEERARAMA: Is located in Palakol. Mahavishnu himself came down to plant and install the Linga and named it Ksheera Ramalingeswara Swamy. His consort is Parvati Ammavaru. It is said that Mahavishnu got his Sudarshana Chakra from Siva in this temple. Also Upamanya Maharshi also got boons and ksheera or milk from Lord Shiva here. Hence the name Ksheera Ramalingeswara swami.
KUMARARAMA: As mentioned earlier, this temple is in Samalkota near Kakinanda. The Linga was installed by Lord Kumaraswamy and thus named Kumara Bhimeshwara Swamy. Lord Shiva is a huge structure but concealed except to be seen from the second floor of the temple. His consort is Bala Tripura Sundari Devi.
Neither in the Brahmanda Purana nor elsewhere, Bala Tripurasundari is a virgin goddess. This could be a reference to Lalita or Mother Tripurasundari herself. But in Shaktam, they stand independent and hardly portrayed as married despite their origins from the Great Mother Parvati, consort of Siva. Utmost respect is to be given to all sthala puranas at all times. So the Pancharama stories are presented as per the purana without modification. Each bhakta shall endeavour to find his or her own truth. The general idea in such stories is the Tamil cliche ‘dharmathin vaazhvuthanai soothu kavvum; pinnar dharmam vellum’ – dharma will not stay clouded forever; it will ultimately win.
Hara Hara Mahadeva
(draft Gods, Goddesses, Minor Deities and Sages)
Yogi Ananda Saraswathi
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BALA TRIPURA SUNDARI ASHTOTHRAM
1.Om Kalyanyai Namah
2.Om Tripurayai Namah
3.Om Balayai Namah
4.Om Mayayai Namah
5.Om Tripura Sundaryai Namah
6.Om Sundaryai Namah
7.Om Soubhagya Vatyai Namah
8.Om Kleemkaryai Namah
9.Om Sarva Mangalayai Namah
10.Om Hreemkayai Namah
11.Om Skanda Jananyai Namah
12.Om Parayai Namah
13.Om Pamcha Dasha Ksharyai Namah
14.Om Trilokyai Namah
15.Om Mohana Deeshayai Namah
16.Om Sarveshvaryai Namah
17.Om Sarva Rupinyai Namah
18.Om Sarva Samkshobhinyai Namah
19.Om Purnayai Namah
20.Om Nava Mudreshvaryai Namah
21.Om Shivayai Namah
22.Om Ananga Kusumayai Namah
23.Om Khyatayai Namah
24.Om Anamgayai Namah
25.Om Bhuva Neshvaryai Namah
26.Om Japyayai Namah
27.Om Stavyayai Namah
28.Om Shrutyai Namah
29.Om Nityayai Namah
30.Om Nitya Klinnayai Namah
31.Om Amru Todbha Bhavayai Namah
32.Om Mohinyai Namah
33.Om Paramayai Namah
34.Om Aananda Dayai Namah
35.Om Om Kameshyai Namah
36.Om Tarunayai Namah
37.Om Kalayai Namah
38.Om Kala Vatyai Namah
39.Om Bhaga Vatyai Namah
40.Om Padma Raga Kireetinyai Namah
41.Om Sougamdinyai Namah
42.Om Saridvenyai Namah
43.Om Mantrinyai Namah
44.Om Mantra Rupinyai Namah
45.Om Tatvatrayai Namah
46.Om Tatva Mayai Namah
47.Om Siddhayai Namah
48.Om Tripura Vasinyai Namah
49.Om Shriyai Namah
50.Om Matyai Namah
51.Om Maha Devyai Namah
52.Om Koulinyai Namah
53.Om Para Devatayai Namah
54.Om Kaivalya Rekhayai Namah
55.Om Vashinyai Namah
56.Om Sarve Sharyai Namah
57.Om Sarva Matrukayai Namah
58.Om Vishnu Svashre Yase Namah
59.Om Deva Matre Namah
60.Om Sarva Sampatpra Daeinyai Namah
61.Om Kimkaryai Namah
62.Om Matre Namah
63.Om Geervanyai Namah
64.Om Sura Pana Modinyai Namah
65.Om Aadha Rayai Namah
66.Om Hita Patni Kaya Namah
67.Om Svadhi Shtana Samashrayayai Namah
68.Om Ana Hatabja Nilayayai Namah
69.Om Mani Pura Samashrayayai Namah
70.Om Agynayai Namah
71.Om Padma Sana Seenayai Namah
72.Om Vishuddha Sdhala Samsdhitayai Namah
73.Om Ashta Trimshatkala Muryai Namah
74.Om Sugha Mnayai Namah
75.Om Charu Madya Mayai Namah
76.Om Yoge Shvaryai Namah
77.Om Muni Dyeyayai Namah
78.Om Para Bramha Svarupinyai Namah
79.Om Chaturbha Jayai Namah
80.Om Chandra Chudayai Namah
81.Om Purana Gama Rupinyai Namah
82.Om Aiem Kara Radayai Namah
83.Om Maha Vidyayai Namah
84.Om Pancha Pranava Rupinyai Namah
85.Om Bhute Shvaryai Namah
86.Om Bhuta Mayai Namah
87.Om Pancha Shadvarna Rupinyai Namah
88.Om Shoda Shanya Samaha Bhushayai Namah
89.Om Kamakshmai Namah
90.Om Dasha Matru Kayai Namah
91.Om Aadhara Shakyai Namah
92.Om Tarunyai Namah
93.Om Lakshmai Namah
94.Om Tripura Bhairavyai Namah
95.Om Shambhavyai Namah
96.Om Sachidanandayai Namah
97.Om Sachidananda Rupinyai Namah
98.Om Mamgalya Daeinyai Namah
99.Om Manyayyai Namah
100.Om Sarva Mangala Karinyai Namah
101.Om Yoga Lakshmai Namah
102.Om Bhoga Lakshmai Namah
103.Om Rajya Lakshmai Namah
104.Om Trikona Gayai Namah
105.Om Sarva Soubhagya Sampannayai Namah
106.Om Sarva Sampatti Dayeinyai Namah
107.Om Nava Kona Pura Vasayai Namah
108.Om Bindutraya Samanvitayai Namah
Hara Hara Mahadeva