Srī Shaṅkara Bhagavatpāda, in his Saundaryalaharī, espouses the advanced practice of Shaḍanvaya Shāmbhava Krama through the verse (14): kṣitau ṣaṭ pañcāśat:
क्षितौ षट्पञ्चाशत् द्विसमधिकपञ्चाशदुदके
हुताशे द्वाषष्टिश्चतुरधिकपञ्चाशदनिले |
दिवि द्विष्षट्त्रिंशन्मनसि च चतुष्षष्टिरिति ये
मयूखास्तेषामप्युपरि तव पादाम्बुजयुगम् ||
From the Mahāpādukā of Parāśakti situated in Sahasrāra, rays of six kinds originate, corresponding to the different elements and Cakras in the astral body.
– Fifty-six rays of the nature of Earth (pārthiva raśmi) in Mūlādhāra
– Fifty-two rays of the nature of Water (vāruṇa raśmi) in Maṇipūraka
– Sixty-two rays of the nature of Fire (taijasa raśmi) in Svādhiṣṭhāna
– Fifty-four rays of the nature of Air (samīra raśmi) in Anāhata
– Seventy-two rays of the nature of Space (nābhasa raśmi) in Viśuddhi
– Sixty-four rays of the nature of Mind (mānasa raśmi) in Ajñā
Srīcakra, which subtly represents the microcosm (consisting of the six chakras within one’s astral body), is three-fold in nature: soma (moon), sūrya (sun), and anala (fire).
– Mūlādhāra and Svādhiṣṭhāna form a group (khaṇḍa) and above this group is situated the Rudragranthi, which is of the nature of Fire.
– Maṇipūraka and Anāhata form the second group and above this group is situated the Viṣṇugranthi which is of the nature of the Sun.
– Viśuddhi and Ajñā form the third group and above this group is situated the Brahmagranthi which is of the nature of the Moon.
The rays of Fire pervade the first khaṇḍa. Mūlādhāra, which is the seat of the element Earth, is encompassed by fifty-six rays (or flames) of Fire, and Maṇipūraka, which is of the nature of the element Water, by fifty-two rays of Fire. Thus, a total of 108 rays of Fire is accounted for.
Svādhiṣṭhāna, the seat of the element Fire, is encompassed by sixty-two rays of the Sun, and Anāhata, which is of the nature of Air, by fifty-four rays of the Sun. Now, Sun is situated between Maṇipūraka and Viśuddhi – as the Viṣṇugranthi, but here, the rays of the sun are described as pervading Svādhiṣthāna instead of Maṇipūraka! Why is that? The reason is due to the sameness in nature of both the Sun and the Fire, and because of the origination of Fire within the Sun. One can refer to the verse ‘taṭitvantaṃ śaktyā’ and the various commentaries on it to understand this concept in greater depth. And thus, 116 rays of the Sun are accounted for.
Seventy-two rays of the Moon pervade Viśuddhi, which is the seat of the element Space; and sixty-four lunar rays pervade the Ajñā, which is of the nature of the Mind. Thus, 136 lunar rays are accounted for.
Thus, the Fire, Sun and Moon are present in gross form in the macrocosm (external universe) and in subtle form in the microcosm (within the astral body). This is explained in his Subhagodaya Stuti by Gauḍapādācārya:
त्रिखण्डं ते चक्रं शुचिरविशशाङ्कात्मकतया
मयूखैः षट्त्रिंशद्दशयुततया खण्डकलितैः |
पृथिव्यादौ तत्त्वे पृथगुदितवद्भिः परिवृतं
भवेन्मूलाधारात् प्रभृति तव षट्चक्रसदनम् ||
शतं चाष्टौ वह्नेः शतमपि कलाः षोडश रवेः
शतं षट् च त्रिंशत् सितमयमयूखाश्चरणजाः |
य एते षष्टिश्च त्रिशतमभवंस्त्वच्चरणजा
महाकौलैस्तस्मान्न हि तव शिवे कालकलना ||
These different rays form a sum total of 360. These represent the days in a year and hence the concept of Time. They also represent 360 degrees of Space. Thus, they together account for the wholeness of both Time and Space. These 360 rays represent both the microcosm and the macrocosmic universe. Every one of the myriad universes in the infinite creation of Parāmbā constitutes these 360 rays (marīci). Above and beyond myriad universes of the composite nature of sun, moon, and fire lies the Cicchandra maṇḍala, the luminous region of the moon without waxing and waning. This is the seat of the Mahāpādukā of Rājarājeśvarī, which is the origin for all rays that result in an infinite number of universes. This is represented in the microcosm as Baindava within the Sahasrāra.
It should be noted that the feet of Parāmbā represent both Shiva and Shakti. What is related to Shiva is called śaiva, and that related to Shakti is called śākta. As these rays (and the deities personified by these rays) originate from the lotus feet of Mahātripurasundarī which is śivaśaktyātmaka, they are said to be śāmbhava. And because they are classified sixfold (in the six chakras), we refer to this scheme as Shaḍanvaya Shāmbhava Krama.
The Shāmbhavāmnāya can be entered through different means. When entered through Dakṣiṇāmnāya or Saubhāgyasundarī Krama, one invokes the 360 rays which manifest as eighteen Nityās, the fifty-letters (mātṛkā) and 292 rays of the Mahāṣoḍaśī mantra. This is the fastest way to enter Shāmbhavāmnāya and is referred to as Devayāna (vehicle of the Gods).
The second option is to enter it through the Siddhayāna or the path of the Siddhas (adepts). Here, the entrance is through the Uttarāmnāya. One contemplates on 36 raśmis of Kāmakalākālī (18X2), 88 raśmis of Aniruddha Sarasvatī (22X4) and 64 raśmis of Mahāsiddhikarālī (16X4). These 188 raśmis, are doubled to represent prakāśa and vimarśa, and the corresponding deities are meditated upon as male, female, and in a conjugal union based on the time of the day and the specific intent. Thus, 376 raśmis result here. The significance of the excessive 16 counts should be understood from an adept Guru, it would suffice here to hint that it represents Tripurasundarī.
The third and the most popular option is called Manuṣyayāna or the vehicle of the men. This is entered through the Paścimāmnāya of Navaratna Kubjikā. While the first two are held secretive and should be learned by qualified students from their Guru, we can discuss the third yāna in some detail as Acharya has already dealt with it in his hymn.
One who is initiated into ūrdhvāmnāya, visualizes six hexagons (ṣaṭkoṇa) in six directions within the Mahābindu of the Srīcakra. In the center of the Bindu, Parāmbā is meditated upon in her Ardhanārīsvara svarūpa, and worshiped through śukla, rakta, miśra and nirvāṇa caraṇa vidyā. The procedure outlined below follows sṛṣṭi krama of Dakṣiṇāmūrti sampradāya. In Anandabhairava sampradāya, saṃhāra krama is followed. There is yet another method involving sthiti krama followed by the Gurajaras, which I am only theoretically familiar with and hence will not touch upon here.
In the hexagon visualized in the south-western part of the Bindu, Pareśvara, and Pareśvarī are worshiped through their Kubjikāmnāya mantras along with sixty-four rays of the nature of Mind. These rays are invoked as thirty-two couples (mithunas) of Shiva and Shakti, starting with Parānandanātha and Parā parāmbā, till Mantravigrahānandanātha and Mantravigrahā parāmbā.
The Bījakūṭa of Pareśvara śāmbhava is meditated upon as lustrous with a ruddy hue. Pareśvara is six-faced and seated on Sadāśiva, while Pareśvarī, who arises from the vāgbhava bīja of Paścimāmnāya, is seated on a fifty-hooded serpent.
The āvaraṇa devatā raśmis worshiped here are sixty-four – from Sarvarogaharacakrasvāmin to Mahāmahāśayā.
In the hexagon visualized in the western part of the Bindu, Vicceśvara, and Vicceśvarī are worshiped through their Kubjikāmnāya mantras along with seventy-two rays of the nature of Space. These rays are invoked as thirty-six couples (mithunas) of Shiva and Shakti, starting with Hṛdayānandanātha and Kaulinī parāmbā, till Parānandanātha and Citparāmbā.
The Bījakūṭa of Vicceśvara śāmbhava is meditated upon as lustrous like a clear quartz crystal. Pareśvara is six-faced and sports twelve hands bearing śūla, cakra, aṅkuśa, śara, vara, śaṅkha, dhvaja, sarpa, nṛkapāla, cāpa and abhaya. Vicceśvarī is similar in form to her consort and is seated on Sadāśiva mahāpretāsana.
The āvaraṇa devatā raśmis worshiped here are seventy-two – from Sarvamantramaya to Kaulinī. The reason for the reversal in the order of male and female forms should be learned from Sadguru.
In the hexagon visualized in the north-western part of the Bindu, Hamseśvara, and Hamseśvarī are worshiped through their Kubjikāmnāya mantras along with fifty-four rays of the nature of Air. These rays are invoked as twenty-seven couples (mithunas) of Shiva and Shakti, starting with Khageśvarānandanātha and Bhadrā parāmbā, till Pūjyagurvānandanātha and Rāmā parāmbā.
The Bījakūṭa of Hamseśvara śāmbhava is meditated upon as lustrous with a smoky hue. Hamseśvara is six-faced, of a smoky complexion, and sports twelve hands bearing svarṇapātra, śūla, cakra, aṅkuśa, bāṇa, vara, śaṅkha, dhvaja, sarpa, nṛśira, cāpa and abhaya. He is resplendent with twelve lotus feet. Hamseśvarī is similar in form to her consort and they are seated on īśvara pretāsana.
The āvaraṇa devatā raśmis worshiped here are fifty-four- from ātmākarṣiṇī to Sarvasaṃpattipūraṇa.
In the hexagon visualized in the north-eastern part of the Bindu, Samvarteśvara, and Samvarteśvarī are worshiped through their Kubjikāmnāya mantras along with sixty-two rays of the nature of Fire. These rays are invoked as thirty-one couples (mithunas) of Shiva and Shakti, starting with Parāparānandanātha and Caṇḍeśvarī parāmbā, till Samayagurvānandanātha and Nivṛtti parāmbā.
The Bījakūṭa of Samvarteśvara śāmbhava is meditated upon as lustrous with a ruddy hue. Samvarteśvara is five-faced, fifteen-eyed, sports ten hands bearing śūla, cakra, dhvaja, brahmakapāla, pārijāta, japamālā, pustaka, abhaya and ṭaṅka. He is resplendent with ten lotus feet, tied hair, and protruding sharp teeth. He is eternally sixteen and is decorated with precious gems and bones of nine great snakes. He stands on a single foot atop Rudra pretāsana, with a muṇḍamālā adorning his neck. Samvarteśvarī is similar in form to her consort. During this vidhi, it is the practice to perform ekavaktra, daśavaktra, viṃśativaktra, śatavaktra and śakti nyāsas.
The āvaraṇa devatā raśmis worshiped here are sixty-two – from Kaumārī to Bījākarṣaṇa.
In the hexagon visualized in the eastern part of the Bindu, Dvīpeśvara, and Dvīpeśvarī are worshiped through their Kubjikāmnāya mantras along with twenty-six rays of the nature of Water. These rays are invoked as thirty-one couples (mithunas) of Shiva and Shakti, starting with Sadyojātānandanātha and Māyā parāmbā, till Sarveśvarānandanātha and Sarvamayī parāmbā.
The Bījakūṭa of Dvīpeśvara śāmbhava is meditated upon as lustrous with a bright white hue. Dvīpeśvara is meditated upon as dark complexioned and sporting in his twelve hands śūla, cakra, khaḍga, aṅkuśa, vara, khaṭvāṅga, paraśu, gadā, pāśa, gajacarma and abhaya. He is resplendent with protruding sharp teeth. Dvīpeśvarī is also dark complexioned, seated on Viṣṇu pretāsana, and sports in her eight hands śaṅkha, cakra, gadā, padma, śūla, pāśa, vara, abhaya.
The āvaraṇa devatā raśmis worshiped here are fifty-two – from Lopāmudrāmayī to Māheśvara.
In the hexagon visualized in the south-eastern part of the Bindu, Navātmeśvara, and Navātmeśvarī are worshiped through their Kubjikāmnāya mantras along with fifty-six rays of the nature of Earth. These rays are invoked as twenty-eight couples (mithunas) of Shiva and Shakti, starting with Uḍḍīśvarānandanātha and Uḍḍīśvarī parāmbā, till Charyādhīśānandanātha and Kulajā parāmbā.
The Bījakūṭa of Navātmeśvara is contemplated as lustrous with a bright red hue. Navātmeśvara is meditated upon as dark complexioned like the dye of the eye, five-faced, fifteen-eyed, and sporting in his ten hands śūla, cakra, dhvaja, vara, brahmakapāla, pārijāta, japamālā, pustaka, abhayaand ṭaṅka. He is resplendent with protruding sharp teeth and ten feet. Dvīpeśvarī is dark blue complexioned, seated on Brahma pretāsana, six-faced, of the very form of the great Paścimāmnāyeśvarī Kubjikā, and sports in her twelve hands śūla, cakra, vajra, aṅkuśa, śara, kartarī, padma, nīlotpala, muṇḍa, khaṭvāṅga, ghaṇṭā, pustaka, cāpa, kapāla. She is of a fearful countenance, with each face resplendent with sharp protruding teeth. She is of twenty-eight years age, hair matted into an upward bun, decorated with bones of serpents and nāgamaṇi, and is draped in a lion skin.
The āvaraṇa devatā raśmis worshiped here are fifty-six – from Tripurasundarī to Charyānandanāthamaya.
Finally, in Sahasrāra, Mahāpādukā, ūrdhva pāśupata, Nirvāṇa caraṇa are worshiped along with the Mūlamantra and two raśmis: Mahāmahāśrīcakranagarasaṃrāṭ and Mahāmahāśrīcakranagarasāmrājyalakṣmī.
While the ignorant and the uninitiated claim otherwise, an advanced procedure such as this should not be considered lightly or taken up for daily practice without the proper guidance of the Guru. Brahmasri Chidānandanātha warned his students to follow this procedure only on Pancha Parvas, till the Rudragranthi is pierced and Kuṇḍalinī ascends past the tāmisra cakras. Also, without a solid foundation of Japa of Prāsāda, Parā, Parāprāsāda, Prāsādaparā, and Shambhava mantras, followed by a dedicated daily practice of Mahāṣoḍhā nyāsa for 360X3 days, practices such as these may result in great harm to the upāsaka on account of his unpreparedness. Also, as the entry point to Shāmbhavāmnāya here is through the western quarter, a puraścaraṇa of Kubjikā mantra with dāśāmśa Japa of Navātman is considered important.
If duly performed, this practice leads one to the state of not only Jīvanmukti but also the attainment of Shāmbhava śarīra.
In essence, it is really Kubjikā and Navātman who assume the six variant forms and the underlying mithunas. In the case of Srīvidyā, they are appropriated to represent Kāmeśvarī and Kāmeśvara. This characteristic Yoga of Kubjikā and Tripurasundarī sets these schools apart from not only older Trika and Kaula but various other śaiva schools of the yore. Some of the important works dealing with this subject include Maheśvarataijasānandanātha’s Anandakalpalatikā, Shaḍanvayamahāratna, Shaḍanvayamahākrama of Umākānta and Guhyakālī Krama of Pratāpacandra.