Interviewer:
In your ashram, in the Mother's temple, the Mother is worshiped every year on the day of Mahalaya. You make a lot of preparations for that puja—the Mother is decorated beautifully, she is adorned with new ornaments. Then, her Chokkhudan (the ritual of painting the eyes) takes place. Could you please tell us more about the rituals that are performed during this process?
Guru:
Look, when the Mother arrives, we must perform the Pran Pratishtha (consecration of life). We must establish the Mother's eyes. There are three primary Tattvas (philosophical principles) associated with the Mother. First is the Vidya Tattva (the principle of knowledge/science). As you see, the Mother's navel area represents the Vidya Tattva. This requires immense Japa (meditative chanting); we perform extensive chanting at her navel.
Guru:
Next is the Atma Tattva (the principle of the soul), located at the Mother's chest. Extensive chanting is performed there as well. Finally, at the Mother's head is the Shiva Tattva (the principle of consciousness). These three Tattvas exist within humans, and the Mother is no different.
Guru:
Notice how the Mother stands upon the Nirguna (the formless or attribute-less). Shiva is often referred to as Viguna (without qualities) or Nirguna, while the Mother is Saguna (possessing form and qualities). The Mother is Saguna, and Shiva is Nirguna. Ramprasad once sang about how the "Attribute-less has been given attributes." Here, Mahadev is the Nirguna, and the Mother is the Saguna.
Guru:
We apply these three Tattvas to humans as well. First is Vidya Tattva—it is often said that knowledge resides in the stomach/navel. People say of someone uneducated, "There is no knowledge in his belly." This implies that knowledge resides in the navel area, not the head. We awaken this through Japa.
Guru:
Then we perform Japa at the Mother's heart for the Atma Tattva. This is where the soul resides. This ritual is meant to awaken the self—to know oneself, to understand oneself, so that the soul can recognize itself.
Guru:
Then there is the Shiva Tattva at the head. We must perform extensive Japa at these three points: the navel, the chest, and the head. Beyond these, there are 24 other Tattvas that are bestowed upon the Mother. These are drawn from the Mahajagatik (the cosmic/universal realm). We draw these energies from the cosmos and infuse them into the Mother's Vidya, Atma, and Shiva Tattvas. We draw this "Ray" from Mahadev, who resides in the heavens, and channel it into the Mother.
Guru:
As I mentioned, the Mother stands as the Saguna upon the Nirguna. We then bestow the 24 Tattvas: Gandha (smell), Rasa (taste), Rupa (form), Shabda (sound), Nasika (nose), Jivha (tongue), Chokkhu (eyes), Srotra (ears), Baak (speech), Paani (hands), Pada (feet), Payu (anus), Upastha (genitals), Prakriti (nature), Mana (mind), Buddhi (intellect), Ahankara (ego), and the Akash Tattva (ether). All of these are drawn from the cosmos.
Guru:
Just as you use your nose to smell, your eyes to see, and your tongue to taste, these must be consecrated in the Mother. We draw the essence of hearing, smelling, and speaking from the cosmic source of Lord Vishweshwar (Mahadev).
Guru:
Now, consider the Mother's three eyes. We refer to the eye on the forehead as the Surya Atma (the Sun Soul). This cosmic energy is infused into her third eye. Her other two eyes represent Agni (Fire) and Varuna (Water). The Mother possesses both the coolness of water and the heat of fire. As the Chandi says, she is both extremely gentle and extremely fierce.
Guru:
The Mother's protruding tongue represents Lajja (modesty or shame). When she realized she had stepped on the chest of Mahadev, the Lord of Time, she bit her tongue in shame. There is no complex scientific mystery here; it is the natural reaction of modesty. Ma Sarada said that a person should not be without Lajja, Ghrinna, and Bhaya (modesty, hatred of sin, and fear of wrongdoing). The Mother possesses all three. Today, she is depicted as modest because she stepped on Shiva's chest.
Guru:
Though he is Nirguna, Mahadev lies beneath her. The Mother stands upon him. She has four hands, representing her command over the four directions—North, South, East, and West.
Interviewer:
Could you explain the directions, Gurudev?
Guru:
They represent the four cardinal directions. In contrast, Goddess Durga has ten hands, representing ten directions. In ancient times, demons like Ravana's son, Indrajit, would fight from behind the clouds. Thus, the Mother's hands represent her vigilance in all directions.
Guru:
Everything must be infused into the Mother's body through Japa. Through specific methods of Japa, we draw the Vidya into the navel and the Atma into the heart. Although the idol is made of clay, we must perform the Pran Pratishtha to bring it to life.
Interviewer:
Gurudev, you mentioned these three Tattvas and the 24 other Tattvas. Is this the complete process of consecration?
Guru:
Exactly. We bring the life force down from the cosmic realm and infuse the entire cosmic power into the Mother. Only then does she "awaken."
Interviewer:
But Gurudev, that must take a lot of time. In most public puja pandals, they don't seem to spend that much time on the consecration.
Guru:
Look, that is often a commercial matter. People don't always know what mantras are being recited or if the priest even knows the mantras. They just put on a microphone and make noise. In reality, we don't use microphones because many of these mantras should not be heard by the general public. During the Pran Pratishtha, can the public really understand the depth of it? No.
Guru:
The life force is established using an eight-letter mantra. After the Pran Pratishtha, we perform the Chokkhudan (eye-opening). When we paint the third eye, we chant the Surya Atma Japa: "Hah, Sah, Khah..." Then we chant for the eyes of Fire and Water. This is how the Mother becomes "active." Without this, she remains just a clay idol.
Guru:
We recite: "Am Hrim Kroum Yam Ram Lam Vam Sham Sham Hom Hah Sah... Maa-naa-ee-ha Praana..." (Recites Sanskrit Pran Pratishtha mantra). We are giving her life, her soul, and her senses. We pray for her to reside here and take life within the idol. We give her all the senses—speech, sight, hearing, smell, and breath—so that she may stay here happily.
Guru:
We also consecrate the snake on her head, her weapons, and the garland of skulls. Everything is drawn from the cosmic Brahma Jyoti (Divine Light). A Sadhaka (practitioner) must draw all this universal energy and channel it into the Mother. Only then does the Mother become "active," and people can witness her power.
Guru:
As for her tongue, as I said, it represents modesty. Ma Sarada emphasized that modesty, hatred of sin, and fear are necessary. The Mother shows "fearlessness" (Abhaya) to her devotees, but she also expresses these human-like traits. The Sadhaka tells the Mother, "I am here, why should you fear?"
Guru:
This process is very intense. It must be done with Kush grass, which represents the power of the priesthood. Every mantra must be recited while touching the Mother with Kush grass. This is usually done behind closed doors, often at night, away from the public eye. The Sadhaka must first sit in meditation, draw the cosmic energy into his own body, and then transfer it to the Mother. This is like a spiritual transaction. Usually, priests don't have the time or depth for this, but in established temples, those who understand the essence do it this way.
Interviewer:
Gurudev, what you've shared today has greatly enriched our knowledge about the Pran Pratishtha.
Guru:
Many people don't know these details. I want people to understand that looking at an idol is not enough; one should understand the depth behind it. People asked me how I decorate the Mother and how the life force is established, so I decided to explain it.
Interviewer:
Thank you, Gurudev. My respects to you.
Guru:
Blessings to you.