Shakti TattvaTattva Shakti
Here is what he says for Sri Javalamukhi Devi: "These tattva are the cause of much disorientation and are often seen as if they were an emanational system. First two tattva are Shiva and Shakti. Around them are the three Shaktis of the colonel named Iccha, Jnana and Kriya.
There are these three that produce all triggers, that is, the whole world. It' this variety of Shaktis that Maya is in common. Maya' is delusional restraint. Have Maya Tattva wearing five kachukas or corsets. There are two similarities between Shiva and Shakti - limitations in terms of place and place.
From these two original limitations arise three more, which in turn are mirror images of Iccha, Jnana and Kriya. First is a restricted wish, second is restricted know-how and third is restricted activities. To shed some some light on the 36 Tattvas, I will make a few brief comments on each of the five pentades.
Then, there is the way in which he is able to express himself - the instrumental cause of all creating and the one who initiates the five basic actions that produce the universe - emission, protection, reabsorption, concealment and grace. This is sometimes described as the "static" aspects of universe awareness - the "support" and roots of all things and possibilities in the arsenal.
Shakti Tattva is the "activity" of Shiva - from her the remaining Tattvas develop. There' s no true separation between Shiva and Shakti. The Shakti (at this level) is considered "full of bliss" - sometimes also referred to as AnandaShakti. Lokanath's next pentade - which groups Lokanath under the generic concept of "boundaries of the Maya" - determines the expression of finite awareness.
Mayashakti' s force works through five different ways of "obscuring" the essence of Shiva-Shakti. The first Kancuka - the limit of action, i.e. the "contraction" of Kriyashakti. The Kalaa is the roots of the notion of limits ("I can't") and is the roots of karma.
The third Kancuka - the contract of Icchashakti and the limitation of will. This is the roots of desire, in the meaning of "I need that" or "I don't have that" and thus the cause of all attachment. It is Kalaa, in short, which is the roots of our feeling of being powerless and having restricted powers and capabilities.
Kaala disguises the highest unending instant and leads to the experiencing successive times; and Niyati disguises the highest all-penetration of awareness and leads to the feeling of separation from all other "things" in the cosmos.
The next pentade reminds of the Tattvas after Samkhya, consisting of Purusha, Prakriti, Ahamkara, Buddhi & Manas. The Shakti is "seen" by Siva-as-Purusha and now seems to be made up of the three Gunas. Mana is predominantly Tamasian ("the force of action"). Perception instruments, plot instruments, the Five Impressions and the Five Element have the same equivalent as in the samkyan scheme:
These are not the sensory bodies in the physical meaning, but the shaktis that make these special sensations possible. Also known as the Karmendriyas (essentially Rasajic), they are the "forces" that make the functioning of the effects possible. The distinction between the "power" and the "organ" that exercises this authority can be difficult.
The force of "grasping" can therefore be seen as the shakti who are primarily concerned with the "grasping" of things in the universe, but this act is carried out. The auditory experience thus allows us to recognize sound as certain if it makes sound. Light (tejas) is the quintessence of warmth; space (akasha) is the quintessence of everything that is gas; and space (vayu) is the array in which the whole bodily universe is.
The" instruments of feeling" and the" instruments of acting" both arise from the work of Manas - "born" from the Antahkarana' s wish to see the realm and to act. Likewise, Antahkarana "manifests" the Tanmatras and Mahabhutas to have items to live and soak up.