Shatru Samhara Subramanya Trishati

I have got a book of Shatru Samhara Subramanya Trishati given along with the magazine ................... 

What is the procedure for doing this Shatru Samhara Subramanya Trishati Archana ? 

Srinivasan

Coimbatore

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This Subrahmanya Trishati is one of the important text of the Kaumara sect.  This Trishati is a  secret prayoga and destroys one's enemies. The skandArchana kalpadrUma and other kaumAra texts refer to this secret method. 

Subrahmanya Upasana is an important upasana which has to be handled carefully because it can directly influence the Swadhishthana Chakra. The most required quality is Vairagya.

So the methodology and usage of of this Trishati is taught only to a very few deserving upasakas and not to all. 

Unlike other Trishati Stotra or Namavali, this one is more of a prayoga and one has to be very very careful in handling this. This is mainly used only as an Archana by Subrahmanya Upasakas

This Trishati is also known an "Shiva Subramanya Trishati" because the names are divided into six groups with the Shadakshari mantra coupled into six mantras depicting the Six faces of Parameshwara(Sadyojatati.. etc)

And not every one can chant this mantra. The basic requirement to handle this Trishati is - getting the upadesham of Subrahmanya Shadakshari Mahamantram.

Subramanya is meditated that He is of red color with six heads and 12 arms, and embraces the goddess ShaShTi who is seated on his lap

And this is one of the most powerful prayoga ie by doing archana with this Trishati ones enemies gets lost forever. But this Kamya Prayoga is always a sharp knife to handle. It may backfire any moment. 

And one has to satisfy all the conditions given below to have the desired result 100%

• Ladies are strictly not allowed to chant this Trishati as they may not be able to sustain some of its effects.
• The first and the second varnas are alone eligible to handle this trishati.

• One has to complete 6 lakh Purashcharana of Subrahmanya Moola Mantra.
• Proper Sandyopasana  has to be carried out 
• Ahara niyamam and other anushtanas has to be followed stricly.
• He has to follow strict Brahmacharya for Three days before starting the process.
• On the day of worship one has to complete Sahasra Gayatri japam (1008) times and then start worshipping Subramanya with this Trishati. 
• The puja is concluded with Ksheera (milk) arghyas three tims to the Lord. 

• The next day of the puja, the Lord will still be in Ugra and He has to be calmed down with Panchamrita Abhisheka

The best advice is to start this practice after receiving proper permission and blessing from one's Guru who has given the Subramanya Mantra upadesham.

Remember... this Trishati when recited it without following the proper rules not only affects the upasaka but also his Guru

Iam totally shocked to see this text given as a free supplement to a spiritual magazine (and with full of mistakes) 

Even for a person who satisfies all the above rules, the text warns that he has to definitely undergo heat and burning sensation in the body because of its intense energy.  Iam really worried what will be the result and suffering a layman will be experiencing when he follows it blindly.

May Lord Gnanapanditha gives us the wisdom to earn His grace and worship him properly.

Subramanyom Subramanyom Subramanyom

Mampazhathurai Bhagawathi and Sastha at Aryankavu

Who is Mampazhathurai bhagawathi and what is her connection with Sastha. My friedn told me She is Pushkala whom Sastha marries at Aryan Kavu.

But it is also told Sastha Thirukalyanam at Aryankavu does not happen and that why she is kept alone at mampazhathurai and so she is angry? is it right.

The serial "Swami Ayyappan" gave a diiferent version. What is the actual fact.

V.R. Rajaraman

Senkottai
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Mampazhathurai Bhagawathi..

This is a very big doubt iam having  for a very long time. I dont find the direct relationship of Mampazhathurai Bhagawathi with Sastha Thirukalyanam at aryankavu - except the fact that the sourashtra people go and worship there before commencing the marriage.

As per the local lengend of Aryankavu if it is Pushkala.... there are 2 stories around this... let me first present these stories...

Story 1:
Ayyappan married this Girl at Madurai and brought her to Aryankavu / Achankovil... once Ayyappan hunted a deer and to his shock this girl started cooking it... Since Ayyappan is "VEGETARIAN" he ordered her to stay out of his temple premises and thus She stayed here.. and so she is angry because her husband neglected her... (this story style itself says it is too much Folklore.....)

Story 2 :
This sourashtrial Girl fell in love with ayyappan at Aryankavu and The Lord accepted to marry her.. the Marriage date was fixed and exactly the day before her marriage this girl had her periods and so marriage was stopped.. Ayyappan was very angry and understood that it was a test to his celibacy and so decided  not to marry and asked her to stay at Mampazhathurai as a deity.. (The marriage would have taken place at subtle plane like Andal and definitely not as stated in this story... this infact pulls down the divinity of Sastha.. this Episode was further treated with all Garam Masala with Malayala Manthereekan etc in "Swamy Ayyapan" serial and made the girl Pushkala almost to an extend of a Ghost )

I'l give 90% discount to the depictions shown in Swami Ayyappan serial... It is very much clear that, with one line information they have developed screenplay to drag the episodes...  (if you can remember the serial, please recollect.....

    * they picturised Achankovil as Sastha sitting alone without devis
    * there was hardly a mention about Poorna pushkala and only once - they gave a wonderful statement that Poorna and Pushkala -both are same
    * The marriage at Aryankavu doesnot takes place.. only the engagement takes place...
this was carried out to "ESTABLISH" sastha is a bachelor, a famous notion in Kerala...

Both these stories are absurd according to me. The marriage happened at Aryankavu between Sastha and the Sourashtra girl is not on physical plane but pure merger - "Aikyam" of the devotee with the Lord. This can be compared to Andal and Ranganatha's marriage. This is an ultimate state of supremeness and so the question of running a household and cooking vegetarian/nonvegetarian does not arise.

This story is further treated with salt and pepper by some more people. Also there is a romour spread that only the engagement happens there and not the marriage. But this is not true. The marriage very well happens every year and the devi is very very happy always.  Remember the devi with Sastha at Aryankavu is benign-sowmya swaroopini; (carriying a lotus) whereas Mampazhathurai Bhagawathi is ugra swaroopini. The form itself varies completely.

Please understand, the Thirukalyanam between Sourashtrian Pushkala and Sastha at Aryankavu is an example of supreme devotion and the state of oneness with the Lord, something similar to Radha Kalyanam.

According to my findings, Mampazhathurai Bhagawathi must be Yakshi who is an important parivaram of Sastha.

You can see she carries Trishoolam and kapalam which exactly fits into the dhyanam of yakshi.

I have deciphered the incident (in the following manner) with my very little knowledge and observation : (I have heard that there is a detailed mention of Aryankavu in Mahothra Purana or Mahendra Purana... but i could not even get any trace of the book.. Iam still searching it)

Aryankavu is a shrine which was installed by Parasurama as Prabha Sathyaka Samedha Sastha...(as Swambhu Stones like Kulathupuzhai).. The Panchaloka idol which is there today may be of a later date... Very much later... after the Sourashtrian settlement in Madurai (maybe maximum within 5 or 6 centuries ago), this Girl who was highly devoted to Sastha came to this temple along with her father.. (her name is not clear in the available versions of the stories) Exactly like Andal, who married Ranganatha in the subtle plane and merged with the Ranga idol in the Shrine, this devoted girl married Aryankavu Sastha and merged with him...

In memory of this divine leela, this marriage celebration by the Sourashtrian community would have originated...
Just because she is seated in the left side of the Lord she may be called Pushkala....(considering her as an amsha of original Pushkala) or by a remote chance - her original name itself maybe Pushkala.

Bagawathi is a very common name given to any female deity in Kerala.. this necessarly need not be her name...

I've heard about the rowdra Swabhavam of Mampazhathurai Bhagawathi... one of the disciples of my Grandfather told me the following incident about his personal experience...

Some 2 or 3 decades ago, he met my grandfather(Chaami Anna) and casually informed that he is also planning to go to this temple. Knowing that he is always hyper active, my Grandfather warned them about this temple and advised them just to have the darshan and donot do anything of their own without proper guidance. When their group reached this place, it was all alone and no one was there... and the temple gate was also closed.. they thought of doing Lalitha Sahasranama Kunkumarchana and so they opened the gate and entered there...

So they sat in front of the temple... placed a leaf and started the archana... even before they could complete 3rd nama, a Monitor Lizard (udumbu) fell exactly on the Trisulam which was planted nearby and it blood splashed all over the area, including the Puja place... They felt this as a bad omen and immediately vacated the place...

Mampazhathura is near Nagamali Estate in Kazuthuruthi near Punaloor. The local people claim her as Madurai Meenakshi.  (You may be aware that Yakshi is often identified with Meenakshi or Rajamatangi in most of the Varavu songs clearly attributed in his songs by Manidasar.. who is the Supreme court - with respect to Sastha) Inscriptions on the stone is surprisingly in Tamil only and the temple is pretty old one from its look.

Remember Mampazhathurai Bhagawathi is also related to Achan kovil.

These fact give us an idea that Mampazhathurai may be a Yakshi Kavu - a favorite parivaram of Sastha

Iam just presenting my view here and I'l never pass any Jugdement with Swami...
Who can give judgements with our Swami's vaibhavam?

Guru and Guru Tattva

An Article written by me for  SRI VIDHYA CHARITES, BANGALORE , Who released Sovenier on occation of  10th Aradhana Mahostvam of SRI  SADHU RAM SWAMIGAL


V.Aravind Subramanyam
94 B, Third Street, Tatabad, Coimbatore 12
Email : aravindsai@gmail.com  Ph: 9994641801
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Who is a Guru? What is his role? Is he necessary for a human being?

       

The path to our goal is rugged, and is infested with hungry wolves and tigers and with yawning pits - and the necessity for a Guide is inevitable. Guru is the only guide who can make your travel safe and help you reach your destination. 

      

Guru is God. Guru is everything. He is brother, father, well-wisher, relative and true friend. A Guru is the vital part in one’s life… 

      

And the main problem with people is they even fail to understand the necessity and the importance of a Guru. A Guru’s prime job is to remove the ignorance of his sishya. But most of us seek a Guru – who, according to us is our “Problem solver”. Delay in marriage, Non-employment, family disputes etc etc we have a very long list, whenever we meet a Sage or Guru. Only a genuine seeker will know what it is to get attracted to an enlightened master.  

      

My Gurunatha,  Sri Seshadri Swamigal was beyond the description of a saint, a reality that cannot be clutched and clasped by the mind leading one to realization. Sri Seshadri Swamigal’s interaction with the world was very strange. Seshadri Swamigal's behavior was quite eccentric and unpredictable. He acted like a mad man at times to fend off worldly people, but to earnest seekers he was extremely gentle and considerate Often when people saw him in the streets they would prostrate before him and he would get near to enable them to touch his feet. But, he would never allow selfish or worldly people to touch his feet. He would run away and if they forced themselves on him, he would abuse them or even pelt them with stones. Seeing this, many people did not go near him. But when the person is a real pathra – seeking for the ultimate truth, he would himself call them and give what they want.

      

For a layman, a Guru is a form that bestows all the grace for a fruitful material and spiritual life. And the masters – out of Sheer kindness encourage us with all our worldly limitations and give us the helping hand. The Guru helps the sishyas in all aspects by solving their problems. They wait for a sathsishya to come – whom they can ignite. With this mentality when we get attracted to the Guru, sure we will recognize a new center unveiling within us. 

      

And who is a Guru? One must clearly understand that a Guru is not a person who jumps from the sky with four hands.  Anything that diverts the mind from the ultimate truth -is maya and the power which makes the mind ‘turn back’ and seeks to the source is Guru.

      

Though he may appear to be a normal person.. He may appear to behave like everyone else. But, Guru is something beyond comprehension and only when you have a direct experience of the Guru's grace, then you realize the supremacy of Guru.  

gurau manuShyabuddhiM cha mantre chAkSharabuddhikAM |
pratimAsu shilAbuddhiM kurvANo narakaM vrajet ||  - kularnava Tantra

      `One should not look upon his master as a mere human being, or the mantra that he gives as merely words. A person who does this, or commits the mistake of looking upon an idol (devatA vigraha) as a mere stone, will certainly go to hell'. 

       

A person who has ultimate faith in his Guru and His words – for him no sadhana is needed. The Moksha is very well assured for him. Ultimate trust in Guru - fully and wholeheartedly is the only sadhana.

      

You can never judge a Guru – who is compassion personified. Their acts may be dramatic – but they are deeply impressive and has a very great significance. Even the emotions which they show – is another vehicles to carry the grace. The ordinary words which come from them are a teaching thereby imparting guidance in a more profound way.

       

When Vallimalai Swamigal came to Thiruvannamalai in search of a spiritual path, he met Sri Seshadri Swamigal who said nothing but the following words

        “Thiruppugazh dhan Mahamantram” - Thiruppugazh is the Maha Mantra.  

      This words from Gurunathar- transformed the life of the disciple. Sri Sachidhananda Swamigal dedicated his entire life to highlight the glory of Thiruppugazh.

      

From the Ever compassionate Guru, even scolding had the effect of erasing self image and infusing grace. 

       

Seshadri Swamigal had the habit of picking up pieces of broken mud pots and throwing them at people sometimes. One day, one shepherd boy approached him. Seshadri Swami, for no apparent reason, began to beat him up with those pot pieces! Even blood began to ooze out of the wounds. A crowd collected around. Some of them were upset and some disconcerted. Two months later, one foreign couple came to Tiruvannamalai, saw the boy and adopted him. They taught him their family trade. He became a millionaire later! Even the anger of the Guru is a great blessing, if only we know how to receive.

      

Srividyopasana, the highest form of Upasana and highly secretive in nature. A Srividyopasaka’s daily routine starts - as soon as he gets up from his bed in the morning, the first thing to do is to meditate on the sacred feet of his Guru. This he must do even before he thinks of his Ishta Devata

      

The Guru Tatwa is an embodiment of complete Karunyam – compassion. The Divine force has Five distinct functions (pancakrityam)– and the guru tatwa belongs to the profoundest of the five divine functions ie. Srishti (creation), Stithi (sustenance), Samhara (destruction or devolution), Tirodhana (veiling) and Anugraha (grace).  

Guru is Anugraha mayam. What does anugraha mean? It is the power which takes a mature soul to the higher plane – by making him come in contact with the master and in turn lead to Gnana (self knowledge). Thus when the divine grace itself assumes a human form – and this power of grace manifests through the personality of the teacher – Guru.

      

Faith is the state of mind towards the all supreme. It is the surrender that gets the grace of the Guru. Once this state is attained, then the worldly issues will not bother the disciple. Now, it’s the responsibility of the Guru to take care of his Sishya – the helpless child.

      

But please remember – to a devotee who has made an ultimate surrender – the very need for a prayer itself comes to an end. The Guru takes care of all problems, burdens and even day to day activities. This continues not only for a particular period of time but till he attains Moksha.

      

It is this power of grace that emanates from the Guru that fascinates the seeker. When the sishya is ready, the Guru comes automatically to “take care” of his child and thereby show him the right path.

       

A Chintamani is a stone which can only convert the metal into gold. But guru does the greatest alchemy. He transfigures his disciple into his own likeness through the upadesham. The ultimate grace of guru gives a deathly blow to the disciple's ignorance and makes him understand the ultimate; thus now the sishya becomes a Guru for another seeker.

vinA dIkShAM na mokShaH syAduktaM shivashAsane |
sA cha na syAdvinAchAryaM ityAchAryaparamparA ||

`Without initiation, there can be no release from the phenomenal bondage; and there can be no initiation without a master. Hence the succession of masters 

      He who have tasted the bliss, hand it down to the next in line. The Guru can transform the disciple by a look, a touch, a thought or a word or willing. When this is passed down in this way, those whose desire for the ultimate - can do so by the grace of the lineage or ‘parampara’.

      Seshadri Swamigal initiated Shri Vallimalai Swamigal. Sri Vallimalai Swamigal – even after his Maha Samadhi, appeared to Sethuraman who had run away from his home and safely took him back home. He placed a composition called 'Hara HarO Haraa Kummi' in Sethuraman's bag. He appeared in the boy's dream and told them to sing the kummi and dance.  From then onwards Sethuraman became an arutkavi Sadhuram Swamigal with the ability to sing hundreds of songs and poems.  

      

Sri Chandrasekarendra Saraswathi, Maha Periyaval of Sri Kanchi Kamakoti Peetam said once "will I become like Seshadri Swamigal". Such was  the greatness of our Gurunathar Sri Seshadri Swamigal.

       

A Guru is a manifestation of Karunyam. The Guru is like a Mother, full of Love and Compassion. He is none other than Parashakti - who is avyaja karuna moorthi who showers the grace for no reason.

      

This once unlettered boy, whom he took under his benevolent care, with the " Hiranya Bahu " - the Golden Hand which turned him what he is today, dedicates these few words with veneration and humility to the Lotus feet of Shri Seshadri Swamigal 

sharIraM surUpaM sadA roga-muktam
yashashcAru citraM dhanaM meru tulyam
guror aGghri-padme manashcen na lagnam
tataH kiM tataH kiM tataH kiM tataH kiM
"One's body may be beautiful and always healthy, one's fame may be wonderful and bright, and one's wealth may be like a mount of gold. But if the mind is not fixed on the lotus-feet of the Guru, then What is the use? What is the use? What is the use? What is the use?

Shyamala

Raja Shyamala or Raja Matangi is the Minister - Mantrini of Goddess lalitha Parameshwari. She was created by Lalitha from HER sugar cane bow during HER battle with Bandasura. She rules the Empire(the Cosmos) on behalf of “Para Bhattarika” Herself as indicated in Lalitha Sahasranam as
“Mantrini Nyasta raajya dhoo” and also bears the sovereign Mudra modiram (the ring of the Queen).


Matangi represents the mind and its activities. 'Vishanga', who represents the crooked mind was killed by HER.

She has eight arms holding: paddy-past karmas, lotus-mind in worldly activity, paasha -love, ankusa-anger, japa mala and books - knowledge, and the veena -yoga. Her right foot is down indicating must do sadhana in the world by looking at her manifestation.


The devotees of Matangi is known to be blessed with Her grace of proficiency in poetry, Music, Dancing and other fine arts—thus they become highly learned in their chosen field.


The Lalithopakhyana gives a wonderful collection of names of Matangi.


Sangeeta yogini shyama shyamala mantra nayika
mantrini sachiveshani pradhaneshi shukapriya
vina vati vainiki cha mudrini priyakapriya
nipapriya kadambeshi kadamba vanavasini
sadamada cha namani shodashaitaini kumbhaja

One who recites this strotra can conquer all the three worlds

KIRATA VARAHI STAVAH

This is the KIRATA VARAHI STAVAH which is used for subjugation of one's enemies (satru vashya and satru samhara). This stotra is used for counter attacking the abhicharika prayogas and is proved to be very effective.

Care should be taken in parayana of this stavah and MY SINCERE ADVICE TO THE
ASPIRANTS IS THAT PRAYOGA SHOULD BE PERFORMED ON ONE'S OWN MIND FOR THE SUBJUGATION OF KAMA, KRODHA, LOBHA, MADA, MAATSARYA. THIS IS THE UTTAMA LAKSHANA OF THE UPASAKA.


Asya kirata varahi stotra mantrasya  kirata varaha rishih  anushtup
chandah  satrunivarini varahi devata  tadanugrahena sarvopadrava
santyarthe jape viniyogah

Ugrarupaam Mahadevim  satrumaaranatatparaam
Kruraam kiraatavaraahim  vandeham kaaryasiddhaye

Svaapahinaam madaalasyaam  taam mathaam madataamaseem
Damshtrakaraalavadanaam  vikrutaasyaam mahabalaam

Ugrakesim Ugrakaraam  somasuryagnilochanaam
Lochanaagnisphulingabhir  bhasmikruta jagatrayeem

Jagatrayam Kshobhayanteem  bhakshayanteem muhurmuhuh
Khadgam cha musalam chaiva  halam soNitapaatrakam

Dadhathim cha chaturhastaam  sarvaabharaNabhushitaam
Gunjaamaalaam sankhamaalaam  nanaratnairvaratakaih

Haaranupurakeyura  katakairupashobhitaam
Vairipatnikantasutra  cchedinim krurarupinim

Kruddhodhataam prajaahantru  kshurikevasthitaam sadaa
devataardhoruyugaLaam  Ripusamhaara tandavaam

Rudrasaktim sadotyuktaam  ishwareem paradevataam
Vibhajya kanTanetrabhyaam  pibantim asrujam ripoh

GokanTe madasaardulo  Gajakante hariryathaa
Kupitaayaam cha vaaraahyaam  patanteem naasayat ripun

Sarve samudraah sushyanti  kampathe sarvadevataah
Vidhivishnusivendraadyaa  mrityubhitaah palaaitaah

Evam jagatrayakshobha  karakakrodhasamyutaam
Sadhakasya purah sthitva  pradravanteem muhurmuhuh

Lelihaanaam brihadjihvaam  Rakthapaana vinodineem
Tavk asru mamsa medhosthi  Majja SukraaNi Sarvada

Bhakshayanteem Bhakthasatrun  RipuNaam PraNahaariNeem
Evam Vidhaam Mahadevim  Dhyaye(a)ham Kaaryasiddhaye

satrunasanarupaaNi  KarmaaNi kuru panchami
mama satrun bhakshayaashu  Ghaataya(a)sadhakaan ripun

sarvasatruvinaasaartham  tvaameva saranam gatah
tasmaatavasyam vaaraahi  satruNaam kuru nasanam

Yatha nasyanti ripava  statha vidveshaNam kuru
Yasmin Maale ripun tubhyam  aham vakshyaami tattvatah
Maam drishtva ye janaa nityam  vidvishanti hananthi cha
Dushayanti cha nindanti  vaaraahi taamscha maaraya

Hanthu te musalah satrun  aasaneh patana diva
Satrugraamaan gruhaan desaan  raashtraan pravisha sarvasah

Ucchataya cha vaaraahi  kaakava dbhrama(a)su taan
(Amuka amuka) samjnanaam  satrunaam cha parasparam


Daaridryam me hana hana  satru samhara samhara
Upadravebhyo maam raksha  vaaraahi bhakthavatsale

Etat Kiraatavaaraahyaah  stotram aapannivaraNam
Maaraka SarvasatruNaam  Sarvaabhishta Phalapradam

Trisandhyam paTate yasthu  stotrokthaphala masnute
Musalena(a)tha satrunscha  maarayanteem smaranti ye

Taarkshyaarudham suvarnaabham  Japettesham na samshayah
Achiraa dustaram saadhyam  hastena(a) krishya deeyate

Evam dhyayet japet devim  jana vashya mavaapnuyaat
Damshtradhruta bhujaam nityam  praanavaayum prayacchati

Durvaabhaam samsmaret ddevim  bhulaabham yaati buddhimaan
sakaleshTaarthatha devi  sadhaka stotra durlabhah

Thanks : ambaa-l A list for devotees of shriimaata

Mudra Vadi and Mudra Sanji

One query. Can you explanin the sancity of saccred Muthra Vaddi.  reg.specification and the qualification of having muthra vaddi and some additional information how to preserve the same with regular pooja etc

One more question, what is the meaning of Viboothi Bag and sasthra of keeping the same. One of my friend told me that along with Mudra vaddi, we should keep Veboothi bag also. Is it true???

- from a devotee

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Mudra Vadi is Lord Sastha Himself. And it should not be bought from a shop or a store for price.. If you are ready for it, it will reach you automatically.

 Iam not telling this explanation of my own.. what i've learnt from many senior Guru Swamis, like my grandfather Kalpathy Chami Anna, My Guru and stalwarts like Kambankudi Mama and many others, Iam giving these statements.

My Grandfather (Kalpathy Chaami Anna) was the one who started the Pankuni Uthram festival at Sabarimala(which was closed till then). He made the temple open on Pankuni uthram day and on his own accord continued the puja for decades together -which went upto Athirudram - until his demise. His Mudravadi is still preseved and we are worshiping it.

The Mudra Vadi is not a mere Perambu- Stick - but a manifestation of Lord Sastha. 

There are certain rules and specification for the size of the Mudravadi and few treatments before getting it ready. 

The specifications for mudravadi (iam not commenting or refusing the system followed by various Guruswamis in their group. Each may have their own system) but this is the one- as taught to me by my Gurus:

The Vadi should have an odd number of kanus and at the same time be of the height equating to the size of 48 times of his fingers of the person who is going to do puja to it. (ie leaving the thumb, 12 times the size of remaining 4 fingers) then the vadi should be applied regularly with Nallennai and turmeric and should be placed above the homa kundam in such a way that the smoke of the homam reaches the Vadi. This is continued for a mandalam. and Now the vadi is packed with the silver and now the avahanam of the Lord is done and prana pratishta has to be done to the vadi installing the pancha prana in the vadi and make the Atma Pratishta and the Lord in installed on the Vadi.

After tagging/packing the mudravadi with silver - one has to do the Avahanam of Lord Sastha in it and install the divine force in the vadi. And the Vadi is adored to the Lord and pujas are done at Sanctum Sanctorum. After this once its brought back - daily puja has to be done for the Vadi - because its Sastha himself.

After this, pujas has to be done for it considering it as the Lord Himself. Now this may be taken to sannidhanam for a special puja and then brought back to home. Utmost Acharam has to be followed as and Now its equal to the Lord himself.

This is the reason many dont prefer having the Vadi at their home. I now recollect an incident shared by one illustrious Guruswamy: A renowned Sastha upasaka of yester years appeared in his dream to reveal the fact that his Mudra Vadi is not properly worshipped by the family which is having it now. And he requested him to make necessary arrangements to ensure proper puja is done 

For this purpose Moola Mantra Archana is prescribed - so upadesham of Sastha moola Mantram becomes mandatory. If not atleast the Ashtothra Archanas of Sastha Can be used to do puja. Abhishekam to the Mudra Vadi occassionaly whould also be done

(it is a practice not to keep the mudra vadi directly on the ground  - instead on a platform or in a plate filled with rice or Bhasma)

Qualification of the Mudra Vadi is decided by one's Guru and no one else... There is no second thought here... 

The puja methods for the Mudravadi is same as that of Lord Sastha including abhishekam and other rituals. Nitya Puja is a must once you have it and the minimum eligibility to worship Sastha in a Vigraha or Mudra Vadi would be initiation into Sasthru moola mantra.

For Nitya Pooja:

1. One may use each mantra of Pushusa sukta or Shri Rudram for Shodasha Upacharas.

2. During Abhisheka, one may recite Srisukta, Durga sukta, Sasthru Sooktam and Rudram if time permits.

3. It is necessary to do archana with the moola mantra preferably with bhasma

3. One may then do archana with Sahasranama, Trishati or Ashtottara and conclude with Dhupa, Deepa and Naivedya

 The Velichappadu or Sthanikaas have this Mudra Vadi in the hand once they get into trance and seated as the physical representative of the Lord, they had all the power and were able to predict things crystal clear. During Traditional Sasthe Preethi pujas, the Mudra Vadi is haded over to Chellapillai - who is the son of Lord Sastha.

And Mudra Sanji 

Similar to Mudra Vadi the Mudra Sanji gets equal importance is Sasthru Upasana. And this Mudra Sanji is given to a person - this is further more confined and decided by Guru only by the merit and caliber of the Sishya. It is not a must that Mudravadi must accompany mudra sanji - again I come back to the Golden Rule - GURU VAKYAM PRAMANAM... Its the Guru who will decide it..

Only when the Guru feels satisfied that the sishya is a Sat-pathram and has raised to a level of Guru, he may give this Mudra Sanji or Vibooti Bag to him. This Bhasma Sanji - is pratyaksha Sastha. All the rules that are followed for Mudravadi also holds good for Mudra Sanji.

This Mudra Sanji is generally not a new one but the one - which is being used by the Guru. This is passed on to the Sishya - generation after generation. In short - a person who has the capacity to solve the problem of others, who come to him is given this rare oppurtunity. Regular vibooti bag is totally different from Mudra Sanji (today one may get a beautiful Vibhuti bag from Giri Trading Co and keep it, and you can very well know what worth it has.)

Even today I handle my Mudra Sanji with utmost care and Iam nervous whenever I touch my Mudra Sanji. There are also many practical methods as to how to give the prasadam and whom to give the prasdam from the Mudra sanji... Iam afraid that I cannot disclose more facts on this.

There are still many who claim to have the Mudra Vadi and Mudra Sanji of Kottarakara Harihara Iyer, Palai Baskara Iyer and other such Veterans. This itself shows the importance of Mudra Vadi and Mudra sanji

Having a Mudra Vadi (or Mudra Sanji) and maintaining it with proper worship - is a difficult process. When Shri Harihara Iyer offered to give the Mudaraivadi to Neelaknada Sir, he refused to accept it as he felt he does not desere to have it.

Unfortunately, we find today - the so called Gurusawmys walking with Mutharivadi like walkingstick..!!!!

32 Forms of Ganapathi

32 Forms of Ganapathi

Listed below are the 32 iconographic forms of Ganapati shown in the Sritattvanidhi -

Name English Meaning	Image	Description atha dvātriṁshadgaṇapatInāṁ dhyānaṁ || mudgalapurāṇe ||
Bāla Gaṇapati "Childlike Ganapati"		tatra bālagaṇapatidhyānaṁ karasthakadalīcūta | panasekṣucamodakaṁ | bālasūryanibhaṁ vaṁde || devaṁ bālagaṇādhipaṁ || 1 || raktavarṇaḥ Adorned with a garland of tender flowers, having plantain (banana), mango, jack fruit, sugarcane and sweets (modaka) in His hands and who is effulgent like the rising sun [17] (red color).
Taruṇa Gaṇapati "Youthful Ganapati"		atha taruṇagaṇapatidhyānaṁ || mudgalapurāṇe || pāshāṁkushāpūpakapitthajaṁbū | svadaṁtaśālīkṣumapi svahastaiḥ | dhatte sadāyastaruṇāruṇābhaḥ | pāyātsa yuṣmāṁstaruṇogaṇeshaḥ || 2 || raktavarṇaḥ "Carrying in His hands the noose, hook, rice-cake , guava fruit, rose apple, own (broken) tusk, bunch of corn ears (paddy) and sugarcane and who vividly shines forth with His brilliant youthfulness"[18] (Red Color). (According to the Mudgala Purana version, kadubu - an edible specific to Lord Ganapati is mentioned instead of rice-cake).
Bhakti Gaṇapati "Devotee (Devotion) Ganapati"		atha bhaktagaNapatidhyAnaM || mudgalapurANE | nArikELAmrakadaLI | guDapAyasadhAriNaM | sharaccaMdrAbhavapuShaM | bhajE bhaktagaNAdhipaM ||3|| shvEtavarNaH Described as “ the Lord of His devotees and who shines like the autumn moon, with coconut, mango, plantain (banana), jaggery and sweets in his hands."[19] (White Colour)
Vīra Gaṇapati "Valiant Ganapati"		atha vIragaNapatidhyAnaM || mudgalapurANE || bhEtALashaktisharakAr^mukacakraKaDga | KaTvAMgamudgaragadAMkushanAgapAshAn | shUlaM ca kuMtaparashuM dhvajamudvahaMtaM | vIraM gaNEshamaruNaM satataM smarAmi ||4 || rakatavarNaH "Armed with Bhetala, the weapon of power(shakti), arrow, bow, wheel(Chakra or discus), sword, club, hammer, mace, hook, nagapasha (serpent noose), spear, plough, and the shining axe."[20] (Red Colur). (According to the Mudgala Purana version, flag is mentioned instead of plough).
Śakti Gaṇapati The "Powerful" Ganapati		atha shaktigaNapatidhyAnaM || mudgalapurANE || AliMgya dEvIM haritAMgayaShTiM | parasparAshliShTakaTipradEshaM | saMdhyAruNaM pAshasRuNI vahaMtaM | He is red in colour. He has four arms. His low right hand shows the movement of lack of fear (abhaya); the two others wear the elephant goad and the noose; the last hand, who holds a lemon, embraces the goddess. With the top of his trunk, Shakti Ganapati holds a cake.
Dvija Gaṇapati "Ganapati the Twice-Born"		atha dvijagaNapatidhyAnaM || mudgalapurANE || yaM pustukAkShaguNadaMDakamaMDala shrIvidyOtamAnakarabhUShaNa miMduvarNaM | staMbEramAnanacatuShTayashObhamAnaM | tvAM yaH smarEddvijagaNAdhipatE sadhanyaH ||6|| shubhravarNaH He has four heads and four arms. He is white in colour. His hands hold the rosary, the washing pot (kamandalu), the walking-stick of an ascetic or the ritual spoon (sruk) and the manuscript on palm-leaves (pustaka).
Siddhi Gaṇapati Ganapati bestowing success(Siddhi) or "The Accomplished Ganapati"		atha siddhagaNapatidhyAnaM || mudgalapurANE || pakvacUtaPalapuShpamaMjarI | mikShudaMDatilamOdakaisvaha | udvahanvarashumastu tE namashrI samRuddhiyutahEmapiMgaLa ||7|| piMgaLavarNaH Fond of the sesame cake. He has four arms. He is golden in colour. His hands hold the axe, the noose, the sugar-cane stem and the mango.
Ucçhishṭa Gaṇapati "Ganapati devouring the remnants of the meal"		atha uCiShTagaNapatidhyAnaM || mudgalapurANE || nIlAbjadADimIvINA | shAlIguMjAkShasUtrakaM | dadhaduCCiShTanAmAyaM | gaNEshaH pAtu mEcakaH | graMthAMtare | nArIyOnirasAsvada | lOlupaM kAmamOhitamiti ||8|| nIlavarNaH He has six arms. He is blue in colour. His hands show the rosary, the pomegranate, the paddy ear (shalyagra), the nocturnal lotus, the lute (vîna); his sixth hand sometimes bears a guñja berry, embraces the goddess. The Ucchista Ganapati trunk is placed on the goddess's thigh
Vighna Gaṇapati Ganapati - "Lord of Obstacles"		atha viGnagaNapatidhyAnaM || mudgalapurANE || shaMKEkShucApakusumEShukuThArapAsha | cakrasvadaMtasRuNimaMjarikAshanAdaiH | pANishritaiH parisamIhitabhUShaNashrI | viGnEshvarO vijayatE tapanIyagaura H || 9 || svarNavarNaH He has eight arms. He is golden in colour. His hands hold the single tusk, the disc, the arrow-flowers, the hatchet, the conch, the sugar-cane stem, the noose, the elephant goad. With the tip of his trunk, he carries a bunch of flowers (pushapamañjari)
Kshipra Gaṇapati "Ganapati who is easy to Appease" or "Quick-acting Ganapati"		atha kShipragaNapatidhyAnaM || mudgalapurANE || daMtakalpalatApAsha | ratnakuMbhAMkushOjvalaM | baMdhUkakamanIyAbhaM | dhyAyEtkShipragaNAdhipaM ||10|| raktavarNaH He has four arms. He is red in colour. His hands show the single tusk, the elephant goad, the creeper of the votive tree (kalpalatâ), the noose. With the end of his trunk, he carries the stone cup full of precious stones (ratnakumbha).
Heramba Gaṇapati "Mother's Beloved Son" Ganapati		atha hEraMbagaNapatidhyAnaM || mudgalapurANE || abhayavaradahastaM pAshadaMtAkShamAlAsRuNiparashudadhAnaM mudgaraM mOdakaM ca | PalamadhigatasiMhaH paMcamAtaMgavaktrO | gaNapatiratigauraH pAtu hEraMbanAmA || 11 || gauravarNaH The five-headed Ganapati riding the lion. He has ten arms. He is dark in colour. His first hand shows the movement of lack of fear (abhaya), the others hold the rosary, the citron, the club, the elephant goad, the noose, the axe, the kadabu cake, the single tusk; his tenth hand shows the movement which bestows boons (varada).
Lakshmī Gaṇapati "Ganapati the Fortunate" similar to GoddessLakshmi		atha lakShmIgaNapatidhyAnaM || mudgalapurANE || bibhrANashshukabIjapUrakamiLanmANikyakuMbhAMkushA | npApAshaM kalpalatAM ca KaDgavilasajjyOtissudhAnirJaraH | shyAmEnAttasarOruhENa sahitaM dEvI dvayaM cAMtike | gaurAMgo varadAnahastasahito lakShmIgaNEshovatAt || 12 || gauravarNaH Embracing his wives Siddhi(Achievement) and Buddhi(Wisdom). He is white (fair) in colour. He has eight arms. His hands hold a pomegranate, a sword, the creeper of the votive tree, the elephant goad, the parrot, the noose, the jewel pot; his eighth hand bestows boons (varada).
Mahā Gaṇapati "The Great Ganapati"		atha mahAgaNapatidhyAnaM || mudgalapurANE|| hastIMdrAnanamiMducUDamaruNaCAyaM triNEtraM rasAdAshliShTaM priyayA sapadmakarayA svAMkastayA saMtataM| bIjApUragadEkShukArmukalasaccakrAbjapAshOtphala | vrIhyagrasvaviShANaratnakalashAnhastair^vahaMtaM bhajE ||13|| raktavarNaH With a shakti, He has ten hands. He is red in colour. His hands hold the single tusk, the pomegranate, the club, the sugar-cane bow, the disc, the conch, the noose, the nocturnal lotus, the paddy ear, the jewels pot.
Vijaya Gaṇapati "Ganapati the Victorious"		atha vijayagaNapatidhyAnaM ||mudgalapurANE || pAshAMkushasvadaMtAmraPalavAnAKuvAhanaH viGnaM nihaMtu nassarvaM | raktavarNO vinAyakaH ||14 || raktavarNaH Riding a rat which trots at a smart pace, He has four arms. He is red in colour. His hands hold the single tusk, the elephant goad, the noose and the mango.
Nṝitya Gaṇapati "Ganapati the Dancer"		atha nRuttagaNapatidhyAnaM || mudgalapurANE || pAshAMkushApUpakuThAradaMta caMcatkarAkluptavarAMguLIyakaM | pItaprabhaM kalpatarOradhastAM | bhajAmi nRuttOpapadaM gaNEshaM || 15 || pItavarNaH Dancing under the boon-tree, He has four arms. He is golden in colour. His hands hold the single tusk, the elephant goad, the noose, the axe (parashu) or the hatchet (kuthâra). The dhyâna sloka specifies that one of the four hands can show a cake apûpa.
Ūrdhva Gaṇapati "The Elevated Ganapati"		atha UrdhvagaNapatidhyAnaM || mudgalapurANE || kalhArashAlikamalEkShukacApabANa | daMtaprarOhagadabhRutkanakOjjvalAMgaH | AliMganOdyatakarO haritAMgayaShTyA | dEvyA karOtu shubhamUrdhvagaNAdhipomE ||16|| kanakavarNaH Seated with his Shakti on his left thigh, He has eight arms. He is golden in colour. His hands hold the single tusk, the arrow-flower, the daylight lotus, the blue lily (kalhara), the sugar-cane bow, the paddy ear, the club; his last hand claps the goddess. The extremity of his trunk is rolled around the right breast of the goddess.
Ekākshara Gaṇapati Ganapati identified with "Single Syllable"(gaṃ).		atha EkAkSharagaNapatidhyAnaM || mudgalapurANE || raktO raktAMgarAgAMshukakusumayutastuMdilashcaMdramauLe | nesatraiyusaktastribhirvAmanakaracaraNo bIjapUraM dadhAnaH | hastAgrakluptapAshAMkusharadavaradO nAgavaktrOhibhUShO | dEvaH padmAsanasthO bhavatu suKakarO bhUtaye viGnarAjaH ||17|| raktavarNaH He has four arms. He is red in colour. His hands hold the single tusk, the elephant goad, the noose and the cake modaka. Sometimes, he wears, with the extremity of his trunk (bîjapûra).
Vara Gaṇapati The "Boon-giver" Ganapati		atha varagaNapatidhyAnaM || mudgalapurANE || siMdUrAbhamibhAnanaM triNayanaM hastE ca pAshAMkushau | bibhrANaM madhumatka pAlamanishaM sAdhviMdumauLiM bhajE || puShTyAshliShTatanuM dhvajAgrakarayA padmOllasaddhastayA | tadyOnyAhitapANimAttavasumatpAtrOllasatpuShkaraM ||18|| raktavaraNaH With a shakti seated on his left thigh, He has four arms. He is red in colour. His first three hands hold the elephant goad, the skull filled with liquor (madhumatkapâla) and the noose. The fourth hand creeps between the thighs of the goddess who holds a lotus and a banner.
Tryakshara Gaṇapati Lord "of the Three-lettersA+U+M" Ganapati		atha tryakShagaNapatidhyAnaM || mudgalapurANE || gajEMdravadanaM sAkShAccalatkarNaM sacAmaraM | hEmavarNaM caturbAhuM | pAshAMkushadharaM varaM | svadaMtaM dakShiNE hastE | savyE tvAmraPalaM tathA | puShkarE mOdakaM caiva | dhArayaMtaH manusmarEt ||19|| svarNavarNaH He has four arms. His hands hold the single tusk, the elephant goad, the noose and the mango. He holds the cake modaka with the trunk end.
Kshirpra Prasāda Gaṇapati Ganapati the "Quick-Rewarder"		atha kShipraprasAdagaNapatidhyAnaM || mudgalapurANE || dhRutapAshAMkushakalpalatAsvaradashca bIjapUrayutaH | shashishakalakalitamaulistrilOcanO ruNashca gajavadanaH | bhUsurabhUShadIptO bRuhadudaraH padma viShvarollasitaH | viGnapayOdharapavanaH karadhRutakamalassadAstu mE bhUtyai ||20|| aruNavarNaH He has six arms. He is red in colour. His hands hold the single tusk, the elephant goad, the lotus, the creeper of the votive tree (kalpalatâ), the noose, the lemon.
Haridrā Gaṇapati "The curcuma-colored Ganapati".		atha haridrAgaNapatidhyAnaM || mudgalapurANE|| haridrAbhaM caturbAhuM | haridrAvadanaM prabhuM | pAshAMkushadharaM dEvaM | mOdakaM daMtamEva ca | bhaktAbhayapradAtAraM | vaMdE viGnavinAshanaM ||21|| haridrAvarNaH He has four arms. He is yellow in colour. His hands hold the single tusk, the elephant goad, the noose and the cake modaka
Ekdanta Gaṇapati "The Single Tusked Ganapati".		atha EkadaMtagaNapatidhyAnaM || mudgalapurANE| laMbOdaraM shyAmatanuM gaNEshaM | kuThAramakSha srajamUrdhva gAtraM | salaDDukaM daMtamadhaH karAbhyAM | vAmEtarAbhyAM ca dadhAnamIDE ||22|| shyAmavarNaH He has four arms. He is blue in colour. His hands hold a large tusk, a rosary, a hatchet (kuthâra) and the small ball of sweets (laddu).
Sṝishṭi Gaṇapati "Ganapati the Creator",		atha sRuShTigaNapatidhyAnaM || mudgalapurANE|| pAshAMkushasvadaMtAmra| phalavAnAKuvAhanaH | viGnaMnihaMtu nashyONa| ssRuShTi dakShOvinAyakaH ||23|| raktavarNaH Riding a big rat, He is red in colour. He has four arms. His hands hold the single tusk, the elephant goad, the noose and the mango.
Uddaṇḍa Gaṇapati "Ganapati the Unchained",		atha uddaMDagaNapatidhyAnaM ||mudgalapurANE || kalhArAMbuja bIjapUraka gadAdaMtEkShucApaM sumaM | bibhrANO maNikuMbhashAli kalashau pAshaM sRuNiM cAbjakaM | gaurAMgyA rucirAraviMda karayA dEvyA samAliMgita | shshoNAMgashshubhamAtanOtu bhajatA muddaMDaviGnEshvaraH ||24|| raktavarNaH With his Shakti seated on his left thigh, He has twelve arms. He is red in colour. His hands hold the single tusk, the club, the nocturnal lotus, the noose, the paddy ear, the elephant goad, the washing pot (kamandalu), the sugar-cane bow, the disc, the daylight lotus, the conch and the pomegranate. His trunk is placed on the top of the goddesse's breast or, sometimes, maintains a jewels pot (manikumbha).
Ṝiṇamochana Gaṇapati "Ganapati the liberator from depts"		atha RuNamOcanagaNapatidhyAnaM ||mudgalapurANE|| pAshAMkushau daMtajaMbU | dadhAnaH sphaTikaprabhaH | raktAMshukO gaNapati | rmudE syAdRuNamOcakaH ||25|| shvEtavarNaH Ganapati seated on a large lotus with his Shakti. He removes the impediment. He has four arms. He is white in colour. His first hand show the movement to bestow boons (varada) ; the three others hold the elephant goad, the noose and the bowl of sugared rice (pâyasapâtra).
Ḍhuṇḍhi Gaṇapati "The Ganapati Sought After"		dhuMDigaNapatidhyAnaM || mudgalapurANE || akShamAlAM kuThAraM ca | ratnapAtraM svadaMtakaM | dhattE karairviGnarAjO | dhuMDinAmA mudestu naH ||26|| aucityAdraktavarNaH He has four arms. His hands hold the single tusk, the rosary (rudrAkSha), the hatchet (kuthâra) (an axe ) and the pot of jewels (ratnapâtra). (Red Color).
Dvimukha Gaṇapati "Two-faced Ganapati"		atha dvimuKagaNapatidhyAnaM | mudgalapurANE | svadaMtapAshAMkusharatnapAtraM | karairdadhAnO harinIlagAtraH | ratnAMshukO ratnakirITamAlI | bhUtyai sadA bhavatu mE dvimuKO gaNEshaH | hasuruvarNaH He holds in his hands his own tusk, a noose, a hook and a pot full of gems. His body complexion is greenish blue and he is wearing a red colored robe. A gem studded crown embellishes his head.
Trimukha Gaṇapati "Three-faced Ganapati"		atha trimuKagaNapatidhyAnaM | mudgalapurANe | shrUmattIkShNa shiKAMkushAkSha varadAndakShE dadhAnaH karaiH | pAshaMcAmRuta pUrNakuMbhamabhayaM vAmE dadhAnO mudA | pIThE svarNamayAraviMda vilasatsatkarNikA bhAsure | svAsInastrimuKaH palAsharucirO nAgAnanaH pAtu naH | raktavarNa | He has six arms. He carries in two of his right hands very sharp elephant goad, a rudrâksha rosary and is holding another hand in boon bestowing gesture (varada). He carries in two of his left hands a noose, a urn full of celestial nectar (amruta) - ambrosia pot (amritakumbha) and is holding the another hand in gesture of bestowing fearlessness (abhaya). He is seated on shining golden throne with lotus in the center. He has three eyes with elephantine face and he effulgent like the flame of forest flower (bastard teak/butea frondosa). (Red color).
Siṇha Gaṇapati "The Lion Ganapati".		atha siMhagaNapatidhyAnaM | mudgalapurANE | vINAM kalpalatAmariM ca varadA dakShE vidhattE karai vAsamE tAmarasaM ca ratnakalashaM sanmaMjarIM cAbhayaM | shuMDAdaMDalasanmRugEMdravadanaM shaMKEMdugaurashshubhO | dIvyadratnanibhAMshukOgaNapatiH pAyadapAyatsa naH ||29|| shvEtavar^NaH He has eight arms. He is white in colour He is holding in his right hands a vîna (Indian lute), a creeper of votive tree - kalpavRukSha ( Tree which can cure all diseases), a discus and another held in a gesture of granting boons (varada). He is holding in his left hands a lotus, a pot of gems, a flower bunch and another held in a gesture of granting fearlessness (abahaya). He is lion faced with an elephant trunk and shining. His body is shining like a white conch and moon. He is wearing a gem studded shining robe.
Yoga Gaṇapati "Ganapati the Ascetic".		atha yOgagaNapatidhyAnaM || mudgalapurANe || yOgArUDhO yOgapaTTAbhirAmO| bAlAr^kAbhashcaMdranIlAMshukADhyaH| pAshEkShvakShAnyOgadaMDaMdadhAnaH| pAyAnnityaZM yOgaviGnEshvarOnaH ||30|| raktavarNaH He has four arms. He is red in colour. His legs are surrounded with the meditation girdle (yogapatta). He is engrossed inyoga and is strapped in a yoga posture. He looks beautiful and shines like the rising morning sun. He is adorned with a colored robe which is shining like blue sapphire. His hands hold the rosary, the elbow-rest or the walking-stick (a yoga wand), the noose and the sugar-cane stalk.
Durga Gaṇapati "Ganapati the Invincible" similar the Goddess Durgâ.		atha durgAgaNApatidhyAnaM || mudgalapurANE || taptakAMcanasaMkAsha | shcaShTahastOmahattanuH | dIptAMkushaMsharaMcAkShaM | daMttaMdakShEvahankaraiH | vAmEpAshaMkArmukaMca | latAM jaMbUMdadhatkaraiH raktAMshukassadAbhUyA ddurgAgaNapatirmudE ||31|| kanakavarNaH His body glows like burnished gold (Golden Color). He has eight hands and massive body. He is holding a shining hook (Ankush), an Arrow, a rosary and a tusk with the four hands on the right side. He is holding a noose, a bow, a wish bestowing creeper and Rose Apple (Eugenia Jambolana) with the four hands on the left side. He is dressed in red clothes. (According to another version, the Arrow is replaced by a noose)
Saṇkaṭahara Gaṇapati "Ganapati - Dispeller of Troubles".		atha saMkaTaharagaNapatidhyAnaM || mudgalapurANE || bAlArkAruNakAMtirvAmEbAlAMvahannaMkE | lasadiMdIvarahastAM | gaurAMgIM ratnashObhADhyAM | dakShEMkushavaradAnaM | vAmEpAshaMcapAyasaMpAtraM | nIlAMshukalasamAnaH | pIThE padmAruNE tiShThan | saMkaTaharaNaH pAyAtsaMkaTapUgEdgajAnanO nityaM | raktavarNaH He has four arms. He is effulgent like the rising red sun (Red in Color). He has his wife (shakti) - who is carrying a beautiful lotus, glowing with radiance and bejeweled - sitting on his left lap. He is carrying in one of his right hand a hook (Ankusha) and with the other bestowing boon(varada). He is carrying in one of his left hand a rope(noose) and with the other a vessel brimming with sweet soup (Payasam). He is seated on a Red Lotus and wearing a blue robe. (According to another version, the varada gesture and vessel of Payasam is replaced by the broken tusk and the rose-apple fruit.)

Source : wikipedia.org