Lakshmi Tantra

The publication in 1990 of Vamananadatta's Samvitprakasa, edited with English introduction by Mark Dyczkowski, has thrown considerable light on the date of the Laksmi Tantra. The Samvitprakasa is freely quoted by Utpalacarya in his Spandapradipika and by many authors both in the Kashmir Shaiva tradition and in the tradition of the Shakti sadhana. It is of particular interest for the study of the Laksmi Tantra because the latter quotes quite a few verses from its first chapter. Vamananadatta is respect-fully quoted by Abhinavagupta. Vamanadatta follows Samkara’s theory of idealistic monism up to a point, and then, in the true Pancaratra tradition, refutes the distinction between the Samkhya theory of evolution (parinama) and Samkara's theory of illusory manifestation (vivarta) to account for causality: “In you (O Lord) there exists no difference between vivarta and parinama” (Samvitprakasa I, 106). This could be equated with the ancient bhedabheda doctrine. This means that Vamanadatta flourished after Samkara and in the early period of the development of Kashmir Saivism. The Laksmi Tantra also reflects some ideas found in Ksemaraja's Pratyabhijnahrdaya and some found in Ramanuja. Therefore the Laksmi Tantra is later than these authors; we can assign its final redaction to the late 12th or early 13th century CE.^[2]

The Lakshmi Tantra text includes information about Pancharatra philosophy, cosmogony and mantra sastra. The iconography for Lakshmi-Narayana and Vishnu’s Vyūhas is also discussed. The book does not include information about ritualistic worship, temple architecture and worship.^[3]

The text may also be categorized as Vaishnava, since it glorifies Lakshmi-Narayana as supreme:^[4]

Sakra: — O Goddess, who appearest from the milky ocean, wife of the God Padmanabha, I prostrate myself before Thee, who art lotus-born. Deign to explain who a living being is.
Sri: — The primordial, absolute I-hood of Hari is myself and I am the transcendental, supreme Goddess.

The Lakshmi Tantra is shown to have distinct similarities with the Pratik Rahasyam of Devi Mahatmya, showing an assimilation of Vaishnavas with Shakta-lore, which is extremely rare. The episode describing how the Supreme Shakti, Adi Mahalakshmi, transforms into her complete incarnation, Mahalakshmi or Mahasri, who is shown holding a mace, a shield, a citron, and a bowl. She is golden in colour, and on her crown she holds a lingam and a multi-headed snake which symbolizes the Trideva; linga meaning Shiva, yoni meaning Vishnu, and the snake representing Brahma. She represents the rajas guna. From here it is quite similar to what is seen in the Pratik Rahasyam, Mahalakshmi creates Mahakali/Mahamaya and Mahasaraswati/Mahavidya who represent the tamas guna and satva guna, respectively. However, unlike in the Pratika Rahasyam, where the Devis create the Trimurti and the Tridevi on their own, in the Lakshmi Tantra, Adi Purusha, or Parama Vasudeva, creates three of the Chaturvyuha, Pradyumna, Aniruddha, and Sankarshana. Pradyumna is linked with Mahasri, who create Brahma and Lakshmi (named as Padma), Sankarshana is linked with Mahamaya, creating Shiva and Saraswati, and Aniruddha and Mahavidya are linked together, creating Vishnu and Gauri/Parvati. Here, the union of male and female energies link to create srishti, or life.^[5]

The text expounds the specifics of the philosophy of qualified monism Vishishtadvaita, but it is also observed that it is heavily inspired by the philosophy of Pratyabhijna of Kashmiri Shaivism propounded by Abhinavagupta. The text also reveals traces of Mahayana Buddhism. The influence of the Bhagavad Gita is also apparent, and passages from it are sometimes quoted literally.^[6]

The Lakshmi Tantra discusses the various avataras, or the descents, of the goddess, when Narayana incarnates on earth, to perform her anuvrata, or functions. These descents are called the six sheaths, and are categorised as possessing one form, two forms, four forms, six forms, eight forms, as well as twelve forms:^[7]

• Mahālakṣmī, as the first manifestation of the Goddess
• Śri and Puṣṭi, as two manifestations on either side of Narayana
• Śri, Kīrti, Jayā, and Māyā, as four manifestations around Narayana
• Śuddhi, Nirañjana, Nityā, Jñānaśakti, Aparājitā, and Prakṛti as six manifestations, in a hexagonal position
• Lakṣmī, Sarasvatī, Sarvakāmadā, Prītivardinī, Yaśaskarī, Śāntidā, Tuṣṭida, and Puṣṭi, as eight manifestations
• Śri, Kāmeśvarī, Kānti, Kriyā, Śakti, Vibhūti, Icchā, Prīti, Ratī, Māyā, Dhī, and Mahiman, as twelve manifestations, in a double hexagonal position

In the Dashavatara and the other incarnations of Vishnu, Lakshmi appears as Bhudevi or Varahi for Varaha, Anagha for Dattatreya, Padma for Vamana, Dharani for Parashurama, Sita for Rama, Revati for Balarama, Rukmini or Radha for Krishna, Rati for Pradyumna, Usha for Aniruddha, and Tara for Buddha.