Tejottama Yoga Patala

‘Tejottama Yoga Patala’ is the fifth ‘Patala’ (chapter) of one of the most comprehensive and the fundamental Granth of Siddha Dharma of Himalayan Siddhas called the ‘Deva Samadhi Tantra’. It is written by Mahasiddha Kopashirsha Nath ji famously known as Mahasiddha Koshir Nath also. (Designation: Mahasiddha Gana Chakra Nath ; महासिद्ध गण चक्र नाथ )

‘Tejottama Yoga Patala’ comprises three words. The first word ‘Tejottama’ is made of two words, ‘Teja’ and ‘Uttama’. ‘Teja’ means light or fire. ‘Uttama’ means finest or best. So ‘Tejottama’ means the best light (luminosity) amongst all kinds of lights. The word ‘Yoga’ here refers to connection of oneself to one’s luminous self. ‘Patala’ means ‘Chapter’. The ‘Tejottama Yoga Patala’ is the chapter of the Granth ‘Deva Samadhi Tantra’ where a practitioner practices different techniques of ‘Tejottama Yoga’ and goes into deep state of Samadhi. It is a state where the practitioner goes beyond his body and attains to the state of ‘Luminosity’ which is his formless self.

In this chapter, light refers to the light of different Devi-Devatas (Deities). Every Deity has different kinds of ‘Teja’ (light). The Devatas have three kinds of bodies known as the ‘Kala Deha’ (Kala Body), ‘Teja Deha’ (Teja Body) and the ‘Brahma Deha’ ( Brahma Body). The light or the luminosity refers to the ‘Teja’, the Divine light of the Devi or the Devata (Deities). When a Sadhak practices the techniques under ‘Tejottama Yoga Patala’, he meditates on the chosen Deity, connects to the ‘Teja’ of that particular Deity, receives the Divine Teja from that Devi-Devata (Deity) and experiences the Divine state.

‘Tejottama Yoga Patala’ is famous for three steps. First is the ‘Deva Kala Deha’. According to Siddha Dharma, when a Sadhak has a pure heart and takes his intellect into the state of ‘Samadhi’, he attains a state where he can see and experience the ‘Kala Deha’ (Kala body) of the Deity. For example, the Sadhak will see the Devata sitting on a big Lotus flower or on clouds, or on a big Swan. It is the experience of different dimensions. It sounds like an extraordinary dream world or an illusionary state but the difference is that this is the reality that the Sadhak experiences at a different level which is inexplicable in words. According to Siddha Dharm, a Sadhak is speaking the truth when he/she describes the intricacies of the experience. The Guru knows if the Sadhak is speaking the truth. This is reality because this state and experience transforms the Sadhak in the most profound way forever. The Sadhak experiences the ‘Kala Deha’ of the Deity in this state. When anyone gets the Darshan (witness the appearance of the Deity) of the Deity, they see the ‘Kala’ body of the Deity which is often depicted in temples, idols of Deities, paintings, Holy scriptures and so on.

When the senses of the Sadhak are not completely purified or the heart is not full of ultimate Devotion or the Sadhak has not yet reached the state of highest Samadhi, but due to the ‘Kripa’ (grace) of the Guru, the Sadhak experiences the connection with the Deity in other sensory forms like touch, taste, smell and so on. This comes under connection with the ‘Kala Deha’ of the Deity.

According to Siddha Dharma, there are two major authorities in the Universe. ‘Light’ and ‘Darkness’. The light becomes darkness at some point. And darkness transforms into light again. But the essence of both is ‘Teja’. ‘Teja’ means light. But that light is not the ordinary light that we see. It is the essence (energy). The ‘Teja’ of a particular Devi-Devata (a Deity) is also similar. The form of a Devi-Devata can change, depending on different places and different times in the universe. But the ‘Teja’, the Divine essence of all Devi-Devatas (Deities) remain as it is. The ‘Teja’ of any Deity is permanent. Universe will be destroyed and will be recreated. The process of creation and destruction also goes on. But the ‘Teja’ of the Deities is eternal. When a Yogi attains the highest level, he can recognise which particular Devi or the Devata is present just by experiencing the ‘Teja Deha’ (formless state of Teja Body) of a Deity.

The ‘Teja Deha’ of different Devi-Devatas appear different because of their specific attributes. But the ‘Teja’ of every Devi-Devata originates from the ‘Brahm’. Many Sadhaks feel that they are doing something wrong by doing the Sadhana to connect with different Deities and not focusing on becoming one with ‘Brahm’ or attaining ‘Moksha’. According to Siddha Dharma, the ‘Teja Deha’ of every Deity comes from the supreme ‘Teja of Brahm’. When the Sadhak goes into deeper state of Sadhana after the connection with the ‘Teja Deha’ of a particular Devi or a Devata, the Sadhak attains the state where he realises the oneness of the Deity with the ‘Brahm’, that the ‘Teja Body’ of the Deity originated from the ‘Teja’ of the Brahm. Therefore, the Sadhna of every Deity leads to the oneness with the ‘Brahm’.

According to the head of Kaulantak Peeth, the great Kaulantak Nath, Mahasiddha Ishaputra, “If a Sadhak of ‘Tejottama Yoga’ wishes to focus only on one of the ‘Tri Deha’ (the three bodies) of the Devi-Devata, one can do so. But it is not the best way according to Siddha Dharm. For the holistic development and progress of the Sadhak, one must realise all three: The ‘Kala Deha’, the ‘Teja Deha’ and the ‘Brahm Deha’ of the Devata to attain the ultimate oneness with the Brahm.”


‘Tejottama Yoga Patala’ is written by Mahasiddha Koshir Nath. Mahasiddha Koshir Nath said that once he met with Mahasiddha Arhani Nath on the ‘Manidhara’ mountain. Mahasiddha Arhani Nath is the one who first talked with Mahasiddha Koshir Nath ji about the ‘Tri-Dehaa’ (the three bodies) of the Devatas, the Sadhana and the Yoga pertaining to the Devi-Devatas (Deities) for the very first time in the history of Siddha Dharma. Mahasiddha Arahani Nath shared what he learnt in his life and his experiences with Mahasiddha Kopa Sheersha Nath ji.

It so happened that the two Mahasiddhas met at the ‘Manidhar’ mountain. While Mahasiddha Koshir Nath was doing Sadhna at the ‘Manidhar’ mountain, Mahasiddha Arhani Nath was passing along the path of the same mountain. He recognised Mahasiddha Koshir Nath and took his blessing by touching the feet of Mahasiddha Koshir Nath ji. He said to Mahasiddha Koshir Nath ji that he did great work and has been bestowed with the title of Mahasiddha Gana Chakra Nath. He attained great fame with the title of ‘Gana Chakra Nath’. And such wise and a great ‘Tapaswi’ (the Siddha who did immense Tapasya) is born only once in a while in many Yugas. Therefore he expressed his desire to do a Satasangha with Mahasiddha Koshir Nath ji.

In the following Satsangha, Mahasiddha Gana Chakra Nath ji gave the sermon to Mahasiddha Arhani Nath on ‘Deva Dharma’. He requested Mahasiddha Arhani Nath ji to tell about his knowledge and experiences in ‘Deva Dharma’ so that Mahasiddha Koshir Nath could tally the knowledge of Deva Dharm that he had with the knowledge that Mahasiddha Arhani Nath had on the same subject.

When they both were talking about the Dharma of Devatas, the topic of ‘Devopasana’ and Yoga of Devatas came up. During this conversation, the ‘Tri-Dehaa’ (the three bodies) of the Devatas that are the ‘Kala Deha’, the ‘Teja Deha’ and the ‘Brahm Deha’ also came up. Mahasiddha Koshir Nath explained that every Siddha under the Deva Dharma tradition should do Sadhna to realise all the ‘Tri Dehaa’ (the three bodies) of the Deity. Else the Sadhak would not be able to develop completely in the ‘Tejottama Yoga Sadhna’. It would be ‘apoorna’ (incomplete) if a Sadhak aims to connect directly with the ‘Brahm Deha’ of the Deity.

One should move deeper in the same way in ‘Tejottama Yoga Sadhana’ as written in ‘Deva Samadhi Tantra’. One should first connect to ‘Kala Deha’, then ‘Teja Deha’ and finally connect with the ‘Brahm Deha’ of the Deities. Mahasiddha Arahani Nath agreed with Mahasiddha Koshir Nath ji and revealed that he also learnt ‘Tejottama Yoga Sadhana’ in the same ‘Kram’ (sequence). Mahasiddha Koshir Nath requested Mahasiddha Arhani Nath to reveal further about how he learnt. Then Mahasiddha Arahani Nath revealed that he met with three Mahasiddhas in the Himalayas. The three Mahasiddhas are:

  1. Mahasiddha Vajramoola Nath
  2. Mahasiddha Bhrubandhi Nath
  3. Mahasiddha Gandha Shuddha Nath

Mahasiddha Arahani Nath had an immense quest for ‘Adhyatma’ (spirituality) from a very young age. Deva Guru Brihaspati appeared in his dreams many times in his childhood. Deva Guru Brihaspati revealed in dreams that the life of Mahasiddha Arhani Nath is not meant for ‘Grihasta Ashram’ (family life). Deva Guru Brihaspati commanded him to wake up and to progress on the path of Sadhna and Tapasya following the path of Deva Dharma. So he took permission from his parents and went on to the Himalayas to do Sadhana. In the Himalayas, he first met Mahasiddha Vajramool Nath and learnt about ‘Kala Deha’ from him. He then understood that all the idols of different Devi-Devatas (deities) come under ‘Kala Deha’. He lived under the refuge of Mahasiddha Vajramool Nath for twelve years.

After completing twelve years, Mahasiddha Arahani Nath moved ahead in the Himalayas and met Mahasiddha Bhrubandhi Nath, who always sat in one place in the Himalayas. He asked Mahasiddha Bhrubandhi Nath ji what he was doing. He replied saying that he was a ‘DevaDharmi’ and he was meditating upon the ‘Teja Deha’ of the Deities. Mahasiddha Bhrubandhi Nath then taught Mahasiddha Arahani Nath about ‘Teja Deha’ in its complete depth where Mahasiddha Arahani Nath did Sadhana and practiced ‘Teja Deha’ for fourteen years. After that he went forward and met Mahasiddha Gandha Shuddha Nath, who was a great ‘Tyagi’ (renunciate) and ‘Vairagi’ in Himalayas. Many Siddhas were already gathered around him from various parts of the world.

Mahasiddha Arhani Nath also learnt, followed and practiced the techniques taught by Mahasiddha Gandha Shuddha Nath for the next fourteen years of his life, post which he connected with ‘Brahm Tatva’ (essence of Brahm). He was probably the rarest one who dedicated such a long period to learn under one Guru. After this, he progressed further in the Himalayas where he finally met Mahasiddha Koshir Nath. He told Mahasiddha Koshir Nath that he learnt ‘Kala Deha’, ‘Teja Deha’ and ‘Brahm Deha’ from the three great Mahasiddhas: Mahasiddha Vajramool Nath, Mahasiddha BhruBandhi Nath and Mahasiddha Gandha Shuddha Nath respectively. He further said that from these three comes out a wonderful path in Deva Dharma.

Mahasiddha Koshir Nath agreed and revealed that he also learnt and did research in depth about the three ‘Deva Dehaa’. Their knowledge and experiences matched. Other Mahasiddhas also confirmed similar knowledge and experiences about the ‘Deva Dehaa’. Finally, Mahasiddha Koshir Nath said that whenever a Yogi, a Sadhak will be taught in Gurukulas about the three ‘Deva Dehaa’ under DevaDharma, it will come under ‘Tejottama Yoga’ in Deva Dharm.

Therefore, ‘Tejottama Yoga’ is the compilation of the knowledge of these five Mahasiddhas. Three Mahasiddhas are the source of the three kinds of ‘Deva Deha’ who then taught the same to Mahasiddha Arhani Nath. The Mahasiddha Arhani Nath did Tapasya and gained his own experience about the three kinds of ‘Deva Dehaa’. While Mahasiddha Koshir Nath learnt it from his Gurus and gained knowledge about the ‘Tri Dehaa’ of the Devi-Devatas. Finally Mahasiddha Kopa Shrisha Nath gave the final shape to the knowledge of all the five (including his knowledge) about the ‘Tri Dehaa’ of the Devatas (the three bodies of the Deities).

Niyama Bhangi Maya

To connect to the ‘Teja’ of the Devi-Devatas, a Sadhak must be ‘Patra’ (worthy). ‘Patrata’ (here it is spiritual worthiness) is accumulated through Sadhna. ‘Niyama Bhangi Maya’ is one of the most important sub-chapters in ‘Tejottama Yoga Patala’ that presents the practical aspects of the Sadhana to connect to the ‘Teja’ of the Deities. It is developed by Mahasiddha Arhani Nath ji.

This cosmos runs on some laws. The laws of nature are universal. For example, the water falls down from a waterfall. But if someday such strong wind blows in the direction that makes the water move upwards, that is the water flows in the opposite direction of the waterfall, then it is a rare event. It would seem as if the natural law has been broken. Although that is not the case. Such an event is the effect of ‘Niyama Bhangi Maya’. In this context, ‘Niyama’ means law. ‘Bhangi’ refers to the force that breaks the law. ‘Maya’ is something that seems but is not true.

Such events are rare in nature but are immensely impactful. The Yogis practice the techniques that create a different impact through ‘Niyama Bhangi Maya’. The impact provides the practitioner with different ways to think and contemplate.

There are two main kinds of practice techniques under the chapter of ‘Niyama Bhangi Maya’.

Indriya  Gati

One can understand this by the example of eyes. Eyes are meant to see things. But if one holds a flower in front of their eyes, close their eyes and then try to see the flower is ‘Indriye Gati’. In this context, ‘Indriye’ refers to the five senses. ‘Gati’ means the usual purpose, objective of the five senses. Like the ‘Gati’ of the eyes is to see things.

Vipreet Gati

There are certain practice techniques where the Sadhak experiences are opposite to what one feels naturally. For example, if one puts some salt on his tongue and experiences a sweet rather than salty taste (through practice) is ‘Vipreet Gati’.

Brahma Teja Dhyan Kriya (Mahasiddha Koshira Nath)

‘Brahma Teja Dhyan Kriya’ is a ‘Dhyan’ (meditation) technique for a Sadhak to connect to ‘Brahma Teja’. This technique was given by Mahasiddha Koshir Nath.

In this ‘Dhyan’ technique, a Sadhak sits in a particular ‘Asana’ and closes his eyes. The Sadhak first meditates on his male body if he is Sadhak and her female body if she is a Sadhika. The Sadhak then thinks of the female attributes hidden in him. He would visualise the female version of him and establish that female form (in case of male Sadhak) in front of him at a certain height. Then the Sadhak would meditate on his natural male and the visualised female versions of him together. After that the Sadhak, would merge the two forms (his two versions) like the form of Bhagwan Ardhanarishwar and meditate on that. Sadhika performs the exact same process in her meditation meditating on her female and male versions joined together as Bhagwan Ardhanarishwar.

With practice, the Sadhak rises beyond his/her limited state in which he progresses towards connecting with ‘Brahm Teja’.

16-step ‘Tejas Sandhana Kriya’

‘Tejas Sandhana Kriya’ is the secretive and the most important Kriya in the ‘Tejottama Yoga Patala’ of the ‘Deva Samadhi Tantra’ Granth. This sixteen step Kriya has been passed on by Mahasiddha Arhani Nath and has been developed by sixteen great Mahasiddhas of that time.

There are the two below given ‘Charans’ (parts) in it.

Dhyana Charan: Ashta Paad Prayoga

In the first part of ‘Tejas Sandhan Kriya’, there are eight kinds of meditation practice techniques around meditation. Therefore ‘Dhyan Charan’ is the ‘Ashta Paad Prayoga’, where ‘Ashta’ is eight, ‘Paad’ refers to steps in this context and ‘Prayoga’ refers to practice techniques. The eight steps are:

  1. Agni Paad
  2. Vayu Paad
  3. Jala Paad
  4. Prithvi Paad
  5. Akaash Paad
  6. Mano Paad
  7. Buddhi Paad
  8. Kaal Paad

Together these eight steps make the ‘Dhyana Charan’.

Mantra Charan: Ashta Laya Prayoga

In the second part of ‘Tejas Sandhan Kriya’ called the ‘Mantra Charan’, there are eight sub-steps. The eight steps under ‘Mantra Charan’ are called the ‘Ashta Laya’. \ They are as follows:

  1. Atma Laya
  2. Tatva Laya
  3. Shakti Laya
  4. Bhairava Laya
  5. Deva Laya
  6. Brahmanda Laya
  7. Kaal Laya
  8. Brahm Laya

Together these eight steps make the second part of ‘Tejas Sandhan Kriya’ called ‘Mantra Charan’. It is called as ‘Mantra Charan’ because every meditation technique in the ‘Mantra Charan’ hides a ‘Beeja Mantra’ in it.

The sixteen steps are given by the sixteen glorious Mahasiddhas. The sixteen Mahasiddhas are also called the ‘Mantra Dhyani Gurumandal’ in which there are five female Mahasiddhas and eleven male Mahasiddhas.

SL No. Name of Mahasiddha Name of ‘Charan’ (Chapter)
1 Mahasiddha Chhanda Nath Agni Paad
2 Mahasiddha Moola Nath Vayu Paad
3 Mahasiddha Kavi Nath Jala Paad
4 Mahasiddha Naaga Nath Prithvi Paad
5 Mahasiddha Heramba Nath Akaash Paad
6 Mahasiddha Ruchi Nath Mano Paad
7 Mahasiddha Gandha Nath Buddhi Paad
8 Mahasiddhaa Vaarini Nath (Female) Kaal Paad
9 Mahasiddhaa Meghavarani Nath (Female) Atma Laya
10 Mahasiddhaa Haridaara Nath (Female) Tatva Laya
11 Mahasiddhaa Muhurati Nath (Female) Shakti Laya
12 Mahasiddhaa Kaalbhanga Nath (Female) Bhairava Laya
13 Mahasiddha Munikarma Nath Deva Laya
14 Mahasiddha Varmana Nath Brahmanda Laya
15 Mahasiddha Sumitra Nath Kaal Laya
16 Mahasiddha Setukratu Nath Brahm Laya

Tejottama Dhyana Mandala

The Siddha Dharma reveals the amazing Sacred Geometry of the ‘Tejottama Dhyana Mandala’ for meditation on the sacred Mandala. The outermost ring of the ‘Tejottama Dhyana Mandala’ is the ‘Nada Mandala’. The practitioner is instructed to visualise different Devi-Devatas (Deities) and different ‘Beeja Mantras’. Inside the ‘Nada Mandala’ there is ‘Prithvi Mandala’ which represents the ‘Bhu Loka’. Inside the ‘Prithvi Mandala’ one can see the illustration of a tree, a crawling insect (like caterpillar), fish, turtle, bird, lion, chimpanzee, prehistoric man, modern day human, Yogi, Devata, Divine Light and Sun. These illustrations illustrate the ‘Tejas Tatva’ (essence of illuminance) of the beings that exist in the cycle of ‘Bhu Loka’. Things can change, forms also change into different living entities. While the ‘Tejas Tatva’ circulates in each of these living entities.

Inside the ‘Prithvi Mandala’, the Mandala with numbers from 0-9 is depicted. This signifies the secret world of numbers and the unsolved mysteries. It signifies that the ‘Brahmanda’ (cosmos) is filled with secrets. Further inside this, there is the ‘Jyamiti Mandala’ which illustrates that the creation is Geometrical in its very creation. Geometry holds the secret of creation.

Inside this, the Mandala full of dots signifies all that is mystery and unknown in the cosmos and that which the human could never know. Inside this, the innermost Mandala is filled with Divine Light and this is called the ‘Tejas Loka’. There is a man and a woman depicted at the right and left of the outermost ‘Nada Mandala’.

The practitioner of ‘Tejottama Dhyana Mandala’ must draw the Mandala and visualise the great Mandala. The Guru passes on the knowledge of the different disciplines and techniques on how to use and visualise the ‘Tejottama Dhyana Mandala’ for the ‘Tejottama Yoga’ Sadhna.


Despite the varied aspects of ‘Tejottama Yoga Patala’ like ‘Darshan’ (philosophy), ‘Tejottama’ Yoga practice, different visualization techniques, Kriya worship rituals, Mantra meditation and so on; the goal of all is for the Sadhak to know the ‘Tri Deha’ (the three bodies) of the Deity and to realise the oneness with the ‘Brahm Teja’ within the ultimate self. The goal for the Sadhak is to realise that he/she is one, that is he illuminates with the ‘Brahm Teja’ and will ultimately merge in the ‘Teja’ of the ‘Brahm’ (the Ishwar).