ஓங்காரக் மூலக் கணபதியை ஓங்கியளந்துச் சிட்டழறும்
ரீங்கார மோனக் குண்டலியை ராங்கார ரேகைக் குள்ளோட்டி
பாங்கான நெற்றிக் கோயிலிலே பண்பான லால னாவெளியின்
மீங்கான கைலை மேலேற விண்ணான மந்திர மோஹனமே
Oongaarak moolak ganapathiyai oongiyalandhuch sittazharum
Reengaaraa monak kundaliyai raangaaraa rekai kullaotti
Paangaan netrik koyilile panbaana laala naaveliyin
Meengaan kailai melaera vinnaana manthira mohaname
“The Gaṇapati at the root of Oṃkāra—chanting/expanding (Oṃ) and ‘measuring it out’, the citta (or the ‘chit-fire’) blazes.
The silent Kuṇḍalinī of ‘rīṅkāra’—drive her within the ‘rāṅkāra’ line (rekhā/streak).
In the well-proportioned temple of the forehead, in the refined expanse of Lālā–Lanā,
To ascend to the ‘mīn’ (star/fish)-like Kailāsa above—O sky-like mantra-enchantment!”
Invoke and establish the ‘Oṃ’-rooted Gaṇapati at the base (the threshold power that removes inner obstructions). By sustaining the Pranava and its measure (breath/intonation), the inner consciousness-heat awakens. Then the Kuṇḍalinī—heard as a subtle, humming seed-sound (rīṅkāra) and resting in deep silence (mōnam)—is guided into the central “line” (the inner channel/rekhā). When this current is led to the “temple of the forehead” (ājñā), and further into the subtle Lalanā-region where nectar/inner space is sensed, one “climbs Kailāsa”: the yogic summit where mind becomes sky-like, entranced and dissolved in mantra.
The verse maps an inward pilgrimage using mantric letters and sacred geography.
1) “Oṃkāra-mūla Gaṇapati”: Gaṇapati is not only a deity but a yogic function—guardian of the threshold at the “root” (mūla). In many Siddhar/Tantric systems, the base-center must be stabilized before ascent. “Oṅgiy-aḷandu” (“intoning and measuring/expanding”) points to disciplined mantra with regulated breath and prosodic measure (mātrā), not mere recitation.
2) “Citta blazes”: “சிட்டழறும்” can read as (a) citta burning (purificatory heat of attention) or (b) chit as luminous consciousness flaring. Either way it signals tapas: a heat that both illumines and consumes distraction.
3) “Rīṅkāra-mōna Kuṇḍalinī” and “Rāṅkāra rekhā”: The Siddhar uses letter-sounds as technical markers. “Rīṅkāra” suggests a subtle nāda (inner resonance) rather than gross speech; “mōnam” (silence) indicates that the true movement is beyond articulation. “Rekhā” (line/streak) can denote the suṣumṇā (central channel), or a subtle “trace” of prāṇa to be entered. The instruction “kullōṭṭi” (to push/drive inward) is yogic: directing the current into the intended channel rather than letting it spill into habitual pathways.
4) “Forehead temple” and “Lālā–Lanā expanse”: The forehead is the shrine of the command center (ājñā), where perception turns inward. “Lalanā” is a known subtle locus near the palate/uvula region in several yogic maps, associated with the tasting or preservation of amṛta (nectar). Thus the verse hints at a physiological-mystical transformation: breath, sound, and attention reorganize the body’s subtle fluids and energies.
5) “Ascending Kailāsa” and “sky-like mantra-enchantment”: Kailāsa functions as an inner summit (often the sahasrāra or the Shiva-abode in the crown), not merely a Himalayan mountain. “Vinnāna” can mean heavenly/sky-like—suggesting vastness and dis-identification from mind. “Mantra-mōhanam” is deliberately double-edged: mantra can “enchant” (mohana) as liberating absorption, yet also warns that fascination with experiences can itself become bondage; the Siddhar leaves that tension intact.