ஓம் லும் லும் லுகாரிண்யை நம ஓம் ஓம்
ஓம் லூம் லூம் லூகாரிண்யை நம ஓம் ஓம்
ஓ மே மேம் ஏகபதா யைநம ஓம்ஓம்
ஓ மை மைம் ஐஸ்வர்யை நம ஓம் ஓம்
ஓ மோ மோ மோங்கார்யை நம ஓம் ஓம்
ஓ மௌ மௌம் ஔஷத்யை நம ஓம் ஓம்
ஓ மம் மம் அம்பாயை நம ஓம் ஓம்
ஓ மஹதா வக்ஷராயை நம ஓம் ஓம்
Om lum lum lukāriṇyai nama Om Om
Om lūm lūm lūkāriṇyai nama Om Om
Om mē mēm ēkapadā yainama OmOm
Om mai maim aishvaryai nama Om Om
Om mō mō mōngāryai nama Om Om
Om mau maum aushadhyai nama Om Om
Om mam mam ambāyai nama Om Om
Om mahatā vaksharāyai nama Om Om
“Oṁ luṁ luṁ, salutations (namaḥ) to Lukāriṇī; oṁ oṁ.
Oṁ lūṁ lūṁ, salutations to Lūkāriṇī; oṁ oṁ.
Oṁ me meṁ, salutations to Ekapadā; oṁ oṁ.
Oṁ mai maiṁ, salutations to Aiśvaryā; oṁ oṁ.
Oṁ mo mo moṅkāryai, salutations to Oṅkārī; oṁ oṁ.
Oṁ mau mauṁ, salutations to Auṣadhī; oṁ oṁ.
Oṁ maṁ maṁ, salutations to Ambā; oṁ oṁ.
Oṁ mahadā vakṣarāyai, salutations; oṁ oṁ.”
A sequence of seed-syllable salutations to the Śakti-powers of specific phonemes (mātṛkā/varṇa-śakti): the vocalic “ḷ/ḹ” (Lu/Lū), then the vowels “e, ai, o, au,” followed by the nasal-bindu sound “aṁ,” and finally a concluding “great/imperishable syllable” power. Each sound is treated not merely as a letter but as a deity-as-vibration, invoked by repeating its bīja (luṁ, lūṁ, etc.) and sealing it with “oṁ oṁ.”
1) What kind of text this is: This passage reads like the latter portion of a Sanskrit/Tantric “mātṛkā” (alphabet) worship or nyāsa formula, preserved in Tamil script. In such systems, each vowel/phoneme is a Śakti (a “-kāriṇī” goddess-form), and reciting the phoneme with anusvāra (ṁ) is not decorative: it makes the sound a bīja (seed), concentrating prāṇa into a bindu-like nasal resonance.
2) Why these particular syllables appear: The sequence matches the tail-end of the Sanskrit vowel-series rather than ordinary Tamil phonetics: vocalic ḷ/ḹ (lu, lū), then e, ai, o, au, and then the “closing” signs aṁ (anusvāra/bindu) and aḥ (visarga)—the last of which may be disguised here by scribal/orthographic drift (see ambiguities).
3) Yogic and Siddhar (inner) reading: In Siddhar-alchemical yoga, sound is a technology of embodiment. “Letters” (varṇa) are not external symbols but internal forces that can be installed (nyāsa) into nāḍīs and cakras. The repeated bīja (e.g., luṁ luṁ) suggests fixation of attention and breath on a specific vibratory node. The closing “oṁ oṁ” can be read as a seal (mudrā-like closure): returning every differentiated phoneme back into Oṁkāra, i.e., undivided consciousness.
4) Symbolic meanings of the named powers: - Lukāriṇī / Lūkāriṇī: the Śakti of the rare vocalic “ḷ/ḹ,” often treated as subtle, “hidden” sounds—fitting Siddhar interest in secret channels and subtle speech (parā/paśyantī). - Ekapadā (“one-footed”): can imply one-pointedness (ekāgratā), or a Tantric deity-form signifying concentrated power that stands on a single support (a metaphor for steady prāṇa). - Aiśvaryā: power of sovereignty/prosperity; in yogic terms, the “lordly” capacity of mind/prāṇa to govern the senses. - Oṅkārī (here written “mo…moṅkāryai”): embodiment of Oṁ; suggests that even the vowel “o” folds into Oṁkāra. - Auṣadhī: “medicine” power; Siddhar traditions often merge mantra with internal pharmacy (kāya-kalpa), implying a sonic-therapeutic principle. - Ambā: the Mother, here paired with maṁ—often associated with bindu and generative matrix. - Final “mahadā vakṣarāyai”: likely intended to praise a “great syllable/imperishable syllable” power—i.e., the transcendent source of all letters.
Overall, the verse can be read as a micro-ritual: worship of phonemic Śakti to purify speech, steady breath, and re-root the practitioner in the “imperishable” source of sound.