Home > Indian History > Indian Literature > Forms of Achara
Forms of Achara
There are seven forms of Achara mentioned in Mahanirvana Tantra. These are the seven divisions of worshippers.

Share this Article:

The seven forms of Achara are Vedachara, Vaishnavachara, Shaivachara, Dakshinachara, Vamachara, Siddhantachara and Kaulachara. Achara is the way and practice of a particular class of sadhaka. They are stages through which the worshipper has to pass before he reaches the highest stage of Kaulachara.

Vedachara
Vedachara is a part of the Vaidik rites. It is the gross body which includes within it all other acharas which are subtle bodies of various degrees. The worship is of an external and ritual character and it aims to strengthen dharma. Vedachara is the path of action.

Vaishnavachara
Vaishnavachara is the second stage the worshipper. This is a shift from blind faith to an understanding of the supreme protecting energy of the Brahman. This is the path of devotion. This stage aims at the union of it and faith acquired earlier.

Shaivachara
The worshipper with a strong determination to protect dharma and destroy adharma passes into Shaivachara. It is the warrior stage. Here love and mercy are added along with strenuous striving and power cultivation. Here there is the unison of faith, devotion and inner determination. One enters in this stage through the path of knowledge.

Dakshinachara
Dakshinachara in Tantra means favourable. It is that Achara which helps accomplishment of the higher sadhana. Devi is the Dakshina Kalika. When a worshipper can make Dhyana and dharana of three fold Shakti then this stage commences. Sadhaka is Shakta and can worship threefold Shakti of Lord Brahma, Lord Vishnu and Maheshvara. He is initiated in the Gayatri-mantra and worships the Devi Gayatri, the Dakshina Kalika that is the union of the three Shakti. Dakshinachara is the stage of individualistic Brahmana tattva. Its aim is the union of faith, devotion and determination with knowledge of the threefold energy.

Vamachara
Men are received by initiation into Vamachara. Vamachara means the worship of women when she enters lata-sadhana. Vama devi is worshipped. In Vamachara the sadhaka starts to directly destroy Pravritti. With the help of Guru Nivritti is cultivated. The force of Pravritti is used in such a way so that it can make them self-destructive. At this stage the worshipper commences to cut off all the eight bonds which mark the pashu that is mentioned in Kularnava Tantra. Vamachara liberates from the bonds which bind men to the sansar. The sadhaka is thereby qualified for the highest grades of sadhana in which the sattvika guna dominates.

Siddhantachara
In Siddhantachara the sadhaka becomes free from the darkness of the worldly ties. They are attached to nothing, hate nothing and are ashamed of nothing. The worshipper is free from the artificial bonds of family, caste and society. The sadhaka learns to reach the upper heights of sadhana and the mysteries of yoga. The movements of the different vayu in the microcosm the Kshudra-brahmanda, the regulation of which controls the inclinations and propensities are learned by the devotee.

Kaulachara
Once the worshipper attains the perfection in Ashtanga yoga, he can enter the highest stage of Kaulachara. This is the supreme Achara of all. A Kaula is one who has passed other stages. According to Visvasara Tantra Kaula is neither rule of time nor place. His actions are not affected either by the phases of the moon or the position of the stars. At the stage of Kaulachara the sadhaka attains Brahma-jnana.

After he receives Maha Purna Daksha he performs his own funeral rites. In a lonely place he remains in constant Samadhi and attains its Nirvikalpa form. He becomes a Paramhamsa, who is liberated while living.


Share this Article:

Related Articles

More Articles in Indian Literature


Mythological Themes in Indian Literature
Mythological themes in Indian literature have been integral to every ancient and contemporary writer and their path to f
Literature under Delhi Sultanate
Literature during the period of Delhi Sultanate was produced not only in Persian and Sanskrit but also in other regional languages.
Epics in Tamil Literature
Epics in Tamil Literature refer to the Five Great Epics namely Cilappatikaram, Manimekalai, Valayapathi, Civaka Cintamani and Kundalakesi. There are also the Five Lesser Epics in Tamil Literature.
Literature During Gupta Age
It is during the Gupta Age literature in the form of poetry, epos and drama gained a colossal importance.
Post-Sangam Age in Tamil literature
Post-Sangam age in Tamil literature basically saw the tremendous rise of Hindu saintly literary treatises in two sects.
Epics in Sanskrit Literature
Epics in Sanskrit Literature are the store house of historical knowledge and the providers of knowledge about Indian philosophies and thought.
Literature of Aravidu Dynasty
Sanskrit and Telugu were the popular literary medium of communication during Aravidu dynasty.
Indian Literature in archaic Indian Language
Indian Literature, accredited as one of the antique literature of the world is the confluence of different beiefs .
Renaissance in Bengali Literature
Renaissance in Bengali literature was the first structured gestation of the modern trends in Bengali literature.
Renaissance in Indian Literature
Renaissance in Indian Literature has brought and culminated towards several significant changes in the overall writing styles and patterns. With the renaissance in Indian literature, readership has enlarged with a literary and education explosion.
Renaissance in Hindi Literature
The renaissance in Hindi literature crafted a whole fresh diction to the Hindi literary works with its poise and rhythm.
Indian Literature in Modern Age
Indian Literature in Modern Age is the literary insurgency that is marked by several idealistic revolutions and the effect of globalization, and socio-economic as well as cultural changes.
Playwrights in Tamil Literature
Playwrights in Tamil Literature such as Cankaratas Cuvamikal, Ilatcumana Pillai and Pammal Campanta Mudaliar have written several works for the development Tamil plays and drama.
Rabindranath Tagore
Rabindranath Tagore, a renowned poet, was honoured the Nobel Prize for Literature for the famous ‘Gitanjali’ and wrote the national anthem.