Short Answer
The Tarasara Upanishad is a medieval Vaishnava text attached to the Shukla Yajurveda that reveals the “Om Namo Narayanaya” mantra as the Taraka—the deliverer that carries the seeker across the ocean of birth and death . Its title means “Essence of the Mystical Syllable,” and the text is structured as a dialogue between Brihaspati and Yajnavalkya, later continuing with Bharadvaja’s questions . The Upanishad describes the eight subtle sound-elements of Om—A, U, M, Bindu, Nada, Kala, Kalatita, and that which is beyond—and maps them onto the central characters of the Ramayana, from Jambavan and Hanuman to Rama and Sita . It presents eight mantras for meditation, culminating in the declaration “I am Rama,” and promises that mastery of this Ashtakshara mantra is equivalent to reciting the Gayatri mantra a hundred thousand times .
In one line: The Tarasara Upanishad reveals the Om Namo Narayanaya mantra as the divine sound that delivers the seeker, and maps its subtle elements onto the epic story of Rama.
Key points
- The Tarasara Upanishad is a minor Vaishnava Upanishad attached to the Shukla Yajurveda, classified as a Mantra Upanishad, consisting of three chapters .
- Its title means “Essence of the Mystical Syllable,” and it is notable for discussing Om for yogic meditation as Taraka—that which helps one cross from the mundane into the spiritual world .
- The first chapter identifies Avimukta (a sacred place in Varanasi) as the true Kurukshetra where Rudra imparts Taraka Brahman at the moment of death, leading to liberation .
- The text teaches that “Om Namo Narayanaya” is the Taraka mantra, where Om is Atman, Namah is Prakriti, and Narayanaya is Parabrahman .
- The second chapter describes the eight subtle sound-elements of Om and maps them onto the characters of the Ramayana, with Rama as the supreme Purusha .
- The third chapter presents eight mantras for meditation, culminating in the declaration “That Brahman is myself. I am Rama.” .
- The Upanishad promises that mastery of this Ashtakshara mantra purifies ancestors and descendants ten generations and leads to union with Narayana .
Part 1: What Is the Tarasara Upanishad? Name, Origins, and Classification
The Name and Its Meaning
The title “Tarasara” is a compound of two Sanskrit words: “Tara” meaning “deliverer” or “that which helps one cross” and “Sara” meaning “essence” . Thus, the title means “The Essence of the Mystical Syllable” or “The Essence of the Deliverer” . The name reflects the text’s central teaching: the sacred sound Om, particularly in the form of the Ashtakshara mantra, is the essence that delivers the seeker across the ocean of worldly existence.
The Upanishad is also known as the Tarasara Upanishad and is listed as number 91 in the Muktika canon of 108 Upanishads . It appears in Dara Shikoh’s 1656 Persian translation of 50 Upanishads under the title “Tark” .
Classification and Vedic Affiliation
The Tarasara Upanishad is classified as one of the 14 Vaishnava Upanishads and is also considered a Mantra Upanishad because of its focus on sacred sound . It is attached to the Shukla Yajurveda (the White Yajurveda) . The text consists of three chapters .
Date and Historical Context
The Tarasara Upanishad is a medieval text, and its date of composition is unknown . The first chapter is identical to the first chapter of the Jabala Upanishad, an ancient Sannyasa text . According to Paul Deussen, the Tarasara Upanishad incorporates material from the Ramottaratapaniya Upanishad, suggesting it was composed after that text .
The text assumes the existence of the Ramottaratapaniya Upanishad, suggesting a relative chronology. Instead of a mantra focused entirely on King Rama as in the Ramottaratapaniya, the Tarasara text incorporates the mantra “Om Namo Narayanaya” as the deliverer (tarakam) from worldly bondage . The text is not found in the 18th-century compilation by Colebrooke, confirming its later composition .
Part 2: The First Chapter – Avimukta as the True Kurukshetra
The Dialogue Between Brihaspati and Yajnavalkya
The Upanishad opens with a dialogue between Brihaspati, the teacher of the gods, and the sage Yajnavalkya, one of the most renowned philosophers in the Upanishadic tradition. Brihaspati asks:
“That which is called Kurukshetra is the place of the sacrifice of the Devas and the spiritual seat of all beings. Therefore where should one go in order that he may cognize Kurukshetra?”
Yajnavalkya replies:
“Avimukta is Kurukshetra, the place of the sacrifice of the Devas and of the study of Brahman, because it is there that Rudra initiates one into the Taraka Brahman when prana (life) goes out. Through this, one becomes immortal and the enjoyer of moksha. Therefore one should always be in the midst of that place Avimukta and should never leave, O reverend sir, Avimukta.”
The Significance of Avimukta
Avimukta is a sacred place in Varanasi (Banaras) that Shiva never left . The Upanishad recommends this place for renouncers who, after wandering, can stay there . It is here that Rudra imparts the knowledge of Taraka Brahman at the moment of death, leading to Videhamukti—liberation after death . This teaching is in direct continuity with the Jabala Upanishad, which also identifies Avimukta as the place where the highest knowledge is revealed at death .
The True Kurukshetra
By identifying Avimukta as the true Kurukshetra, the Upanishad transforms the literal battlefield of the Mahabharata into a spiritual concept. The true Kurukshetra is not a geographical place but a sacred space where the ultimate knowledge is revealed—the knowledge that delivers one from the cycle of birth and death.
Part 3: The Second Chapter – The Taraka Mantra
The Eight-Syllabled Mantra
Bharadvaja asks Yajnavalkya: “What is Taraka? What is that which causes one to cross (this mundane existence)?” Yajnavalkya replies:
“Om Namo Narayanaya is the Taraka. It should be worshipped as Chidatma. Om is a single syllable and of the nature of Atman. Namah is of two syllables and is of the nature of Prakriti (matter). Narayanaya is of five syllables and is of the nature of Parabrahman. He who knows this becomes immortal.”
The breakdown of the mantra is as follows:
| Syllable(s) | Meaning | Represents |
|---|---|---|
| Om | One syllable | Atman (the Self) |
| Namah | Two syllables | Prakriti (nature, matter) |
| Narayanaya | Five syllables | Parabrahman (the supreme reality) |
| Total | Eight syllables | The Ashtakshara of Narayana |
The Eight Syllables and the Gods
The text then describes how each syllable of the mantra “Om Namo Narayanaya” corresponds to a divine principle:
| Syllable | Deity/Principle Produced |
|---|---|
| Om | Brahma |
| Na | Vishnu |
| Ma | Rudra |
| Na (second) | Ishvara |
| Ra | Anda-Virat (the cosmic egg) |
| Ya | Purusha |
| Na (third) | Bhagavan (Lord) |
| Ya (second) | Paramatman (Supreme Self) |
This Ashtakshara of Narayana is declared to be “the supreme and the highest Purusha” .
The Eight Subtle Sound-Elements of Om
The Upanishad teaches that Om has eight subtle sound-elements:
| Element | Name | Meaning |
|---|---|---|
| 1 | A | The first letter |
| 2 | U | The second letter |
| 3 | M | The third letter |
| 4 | Bindu | The dot |
| 5 | Nada | The sound |
| 6 | Kala | Time/present era |
| 7 | Kalatita | Beyond time/future |
| 8 | That which is beyond these | The supreme |
“It is called Taraka, because it enables one to cross this mundane existence. Know that Taraka alone is Brahman and it alone should be worshipped.”
Part 4: The Mapping of Om to the Ramayana
The most distinctive feature of the Tarasara Upanishad is its integration of the Om mantra with the characters of the Ramayana . The text maps each of the eight subtle sound-elements of Om to a character from the epic:
| Sound Element | Character | Identity |
|---|---|---|
| A | Jambavan | Brahma |
| U | Hari (Sugriva) | Upendra/Vishnu |
| M | Hanuman | Shiva |
| Bindu | Shatrughna | Ishvara |
| Nada | Bharata | Great Lord |
| Kala | Lakshmana | Purusha |
| Kalatita | Sita | Goddess, Lakshmi |
| Beyond these | Rama | Paramatman, highest Purusha |
The text declares: “From the letter ‘A’ came Brahma named Jambavan. From the letter ‘U’ came Upendra, named Hari. From the letter ‘M’ came Shiva, known as Hanuman. Bindu is named Ishvara and is Shatrughna, the Lord of the discus itself. Nada should be known as the great Lord named Bharata and the sound of the conch itself. From Kala came the Purusha himself as Lakshmana and the bearer of the earth. Kalatita is known as the goddess Sita Herself. That which is beyond is the Paramatman named Sri Rama and is the highest Purusha.”
This mapping establishes that the entire epic of the Ramayana—its characters, relationships, and events—is a symbolic expression of the sacred sound Om. Rama, Sita, Lakshmana, Hanuman, Bharata, and Shatrughna are not just historical or legendary figures but manifestations of the divine sound.
The text’s assertion that Hanuman is a manifestation of Shiva is significant . This integration of Shaiva and Vaishnava elements reflects the syncretic vision of the Upanishad.
Part 5: The Third Chapter – The Eight Mantras for Meditation
Bharadvaja’s Question
Bharadvaja asks: “Through what mantra is Paramatman pleased and shows his own Atman (to persons)? Please tell this.” Yajnavalkya replies with eight mantras, each corresponding to one of the eight sound-elements of Om and the Ramayana characters.
The Eight Mantras
The eight mantras are:
- Om. He who is Sri-Paramatman, Narayana, and the Lord described by (the letter) ‘A’ and is Jambavan (the bear) and Bhuh, Bhuvah, and Suvah: Salutation to Him.
- Om. He who is Sri-Paramatman, Narayana, and the Lord described by (the letter) ‘U’ and is Upendra (or) Hari and Bhuh, Bhuvah, and Suvah: Salutation to Him.
- Om. He who is Sri-Paramatman, Narayana, and the Lord described by (the letter) ‘M’ and is of the form of Shiva (or), Hanuman and Bhuh, Bhuvah, and Suvah: Salutation to Him.
- Om. He who is Sri-Paramatman, Narayana, the Lord of Shatrughna of the form of Bindu and the Bhuh, Bhuvah, and Suvah: Salutation to Him.
- Om. He who is Sri-Paramatman, Narayana, and the Lord, and is Bharata of the form of Nada and the Bhuh, Bhuvah, and Suvah: Salutation to Him.
- Om. He who is Sri-Paramatman, Narayana, and the Lord, and is Lakshmana of the form of Kala and the Bhuh, Bhuvah, and Suvah: Salutation to Him.
- Om. He who is Sri-Paramatman, Narayana, and the Lord, and is Kalatita, the Goddess Sita, of the form of Chit and the Bhuh, Bhuvah, and Suvah: Salutation to Him.
- Om. He who is Sri-Paramatman, Narayana, and the Lord that is beyond that (Kalatita), is the supreme Purusha, and is the ancient Purushottama, the eternal, the immaculate, the enlightened, the emancipated, the true, the highest bliss, the endless, the secondless, and the all-full—that Brahman is myself. I am Rama and the Bhuh, Bhuvah, and Suvah: Salutation to Him.
The Fruit of the Mantras
The Upanishad declares the benefits of mastering these eight mantras:
“He who has mastered this eightfold mantra is purified by Agni; he is purified by Vayu; he is purified by the sun; he is purified by Shiva; he is known by all the Devas.”
“He attains the fruit of reciting Itihasas, Puranas, Rudra (Mantras), a hundred thousand times. He who repeatedly remembers (or recites) the Ashtakshara (the eight-syllabled mantra) of Narayana gains the fruit of the recitation of Gayatri a hundred thousand times or of Pranava (Om) a myriad of times.”
“He purifies (his ancestors) ten (degrees) above and (his descendants) ten (degrees) below. He attains the state of Narayana. He who knows this (attains) the state of Narayana.”
Part 6: The Philosophical Significance
Taraka as the Deliverer
The central concept of the Tarasara Upanishad is Taraka—the deliverer that enables one to cross from the mundane world into the spiritual world . The Taraka is identified with the Om mantra and specifically with the Ashtakshara mantra “Om Namo Narayanaya.” This mantra is not merely a collection of sounds but the very essence of the divine, the means by which the seeker is transported across the ocean of samsara.
The Integration of the Ramayana
The Upanishad’s mapping of the Om mantra to the characters of the Ramayana is a unique contribution to Hindu theology . It establishes that the epic story of Rama is not just a historical narrative but a cosmic allegory of the sacred sound. The characters of the Ramayana are divine manifestations of the elements of Om, and the entire epic is a symbolic expression of the path to liberation.
The Declaration “I Am Rama”
The eighth and final mantra contains the declaration:
“That Brahman is myself. I am Rama.”
This is a direct statement of non-duality. The seeker does not merely worship Rama as a distant deity but recognizes his own identity with Rama—the supreme Purusha. This is the Advaita vision integrated into a devotional framework.
The Promise of Purification
The Upanishad’s promise that the recitation of the mantra purifies ancestors and descendants ten generations reflects the belief in the power of sacred sound to transcend individual limitations . The mantra is not just for personal liberation but has a cosmic effect, purifying the entire lineage.
Common Questions
1. What is the Tarasara Upanishad?
The Tarasara Upanishad is a minor Vaishnava Upanishad attached to the Shukla Yajurveda that discusses the Om mantra as Taraka and identifies it with the Ashtakshara mantra “Om Namo Narayanaya.”
2. What does “Taraka” mean?
“Taraka” means “deliverer” or “that which helps one cross.” It refers to the mantra that carries the seeker across the ocean of worldly existence.
3. What are the eight subtle sound-elements of Om?
The eight elements are A, U, M, Bindu, Nada, Kala, Kalatita, and that which is beyond these.
4. How does the Upanishad map the characters of the Ramayana to Om?
The Upanishad maps the eight sound-elements of Om to the characters of the Ramayana: A to Jambavan, U to Hari, M to Hanuman, Bindu to Shatrughna, Nada to Bharata, Kala to Lakshmana, Kalatita to Sita, and beyond to Rama.
5. What is the promise of reciting the Ashtakshara mantra?
The Upanishad promises that reciting the mantra purifies ancestors and descendants ten generations, grants the fruit of reciting Gayatri a hundred thousand times, and leads to union with Narayana .
6. How does Dr. Surabhi Solanki relate this teaching to modern seekers?
Dr. Solanki’s books, including Awakening Through Vedanta, help modern seekers understand the power of sacred sound and the path of devotion. The Tarasara Upanishad’s teaching on the Om mantra as the deliverer resonates with her emphasis on practical spiritual practice and the integration of devotion with knowledge.
Summary
The Tarasara Upanishad is a profound Vaishnava text that reveals the “Om Namo Narayanaya” mantra as the Taraka—the deliverer that carries the seeker across the ocean of birth and death. Its title, meaning “Essence of the Mystical Syllable,” reflects its purpose: to unveil the secret of the sacred sound and its power to liberate. Structured as a dialogue between Brihaspati and Yajnavalkya, and later with Bharadvaja, the text identifies Avimukta as the true Kurukshetra where Rudra imparts the knowledge of Taraka Brahman at death. The Upanishad teaches that Om has eight subtle sound-elements—A, U, M, Bindu, Nada, Kala, Kalatita, and beyond—and maps them onto the central characters of the Ramayana, from Jambavan and Hanuman to Rama and Sita. The text presents eight mantras for meditation, culminating in the declaration “That Brahman is myself. I am Rama,” and promises that mastery of this Ashtakshara mantra purifies ancestors and descendants ten generations and leads to union with Narayana. The Tarasara Upanishad invites you to take refuge in the sacred sound, to recognize that the epic story of Rama is a cosmic allegory of the divine syllable, and to realize that the deliverer you seek is not outside you—it is the sound of your own breath, the mantra on your lips, and the Self that is your true nature. That mantra is liberation. That mantra is you.
Om Shanti Shanti Shanti
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