Items of sadhana

(sanskrit मूर्ति; mūrti, literally “embodiment” or “manifestation”). It is a statue or an image of the certain form of God or a Saint. The murti is used as an object of religious or meditative concentration.

We worship of Shiva Gorakshanath, Siddhas of tradition and various Deities, which due to their infinite spiritual forces may manifest to us their presence and grace through the images or murti. We worship of these images as their temporary body. Murti likes a channel between us and the Deity.

पात्र, pātra

It is a vessel for water. Water is often used in various rituals (homa, puja, etc.) as an offering to Deities or for the sprinkling of a sadhaka and items of sadhana.

There is one of the common mantras for water:

jala gāyatrī matra 

sat namo ādeś | gurujī ko ādeś | oṁ gurujī |
jal manjan jal devatā guru manjan guru jñān |
hāth manjan dhartrī alaṣ puruṣ kā dhyān |
pānī pānī mahāpānī sotī kāyā amar kar jānī | ure na haṁsa bikhare na kāyā śiva śakti ne dhyān agāyā |
oṁ alīl ādi alīl alīl puruṣ kī mātā kvārī pitā yatī nityayogī dhare dhīr nirog ho kāyā vajr ho śarīr |
jhare pārā pīve yogī ure kāyā | alakh niranjan terī māyā |
jal bimbāya vidmeh nīl puruṣāya dhīmahī tanno alīl pracodayāt |
itanā jal gāyatrī jāp sampūrṇa | śrī nāthajī gurujī ādeś | ādeś | 

Adesh to the Holy Name! Adesh to Guruji! Om Guruji! The ablution by water, by divine water is the ablution by knowledge of Guru. Do dhyana to gain immortality, sprinkling unmoved ground. Water, water, the great water is the source of the body. When the mind directed to Shiva and Shakti, Hamsa the swan doesn’t  fly away, the body doesn’t disintegrate. Om water, the elemental water that is immaculate mother and father-hermit of man, of the ageless yogin whose body is healthy and strong. The yogin’s body evaporates like the dropping mercury due to his adherence to Alakh Niranjan. Let me comprehend the Spirit of Universe, while I’m meditating to the reflection in this blue water. This way Jala-gayatri is completed. Shri Nathaji Guruji adesh! Adesh!

The mantra from the book of Yogi Vilasnath "Shri Natha Rahasya"

धूप, dhūpa

It is a fragrance. Scented sticks or pastes manufactured by plants and other components used for incense and offerings during puja. It symbolizes the element of air.

dhūp vāsanā kā mantr

sat namo ādeś | gurujī ko ādeś | oṁ gurujī | vāsanā vāsalo thāpnā tāpalo jahāṁ dhūp vahāṁ dev jahāṁ dev vahāṁ pūjā | alakh niranjan aur nahī dūjā | til gūgul ghṛt khoprā miṣṭhān pañcāng dhūp siddho ne banāyā | kūṭakāṭ ḍibbī me kīnā upar kīnī cīnī cakamak pathrī jāl bāl līnī uttar dakṣiṇ pūrb paścim āsan kīnā pahilā dhūp satagurā ko dīje hāth joḍ praṇām kar līje | dusrā dhūp śiva-śakti ko dīje ṛddhi siddhi bhaṇḍār bharīje | tīsrā dhūp dhartrī ākāś ko dīje candramā sūrya vimān caḍhāle| cauth dhūp aṭhārah bhār vanaspati ko dīje rukh vṛkṣ kī chāyā luḍīje | pāñcavā dhūp pāñc tatvo ko dīje mokṣ mukti phal labhīje | pāyā bhed bahut vaḍiyārākācī kāyā bālavkārī śambhūnāthan ke nāth śabdake sāce guru gorakṣanāth | śūnya mātā-avigat pitā alakh gotr gau kā ghṛt gugul kī vās tṛpta ho śrī śambhujatī guru gorakṣanāth | itanā dhūp vāsanā mantra sampūrṇa bhayā | śrī nāth jī guru jī ko ādeś ||

Adesh to the Holy Name! Adesh to Guruji! Greetings to Guruji! Who is anointing with incense and is colored with kumkum. Where the incense is – there God is, where God is – there the worship is. I offer sesame, ghee, coconut, sweets and incense to Alakh Niranjan only, no one else and so as it should. Please, take kundalas in pierced ears, sugar, stone cup, water, woolen thread (janeo) and asana. I offer the first dhupa to Sadguru in the North, in the South, in the East and the West joining my hands in greetings. I offer the second dhupa to Shiva and Shakti who gives success and good luck. I offer the third dhupa to the earth, to the sky, to the rising Moon and the Sun. I offer the forth dhupa to 18 plants that were collected in the shade of a tree. I offer the fifth dhupa to five elements which give the redemption (or liberation?) and salvation from rebirth. Gradually permeated the darkness, the body of the blessed protector Guru Gorakshanath, of the Lord of the Sound is shining. Let Mother the Emptiness, Incorporeal Father, the Divine Family, the ghee, the flavor of milk satisfy Shri Guru Gorakshanath who belongs to Shambhu’s family. Thus dhupa vasana mantra is completed. Adesh to the Great Nath Guru!

It is an oil lamp, the inalienable part of almost any puja, arati or homa. The dipa used for offerings in puja and arati. The soft oil light of dipa symbolizes the element of fire and also the shine of sadhak’s expanding consciousness.

दीप, dīpa

It is an oil lamp, the inalienable part of almost any puja, arati or homa. The dipa used for offerings in puja and arati. The soft oil light of dipa symbolizes the element of fire and also the shine of sadhak’s expanding consciousness. Often the five-lights dipa (pancha-jyot) is used in arati and puja as upachara. For example, the one-light dipa often is used as auxiliary source of light or fire. In Nath Tradition it is a symbol of eternal shine of consciousness (akhanda-jyot). There are many mantras for one or the other kinds of dipas depending on use. There is one of common mantras which can be taken for use in puja or arati:

jyota jagāne kā bīja mantra

sat namo ādeś | gurujī ko ādeś | oṁ gurujī | niranjan nirākār bij mantr tattasār pīvo pīvo carācar care-so prāṇī baikuṇṭh tare-gagan maṇḍal me jayajaya jape-nau kror devatā apane grah me tape | trikuṭi me śabd ḍhunḍo ḍhunḍo ek oṁkār nāth jot dasave dvār-nirmal jot bhī prakāś | bīj mantr kise niranjan yogī ke pās | amar yogī amar kāyā sodhe man bhare piṇḍ-vinase nahī kāyā paramoghe kāyā oṁ sohaṁ siddho kāyā bīj mantr akhaṇḍ chāyā | bīj mantr jo nar parhe vah caurāsī phere me nā pare | binā mantr jyot jagāve so nar narak me jāye | itanā jot jagāne kā bīj mantr sampūrṇa bhayā | nathājī gurujī ko ādeś | ādeś ||

Adesh to the Holy Name! Adesh to Guruji! Greetings to Guruji! Long live the flawless and formless bija mantra that is the substance of immense, agile and immovable fire and that moves a human being to paradise and free from rebirths. Long live the mantras to the nine gods shining in its planets. There are the sound, the overall Omkara, the supreme shine in the bridge of the nose and also the pure light is in the tenth door whose bija mantra is known to the faultless yogin. Due to this mantra yogin doesn’t die, the body is immortal, the spirit is pure, his nature doesn’t disintegrate and will escape the rebirths. I greeting to the bija mantra that is the sanctuary of perfect and beautiful body. The mantra put the light on so the man who reads this bija mantra for 84 laps will not go to hell. This way bija mantra kindling the light is completed.

The mantra from the book of Yogi Vilasnath "Shri Natha Rahasya"

"Rudra’s eyes"

1) It is an evergreen broad-leaved tree whose seeds is used in India, Nepal and other Asian countries for making rosary (rudraksha japa-mala);

2) A rosary for japa (reading of mantras). Use of rosary has particular meaning and importance. Rosaries from seeds of rudraksha are mainly used for japa. Usually Saivas wear rudraksha-mala around the neck, on the arms or in the special pouch. The number of beads in chain is 108 mostly, but also there are malas with less number of beads (for example, 54 or 18). Beads needed for counting the number of read mantras. Seeds of rudraksha are important for yogis for different reasons. The word "rudraksha" means "Rudra’s (Shiva’s) eyes" and represents the third eye of transcendental vision. The seeds of rudraksha have specific grooves or "faces". A common type has five divisions, and these are symbolic of the five faces ("mukhas") of Shiva. It is considered the chain of 108 beads represents the sequence of numerous Siva’s manifestations on the Earth. Some seeds of rudraksha may have above forteen "faces". The "Chandra-jnana agama" describes results of wearing rudrakshas depending on number of its faces. Seeds of rudraksha are also used in some pujas.

In some cases for tantric mantras are used malas of others materials (stone or coral, for example). Following mantra for rudraksha is reading when you are wearing the mala at the beginning of the day. This mantra is also used for purification of the rosary.

rudrākṣ mantra 

sat namo ādeś | gurujī ko ādeś | oṁ guru jī | mukhe brahmā madhye viṣṇu liṅg nām maheśvar sarvadev namaskāraṁ rudrākṣāya namo namaḥ | gagan maṇḍal me dhundhukārā pātāl nirañjan nirākār | nirākār me carṇ pādukā carṇ pādukā me piṇḍi piṇḍi me vāsuk vāsuk me kāsuk-kāsuk me kūrm-kūrm me marī-marī me nāgphaṇī alaṣ puruṣ ne bail ke sīṅg par rāī ṭhahrāī | dhīraj dharm kī dhūnī jamāī vahaṁ par rudrākṣ sumer parvat par jamāje usme se phūṭe chah ḍālī ek gayā pūrv ek gayā dakṣiṇ ek gayā paścim ek gayā uttar ek gayā ākāś ek gayā pātāl usme lāgyā ek mukhī rudrākṣ | śrī rudra par carhāye | śrī oṁkār ādināth jī ko | 

The mantra from the book of Yogi Vilasnath "Shri Natha Rahasya"

The fan made of Tibetan yak’s tail. It is used in pujas and aratis as a sign of respect. In the old days, when royal dynasties were governing, servants used the chamvar for making cool and to brush away insects around royal persons. 

catr-cavar-mantra

sat namo ādeś | gurujī ko ādeś | oṁ gurujī | om satya-satya satya par dharm-dharm par nir-nir par kṣīr-kṣīr par aṣṭ kulī nāgoṁ kā āsan lagāya | āsan lagāya siṁhāsan lagāyai |
ūpr ambar śir chatr viṣṇu jī ke hāth cānd-sūraj tārā maṇḍal dekho siddho brahmāṇḍ thaṭ |
ūncā āsan lāl mandir us par baiṭhe jatī gorakh | ād kuvārī jyot jagāye cavar ghumāye ṁaheś | tryaṁbak kṣetr ānupān śilā anant koṭ siddh kā lāgyā melā | jahā par baiṭhakar guru gorakṣanāth jī ne jñān dhyān kā pāṭh sunāyā | nāth jī guru jī ko ādeś | ādeś || 

Adesh to Holy Name! Adesh to Guruji! Om Guruji! Greetings to him who is sitting on the asana that is made from snakes, to him who is surrounded by the truth, by religion, by milk and by eight families, to him who is sitting on a throne and Shri Vishnu holds the sunshade decorated with stars over his head. Observe the perfect Universe. Goraksha the ascetic is sitting on an eminence in his favorite temple. The offer of chamvar to Mahesha awakes the blameless light. In Trayambak on Anupanshila he watches crowded gathering of siddhas which hear his admonitions. Listen to the text and realize Guru Gorakshanath ji who stays in the Universe. Nathaji Guruji adesh!

It is a fan from peacock’s feathers. Morchhal is used in pujas and aratis. It is believed also that morchhal eliminates the negative influence and shoots damage.

It is a fan from peacock’s feathers. Morchhal is used in pujas and aratis. It is believed also that morchhal eliminates the negative influence and shoots damage.

morchal mantra

sat namo ādeś | gurujī ko ādeś | oṁ gurujī | morchal lau-morchal ko dhup dip dikhāū | dhup dikhākar guru gorakśanathajī ko morchal se havā lagāu-kaun kṣetr ke morchal-kaun kṣetr me lāu-utarā khaṇḍ ke morchal purv khaṇḍ me lau aur guru gorakśanath jī ki śiṣ pau | itana morchal mantra sampurna bhayā | śrī nāthajī gurujī ko ādeś |ādeś |ādeś || 

Adesh to the Holy Name! Adesh to Guruji! Om Guruji! I’m offering the large fan with dhupa and dipa, I’m burning incenses and lightning the fire to Guru Gorakshanath, uninterruptedly I’m fanning the place of his sitting. At dawn in the east a disciple fans the all parts of Guru Gorakshanathji’s body with the help of large fan. This way morchhal-mantra is completed. Great Nathaji Guruji adesh, adesh, adesh!

लिङ्ग, liṅga
लिङ्गं, liṅgaṃ – in the accusative case

The most important symbol of Shiva as the creator, the universal consciousness which contains the entire world in its potential.

It is shaped in the form of an egg or a pillar (according to one theory the lingam is derived from Yūpa, a Vedic sacrificial pillar, the Stambha, a pillar which embodies the image of the World Axis).  Sometimes it is given a resemblance to the male sexual organ. (This emphasizes Shiva's capacity for creation).

it is usually placed on a circle base (pitha, yoni), which personifies Shakti, the womb of mother nature. It is often represented wrapped with a snake, the symbol of Kundalini.

In Sanskrit liṅgaṃ literally means "mark", "sign", "distinguishing mark (including lineage or gender)", but there are other interpretations as well. For instance, Kaulajñānanirṇaya gives the following explanation:

tena liṅgaṃ tu vikhyātaṃ yatra līnaṃ carācaram || 3.10 ||

3.10. Thus it is called lingam, because in it, all movable and immovable things are dissolved (līnaṃ).

The following, evidently, is meant here: layaṃ gacchatīti liṅgaṃ (Māṭharavṛtti's commentary on the Sāṁkhyakārikā, 10), where layaṃ ('dissolution') refers to li-, and gacchati ('going') to ga-.

Shivalingam worship is considered to be one of the oldest in Hinduism, possibly dating back to the pre-Aryan Harappan civilisation that existed between 3300 and 1400 BC: objects that resemble lingams have been found during archaeological excavations of their cities.

Presumably the oldest unmistakable shivalingam is located in a temple in Gudimallam village, Andhra Pradesh, and is actively venerated. Some scholars attribute it to the 3rd century B.C. (other common versions are 2nd-1st century B.C., 2nd-4th century A.D.)

Iconographic texts such as Kamika Agama, Suprabheda Agama, Karanya Agama, and Mayamata contain specific instructions on how to make a lingam. They are divided into two classes: chala ("movable"), and achala ("immovable", large temple ones, made of stone).

Achala lingams are supposed to be of three parts. The lower section is the part of Brahma, it has a square shape and is buried in the ground. It is considered as genderless (Brahma the creator represents the state before Creation). The middle section is Vishnu's part, with an octagonal shape it is hidden in a pedestal (piṇḍikā). It is considered female (one may recall how Vishnu took the form of Mohini). The yoni is located in this part. The upper, usually rounded, visible section is Rudra’s part. It is known as "the part [meant for] puja" (pujabhaga). It is the part on which water, milk, etc., is poured during abhisheka. The part of Rudra is masculim and Agamas prescribe that the three lines of brahmasutra should be drawn on it.

The proportions of the lingam, the ratio between its parts, and the shape of the yoni are determined by the type and size of the shrine in which the lingam is to be installed. The number of entrances in the central shrine will determine the number and position of Shiva's faces that can be sculpted on the pujabhaga.The maximum possible number of faces is five, in accordance with the five aspects of Shiva (Vamadeva, Tatpurusha, Aghora, Sadyojata, Ishana). If there is one entrance and it is situated at the front, eastern, side of the room, a single face should be sculpted at the front of the lingam, facing the entrance. If there are two entrances, one east and one west, there should be two faces; if there are three, there should be three faces on all but the west side; if there are four, there may be four or five (the fifth is placed on top of the lingam and should face the east).

The lingam is to be made of pum shila, or male stone, and the pithu is to be made of stri shila, female stone. The Agamas explain in detail how to distinguish the gender of the materials.

Movable (chala) lingams can made of stone, but also of metal, wood, gemstones, burnt and unburnt clay. A separate group are chala lingams for a particular occasion, a particular purpose, to be destroyed after puja. They are made of boiled and raw rice, sand, fruit, river clay, kusha grass, rudraksha, dung, oil, sandalwood paste, flowers, flour and raw sugar. The veneration of a lingam made of rudraksha is believed to bestow knowledge, a kusha grass lingam bestows moksha, one made of flour gives strength, etc.

For chala lingams, only the part of Rudra, visible above the pedestal (piṇḍikā), is made, i.e. the lingam and  the pedestal, yoni are made together, inseparable. When making movable lingams one is not required to observe all those prescriptions which are mandatory for immovable ones. For instance, it is not necessary to apply the brahmasutra lines.

The above-mentioned prescriptions also do not apply to self-manifested (svayambhu) lingams, which are considered to be perfect.

डमरु, ḍamaru

It is a little drum in form of sandglass. In some pictures the damaru is tied to the trishul. Shiva, who is often depicted in dancing form known as Nataraja, holds the damaru in his hand. Yogis use the damaru in various rituals especially in mystical and esoteric ones because its parts symbolize ephemeral character of human being. The cords with knots to the ends are around the waist of the damaru. As the player waves the drum using a twisting wrist motion, the knots beat on the drumhead.

Naga-babas and other Shaivas carry the damaru. They are playing it while worshiping and begging. The damaru and its sound have a lot of symbolic meanings:

• The drumbeats of the damaru symbolize the creation and the destruction of the universe;
• Shiva’s devotees think that the sound of the damaru is Nada. This sound arose from the void of Nothing. Shiva began the creation of the universe in the rhythm of the damaru and the world was created through his dance.
• The upper part of the damaru symbolizes the male energy (the Lingam), and the lower part symbolizes the female energy (the Yoni). The creation of the world begins when the lingam and yoni meet at the midpoint of the damaru, and the destruction takes place when they separate from each other.
• Shiva makes sound through the damaru and transmits it to his son Ganesha who is the famous player of the big drum, and so the music comes out.
• The sound of damaru represents the power of heartbeat.
• It is believed that Sanskrit language was recognized by the drumbeats of the damaru. Its sound is the words of Vedas.

The damaru is used in the puja as the attribute of deity or as the particular object of the worship. Also it accompanies the bell or other instrument during the ritual.

ḍamaru mantra

sat namo ādeś | gurujī ko ādeś | oṁ gurujī | oṁkār śabd ūpr kailāś parvat, kailāś parvat ūpr gagan maṇḍal chāyā gagan maṇḍal me nād ḍamaru kā upāyā | nāth niranjan śūnya me dhyān lāgyā | jyoti trikuṭī bhaī soham se mārg pāyā | kaho re bālkā yah ḍamaru kaisā āyā | oṁ gurujī ād puruś ne lāyā piche sidh sādhak ne pāyā | nād oṁkār guru jñān ḍamaru rākhe yogī nirvān | dhūnī pāṇī ḍamaru rākhiyo sāth hamārā | sādh sidh kī bāṇī, ḍamaru bāje oṁkār bāṇī | ḍamaru gāje ḍamaru bāje, ḍamaru tin lok ko tāre | itnā ḍamaru mantra sampūrṇ bhayā | śrī nāth jī guru jī ko ādeś | ādeś |

Let us to realize the Will of Supreme Being, let us to realize the Guru's Will. Omkara sound is on the top of Kailash mount, on the top of Kailash, into heavenly space, the nada sound is heard as a part of damaru. Dhyana is performed in the void of the Purest Nath. There is the way - "I am He" - in the light of trikuta (ajna-chakra). The speech of shining youth is something that comes from damaru. Bows to Guruji Adipurusha who is manifested in the siddha sadhakas. The Omkara sound along with knowledge of Guru, located in damaru, grant pacification to a yogi. Our damaru is always with dhuni and (consecrated) water. The speech of siddha is perfect and the damaru sound is similar to Omkara. The light of damaru (similar to lightning) and its sound are illuminate the three worlds. Such is the damaru mantra. Shri Nathaji Guruji Adesh!

"a trident", a Lord Shiva’s weapon which is carried by yogis.

It is the royal scepter of Shaiva-dharma. The trishula symbolism is polyvalent and rich. The three spearheads have various meanings and significance. They are commonly said to represent various trinities – creation, maintenance and destruction; past, present and future, the three gunas – sattva, rajas and tamas. Also they symbolize the three shaktis – iccha, kriya and jnana (will, action and wisdom) through which Shiva controls the laws of dharma. In the human body, the trishula represents the three main nadis, or energy channels (ida, pingala and sushumna). When looked upon as a weapon of Shiva, the trishula is said to destroy the three worlds: the physical world, the world of the forefathers (representing culture drawn from the past) and the world of the mind (representing the processes of sensing and acting). The three worlds are supposed to be destroyed by Shiva into a single non-dual plane of existence that is bliss alone. The Goddess Durga also holds the trishula among other weapons and attributes in her hands and amongst her accoutrement, having received celestial weapons from both Shiva and Vishnu. It is also considered that the trishula relates to the worship of the Sun. In sadhana the trishula can be used as the item of puja or as the attribute of deity, then the trident sets on the altar and the special mantra is reading for it.

sat namo ādeś | gurujī ko ādeś | oṁ gurujī ! oṁ dhartī so ākāś, mahā dhartrī mahā ākāś | triśūla lāyā siddha nivāsa | oṁ pahalī dhār anahad bānī, dūjī dhār amṛta bāṇī tīsarī dhār alakha nirvānī | siddha sādhaka ne triśūla dhariyā| lohā triśūl jogī nirvāṇa | āsana pavitra triśūl pavitra kahe machandar sun bā goraśa triśūl sadā rākhiyo pās, kāl kanṭaka nahī āve pās | triśūl cāle bhūt piśāca nikaṭ nahī āve | itanā triśūl mantra sampūrṇa bhayā |
śrī nātha jī guru jī ko ādeś | ādeś | 

Adesh to the Holy Name! Adesh to my Guru! Om Guru! OM to the Earth (Prithvi) and SOM to the Space (Akasha), to the Great Earth (the essence of the all earths), to the Great Space (the essence of the all spaces)! Trishula gives siddhis and dissolves existence. Om, the first spike symbolizes the unaccented sound of anahata, the second spike symbolizes the immortality, the third one is a symbol of uncomprehended and unexpressed, boundless state. The trishula grants siddhas to a sadhak. The iron of trishula is bliss for a yogin. The holy asana and the holy trishula heard what Matsyendra said and what Goraksha heard, the holder of trishula, who is piercing the time by a needle. The trushula that is eliminated inferior spirits and ghosts. Such is the true trushula-mantra. Adesh, adesh to Great Nath, to Guruji !

The mantra from the book of Yogi Vilasnath "Shri Natha Rahasya"

It is a name of betel nut. The supari is widely used in India for different purposes. It can serve like mouth freshener after eating, it includes in paan mix (psycho-stimulating stuff) and also it’s applied in various rituals. The supari is often used as samagri (the offering during the havan ritual) and is also proposed in pujas, for example, in the Navagraha-puja. 

It is an oblong pot made of a dry gourd, coconut shell, metal or wood, usually with a handle, which sadhus or yogis carry water in. Water is used for drink or for ritual purposes. The kamandal can be used in puja as a symbol of body.

kamaṇḍal mantra

sat namo ādeś | gurujī ko ādeś | oṁ gurujī ! oṁkar, nirākār niranjan ghaṭ tatsār ! ananta ghaṭ unman man | hāḍ cām nīr kā tana palṭanta kāyā ulṭanta nīr | paḍe na piṇḍa pīvai nīr; kamaṇḍal jala ghaṭ huā nirmāṇ | amīras piyo piyo kamaṇḍal nīr | sidha sādha man huā thir | ghaṭ ghaṭ me sab sṛśṭi samāī; triveṇī saṇgam caṇdā ravi | ghaṭ piṇḍe dīpa jyotī; jatī goraśa ghaṭ ghaṭ vāsī | devī devatyā tīratha yātrā; sātha kamaṇḍal, amīras dhārā | ghaṭ kā koī jāne bheva āp hī kartā āp hī deva | itanā kamaṇḍal mantra sampūrṇa bhayā | nāthjī guru jī ko ādeś | ādeś |

The mantra from the book of Yogi Vilasnath "Shri Natha Rahasya"

It is the name of India’s sandals or footprints of saints. Shri-padukas are Guru’s or saint sandals. It is a traditional iconographical image of Guru which is represents his holy feet and is honored as source of his grace. The paduka is also one of the eight pillars (ashtavarana) of the Vira-shaivas tradition; it’s a practice of drink water after ceremonial washing Shivalinga or Guru’s feet. It is considered that saint’s feet lead to spiritual redemption so there is the paduka-puja, the practice of worship Guru’s feet or paduka in many religious schools. There is the mantra which Nathas use for worship Guru’s (Gorakshanath) padukas:  

caraṇ-pādukā 

mantra sat namo ādeś | gurujī ko ādeś | oṁ guru jī vṛkṣ talāī vṛkṣ sār vṛkṣa bāṇdhī kharāū pāv | satguru caraṇ pakhāliye caraṇ pādukā ko namo namaḥ || oṁ caraṇ pādukā avadhū lāye pāp puṇya se nyārā rahe | sun pūtā kahe goraśa pārā carhe pārā rākhe pādukā hameśā sāth rahe || dhartrī jale barse ambar sab diśā rākh leva sāth hamārā | ham yogī yugat ki kharāvā koī virlā bhed pādukā ka pāyā | kaun guru kaun celā kaun guru param uddhār alakh guru niranjan celā śiv goraś guru paramuddhār itanā pāduka mantra sampūrṇ bhayā | srī nāth jī guru jī ko ādeś | ādeś |

Adesh to the Holy Name! Adesh to Guruji Om Guruji! Wood is a foundation, wood is an element, wood is a barrier, the forth manifestation is a purity. Greetings to padukas that eliminates obstacles for Sadguru’s foot! Om, the avadhu’s padukas grant the stay beyond merits and sins. Listen, saint Goraksha said: padukas are always together just as when somebody drinks mercury and keeps it inside. We stay in the world where the water flows from heaven to earth and all directions support the dimensionality of Universe. The padukas on our foot grant the state of yoga, eliminated any differences of duality even the most fine. Who is Guru, who is a disciple, who is Highest Guru, leading to deliverance? Alakh (the Unnamed) is Guru, Niranjan (the Purest) is a disciple, Shiva Goraksha is Highest Guru leading to deliverance. Such is the paduka-mantra. Shri Nathaji Guruji adesh! Adesh!

The mantra from the book of Yogi Vilasnath "Shri Natha Rahasya"

It is a seashell. It is used in pujas and is worshiped as weapon "astra". In ancient India kshatriyas used shankha to convening troops. There are shankhas of various forms and sizes. Sometimes it’s decorated with metal, stones, carving and painting. Shankha with through hole is used as an instrument for making sound, whole shankha is used in pujas. Nathas may also use the whistle of nadi as shankha. They wear this whistle around neck on the black thread "janeo". The shankha is associated with the practices of emergence the anahata-nada sound (form of subtle sound vibration) which arises without causes; this sound emanates from the heart and uncovers unconditioned happiness to yogin. There is also carpal shankha-mudra for listen to the internal sound of anahata-nada. Seashell is used by yogis during rituals, they blow in it doing pujas or aratis to make a sound which is symbolized Shabda-Brahman.

śaṇkha gāyatrī mantra

sat namo ādeś | gurujī ko ādeś | oṁ guru jī| śaṇkha śaṇkha saṇjoga bhayā jñāna godaḍī caṇcala vilayā | nirbhe jogī beparavāī , ādakā śabd siṇgāro bhāī || tum ham alila puruśa tīno milavā bhāī me to pūcho piṇḍa kī avadhū jogī raī | arvad narvad dhundhukārā, śabda na svāla na ekokārā || maragaī gaurā rah gayā ruṇḍa; śivale paharā gal me muṇḍa | hār cām pinjar kā nalā śaṭ darśan le ghālī galā || amṛta kūpī le āge dharī; jal thal me mātā gaurayā kharī | jal me karī mīna kī thāpa, pāc śaṇkha chaṭī gāyatrī gaurā; le nikasī apane hātha || parho śaṇkha gāyatrī sār gaṇgā nadī bhavasāgar tār | ambe devī kā japo jāpa paḍe piṇḍa kā par har pāp || uṭho nārāyaṇ karo pasāū cār caukaḍī jīva ko dījai ṭhāū | śaṭmāsa jogī haṭhanigraha karai, ekotra sai puruśālai amarāpur tarai || parho veda gāyatrī sār piṇḍa prāṇa udhragati tār | gāyatrī sāvitrī caupagī cauvedī sune siṇgī rupekhurī caṇvar puchī || tāve varaṇī jamaghaṇṭī nadī vaitaraṇī tār, rākha rākha mātā śambhuśiva gāyatrī rākha, aghora piṇḍa paḍantā rākha | brahma viśnu maheśvarasākha | sat bole satvādī nar, guru vācā tat sār | śaṇkha gāyatrī saṇmbhālo bahuḍī na lai aytār ||oṁ guru jī gaṇgā jamunā sarasvatī tīno akhaṇḍa kavāra | śaṇkha ġharai śiva pūjiye prāṇi pāve mokṣa dvāra | itanā śaṇkha gāyatrī mantra sampūrṇa bhayā | srī nātha jī guru jī ko ādeś | ādeś |

The mantra from the book of Yogi Vilasnath "Shri Natha Rahasya"

झोली, jholī

A bag worn by Natha yogins. They store small items, money, etc. in it. In puja for Gorakshanath, it is used as an offering.

jholī-mantr

sat namo ādeś | guru jī ko ādeś | om gurujī | kahore bālak kaun jholīdīnhī om gurujī ādaśkti ne alaṣ puruṣ ko jholī dīnhī | alakh bhiṣyā siddh jholī sādh siddh ki saburī om jholī ālī āve jholī jāve cete jholī dhūnī jamāī | barse ākāś nipaje dhartrī siddh santā līnā jholī | akāl dhīnā nirās jholī sat kī cipī guru mukh bolī | ād kā panth dharm se kamāī | kāl se anabhaī sādhū sidh ko rākhī | nirbhaya jholī duṣṭan ko mār bhagāī | jo mantr paṛh jholī leve | so yogī bhavasāgar tar jāve nā paṛhe to yogī narak ko jāve | śrī śambhujatī guru gorakṣanāth jī anant koṭ siddho me baiṭhakar sunāye | itanā jholī mantr sampūrṇ bhayā | śrī nāth jī gurujī ko ādeś | ādeś |

It is a tongs for woods and coals in dhuni. The tongs can serve as a weapon and also as a protection from evil spirits. While bhajans are performed the chimta is used as a musical instrument. Sometimes a pair of tweezers is attached to it.

cimṭā mantra 

sat namo ādeś | gurujī ko ādeś | oṁ gurujī ! kailāś parvat se yogeśvar āyā | alaśa puruś se cimṭā pāyā | kaun śabda se cimṭā lāyā kaun se utare pār | cakmak cimṭā dhūnī pānī sab rākhiye sātha | guru śabda siddho kī bānī | lohe kā cimṭā satguru kā jñāna-cimṭā rākhe yogī nirvāṇa-cimṭā bāje cimṭā gāje cipiyā māhī cimṭan kī kāyā-cimṭe ne sārī sṛśti ko jagāyā itanā cimṭā jāpa sampūrṇa bhayā | śrī nāthajī guru jī ko ādeś | ādeś |

Adesh to the Holy Name! Adesh to Guruji! Om Guruji! From the top of Kailash yogeshvar goes, carries the chimta from Eternal Purusha. What is the sound of chimta, what is manifestation? The chimta is like magma, it keeps fire and water together. The sound is the Guru’s word what siddhas originate from. Iron chimta, chimta of Guru’s knowledge, chimta of yogin in nirvana, musical chimta, chimta that is hiding the greatness, chimta of body that is aweking the all creation. Such is the chimta japa-mantra. Shri Nathaji Guruji Adesh! Adesh!

It is a stick that yogins (Nathas, Nagas) carry when they pilgrimage. The danda is also used as a weapon. It is one of the offerings in the Gorakshanath-puja.

भैरव-दण्ड, bhairava-daṇḍa 

It is a stick that yogins (Nathas, Nagas) carry when they pilgrimage. The danda is also used as a weapon. It is one of the offerings in the Gorakshanath-puja.

bhairava daṇḍa mantra

sat namo ādeś | gurujī ko ādeś | oṁ guru jī| oṁ ād kā dharma apār brahma jogī bhairav namo namaste | daṇḍ hāṭ khappar kāl bhairav gale māl ruṇḍ muṇḍ || nirbhaya jogī jaṇgal phire śmaśān phire | phire sāre brahmāṇḍ || anahad nād ghuṇgar bol guru śabd guru jñān | bhare saṇsār jhare saṁsār phire jogī anabhaya kāl || daṇḍ daṇḍ mahādaṇḍ pratham daṇḍ kāl bhairo hāt bhar khappar tel sindūr rakṣapāl | dūsrā daṇḍ akāl bhair hāt bhar khappar tel sindūr rakṣapāl | tīsrā daṇḍ lāl bhairo hāt bhar khappar tel sindūr rakṣapāl | couthā daṇḍ jal bhairo hāt bhar khappar tel sindūr rakṣapāl | pāṇcavā daṇḍ thal bhairo hāt bhar khappar tel sindūr rakṣapāl | saśṭame daṇḍ bāl bhairo hāt bhar khappar tel sindūr rakṣapāl| sātvāṁ daṇḍ ākāś bhairo hāt bhar khappar tel sindūr rakṣapāl| āṭhvāṁ daṇḍ kṣetrapāl bhairo hāth bhar khappar tel sindūr rakṣapāl | yetā aśṭ bhairo sadā raho kṛpāl | daṇḍ hamāra piṇḍ kā prāṇ vajr ho kāyā kar rakṣā kālī kā pūt | āve daṇḍ jāve daṇḍ so kāl bhāge bārā kos | kāl daṇḍ śir kaṇṭak kā phor ham ko rakh duśṭ ko bhakh etā bhairā daṇḍ mantra sampūrṇa bhayā | anant koṭ siddho me baiṭh tryaṁbak kṣetra anupān śilā āvalāgarh parbat par srī guru gorakṣanāth jī ne parh kath kar sunāyā | srī nātha jī guru jī ko ādeś | ādeś |

It is a holder for arm or chin, that yogin using while practicing dhyana, japa or pranayama for a long time. The kubari is made of two perpendicular wood sticks fastened to each other. The kubari is also used as a prop for body ready for burial. Another name is adhari.

kubarī (ādhārī) mantra

sat namo ādeś | gurujī ko ādeś | oṁ guru jī | oṁ alakh niranjan ne alakh jatāyī | mansā dhātī ne dinhī kubarī | tab pīce alakh niranjan ne siddho ko dīnhī | āo siddho dharalo dhyāna alaśa pūruśa kā jñān | ādhārī lāge ṭhorī ādhār pātāl gaṇgā carh gaī kailāś | bagal kubarī jogī maheś bhravar guphā me lāyī jyot | śiv kahe sunabā macandar ku barī sadā rākhīyo pās kāl kaṇṭak nā āye pās | parh mantra kubarī ādhār so jogī śivapurī me jāya binā mantra ādhārī lagāya so gogī narak lok jāya | itā kubarī (ādhārī) mantra sampūrṇ bhayā | nāth jī guru jī ko ādeś | ādeś |

It is a musical instrument, a type of Indian folk clarinet.

It is a musical instrument, a type of Indian folk clarinet. The pungi is made of wood and pumpkin. More often pungis are used by snake-charmers. In the Gorakshanath-puja the pungi proposes as an offering. Another possible name is tumba (means “made of pumpkin”).

tūmbe kā (pūṇgī) mantra

sat namo ādeś | gurujī ko ādeś | oṁ guru jī jāgadī jyot kī prāpti - anant koṭ siddho ne mil thāpanā thāpī | cār yugo ke bīja maṇgāye dhartī mātā par padharāya usme lāgā tūmbā us tūmbe me se ek hī rakhnā bhāī | tāmbā tūmbā dono succā rājā yogī dono ūṇcā tāmbā ḍūbe tūmbā tare-is vidhi rājā yogī kī sevā kare | pātra pavitra tūmbā pavitra kahe mahādev suno pārvatī tūmbā sadā rākhiyo pās itanā tumbā kā mantra sampūrṇ bhayā | nāth jī guru jī ko ādeś | ādeś |