The number of varieties of forms assumed by the Deity is described as three, four, or five depending on the age of the pA'ncarAtra text. The earlier texts (e.g., sAttvata, ahirbudhnya) describe three forms, the para, vyUha, and vibhava. SrI ParASara BhaTTar also refers to only three forms in his vishNu sahasranAma commentary - paravyUhavibhavAtmanA trividham brahmeti bhagavad siddhAntah. The later samhitA-s (e.g., SrI praSna, vishvaksena) add the antaryAmi and arcA forms. Of these, the para (transcendental) and vyUha (emanatory) forms are known only to the nityasUri-s (the likes of Garuda, ananta, and vishvaksena who were never born), and to mukta-s (those who were once mortals but who have subsequently attained divine bodies) who have joined the Lord in SrI vaikuNTham. The incarnations are forms on earth, seen by those who are our contemporaries. The antaryAmi form resides in every one of us, even though only the sages visualize this form in their meditational spells.
The Transcendental Mode:
The three modes are together called the Supreme Deity, called variously as vAsudeva, nArAyaNa, bhagavAn, AtmA, paramAtmA, vishNu, kshetraj~na, etc. In this para or transcendental mode, the Deity is like an ocean of nectar altogether devoid of waves, quiet, profound, limitless, unfathomable, pure consciousness, the abode of the six qualities in fullness, altogether non-material in nature, devoid of attributes (nirguNa), devoid of aspects (nishkala), without discernible forms (nirAkAra, nira'nga), an embodiment of Absolute Bliss and Peace. VAsudeva is in a plane where knowledge and bliss abound unobstructed.
Even though we are all familiar with the six qualities, they are listed here briefly to remind ourselves of the significance of these qualities.
1. j~nAna or knowledge - comprehension of all things without the help of any external agency. This corresponds to knowledge, directly and completely, of all things in all places at all times. One way to understand this concept is to look at it as the pervasion of all things by bhagavAn as the antaryAmi in everything.
2. Sakti - energy which is spontaneous and independent and which knows no constraints. This is the energy in the Deity which wills-to-become and is all-powerful. This is the initial impetus to create.
3. aiSvarya - omnipotency or Lordship over everything, expressing the freedom to act in such a way that there can be no obstruction whatsoever from any source.
4. bala - strength for doing all things at all times (like the creation, preservation and destruction) without getting fatigued on that account.
5. vIrya - vigor, virility or valor which is associated with the Deity's being able to remain unchanged and unspent
6. tejas - splendor or glory in the sense of being able to accomplish all things without any aid, assistance, or instrument.
These attributes constitute the body of the Deity (shAdguNya-vigraha), which is also the body of Lakshmi who is inseparable from the Deity. However, in the transcendental mode these six attributes are indistinguishable (i.e., undifferentiated), and static, still and not active in phenomenal appearances and changes.
Lakshmi is considered the Sakti or energy of brahman, and is considered inseparable and indistinguishable from Him in this state. This Sakti is considered responsible for the origin, maintenance, and dissolution of the world. It is this energy which makes all existence possible. The second aspect of Lakshmi is called bhUti-Sakti, wherein the world is considered nothing but a transformation of the energy that is Lakshmi, and so Lakshmi is also the material cause of the world (i.e., the material that constitutes this world is none other than Lakshmi). Lakshmi is considered the consort of the transcendental form, the energy inseparable from Him, and for this reason the Deity in the transcendental form is also referred to as LakshmI-nArAyaNa.
While the earlier pA'ncarAtra texts only mention of Lakshmi as the energy associated with the transcendental form, later texts add BhU, and still later texts add NILA. Prof. Ramachandra Rao indicates that probably the three energies represent the three guNa-s of prakRti - Lakshmi representing sattva, BhU representing rajas, and NILA representing tamas. He bases this opinion on the premie that lakshmi is white in color (sattva), bhUmi is red (rajas), and NILA is dark (tamas). He does not give a reference for this opinion.
The vyUha Modes:
The vyUha mode of the Deity's being emphasizes the differential manifestations and functions of the six attributes for the purposes of creation and evolution of the world, for maintenance and protection of the devotees, and for leading the devotees to salvation. In other words, in the vyUha form the attributes become dynamic and express themselves in the creation, protection and destruction.
Of the six qualities constituting the body of the Deity in the transcendental mode, three (j~nAna, aiSvarya, and Sakti) are functionally in a plane of rest, whereas the other three (bala, vIrya, and tejas) are in a plane of activity. The qualities in the two planes pair with each other resulting in the three vyUha forms (j~nAna and bala, aiSvarya and vIrya, Sakti and tejas), corresponding to samkarshaNa, pradyumna, and aniruddha respectively. Some samhitA-s talk of four vyUhas including vAsudeva who has all six attributes in fullness, whereas other samhitA-s, e.g., sAttvata samhitA, only consider three vyUha forms. In some texts, distinction is made between para-vAsudeva - referring to the transcendental mode of vAsudeva, and vyUha-vAsudeva, referring to the vyUha mode of vAsudeva.
It is noted that in the transcendental mode all six qualities are equipotent but unmanifest. In each of the vyUha modes again, all six qualities are present, but two of these qualities are manifest while the other four are dormant. The vyUha forms thus become operative in the physical and spiritual evolution of beings, and thus become significant.
Different samhitA-s differ on the actual functions assigned to the vyUha forms. In general, aniruddha (Sakti) is associated with creation, pradyumna with preservation (vIrya), and sankarshaNa (bala) with destruction or with attaining salvation (j~nAna). vAsudeva is associated with dharma, the basis for the cosmic order.
There is also a notion that the vyUha-s emanate in a sequence, sankarshaNa from vAsudeva, pradyumna from sankarshaNa, and aniruddha from pradyumna. But they do not undergo any change during such sequential appearance. The simile given to illustrate this is the sequential lighting of one lamp from another. Para-vAsudeva is like the seed which contains the entire tree, but it manifests over a period of time.
The viSAkha-yUpa or the brahma-yUpa:
The concept of the vyUha emanations from para-vAsudeva is related to the pillar of light resplendently located in SrI vaikuNTham, and said to be assumed by the Deity for the purpose of meditation by the yogi-s. The pillar has four nodes, each facing one of the four principal directions. The topmost node is altogether bright light, representing vyUha-vAsudeva. Nothing is discernible at this level except Pure Effulgence. The next three levels descending downwards respectively represent samkarshaNa, pradyumna, and aniruddha. At each level going down, the node is more and more discernible, representing the para-vAsudeva assuming forms to make it easier for the devotees to realize Him. Thus, samkarshaNa node is red in color like ruby, pradyumana is yellow like burnished gold, and aniruddha is black like rain-bearing cloud. As we descend down the tree, more and more details are seen in the node including the weapons associated with the form, the retinue, etc. The four nodes going from bottom up are also equated to jAgrat (wakefulness), svapna (dream), deep sleep (sushupti), and turya (the state beyond it).
LakshmI-tantra also identifies samkarshaNa with the individual soul, pradyumna with individual awareness (buddhi), and aniruddha with the sense of ego (ahamkAra). The idea is that sankarshNa provides the foundation for all the individual souls, pradyumna enters into the souls, seizes hold of the faculty of awareness and distinguishes between the subjective and objective frames of reference, and aniruddha projects the world of multiplicity and differentiations.
The concept illustrates the idea that the vyUha forms are no different from the para-vAsudeva form, and also shows how the vyUha forms take shape. The concept here is that Deity descends and becomes involved in the transactional aspects of the world and is also more easily approached as we go down the tree.
The vibhava mode:
The vibhava forms are special manifestations of the Deity on earth, descending from aniruddha, who represents the bottom-most node of the viSAkha-yUpa. For this reason they are called "descents' (avatAra-s) or appearances on the earth. Since the viSAkha-yUpa is in SrIvaikuNTham, and the vyUha modes are part of this pillar in SrIvaikuNTham, the Deity makes a further descent to appear in this world in the vibhava mode so as to be accessible to those who are not accomplished enough to reach Him in SrI vaikuNTham, and are meant to secure the welfare of all mankind.
Three types of vibhava avatAra-s are distinguished - sAkshAt-avatAra or svarUpa-avatAra - direct manifestation of the Deity's nature, guNa-avatAra - the Deity's attributes taking possession in divine and human beings, and amSa-avatAra-s - where some aspect or weapon of the Deity incarnates itself to carry out the deity's will. 38 vibhava or incarnatory forms are identified in the sAttvata-samhitA. Among these are the common forms which we are familiar with - the daSAvatAra-s, padma-nAbha, ananta, viSva-rUpa, hamsa, etc.
The arcA mode:
sAttvata samhitA considers the arcA mode under the vibhava mode. arcA is the form of the Deity represented by an icon which is transmuted into the very form of the Deity full of the six divine attributes through the power of the mantra-s used in the installation as well as subsequent worship. Therefore the proper installation of the arcA mUrti with the prescribed Agama procedures is very essential for the power of the arcA mUrti, and also the proper subsequent maintenance of the sanctity through proper ArAdhana-s, utsava-s and other regular and proper worship.
The antaryAmi mode:
The antaryAmi mode is the extension of aniruddha in the hearts of all devotees, without assuming a shape. As indicated earlier, not all samhitA-s list the arcA and antaryAmi modes as separate modes. The sAttvata samhitA considers the para and vyUha as the ones in SrI vaikuNTham, and the vibhava as all the forms on this earth.