Bhagavatī Rājarājēśvarī can be approached through various āmnāyas.

The simplified approach

characterized by the Dakṣṣ iṇṣ āmnāya (through Saubhāgyavidyā and as expounded by Paraśurāma
Kalpasūtra, Paramānanda Tantra etc.) is well-known to the Dākṣṣ iṇṣ ātyas. In the lineage of Bhagavatī
Bimbāmbikā, the gateway is through the Uttarāmnāya - which is the most difficult of the āmnāyas to
master, for various reasons.

The Queen of the Uttarāmnāya can truly grant Siddhi of the rest of the āmnāyas as well as propel the
sādhaka upward towards the ultimate goal, which for a śrīvidyā upāsakā, is Mahātripurasundarī. This
āmnāya is not merely characterized by Bhakti (Dakṣṣ iṇṣ āmnāya), Mantra (Pūrvāmnāya), Tantra
(Paścimāmnāya), but by Jñāna arising out of the systematic upāsanā involving Bhakti, Mantra and
Tantra. Here, Jñāna is not the śuṣṣ kajñāna of Jaḍṣ a-vēdānta but is symbolic of Shāmbhava Yoga.

औत्तरराम्यरायराद्यशशेषशरासराररार्थावबबोधशराललित्वरातत‌ ।

The mighty Queen of this āmnāya stands majestically with nine faces - each representing an āmnāya
(adhara, dakṣṣ iṇṣ a, pūrva, paścima, four upāmnāyas and uttarāmnāya). Jagadambā sports eighteen hands
and stands in Pratyālīḍṣ ha posture atop Mahāsvacchanda Bhairava who himself is stationed on
Pañcamukha Sadāśiva.

At her Lotus feet is Chinnamastā, known also as Pracaṇṣ ḍṣ a caṇṣ ḍṣ ī, the upanāyikā of Uttarāmnāya. She is
flanked on either side by Dākinī and Varṇṣ inī.

Stationed at her Lotus Feet also is the great Mahāmanthāna Bhairava (identified alternately as Mahākāla
by Baḍṣ abānala Tantra) atop thirty-three headed Nāgarāja, sporting ten hands.

Also at her Lotus Feet is Chaṇṣ ḍṣ a Bhairava sporting four hands, seated on the Pañcaprētāsana of Brahmā,
Viṣṣ ṇṣu, Rudra, Iśvara and Mahēndra.

On either side of Bhagavatī are Raktakālī and Shvetakālī, who are invoked as upāṇṅ ga vidyās.

On top of the ninth face of the Great Goddess is the seat of the Mistress of the transcendent tenth
ūrdhvāmnāya, Mahātripurasundarī. She is seated on Pañcabrahmāsana, surrounded by her own retinue
of Mahāvidyās.

Sixteen Yoginīs (from Mahocchuṣṣ mā to Mahākālasaṇṅ karṣṣ iṇṣ ī) stand ready to serve the Queen of
Uttarāmnāya.

Thirty-two mantras of these deities (excluding Mahātripurasundarī) form the treasure-trove of

Uttarāmnāya.

One should note here the significance of this āmnāya and of nine-faces indicated by Abhinavagupta:

तररा पयर्थान्तवलतर्थानरान आम्नरायरानरान यय पर उत्कक ष उत्तरराम्नरायय ततबोऽलप षटत लतश

न भशेदलभन्नराद्यय पयर्थान्तय परान्तवतर नवचक्रसपन दरायय सबोऽयन महरारर्थाय ।

The nine faces are symbolic of Krama (prakāśa, anākhyā and so on). Of interest is also to note that the 32,
37 and 41 lettered mantras of Ucchiṣṣ ṭṣa Mahāgaṇṣ apati are part of Uttarāmnāya (while rest of the forms of
Gaṇṣ apati typically belong to Pūrvāmnāya).

Note: We received several queries about the picture in this post. This is a Newar picture in the worship of
our Guru Sri Harsha-ji. When time permits, we shall post similar pictures of Amnayarajnis of other
Amnayas as well. This particular picture is of special significance to our Guruji as it depicts both
Uttaramnaya and Urdhvamnaya in a single picture along with several main deities worshiped in our
lineage. He likes this to be the first and last picture he sees every day upon waking up and before going to
bed along with another picture of Nrsimha. There is a painted version of this picture in his worship as well
which was gifted to our Guruji through a current member of the Royal Family of Nepal - but Guruji did
not permit us to take a picture of that version. During my stay in Nepal, I do remember seeing a very
similar picture, but without the retinue of anga-devatas, or the asana-devatas, in the Rashtriya
Samgrahalaya at Kathmandu, painted by a Vajracharya belonging to the previous century. - Aileen.