Does Anybody Else Have Clear Body Experiences?

[Old Student]

That is how it works.

You tap the Dharma and a bit of Mirror Wisdom and it rushes forth deeper than you realize and the Bodhisattvas have already delivered a much vaster message than we can keep up with.

I haven't reproduced anything, but I did tweak the same switch in my crown today, it was profoundly calming.

Yes, the teaching is hidden in plain sight in the word "jungle" and, the whole timekeeping system. Candali is outright Untouchable, which is why this name is usually the leader of other low caste women.

I get the feeling it also, along with Matangi used as an adjective, describes the women in the charnel grounds/jungle described in Kali's Odiyya, as well, they are "out caste" by choice and calling.

According to the ancient writers on Phonetics, sound or word (वाक् (vāk)) which is constituted of air (वायु (vāyu)) originates at the Mulaadhaaracakra where it is called परा (parā). It then springs up and it is called पश्यन्ती (paśyantī) in the second stage. Thence it comes up and is called मध्यमा (madhyamā) in the third stage; rising up from the third stage when the air strikes against the vocal chords in the glottis and comes in contact with the different parts of the mouth, it becomes articulate and is heard in the form of different sounds. when it is called वैखरी (vaikharī);


According to Shivashakti:

Thanks to this resonance between Matangi and Ganesha, the Great Goddess is worshipped as the consort of Ganesha (at a certain level).

Generally speaking, the two consorts of Ganesha are Buddhi (the sparkling intelligence) and Siddhi (the success and effective fulfillment of wishes through paranormal powers).

Tara refers to the Superior Divine Logos (Pashyanti), that implicitly contains everything, Matangi represents the Inferior Divine Logos (Vaikhari), the so called “uttered word”.

So this might include the deep humming coming from the spine and the muladhara that resonates with so many things and in particular Om? It really does feel like it pervades everything, which is what they say about this syllable.

By "Tara pose" I mean with one foot hanging off the seat, it is usually the other foot. Sometimes this is called Seated Ardhaparyanka.

So just the feet.

Considering that my experience was not based from these scriptures, I would still have to say that the signs of Crown Center stability, a thin silver Sushumna, and a Quiet Order are very close to the conditions of the Fourth Joy or Sahaja that will create the Mercury. And it will involve Citta Chakra or the Hum Ho of Vajra Rosary Tantra, which appears to be quite similar to Kurukulla's abilities. When the Nectar reaches here and it opens a bit, you raise the Downward Wind to intercept the liquid and pull it down into the Vessel. One might think, well, it's Yoga, you just meditate on the Heart. Sort of, but not like that. It has inner petals. And so the Suksma Yoga will have us establish the capillary column of Mercury raised beyond the Brahmarandra and it is only around that point that the Inner Chamber and Heart Bindu or Indestructible Drop becomes useful--which is the Square of Inverted Stupa. At that point you are really ready to touch the Heart of the Ista Devata.

So this plus the part before seems to make sense. Perhaps the liquid is from the nectar the split at the throat? I had it again last night even though I did not repeat the experience related to you before. I'm not understanding, and perhaps am not yet meant to, why it is so light and seems so lacking in viscosity compared to usual saliva.

At the time being, a conscious ability to broadcast formlessness is remarkable, even I would probably not be so loutish as to mistake it for a preta and try to harm it with salt or some spontaneous weapon out of my mind.

Whoever it was seemed to experience it (however) and also seemed to have been waiting for it/meditating to achieve it. It was the first flitting that made me truly happy afterwards like I'd understood more of it than just a glint.

She can be drunk, and it may even be the Kadamba wine that Balarama likes.

This again seems familiar.

Edited ---

I nearly forgot. Bhutadamara Vajrapani is standing on a white figure with four arms. I have never seen one of the figures they stand on have more arms before?

[shaberon]

Bhutadamara Vajrapani tramples male Aparajita.

Yes, if you get a humming from the root or bulb, that is valid.


Ucchista Ganapati is hard to appreciate until seeing he says not to bathe after eating. Normally, eating makes you ritually impure and you have to bathe, and I, for one, have never paid any attention to that with regard to yoga practice, so it is already a bit of an Ucchista method for me. One of his personal mantras is:

Om hreem gang hasti-pishaachi likhe svaha

and even in this tantra, they do not really have union, it says Hasti or in his hand is a Pisaci:




which is as close as it gets. In Buddhist tantra, this would still be called an Embrace. There is some debate that the consort is Neel Sarasvati.

In Buddhism, Sarasvati is Vetali, whereas Matangi is Pisaci.

The Ganesh consort may be dark, or red.

I plugged Sarasvati into a wormhole, and, Ganesh has just come out the other side.

They may look like icons, but, something is going on here.

What is doubly curious is that Matangi is asserted as installing the benefits to a household, which is the right timing, since the need of Parnasabari has been passed. She is never completely gone, but, the main first part of things that needed to be cleaned and organized is done.

Even more powerfully, Matangi is granted the third day, and Manasa and the Nagas get the fifth. So the two aspects of Janguli are very close. Ganesh for his own rite seems to be directed to the waning fortnight. As perhaps the original type of Krodha or Wrathful deity as currently used, then, it could be conceivable to use Ganesh around the fifteenth, and another one later on.

I am not yet quite sure how to welcome Ganesh into my aura. Really it should be the other name, Ganapati.

Mata legitimately has piles of synonyms about knowing or forming an opinion, which is parallel to the arising of thought or manas to make speech. Extrapolated, it also means Mother Tara. The end of the name is Ya Ai, and it would be this Ai that really means Matangi. So if we take her nasalized "-ng" to be a sort of non-letter diacritical mark, it breaks down to Mother Tara Vayu Matangi. If we do away with expected parts, we are left with Vayu.

According to Red Zambala:

After the terror of the night appears the reassuring sunlight. The demons are defeated; Mātaṅgī, the Elephant power, establishes the rule of peace, of calm, of prosperity. The day is, however, a dream, a mirage that appears in the eternal night. As a form of night, Mātaṅgī is therefore the Night-of-Delusion (Moha-Rātri).

No derivation is forthcoming that says why it means "elephant", which has other synonyms, but that is its only definition other than goddess terms. The main Elephant Woman used in Buddhism is "Hastini", so, you see the potential play in the Ganesh mantra.

The Buddhist sadhanas direct me to Pisaci Matangi and Matta Matangi, which does not really mean that Rajeshwari or others are invalid. It does mean it complements Ucchista Ganesh, which, at the very least, is suited for someone who does not know all the ritual cleanliness rules, and shares Buddha's opinion that strict adherence to them is unnecessary.

I have the feeling that the Matangi aspect of Janguli is ready to manifest like a volcano, and that the Manasa aspect may be hard, like Dhanada Krama Tara is said to be hard. That is fine.

[Old Student]

Aim is the "next thing to" Aum or Om. Om is not really a letter, but Ai or Aim is. And then if we ignore the "chanting" M, Ai or E at least is used in Buddhism quite extensively. When combined with M, something like Aim is pronounced like "I'm", and I do not know the grammar well enough to tell when it is more like E or "long a". The E, the short a in "apple", and the more familiar Ah are all fundamental. Generally, they all seem conducive to one sound producing all sounds, one guru or yidam producing whatever is needed, like a visible form of Om.

It's written "ऐं", so the m is probably similar to Om (although according to my Sanskrit book it is supposed to be a chandrabindu not an anusvara technically, since Ai is a vowel) when drawn out, but the vowel sound is the same as the French river "Seine", and the anusvara is normally nasalized and not pronounced with the lips.

The letters description then for whatever reason breaks down Matangi mantra by syllables, and:

mā : Mother bīja

taṁ : gives the power to attract, people will come to you, accomplisher of things capable of achieving all perfections (sarva siddhi) in combination with Saraswatī bīja.

yai/ya : Vāyu bīja, peace giver, prostration

ai : Saraswatī bīja, giver of vidyā (knowledge) and siddhi (perfection), origin of Jala bīja (from here the water starts flowing-creation, creative energy), ends enmity

ya + ai = yai : Vidyā and siddhi for the purpose of peace

mātaṅgyai: Attracting the Mother for knowledge and peace (Mataṅga means elephant, the person becomes as powerful as an elephant).

I am not sure why they overlook the "g" that is in her name, but if we look into it, the first thing that will come rushing out is Ganesh.

Suddenly she has an incredibly magic name:

Ma [Mata] Tam [Tara] Gi [Ganesh?] Ya [Vayu] Ai [Sarasvati]

The "g" could perhaps merely be a nasalization of the preceding consonant, and thereby indistinct. From here, we are pretty safe at least in considering "Ma" as meaningful to her, especially if it is half of Kama at Kamarupa--Guhawati.

This is a very cool breakdown, thanks, it makes the name come to life.

In some of the descriptions, Matangi is physically the lower energy rising to the throat, and, in others, the mental circulation of energy between throat and ajna.

Rising to the throat from where? From the chest maybe?

[Old Student]

In Buddhist tantra, this would still be called an Embrace. There is some debate that the consort is Neel Sarasvati.

Matangi's portrayal is as a Blue Sarasvati sort of, isn't it? You showed one on the other post. So does the reference mean Matangi?

From the reference:

Uchishta Ganapathy is called great, because he does not reject anything as puja.

No, because Uchishta means begging. Beggars can't be choosers, maybe.

No derivation is forthcoming that says why it means "elephant"

In the Buddhist tale, they reference "Matanga" as meaning "elephant hunter."

The Buddhist sadhanas direct me to Pisaci Matangi and Matta Matangi, which does not really mean that Rajeshwari or others are invalid. It does mean it complements Ucchista Ganesh, which, at the very least, is suited for someone who does not know all the ritual cleanliness rules, and shares Buddha's opinion that strict adherence to them is unnecessary.

All of this has reminded me of Machig Labdron's Chod.

With respect to the thing I speculated about the terms "Chandali woman" and "matangi" as a "disheveled Chandali woman" adjective. There was a "discussion", lesson is perhaps a better word, of this in my shaking last night. There was a new power pose that was somehow the "charnel aspect" of things personified, which got mostly explained in a way that was like, "Everyone has their "charnel aspect"". They then put me in the shaman thing -- where I am standing in the mountains and my clear body is "expanded" so there is only a thin layer between its skin and my physical skin. I was then pressed to observe myself from the clear body. When I didn't do this correctly (didn't interpret correctly so that there was again space between and my clear body and physical body were separately dressed), they pressed the thin layer until it disappeared and my "me" said very clearly, "Oh, now I am dressed in human skin." -- my charnel aspect, I assume.

[shaberon]

In the physical aspect of speech, Para is described as beginning in the Muladhara, and rising through the other centers until it becomes Vaikhari or manifest speech in the head. This was the basic description of Matangi. In a more advanced mode of Unstruck Sound, she was described as the interplay mainly from throat to ajna.

I would say they are all provisional stages, since Four-fold Om can apply to other syllables, or have different "pathways" when related to consciousness, which is the basic principle of Four Activities, and/or the Four Dakinis who continue through all the tantras.

It appears correct that Buddhism would not start it at the root, but, at the core, dantian, or solar plexus. In other words, it would tend to skip the physical auto-start, and immediately begin a Noumenal process with the intention of gathering heat.

There is a Blue Matangi, and yes, the term has something to do with elephants, but it is not plain, for example if I look at Gaja it would tell me "elephant" and show ways it could become "elephant hunter" or "elephant person" and so on. Hastini is the Buddhist term, which applies to Lama.

Lama is "Paramour" according to Snellgrove, related to lamate for playfulness, whereas he observes Khandaroha is Dum skyes ma, "Arising from fragments", which is Generation Stage, which is why I suggest the weird "Dhuma Kaye" found in the Guyhajnana and Ziro Bhusana mantras is *probably* Dum skyes.

Hastini and the others occupy Sahaja, Kshetra, and Dharani levels, i. e. secret, inner, and outer, the three wheels of time.

Tara did not actually...directly interface with Ganesh. It is episode eleven in the Golden Rosary at Mathura, Protecting from the Fear of Harm Inflicted by Messengers of Indra, who are understood as the Gandharvas. In this case they are Vinayakas, mischievous spirits, that the mere suggestion of Tara easily calmed.

It only makes sense if knowing Ganesh is also the Gandharva class and also known for misbehavior.

A Matangi song mentions Mahendra and Manasa in the first few lines, and says Matangi is tantric Sarasvati. Manasa is the common term for "mentally", i. e. "manasa japa" is to mentally recite a mantra.

Durga in her Thousand Names includes:

matangi rasika matta malini malyadharini ।
mohini mudita krsna muktida modaharsita ॥ 51 ॥


devi daksayani daksadamani darunaprabha ।
mari marakari mrsta mantrini mantravigraha ॥ 55 ॥



Another Matangi song says:

mAnavati mAm pAhi mandahAsa vadani sundarAngi rAja mAtangi

anupallavi

gAna rUpiNi gauri kAtyAyani kadamba vana vAsini

The same type of forest is in a Syamala Stuti.

Kadamba Vana Vasini is a title shared between Matangi and others, which actually refers to Garuda, which, during its struggle, let fall a drop of nectar onto the Kadamba tree.

Ganesh Armor is the first section in a major book produced by Kamakoti, and here, we see he is Lambodara or "pot-bellied", which is the same term as used in Buddhist sadhanas for all of the Yaksha types that I just call Fat. It is really more of a pregnant look which refers to the gestation of inner heat and/or the pregnancy of knowable things or of successful attainment.

Ucchista's Wiki page goes as far as to call "the consort" Vighneshvari. He may be blue or red, with four, or, the almost-forbidden six arms. He is trying to have intercourse, he is doing mantra but since he has a trunk, he is also doing something to the goddess, which makes her emit orgasmic cries.


Their identities are murky, however, in Buddhism, almost anything may be used in a mantra of:

Om Ah [name or initial] Hum Svaha

and so the Red Ganapati from the first few pages of Rinjung Gyatsa is actually the Twelve Arm form as in the Sakya Golden Dharmas, and he uses:

Om Ah Gah Hum Svaha

So it is a major Completion Stage deity which one can almost Hook simply by a semi-educated guess because the same method is used in basics all the way through Kalachakra. The teaching strongly suggests that almost anything can be anchored this way.

Ganapati's primary Buddhist roles are this, and the blue Bhutadamara form which uses the Sumbha Nisumbha mantra, which returns us to the origin of wrathful practice and the Vinayakas and so on. Even his mount, Musti, a mouse or rat, is actually a Gandharva undergoing penance for being a bit too proud.

The Atisha version of Radish or Sweets Ganapati refers to some of the other forms (he is said to have five with a shakti) where his "treat" is part of his flirting to attract the goddess into intercourse.

So Ganesh or Ganapati is something like an important subject, who eventually gets compressed into a function and is not really the ultimate destination of the rite. If we study Homa, it is something like he gets bottled with the solar energy and rolls the dice for the Aswins, and is not ever shown to personally benefit by for example living out the destinies of his marriages.

It is possible he is blended or transfers into Amritakundalin, the more general Buddhist Obstacle Remover.

In one of these descriptions, Pukkasi is Outcaste and Candali is called Half-caste. In the Pisaci mantra, they are all distinct from Matangi.

I personally think Matangi would give a bit more mileage, Ganapati being the necessary conditions to perceive her, and then Matangi being the thing experienced. It seems to come with enough reason to at least let Ganapati get his feet on the ground in terms of being an active presence. He does not seem intended to replace an Ista Devata; he does seem important towards handling wrathful activity at the Gandharva level.

[Old Student]

It appears correct that Buddhism would not start it at the root, but, at the core, dantian, or solar plexus. In other words, it would tend to skip the physical auto-start, and immediately begin a Noumenal process with the intention of gathering heat.

I have had several "mixings" between my shaking and my standing meditation recently -- maybe more accurately, I have had the standing meditation access things that were previously accessible only from shaking. One of them seems related here, where the heat that forms at dantian is actually forming beneath this and pushing up and becoming the heat at dantian. So I have sort of direct experience with this idea. The short A feels different this way but it gets just as hot and goes up the same way.

There is a Blue Matangi, and yes, the term has something to do with elephants, but it is not plain, for example if I look at Gaja it would tell me "elephant" and show ways it could become "elephant hunter" or "elephant person" and so on. Hastini is the Buddhist term, which applies to Lama.

matanga is listed if I put in elephant to the dictionary, hastin is also elephant (long a), closer to the modern hati, and as you say, gaja.

In one of these descriptions, Pukkasi is Outcaste and Candali is called Half-caste. In the Pisaci mantra, they are all distinct from Matangi.

All I can get for Pukkasi is that it means indigo. Oddly, if you try to look up the "undescribed" word from Tara's mantra, tuttare, you will get that tuttha also means indigo. I know indigo is a really big thing in the subcontinent, so lots of words that come out indigo isn't that surprising. Like all the shades of blue as well.

[shaberon]

Posted by Old Student (here)
All I can get for Pukkasi is that it means indigo. Oddly, if you try to look up the "undescribed" word from Tara's mantra, tuttare, you will get that tuttha also means indigo. I know indigo is a really big thing in the subcontinent, so lots of words that come out indigo isn't that surprising. Like all the shades of blue as well.

Ok, yes, that is another way to think about it, sometimes you have to revert an "i" ending back to masculine to see something like "elephant".

I only saw Pukkasi as "indigo" for quite a while but, it turns out she inhabits a charnel ground in Nepal and is either at par with or is Hariti or Sitala. The name is very rare in the sadhanas, but is in Lotus Sutra.

The syncretic site expounds this dharani in a way that seems to me inadequate, but uses the version:

agane gane gauri gandhari chandali matangi janguly vrusani agashti

another version:

Agane gane gauri gandhari candali matangi [pukkashi] samkule vrusali sisi [svaha].

Either one carries the meaning of causing King Dhritarashtra and the Gandharvas to protect a student of Lotus Sutra.

As you can see, it would raise an immediate question if Janguli is Pukkasi, but, she is already Matangi, and, it does say Matangi Pukkasi in the Pisaci mantra in sadhanas. Then is Pukkasi Manasa to settle the score? I don't....think so...are these Gandharva Pisacis? What is that?

There is a version where Virudhaka speaks it. So, the identities are a bit fuzzy, but the classes of beings involved are pretty much the same.

I have not noticed anywhere this even comes up as a subject.

It should not be too abstruse, after all, it is used similarly by Parnasabari, who is already a major exoteric deity, who is being heavily promoted these days. But I do not think they say anything about this so far.

Pukkasi is in the last of the half-Sadhanamala in the retinue for Nairatma 228 in her ring of Gauris. So this Pisaci class must be Gauris. Nairatma is a later-composed sadhana that uses the more standard ring that ends on Dombi. This is where Dakini Jala is much different and more like Moods such as Nectar Vetali. Whereas the "Book of the Dead" style is even more violent than the Nairatma--Hevajra ones. I think we have accumulated four or five versions of this class of retinue or ring.

The subtle ring of Vajraraudris is related to this, but only appears in the Samputa style.

They are a bit like saying the Vidyadharas or their Realm is a special emanation of throat energy, so, whereas the ordinary person is said to face the Hundred Peaceful and Wrathful Deities of the Bardo, the successful mantrin will get something like 108 because the Vidyadharas arise as Sages.

I am not exactly sure what this road of Gandharvas-->Pisacis-->Gauris may be saying, except the Gauris are the inner senses achieved from Yoga, in the Wrathful aspect such as animal-headed Tramen (i. e. Promoha, etc.).

Gandharva is an inherent energy which may be well disorganized, and Pisaci is, from what I can tell, an axis or fulcrum between extremes of destruction and preservation, mostly due to self-generated causes.

It is generally translated as the Devil, while it is the Rakshasas such as Ekajati and Sri that are called more as Demons and are not quite as powerful or dangerous as Pisaci, the most nefarious of all.

Because that class is tied to the Four Kings, who, in human terms, rank as the most nefarious, that part is easy to see.

Now a strange thing we saw was Maha Rakta Ganapati under Ratnasambhava.

This may make sense, if, according to Circle of Bliss:

Vighnantaka, Vighnåntaka. “Slayer of Obstacles.” One of the Ten Great Wrathful Ones
(Dasha Mahakrodha); also known as Amritakundalin; an epithet of Ganesha

and, it is correct that like Khandaroha, Amritakundalin is the main male Obstacle Remover in almost all of the Chakrasamvara rites, but, in his own name, he is part of the mostly missing or unpublished sole Jewel Family tantra, the Vajramrita.

Midway down part five of Rinchen Terdzo, for example, it teaches this Amritakundalin function prior to a batch of initiations prior to Agni.

It would be hard to dispute that lurking throughout the majority of the advanced Tibetan rites is a form of Agni Homa that begins with Ganesh.

In Vajramrita Tantra, the main deities all have their Utpatti Krama or Generation Stage, and produce a host of Wisdoms, which we are not given the original term for. The Krama of Amritakundalin gives for example:

The text continues with the list of the eight Wisdoms (and their description):

Amṛtā,
Amṛtavajrā,
Amṛtā,
Amṛtalocanā,
Aprameyā,
Surūpā,
Vāruṇā,
Sukhasādhanī.

The last verses explain the extraction of the mantra “oṃ amṛtakuṇḍali mā maṃ svāhā”.

I do not know if they explain it as extracted from Matangi, it is more likely from Mrtyu or Death which Amrita is the negation of.

He is one of those that is not an extreme interpretation of krsna, since he is black like the newly-split antimony. He tramples the Great Obstacles.

And if I am not mistaken, this is a case where the final "a" on most of the names is feminized and they are devis, which would mean Amrta Locana = Prasanna Tara and Varuna = Varuni.

When he is compared to antimony, it immediately called to mind HPB's Blue Lotus about Varuni, where "originally heat" and then wine sounds to me like what the alchemists called Watery Fire, which was the quintessence of the Twelve Zodiacal, Seven Planetary, and Four Form Elements. Isaac Newton said this was variously called Isis, Juno, or Ceres, and personally referred to it as quintessence of chaos element, i. e. Mundus. He said it was represented by antimony or Magnesia Gebri. Magnesia is not a particular element, but all of them. "It is fiery, aery, earthy, watery. It is heat and dryness, humidity and cold. It is watery fire and fiery water. It is a corporeal spirit and a spiritual body. It is the condensed spirit of the world."

This, from below, links earth with heaven, as the heavenly quintessence links from above. He noted that the symbol for antimony was based on the orb held by Kings, symbol of a redeemed earth, a sphere surmounted by a cross. Only antimony is "the lawful son of the sun and the true sun of nature".

In the Three Families of Kriya, Vajra Family Mother is called Vajra Jitana (Curtains) and the Wrathful deity is Amritakundalin.

Humkara parallels him in Varamrita Tantra.

In one version of the Gatekeepers of the Heart, we get:

Achala-Ankusha, Yamantaka-Pasha, Hayagriva-Shrinkhala, and Amritakundali-Ghanta.

Followed by:

Ksa appears, showing all the former arise from the disposition of Samantabhadra. At the end of the Peaceful Deities, Ksa is Samantabhadra who then is followed by the Sages, Vidyadharas, or Nirmanakaya, in other words the secret assembly of the Throat produced by vajra methods which is non-operational in the ordinary person,


Sages appear, with the syllable of Amritakundalin. After Ksa, the Sages represent the descending Six Realms, so this is I for Sakra—deva realm, then a similar I is Vemacitra, U is Sakyamuni, a different U is Sthirasimha, E is Jvalamukha, and then Ai is Yama in hell. These syllables release karuna [Avalokiteshvara] or compassion, gateway to the voice of Brahma [Vach Devi].

Finally Heruka and the syllable Om appear, which is the basis for the Wrathful Deities. The final gatekeeper is O for wrathful Amritakundalin. This destroys conceptual elaborations of body, speech, and mind. Then Aum, destruction of all, releases the Wrathful Deities. Au is the syllable through which the incandescence of the Peaceful Deities manifests as the wrathfuls. It is therefor the destruction of subject—object. Made into chantable form, Aum, it becomes Heruka, endowed with the five pristine cognitions. The wrathfuls' nature is taming, training, disciplining arrogant beings. They are frequently referred to as “ground”. These as well as the sages are spontaneously self-existent in all world systems.

The wrathfuls are the direct radiation from the peaceful deities of the heart into the head center.

The cloud mass of letters actually abides primordially as the essential nature of Buddha body and pristine cognition, without conjunction or disjunction.

Amritakundalin is not remotely obscure in Buddhism, he is on this ancient 1100s Kagyu Gaganaraja Avalokiteshvara (Namkha Gyalpo), at his feet with Hayagriva:







He is 491 in Tibetan deities, which says that he is crowned with the Vajramrita Tantra, and that he is trampling Ganapati. "With consort" see 214, which is a Guhyasamaja version where he is called Vignantaka and his consort is not named but she tramples Ganapati. 336 is a four arm red Ganapati that will come to you (Go Lotsawa's equivalent is white). It does not have the first Blue Ganapati as in Rinjung Gyatsa, but the Green Tara and her dharani are Nyan's Six Limb Tara, i. e. Sadanga Yoga, who is an Amoghasiddhi goddess. She invites Venerable Tara from Potala. In my view, Green and White Tara continue to appear near some of the most advanced mandalas, since white is the primordial color and green is the most compound or most manifest, and that type of reversal that melts ordinary color into occult color dissolves green into blue, yellow, and white. Some Chakrasamvara practitioners have reported a "green--white flash" which breaks open a dakini dance or shift in many colors in a revolving wheel.

There is evidently also a Vajra Maha Amrita Kundalin Buddhia Usnisa Sutra.

There is a similar Vighnantaka All-purpose mantra used for example by Vasudhara or Dharmadhatu Vagisvara Manjughosha.

Several of the mantras have a destructive tone towards Ganapati. I tend to rake "trampling" as meaning "transcended", it would be difficult to take it as meaning destroy all Ganapati when he is revered by name on the other page. Again it sounds like a bit of an axis whether he *is* obstacles or removes them.

The fourth day after the new moon is observed as Vinayaki Chaturthi – the day dedicated to Lord Ganesha in his feminine aspect. She is said to be the least-represented and possibly only orally transmitted. She attaches to all the related names according to Wiki, and there is debate as to whether this is one or more entities that all happen to have elephant's heads. She is often pot-bellied or Lambodara, standing on a donkey:





Although they have some artificats, and scant evidence and next to nothing of a practice on her, they are willing to admit there is a Buddhist Ganapati Hrdaya dharani goddess who is the daughter of Isana and is the siddhi of Vinayaka.

That would be my inclination, the Ganapati Hrdaya will take whatever we put into it. Perhaps that should be Matangi. Nothing specifically says that it is, except for the information's own definitions when compared together, and the absence of competing ideas.

In many systems, Smoky Ganesh is the future end of Kali Yug like Kalki or Kalachakra, however:

Vakratunda, "the Lord with the curved trunk". He is represented seated on a lion. He came to struggle against the devil Matsara, who is the symbol of jealousy.

Ekadanta, "the Lord who has only one tusk". exterminated Mada, the demon of drunkeness.

Mahodara, "the Lord who has a big belly", gives battle to Moha, the demon of illusion.

Gajânana, "the Lord with an elephant face", put Lobha, the demon of greed, to death .

Lambodara, "the Lord with a protuberant belly", masters Krodha, the demon of anger.

Vikata, "the misshapen", subdued Kama, the demon of desire

Ekadanta, Mahodara, Gajanana, Lambodara and Vikata are represented mounted on a rat.

Under the form of Vighnaraja, "the Lord King of obstacles", lying on Shasha, the Snake of Eternity, Ganesh destroyed Mama, the demon of ego.

Finally, the last Ganesh incarnation is Dhumravarna, "the Lord with a tawny color", riding a mouse, who got victory over Ahamkara, the demon of self-infatuation.

Smoke is the transition from Form to Formless. Lambodara is liberation by sound of a drum, same as in Buddhism with Tara and Amoghasiddhi, who are the ones that tend to produce smoky colors.

There is a tradition of pairing different Ganapatis with Mahavidyas. It is also said that Smoky Ganesh is the only one who can withstand Dhumavati's onslaught.

He is almost too versatile. I am pretty sure that if the right conditions are set with Matangi, then, any Ganapati that is needed will be glad to appear. I suppose he deserves his own kind of samaya. It sounds a lot like he clears the area, and she sets up the good new stuff. Ganapati Hrdaya does not really have an individual name that I know of, it is like the Hindu "definition".

In it, he is Rudra Vacana, and appears to use several of his forms:

om gaṁgaṇapataye svāhā || om gaṇādhipataye svahā || om gaṇeśvarāya svāhā || om gaṇapati pūjināya svāhā || om āmodāya svāhā || om pramodāyetvāya svāhā || om he lambāya svāhā || om ṛdidāya svāhā || om siddhīdāyasvāhā || om piṅgarākṣāya svāhā || om dhrumokṣāya svāhā om ekadantāya svāhā ||

He seems to have a Ksa syllable in a Kumbha related to his associates:

kṣakumbhāṇurākṣasāḥ || gandharvvāḥ kinnarābhutāḥ piśācā vinghakārakāḥ |

Ksa and Mam seem to increase the Three Jewels:

kṣamaṁkarī jayīkāntī triratna guṇavarddhaṇī ||

It is rather large and I cannot get anything from most of it. At least, with his forms, we can sense it intends Lambodara, and the Rddhi and Siddhi would generally represent the two kinds of consort. Since she is so slippery, the best I can come up with is that she is "usually" Matangi--Buddhi, whereas Siddhi would be some hard-to-attain ultimate condition.

I am not aware if any sadhana uses anything close to a wedding ceremony, which is an allusion on my part to the fact it is supposed to be an occult marriage of the practitioner. The closest thing I have seen to that is Kurmapadi Vairocani. You are supposed to mimic her naked on a hilltop and court her.



I have a note from a Gerd Mavissen paper which says he found a Needle Marici whose thread comes from a curtain that is unraveling. To him it appears that Marici replaced the older Aparajita.

[Old Student]

Ok, yes, that is another way to think about it, sometimes you have to revert an "i" ending back to masculine to see something like "elephant".

I only saw Pukkasi as "indigo" for quite a while but, it turns out she inhabits a charnel ground in Nepal and is either at par with or is Hariti or Sitala. The name is very rare in the sadhanas, but is in Lotus Sutra.

I couldn't get that with my dictionary, which is neither here nor there, but on some more searches, one definition, which is probably more of a specific usage, for the phrase, "chandala pukkasa" is a dwarf or hunchback who works in charnel grounds and is specifically symbolic of a life of pain and suffering to which a person, a brahmin specifically, may be reborn for indulging in greed and arrogance.

agane gane gauri gandhari chandali matangi janguly vrusani agashti

another version:

Agane gane gauri gandhari candali matangi [pukkashi] samkule vrusali sisi [svaha].

Either one carries the meaning of causing King Dhritarashtra and the Gandharvas to protect a student of Lotus Sutra.

Odd that they have the same meaning, one seems to reference the scrotum and powers therein, the other menstrual blood or the metal lead. Perhaps they weren't meant to substitute for each other but maybe be a couplet?

[...]
It is generally translated as the Devil, while it is the Rakshasas such as Ekajati and Sri that are called more as Demons and are not quite as powerful or dangerous as Pisaci, the most nefarious of all.

Because that class is tied to the Four Kings, who, in human terms, rank as the most nefarious, that part is easy to see.

Question: In the Avatamsaka Sutra, they describe one stage of becoming a Buddha as passing through the place or land or ground of the "Four Demons". Thomas Cleary translates everything (even calling bodhisattvas 'enlightening beings' a literal translation) so I have no idea what he's talking about here, or what gender the demons are at this point. Any possible relation?

The last verses explain the extraction of the mantra “oṃ amṛtakuṇḍali mā maṃ svāhā”.

I do not know if they explain it as extracted from Matangi, it is more likely from Mrtyu or Death which Amrita is the negation of.

He is one of those that is not an extreme interpretation of krsna, since he is black like the newly-split antimony. He tramples the Great Obstacles.

And if I am not mistaken, this is a case where the final "a" on most of the names is feminized and they are devis, which would mean Amrta Locana = Prasanna Tara and Varuna = Varuni.

When he is compared to antimony, it immediately called to mind HPB's Blue Lotus about Varuni, where "originally heat" and then wine sounds to me like what the alchemists called Watery Fire, which was the quintessence of the Twelve Zodiacal, Seven Planetary, and Four Form Elements. Isaac Newton said this was variously called Isis, Juno, or Ceres, and personally referred to it as quintessence of chaos element, i. e. Mundus. He said it was represented by antimony or Magnesia Gebri. Magnesia is not a particular element, but all of them. "It is fiery, aery, earthy, watery. It is heat and dryness, humidity and cold. It is watery fire and fiery water. It is a corporeal spirit and a spiritual body. It is the condensed spirit of the world."

This, from below, links earth with heaven, as the heavenly quintessence links from above. He noted that the symbol for antimony was based on the orb held by Kings, symbol of a redeemed earth, a sphere surmounted by a cross. Only antimony is "the lawful son of the sun and the true sun of nature".

Several thoughts on this:

1) You mention feminizing of the names, and lower down describe a ritual on the 4th day of the new moon to a female Ganesh. Is it possible that mantra to Amritakundalin/Amrita-Kundali is also feminized? It says "amrita kundali maa", which sure sounds like it.
2) This is very interesting all the attention given to antimony, presumably because it is a metal and it is black, both in East and West. Or maybe because reversed, antimony <--> antinomy it becomes the ultimate paradox. The classic example of the antinomy is, "Epimenides the Cretan said, 'All Cretans are liars.'" In math, it's written, "A = {X|X∉X}", a notation ascribed to Bertrand Russell (his version of the antinomy is called Russell's Paradox and involves a barber). I'm mentioning this because of Newton's equation with a planet that is the ultimate chaos.
3) Watery fire and fiery water. If one deliberately misreads Vajrapani's name, one can think it means lightning-water. Given the depth to which everyone in mantrayana/vajrayana goes with sounds and words, I'm sure that escaped no one.

I have a note from a Gerd Mavissen paper which says he found a Needle Marici whose thread comes from a curtain that is unraveling. To him it appears that Marici replaced the older Aparajita.

This is interesting. I wonder what curtain it is?

The funerary tenor of my shaking instruction is continuing, the power pose that represents it is an insect (I called it a cicada in the notes, but that could be not correct) that is in its center a flayed corpse that is in its center a "cauldron of birth" which itself is shaped like a vulva. Obviously I am deep inside myself when this occurs, actually usually "fractured" in that I am in multiple views of myself, but it doesn't have a self, its power is the "charnel part" of whoever called it up, including if I did. The liquid previously at my lips has been encountered once in this charnel stuff, as the liquid in a kapala that I was drinking from at one point. So maybe it isn't 'nectar', unless my concept of nectar is not correct.

[shaberon]

Posted by Old Student (here)
one definition, which is probably more of a specific usage, for the phrase, "chandala pukkasa" is a dwarf or hunchback who works in charnel grounds and is specifically symbolic of a life of pain and suffering to which a person, a brahmin specifically, may be reborn for indulging in greed and arrogance.

Interesting. There is specifically one Hunchback goddess, which is Kubjika. Formerly secret and very fascinating.

From what I recall, the individual Pukkasi is strictly local to Nepal. So she may perhaps only be meaningful in that region, whereas Janguli can claim modestly more reknown.

Perhaps they weren't meant to substitute for each other but maybe be a couplet?

Maybe, but, the more I look at this, I think a lot of it is scribal/location/tradition. For instance, the Ganapati Hrdaya Sutra given to Kublai Khan is miniscule and lists far fewer murtis of Ganapati than the Nepalese archive. The view at that site, Hindu or Buddhist, seems to be there are so many Ganapatis you can't go wrong. I'm guessing there are two or more scribal traditions of Lotus Sutra. One can find this kind of discrepancy in very many works. Most of the newer papers by Mavissen or Gudrun Buhnemann, etc., are "composites" usually based on a preferred version with various supplements. They do tons of "Em." or emendation or what they think is a spelling or grammar correction.

But even the magazine article that covers many Ganeshas falls flat on mentioning Amritakundalin.

Cleary and other English-biased translations tend to make "sifting" considerably more difficult. Four Demons could alternately be the Four Kings, or the Four Maras. It doesn't seem to mean anything as it stands. Four Dakinis does, Three Pisacis does, but if I wrenched at that strictly interpretively, I would get Four Rakshasas, which isn't anything I am aware of.

You mention feminizing of the names, and lower down describe a ritual on the 4th day of the new moon to a female Ganesh. Is it possible that mantra to Amritakundalin/Amrita-Kundali is also feminized? It says "amrita kundali maa", which sure sounds like it.

I wish we could get the Vajramrita. "Ma Mam" is perhaps a weird way of doubling a seed-syllable. When they talk about mantra extraction, it is usually in a code that says things like "and the fourth of the fifteenth", and so it probably followed something very bland like this. However my guess is that Maa is almost exclusively Hindu, and, by utterly wiping or de-Hinduizing Ganesh's name, nothing like that would come through. We see spellings like Viswa Mata and Graha Matrika, and I am just not familiar with those things being "abbreviated".

If he is used in Guhyasamaja, his tantric practice is far older than Mudgala Purana. However, the oral traditions that became this purana are of untold antiquity.

Seeing that is the fourth, so far it appears day three = Matangi, day four = "Ganapati Shakti", day five = Manasa. Ganapati and at least Matangi are very open, forgiving of mistakes; devis share the sensuality of Ganapati, but he is the only one described as comfortable with Insults. I don't think it suggests to do that in the sadhana, but, when he removes an obstacle, I guess he does not flinch no matter what is said.

I have just learned that I have to move Ganesh, his back goes towards the outside of the house, preferably in the east or northeast, and not beside or through the wall of a washroom.

Smoky Ganesh, and his Two Wives mode, does seem to give the better part of his story, although they do not directly appear in Buddhism.

Lakshmi Ganapati is a standard form:





He is Gauravarnah, "white or fair", although it could still be orange, we can see that all the red, blue, etc. Ganapatis are drawn white on the Thirty-two forms Wiki page. It is based on Mudgala Purana, a late composite work, and the second after Ganapati Purana to be based on the deity and being the main tenets of the Ganapatya sect. An article on the Mudgala states that Ganesha is Gana Isha, pretty close to the same as Gana Pati. But even he has variations, the consorts may have white lotuses, or:







His personal items should include a water vessel.

White four arm Radish and Sweets Ganesh, and the large Maha Rakta Ganapati, are in the back half of Sadhanamala.

For the white Ganapati form, in the Mandala of Dharmadhatuvagisvara his description is as follows :

Musake Ganapatih sitah karivaktrah sarpayajnopaviti caturbhujah savyabhyam trisulaladdukau vamabhyam parasumulake dadhanah.

"Ganapati rides on a Mouse and is white in colour. He has an elephant face and a snake forms his sacred thread. He is four-armed. In the two right hands he carries the' Trisula and the Ladduka (sweet balls), and in the two left the Parasu (axe) and the Mulaka (radish).

In the Bhutadamara Mandala, he is given four hands carrying the Mulaka and the Parasu in the two right, and the Trisula and the Kapala in the two left."

This is not very surprising since both of these mandalas import flocks of Hindu deities, but, it means he at least is involved. However, Slapping Aparajita has as one of her epithets, "She who tramples on Ganesh".



Gaṇapatihṛdayā is described in the Dharmakośasaṃgraha of Amritananda as follows:

“Gaṇapatihṛdayā is one-faced, two-armed, exhibits in her two hands the varada and abhaya poses, and shows the dancing attitude”.





"Dance" on these deities is usually Nrrtya. Since this goddess is a Dharani, chances are that means the simple mode is only one form of her. Vinayaki is simple like this. This name is relatively rare but is in the Practice of Mahavidya chapter of Skanda Purana so look closely since here is the Mars look at Ganapati Hrdaya:

O Brahmāṇī, O Māheśvarī, O Vārāhī, O Vināyakī, O Aindrī, O Āgneyī, O Cāmuṇḍā, O Vāruṇī

It is a fairly large pile of invocations, but, that appears somewhat on the unique side. It has something to do about Halahala Shiva and the Vinayaki is from epithets of his counterpart:

O Umā, O Dhruvā (‘fixed one’), O Arundhatī, O Sāvitrī, O Gāyatrī, O Jātavedasī, O Mānastokā

It elusively said Vairocani (Jatavedasi). Uma is Pole Star--Arundhati (Tara)--Secret Sun--Visible Sun, and so on.

O Gaurī, O Gāndhārī, O Mātaṅgī
O Kirātī, O Mātaṅgī,

What is that doing there??





Nothing seems to tell us who Ganapati Hrdaya is, but it is hard not to conclude an elephant-faced Matangi.


Sumukhi is a red-robed and red-paste-coated Matangi who relates at least a little bit to blood.

Yet it is also said that Sumukhi is the consort of Mars and that she is Mayuri.

She has an unusual Yantra:




Dr. Sneh Gangal practices the millenary and spiritual art of painting a yantra in honor of Sumukhi. Worshipped for worldly pleasure, Sumukhi is one of the forms in which the Hindu goddess Kali may present herself. "To attract women and destroy enemies, one should recite her mantra on this yantra," explains Dr. Gangal, who paints the yantra with natural stone colors on ivory paper.

That may be at face value over at the Mandir, but esoterically we would say "women" are dakinis and the other classes.

Sumukhi possibly considers errors as a type of Ucchista offering. She is accepted as tantric Ganesha.

18th cent. Kalighat:





The consort of Lord Ucchiṣṭa Gaṇapati is Hastipiśāci alias Ucchiṣṭa Caṇḍālinī, also called as Sumukhi, the pleasing one--from a post on the topic that without Sumukhi Armor, her mantra does nothing. What kind of Indian speaking anybody would "make up" a name like Hastipisaci? It was a description of Ganapati's hand, but that is a personal name? Are they trying to say Hastini Pisaci?

The Impure substances may be called nectar, the urine and dog meat and so forth. I do not think blood is; it is simply the wisdom of transcendental knowledge as obtained from mundane experience. Both the Peacock and Serpent hold the power to transmute poison into nectar.

The main teaching of nectar is almost certainly with Amritakundalin in the Vajramrita Tantra. It is the Jewel Family tantra, which means Ganapati must be in cahoots with Vajra Surya, although Amritakundalin, and I think all of the deities are really in Akshobya--Vajra Family, and this tantra as a whole is protected by Ekajati. If I had a closer feeling to her I would ask her. I can tell she is there but not especially personal to me at this point.

Ma--Mam Amritakundalin is not too far from Mam--Varuni, who seems to be in his retinue. I guess it is really spelled Varunaa there? I don't see why it would be male Varuna; I don't see him written with the accent mark.

Ganapati dharanis will present the pattern Ga Gana, which could make one word, Gagana, Sky, similarly to how Varuni is never Vam--Vari--Water, because she adds Sky Element.

[Old Student]

From the text at the link for "tantric Ganesha":

52.2. The central message of this myth is to set free the Tantric devotee from the strangling obsession with ‘purity’ which can be dangerous and destructive. Ucchishta Matangini as the embodiment of all that is impure and polluted is the goddess who helps in coming to terms with, and transcends the apparent dualities in the existence. She, in her own manner, emphasizes the importance of inner purity over external cleanliness. Matangi is therefore a great teacher; and powerful and liberating goddess.

54.1. But, basically, Matangi as Mahavidya severs attachment to the limited understanding of the world in terms of ‘pure’ or ‘impure’. She challenges the normally accepted concepts and values in an established social order. She brings into question the very notions of beauty, goodness, honour, respect, decency, cleanliness and physical comfort etc. She instils in the heart of the Sadhaka the faith that all existence is pervaded by the goddess and there is nothing that is outside the goddess; She pervades all; and within her there are no distinctions of ‘pure’ or ‘impure’. She guides the Sadhaka to transcend the artificial – manmade’ demarcations of beauty-ugliness, cleanliness – polluted or pure -profane etc. Her message forms the very core of the Tantra ideology.

This is what I was trying to say about the fact that all these related names -- ucchista, chandali, matangi, etc. are attributes or deities, yes, but they are also part of a description of the very real (to this day) women who relinquish society to practice tantra in the charnel grounds or jungle or impure places. They create a profound shakti tradition by moving themselves beyond the constraints of society, so they are personified in the deities by deities that grant siddhis for doing the same. That's why I thought at least some of it looks like Machig Labdron's Chod.

[shaberon]

Posted by Old Student (here)
This is what I was trying to say about the fact that all these related names -- ucchista, chandali, matangi, etc. are attributes or deities, yes, but they are also part of a description of the very real (to this day) women who relinquish society to practice tantra in the charnel grounds or jungle or impure places. They create a profound shakti tradition by moving themselves beyond the constraints of society, so they are personified in the deities by deities that grant siddhis for doing the same. That's why I thought at least some of it looks like Machig Labdron's Chod.

Yes, these are among the "women" Ganapati should attract.

The power that a usually male Guru is supposed to transmit to his disciple is often called Shaktipat. That is what is within the Parampara or Chain of Transmissions. This, and, certainly hordes of female practitioners are very real, and this is why I think the Seven Cities of India is a major thing.

It is saying that India has the seven chakras, however, the question was raised to Subba Row about taking the practice Death at Kashi literally. And so if like the Horse Head rite, it is symbolic and inner, then that is because it is talking about Prajna of the Heart, and so Kashi is not really the Ajna, it is the Heart. When I took a crack at this, I came up with Mathura as the solar plexus. That was how I found out that Tara's name on a sign there is what subdued the mischievous Gandharva. This story was perhaps the origin of the phrase Ganesvara Vinayaka.

And so when you put together that vital body, with the Shakti Pithas, charnel grounds, rivers, and so on, combined with the fact that the culture is based on pilgrimage, then it is simultaneously true that most of those sacred spots have one or two people who are positioned there somewhat permanently, whereas there are many more who wander, of a highly spiritually realized nature. It is like a guardianship set in place. You have probably seen stories of lone monks inhabiting ruins.

Skanda Purana instead of Hayagriva uses the name Hayasira, i. e., Horse Head.

I am not seeing Sumukhi's picture come up so it is worth looking at the Kalighat collection where she is listed as Matangi. This is a classy set beautiful with Annapurna and even Manasa and a Savitri who resembles the comment about dawn wishing her dead followers were alive.

When we look at the real occult Ganesh, according to HPB, in Egypt, he is Thoth (Sirius) and Anubis (Sirius)--Ring-pass-not.


Marut Gana is pretty close to The Secret Doctrine, from a relatively recent paper that goes on to Mahamrtyunjaya Mantra:

“All objects are interrelated to the indestructible Indra[the lord of Vidhyuta (electro- magneto dynamics)] in the form of Surya / sun. All Pranies/beings of all the Lokas themselves with him (Surya in Antariksh because He as Vishwakarma created every thing while standing MARUTS IN MANDALA 1: --- PRIMORDIAL GALAXIES AND RIVERS OF PLASMA AT CREATION AHI, SHUSHNA AND PANI."

Ahi = Naga.

Marutganas are Rudras who become attendants or servants to Indra.

So the female Vajraraudris are likely this.

Rudra Krama and Mahabala Krama are methods of Ganapati.

Valmiki was a Kirat, the Adi Kavya or Primordial Poet, and the
Marut Ganas in Valmiki Ramayana go this way:

According to mythology there are seven ethereal places in cosmos on which the galaxies and planets are dependent. According to Vishnu Puraana: aavaha pravahava caiva samvahaH ca udvaH ca tathaa | vihaa aakhyaH praivaahaH paraavaha iti kramaat || gaganaH sparshanaH vaayu anilaH ca tathaa aparaH | praaNaH praaNeshvaraH jiiva iti ete sapta maarutaaH || They are: aavaha the air called by this name will be pervading in clouds, thunderbolts, rain, meteors; pravaha air in solar orbit; samhava in lunar orbit; udvaha in galaxies; vivaha in planetary spheres; parivaha in the Seven-Sages sphere; varaavaha in north polar regions. These are otherwise called by names gagana, sparshana, vaayu, anila, praaNa, praaNeshvara, jiiva. Each of the Marut god has a batch of seven Marut-s, thus they are forty-nine entities, in total.

" 'Oh, son Indra, let these seven become the presiding deities of Cosmic Airy Divisions and let my sons move in heaven with heavenly forms... One from the seven may move in Brahma's abode, like that another in the heaven of Indra, and even the third one, let him become a greatly celebrated one and be reputed as Divine Wind, and he may circulate in entire Universe...Oh, Chief of Gods, Indra, indeed, let four of my sons truly permeate in four directions in time, let safety betide you, verily at your command...


It pretty clearly makes a Triangle and a Square.

Marutganas are Vinayaka, who are related to Ganapati, who is Brahmanaspati, Bhrihaspati--Jupiter, and Vachaspati.

Jupiter is the Poet, which is why this is consistent with the development of shakti of Kavya.

From an Adwaita post:

brahmaNAM pati iti brahmaNaspatiH is the vyutpatti. Here, brahma is veda / vAk. brahmaNaspati is the pati (Lord) of veda vAngmaya in the form of chandas. And thus He is also called “kavInAM kaviH”. In brahmaNaspati sUkta, He is extolled as “jyEShTharAjaH”. The term “Brihaspati” is also used for brahmaNaspati because “brihati pati iti brihaspati” and brihati also means vAk. In Indra Sukta, Indra is also extolled as “jyEShTharAjaH”.

Now, agni manifest itself in 3 folds in prithi (bhUh); antarikSha (bhuvaH) and akAsa (suvaH). The Agni in Antariksha is vydutAgni. This is presided by Indra who holds vajra (thunderbolt) in His hands. This aindrAgni tattva (Indra+Agni swarupa) controls marut & vAyu tattvas. These 2 give rise “marut gaNAs” & “vishvEdevatas”. As “gaNa” means cluster, “marut-gaNAs” are “Cluster of Devatas” who are controlled by Indra. Since, Indra presides over “marut-gaNAs”, He is called “gaNa-pati” in other words “marut-gaNa-pati”.

This Indra combining with vAyu tattvas in the antarikSha, splits itself into 11 tattvas and spreads itself in 11 directions (10 directions + 1 at the centre). They become 11 rudrAs (ekAdasa rudrAs).

Now, Agama envisages such an Indra tattva which is non-different from brahmaNaspati to be having of the form of gaja-mukha. The beauty of the tantra lies in “encrypting” the code from “gaja” to “jaga”. If we are to take gaja & jaga to be of similar by jumbling the words, then it is “jaga-mukha”. It’s meaning is that whose face is of Jagat ie., He is Jagat-swarupa. Now, we know that entire Jagat is the by-product of the form of nAda (primordial sound) which is the gross manifestation of parA nAda. The parA nAda originating in mUlAdhAra chakra assumes pashyanti; pashyanti nAda assumes the form of madhyamA; madhyama assumes the form of vaikhari. This vaikhari nAda assumes the form of mAtrika varna mAla with 16 vowels & 34 consonants which is nothing but Creation.

Agama defines this cluster of nAda avasthAs ie., parA, pashyanti, madhyama, vaikhari to be the gaNAs. The tattva that controls these 4 nAda avasthAs at mUlAdhAra chakra is obviously called the “gaNa-pati”. Now, the entire veda sAstra be it, saMhita, brahmaNa or AraNyaka bhAga, it is nothing but cluster of mAtrika varNa mAla or vaikhari nAda. And hence, He is called brahmaNaspati / vAkpati / brihaspati / gaNa-pati...

Among the twin principle of Indra-Agni tattva, Agama recognizes Indra to be Ganapati Tattva and Agni to be Subramanya [Mars] Tattva. That is why, Subramanya is also called “agni-bhUH”. His vAhana is peacock which is called “shikhI” (shikhivAhaM shaDAnanaM..”). Another name for Agni is “shikhi”. Since, Subramanya presides over Agni tattva, He is visualized as alighted over the peacock.


I think it is mostly correct except one might say Indra is Ganapati from "his plane downwards". There is a spiritual or Noumenal Ganapati at least in Buddhism and his Lakshmi Ganesh form which transcends Kama Loka. It was the foetus in Diti's womb being sliced seven times seven times, which is equivalent to Akasha or the plane above Kama Loka. And so they actually are Rudras, although Indra is able to employ them for good or ill.

They are Air or Wind Elementals not as gas but as vital air.

Now we have also said Jupiter is not really even the Human Guru according to Tara and Lakshmi, she is.

Even he is transitional and perhaps is offered to the sun.

He is, however, the most sensitive and ethereal part related to life forces, which again is highly related to the sun. That is what this system is saying. The Mind is a Rider of one's own life force which is solar in origin.

The Akashic plane is that of Manas, which is supposed to marry the plane above itself, Buddhi.

We say that Manas is seated in the Heart, and its kernel will move on to another body after death.

If you looked at Indra in Antariksha which is the second plane, you would question the assertion about Kama Loka. What happens is this.

That version only names the first three worlds of seven from Savitri Gayatri.

The secret to expanding it to seven worlds is that the middle world remains the middle world, and the other two become upper and lower trinities, like a candelabra pattern.

This is the same pattern which underlies the formula in setting the pagan days of the week which are still in use world-wide, and, for what Buddhist tantra specifies about Dissolving the Voids into Primal Light and Emerging in Reverse Order:

((( ! )))

And then from our seven-fold view we would say Indra is in the middle plane which is Kama Loka, which itself is usually attached to the lower three which makes the Square of Fourfold Form.

It is the same when looking at the Buddhist Trailokya, which says Rupa, Arupa, and Kama. The Rupa is the lower trinity, Kama is really the middle or Mirror plane, and then there are three Arupa realms. Because Buddhism is really a practice, it is talking about the transmutation of Skandhas, and so the Arupa has to do with Voids in the Mental or Akashic plane, as a practice or experience. Then perhaps if you are able to view the Prabhasvara or Absolute Object it may mean the Buddhic plane.

This is a first marriage which is to Matangi.

I would say the courtship is maybe not that hard, but, the full deal is astronomical.

My guess is it would span the Reversible Stages of the Path, i. e., the first Seven Bhumis.

To me, that is easy, because I can append Seven Bhumis on Janguli, and Janguli is Matangi. Because of this, it means Sumukhi and Vinayaki as well. Diverse operating environment.

Being that Ganapati is also a pre-eminent tantric Smoke deity, which has to do with Amoghasiddhi, Air, and Tara, this also works very easily. In Sadanga Yoga it is the Sixth Stage that of Samadhi. It is almost precisely the ability to attain Vajraraudris that would convert this into the real practical seven-fold system of Seven Syllable deity.

That is why in my opinion I would never pick up the available material on this and try to use it.

The Matangi and other resources available without it could take the remainder of a lifetime.

If done properly I am certain the door is open at Forest of Turquoise Leaves. It is like having a lifetime plan with something to do afterwards. I hope this makes the purpose of Mahattari Saptanuttara evident. Success in that rite obtains Sri or Lakshmi in a Green Tara appearance. She is Venus or the Human Guru who is even more important than Ganapati.

She is Vasumati Mahalakshmi, who unveils the entire Dharmadhatu Vagishvara mandala, because she and her series of Dharanis are the only unique thing in it. Almost everything else is a stock character, ingredients of the Dharmadhatu and Cosmos. It is like she is the commander of everything. Tantric Lakshmi or Kamala is bathed by Elephants such as Ganapati might provide.

I moved the Ganesh icon and I have never thought about using a male deity much, but, if he serves as a type of Avalokiteshvara, then I would be able to find a more personal connection to something I have mainly had to treat as a "holy name". And so in Kagyu we are saying it all the time and so I have the Bhava that would make it work. And then if he is the main, original root of Ten Wrathful Ones, it has a potential application anywhere.

To me, it has a very "can work with" feel, unlike an Ista Devata such as Janguli who can hold all the wisdom I can conceive of seeing these days, like "can never get enough of". What I would be doing is using Matangi in lieu of Janguli's six arm form. Or, more likely, a few Matangis along with Green Janguli. It seems like White Janguli may be designed as a Matangi Completion Stage.

Where one source maintains Red Matangi is Mayuri, it has seemed to me that Buddhism makes the case that Maha Mayuri of our dharani is not a type of default name-copied shakti of Mars but is more like Kumari which fans his heat. Mars is "potential or actual inner heat", as symbolized by charcoal--man in his grosser nature--or by glowing coal. This is what we think is related to Pandara or a white-robed one who becomes red by degrees of approach to her consort and the axis of Divine Desire versus ordinary desire.

Janguli is one of the few holders of a Peacock Plume which is as if to say she has a little Mayuri in her anyway.

The next-closest thing than Ganapati to the Marutgana is Garuda. That is why it is among the most beneficial creatures, it can do this and get a drop of Amrita.

If a person has mental problems or is insane, that is the Marutgana all screwed up driving it like a machine, what is left of the mind is tossed turbulently through a clash of winds. It can cause several kinds of illness which in Tibetan is called Lung which means wind disease of the heart which leads to total insanity or even death, so, the Lung Ta or Windhorse Ceremony is knocking this back into shape. If you look at all those prayer flags and then look at this Marutgana is a way to understand the compassionate wisdom which is protected in these lands.

Are Air Elementals dangerous? Yes, very! Worst ones!

But on the other hand, like the Pisaci, they could become the best ones. How would you ever come to know Bliss in your subtle body without taming some of them? Is not any kind of tantra some elaborated synthesis of them?

I could grab a pair of scissors and cut out my eyes, puncture my ear drums, cut off my tongue, and so forth, and that is not going to affect the Marutgana very much. One tiny little air bubble in the brain does. So will cadmium in your ulcers and other hazardous substances. A whole bunch of things will, and, we are training to prevent that. Ganapati is removing obstacles to the proper performance of this host.

[shaberon]

It is probably impossible to be exhaustively definitive of Ganapati, but, it is easy to be strongly suggestive of his most important characteristics that are informative towards Buddhist metaphysics and sadhanas.

According to Karnataka's Rich Heritage, Ganapati won his two wives by defeating his brother Skanda in a race. It was apparently a race around all the worlds, and Ganapati simply circumambulated his parents and declared it to be equal.

Ok, one might not dispute that Ganapati is first/fastest, since he is first in almost any sadhana that is not even about him. He also has a fat form, which says:

Aum Lambodaraya Namah This mantra means that all the celestial bodies are within an individual. Aum represents the sound of creation and the entire universe is comprised inside it.

Aside from largeness, he also is part of Brihaspati--Jupiter; Pratyangira is from the Jupiter line--and although Manjushri "is" Mars, he is Jupiter as well.

We have observed that in classifications of anything more than six Families, the symbolism gets a little murky. The history of Matrikas is consistent up to six; the seventh is often Chamunda--Charchika or Chandi, the eighth may be Pratyangira or Mahalakshmi, and the ninth is Vinayaki. When Vinayaki is added, Narasimhi--Pratyangira is removed. So they are perhaps close to the same if both are Jupiter emanations.

There is only one classification of nine Matrikas, which is Devi Mahatmya. But Nepal also has a type of Buddhist nine families.

Since the Buddha Families are the Winds, as deities they are like the Noumenal aspect of Marutganas. That is why these are almost the same subject.

Nepal's Nine Buddha Families includes Pratyangira, but not Vinayaki. In Buddhism, Pratyangira is a special form of Parasol; so is Aparajita. There is probably nothing that will ever say Pratyangira "is" Vinayaki, since they have different backgrounds and different heads. But they are both a part of Jupiter shakti, and then if both are a form of Parasol, they are not the ultimate one.

Jupiter is Rta, which is natural law, which is not Dharma, which is personal and social law.

That is why I think it would be insane to suggest we are "destroying" Jupiter by perhaps merely knocking him off a too-tall soapbox. If anything, we are destroying his exoteric--ritualized--institutional dominance, like saying a Tirtha is limited to the most outer ritualistic forms of tantra without being able to really "get it".


It is perhaps rather strange that Manjushri functions as two planets originally represented by occult prodigal brothers, but, it appears to follow the same pattern as just described.


A brief Namasangiti article that chronicles Manjushri's "Hindu absorptions" says that originally he was like a Gandharva Manjughosha, and his second role was then Brihaspati as a tenth-stage Bodhisattva. Thirdly, in Manjushri Mulakalpa, he absorbs Mars to perform Buddha deeds in the world, and finally in Namasangiti he functions as Adi Buddha.

From an unspecified commentary, it mentions that Pratyangira will protect reciters of Namasangiti:

sarva-vighna-vinAyaka-mArAri-mahApratya~NgirA-mahAparAjitA sa-rAtriM-divaM pratikShaNaM sarveryApatheShu rakShAvaraNa-guptiM kariShyanti |


In a brief Manjushri Name Song, his Rsi or Sage nature is related to Vinayaka, then as Soma he is related to Brihaspati, and then as Naga Raja Ananta, he is the general of the ranks of Mars:

ṛṣistvaṃ puṇyaḥ śreṣṭhaśca jyeṣṭho jātismarastathā |

vināyako vinetā ca jinaputro jinātmajaḥ || 9 ||

bhānuḥ sahasraraśmimastvaṃ somastvaṃ ca bṛhaspatiḥ |

dhanado varuṇaścaiva tvaṃ viṣṇustvaṃ maheśvaraḥ || 10 ||

ananto nāgarājastvaṃ skandaḥ senāpatistathā |

vemacitrāsurendrastvaṃ bhaumaḥ śukro budhastathā || 11 ||


Even if I can't fully read it, there are two distinct lines for Soma--Jupiter, and Ananta--Mars.

It seems that Jupiter is "almost but not quite" the door of full enlightenment, whereas Mars is, probably, above this, which would then make sense seeing as Ananta is not really usually...I mean outside of tantra, I don't think they care for him...but when we think of him as something infinite with Varuni for his shakti, and this is influential to Mars or inner heat, then this at least seems consistent with saying Mars is a much more occult planet than Jupiter. Varuni "is" the Soma that may have been used in the previous Jupiter line, but, of course, this begins from a drop or taste and is supposed to increase to something like a lord of infinite timeless armies, which is more evident in the next line.


In a much larger Advaya Paramartha Namasangiti:

gaṇamukhyo gaṇācāryo gaṇeśo gaṇapatirvaśī|

mahānubhāvo dhaureyo'nanyaneyo mahānayaḥ||49||


This one has 162 verses emphasizing Maya Jala. Shortly before this verse is a rather strange Nairatmyasimhanimadi, which sounds like some kind of Lion Nairatma. I am not sure if this scripture "is" Namasangiti or if it is something like a line-by-line commentary that explains the non-duality of it. It carries the theme like the confusing "Kulakula" of Kubjika Tantra, which is really Kula Akula, in guises such as Lokaloka:

lokalokottarakulaṃ lokālokakulaṃ mahat|

mahāmudrākulaṃ cāgryaṃ mahoṣṇīṣakulaṃ mahat||24|


In fact the whole thing begins with Vajradhara as the family of conquering the three worlds:

atha vajradharaḥ śrīmān durdāntadamakaḥ paraḥ|

trilokavijayī vīro guhyarāṭ kuliśeśvaraḥ||1||


I am out of time, but, a few lines about Manjushri does seem to gather and arrange a few volumes' worth of Puranic and tantric material.

[Old Student]

And so when you put together that vital body, with the Shakti Pithas, charnel grounds, rivers, and so on, combined with the fact that the culture is based on pilgrimage, then it is simultaneously true that most of those sacred spots have one or two people who are positioned there somewhat permanently, whereas there are many more who wander, of a highly spiritually realized nature. It is like a guardianship set in place. You have probably seen stories of lone monks inhabiting ruins.

Which is true, at least from the point of view of my shaking, on the inside, as well.

It is the same when looking at the Buddhist Trailokya, which says Rupa, Arupa, and Kama. The Rupa is the lower trinity, Kama is really the middle or Mirror plane, and then there are three Arupa realms. Because Buddhism is really a practice, it is talking about the transmutation of Skandhas, and so the Arupa has to do with Voids in the Mental or Akashic plane, as a practice or experience. Then perhaps if you are able to view the Prabhasvara or Absolute Object it may mean the Buddhic plane.

Ronald Davidson (I will quote him on the next response) characterized the Triloka as the underworld of Mahadeva, the surface world of Vishnu, and the world high above this one of Brahma. He sees something anti-brahminical in titles and characterizations of being the conqueror of the three worlds Triloka.

If a person has mental problems or is insane, that is the Marutgana all screwed up driving it like a machine, what is left of the mind is tossed turbulently through a clash of winds. It can cause several kinds of illness which in Tibetan is called Lung which means wind disease of the heart which leads to total insanity or even death, so, the Lung Ta or Windhorse Ceremony is knocking this back into shape. If you look at all those prayer flags and then look at this Marutgana is a way to understand the compassionate wisdom which is protected in these lands.

One source I was looking in said that this is what Ganesh actually does, is he is the leader of the Gana (i.e. Gana pati).

[Old Student]

In a much larger Advaya Paramartha Namasangiti:

gaṇamukhyo gaṇācāryo gaṇeśo gaṇapatirvaśī|

mahānubhāvo dhaureyo'nanyaneyo mahānayaḥ||49||

I found a translation of this by Ronald Davidson here. It's Scribd so your mileage may vary on being able to read it, for some reason they didn't preview it to me and I was able to read the whole thing.

In fact the whole thing begins with Vajradhara as the family of conquering the three worlds:

atha vajradharaḥ śrīmān durdāntadamakaḥ paraḥ|

trilokavijayī vīro guhyarāṭ kuliśeśvaraḥ||1||

According to Davidson, while this is unusual, he thinks that here Manjushri is being portrayed as having Vajradhara as an emanation.

Now the glorious Vajradhara, superb in taming those difficult to tame, being victorious over the triple world, a hero, an esoteric ruler, a lord with his weapon.

Is how Ronald Davidson translated this.

The big problem is translating the last two words: guhyarat kulisheshvarah, which as you can see he translates as "an esoteric ruler, a lord with his weapon."

Anthony Tribe, Tantric Buddhist Practice of India
“It is likely that J contains the reading of **, which progressively corrupted to guhyaiva and guhyaiva. The reading of *** guhya, could perhaps give some sense (as corrupt locative, rule over though (root) raj usually takes the genitive in this sense), but then va supported by Tib would have to be supplied. Also *** is easier to explain as a contraction than ** as an expansion. Tib’s gsang ba pa implies a reading of guhyaka: it translates as, a particle taken by the verb rgyal ba, it is hard to interpret ti as supporting any particular reading in the Sanskrit, though it could be taken as indicating the Ablative. In terms of sense guhyair va rajata iti guhyarat is plausible: “Alternatively “guhyarat” may be analysed as “one who reigns because fo the [five] secrets” To take raj in the sense of to shine or to be illustrious is also possible: “Alternatively “guhyarat” may be analyzed as “one who is radiant because of the secrets”. Neither the immediate nor the broader context, however, suggests that this is how it should be taken."

I take it that numerous people through the ages have wondered about the "rat" ending for guhyarat, and there is also one interpretation that kuliseshvarh is lord of lightning. I did find one transliteration of this which ended in an "i" which I think is probably wrong but would mean "queen of lightning" instead. Taken as a separate word, and in conjunction with guhya, rat could mean a woman's vagina, or it could mean a secret place (or, I guess, both).

Sorry for being late with these, I had a lot of cooking to do last night.

[shaberon]

Interesting.

Viras or Heroes are the esoteric counterparts of the dakinis, etc., so it is not simply "heroic" since the concept originates in Hero's March or Shurungama Samadhi and goes on from there.

"Guhyarat" looked weird but this version is Nepali Sanskrit, such as "Vajradharah" is not how it is usually spelled.

Kula Sesha Ishvara?

Naga appears to be the seventh family in one of the few places it is possibly named.

Or, Kulisesvarah looked to me like related to multiple Kulas.

Kulisa is possibly Indra's Thunderbolt.

Kuliseshvari is one of Mahakala's special retinue of seven goddesses where he tramples the corpse of Vajrabhairava.

I would guess it refers to "Vajra" although perhaps emphasizing some particular aspect, such as Indra Tattva.

It struck me that Agni Tattva is designated as the superior to it, and this is related to Mars. By using Occult Color, inverting the spectrum placed Red at the apex thus making Mars the highest or most occult planet. If the previous Indra Tattva is perhaps more Jupiterian, this would be consistent with Ganesh as a not-quite-final destination, superceded by Agni.


It occured to me that Gah! is an onomatapeia for Frustrated.

I believe Marutgana is something that in most beings goes relatively un-noticed, unless it becomes malevolent, or is cultivated by Yoga.

But I haven't even spoken to Ganesh or Ganapati but I didn't have to because whatever it is, is already working. It may evoke Ucchista Candali yogini into someone more or less without their knowledge. Something like we have entered the Elephant caste. I say this partially due to its beneficience with the Sound and also in this case, light, meaning auric light, which, seems to me, simultaneously, able to emit a Phana or serpent hood.

So it is like bringing Ganapati and Matangi at the same time on two people. It came from the Flower Arrow.

Matangi has a few mantras that do not use Aim and one is her Sumuki mantra which ends with an unusual "Thah". It is from the same "Tha" syllable as Tatha, Tathata, Tathagata, or Hatha. As a Bija or seed syllable, Thah is a Vahni Jaya which means it is an alternate fire offering than Svaha. Also, Tham Thah is for Candika. This is the same syllable information as in a perhaps easier-to-see table.

om ucchiṣṭacāṇḍalini sumuki devi mahāpiśācini hrīṁ ṭhaḥ ṭhaḥ ṭhaḥ


I saw it would do nothing without the Armor a few days ago, but, I am not sure, I got something from just thinking about it.

Ganapati is Hastipisaci, so it is reciprocal, he would appreciate a Pisaci Matangi such as this one. She cannot fail at being Vinayaki or Ganapati Hrdaya at times, and part of Janguli. The entire sadhana with Nyasa and Mudras for Sumukhi Matangi is described.







Sosika of Garuda Purana refutes the need of Nyasa and uses five forms of Matangi.

In that ucchista in simple terms refers to "having touched the lips", it refers to the disciple becoming able to speak words of higher power.

"Mātangi is often depicted with a parrot. In this form the parrot represents the student who is trying to mimic and copy the words of the guru, which are spoken by Mātangi.

Her words are that of the highest truth and she bestows the gift of unfailing speech and truthfulness to the sadhaka. She does this specifically in the forms of Mātangi, Karṇa-matangi and Ucchiṣṭa chandali, but generally this applies to every aspect of her form. This may be necessary in some contexts to take others out of untruth and lead people towards a greater ideal, and due to this she is associated with vaśikaraṇa or the ability to attract, persuade and control the minds of others. She takes on this role in her forms as Sumukhi-matangi, Raja-matangi and Vaishya-matangi. Especially Raja-matangi finds a particularly exhaustive depiction in the merutantra which finds traits of all forms of Matangi within her."



Yes, if untrained, the Gana may become a swarm of locusts, I can understand why it should be destined to marry Buddhi as a result of skill.

I can see why the Vajraraudris are probably "this" or probably are the Marutgana.

The Ears (Karna) of an Elephant must be involved with this.

This is bizarre but it may work.

[Old Student]

Interesting.

Viras or Heroes are the esoteric counterparts of the dakinis, etc., so it is not simply "heroic" since the concept originates in Hero's March or Shurungama Samadhi and goes on from there.

"Guhyarat" looked weird but this version is Nepali Sanskrit, such as "Vajradharah" is not how it is usually spelled.

Kula Sesha Ishvara?

Naga appears to be the seventh family in one of the few places it is possibly named.

Or, Kulisesvarah looked to me like related to multiple Kulas.

Kulisa is possibly Indra's Thunderbolt.

Kuliseshvari is one of Mahakala's special retinue of seven goddesses where he tramples the corpse of Vajrabhairava.

I would guess it refers to "Vajra" although perhaps emphasizing some particular aspect, such as Indra Tattva.

I dug up some more things:

A guy named Charles Dickerson did notes on a translation, he has:

Translation

Chapter I

And whatever action one performs, [if it is done] for the sake of the benefit of living beings, motivated by the Buddha's teaching, one will obtain much merit. King of secrets {guhya^rat} means king of those five secrets.36 Alternatively 'guhyarat' may be analysed as 'one who reigns because of the [five] secrets' {guhya^rat}. 37 He, [that is, Vajradhara,] is [also described as] the lord of the thunderbolt, namely, [the lord of] the vajra {kulisa^iSvarah}. With each [epithet so far discussed] should be construed the verb [of the sentence of the first six verses of the Namasamgiti which is structured as follows]: 'Vajradhara, the Fortunate One, [...] standing in front [of £akyamuni], joined his palms in respectful salutation and said the following', [what he said] being stated later [in verses 7-15]. [With eyes like an opened white lotus, with a face like a fullblown lotus, throwing the best of vajras upwards with his hand again and again ... (2)] [In the word] 'vibuddhafpundarikaksah]', 'pundarika' means 'white lotus' (sVetapadmam), 'vibuddha' means 'opened' (vikasitam), [and] 'aksi' means 'eye' (caksuh). He, [that is, Vajradhara,] is described as one with eyes (aksini > locane) that are like an opened white lotus: this is the [grammatical] analysis {vibuddhaundarikam} {vibuddhapundarikaiaksah}. He is also described as one with a face (ananam > mukham) like a full-

36Wayman (1973, 37-8) cites a verse from the $ri-Paramadya Tantra that refers to five secrets: "The great weapon of the great lord who has the supreme success (siddhi) that is great, is said to be the five-pronged thunderbolt which is the great reality of the five secrets." Anandagarbha identifies these in his commentary, the Sriparamadyatlka. Wayman lists these: "(1) the bodhicitta, (2) understanding it, (3) its realisation, (4) its non-abandonment, and (5) the knowledge characterised by attainment." 37The term guhyarat is first glossed as meaning that Vajradhara is king, that is master of, the five secrets. The second gloss contrasts with this, saying he is king (over something else) as a result of the five secrets, ie. they are what give him his power. In this case -rat is being analysed etymologically, from the root Jraj, 'to reign'.

So the impetus to translate it as if it were a misspelling for "guhyaraj+ending" comes from this. I would mention that something you yourself put up on Serpent, Black Sun, HPB & St. Germain gives a better clue: From the namasangiti for Vasudhara, you have (and one other source says the lines are very old),

Arya Sri Vasudharaya Namastottarasata
Nama Srivasudharayai
(homage to the glorious vasudhara)
[…]
brahmani vedamata ca guhyarat guhyavasini
sarasvati visalaksi caturbrahmaviharini

belonging to the Brahman caste, the mother of the Veda scriptures, the goddess of speech, large-eyed, practicing the four sublime states,...

As you can see, the translation you quoted there completely elides over translating the phrase, "guhyarat guhyavasini" which there occurs as an epithet for Sri Vasudhara. One other source gives the term "guhyara" as "secret wisdom". Making the "t" an ending which I guess makes it ablative, by for or from, this phrase is "from secret wisdom clothed in secrecy." And it makes it a reference to Vasudhara.

Viro guhyarat kuliseshvarah could then be the lightning lord, hero of (as you say daka consort of) guhyarat, possibly Vasudhara. This all "doesn't work out" for Manjushri, but Davidson was saying that many of the references in the namasangiti do not, and he believes them to be descriptive rather than specifically literal -- he says normally Manjushri isn't given the status of being Vajradhara for instance. He mentions elsewhere where it references Vajravala and doesn't mean the deity of that name, but rather describes Manjushri as being a being of lightning. On the surface, this interpretation might be construed as saying that Manjushri --> Vajradhara consort with Vasudhara etc.

At any rate, there appear to be more instances of guhyarat without so much consternation, when being a "wisdom" is not an issue.

Sosika of Garuda Purana refutes the need of Nyasa and uses five forms of Matangi.

Nice, and also ties her in to Lalita and to Tripura-Sundari. Nicely done!

Her words are that of the highest truth and she bestows the gift of unfailing speech and truthfulness to the sadhaka. She does this specifically in the forms of Mātangi, Karṇa-matangi and Ucchiṣṭa chandali, but generally this applies to every aspect of her form. This may be necessary in some contexts to take others out of untruth and lead people towards a greater ideal, and due to this she is associated with vaśikaraṇa or the ability to attract, persuade and control the minds of others. She takes on this role in her forms as Sumukhi-matangi, Raja-matangi and Vaishya-matangi. Especially Raja-matangi finds a particularly exhaustive depiction in the merutantra which finds traits of all forms of Matangi within her."

Large parts of this are almost identical to some descriptions of Kurukulla's powers.

I had another thought which does not have to be remotely right, because there is a huge time separating the two: Ushas is the dawn. She spins by day and weaves by night to throw her colored cloth over the sky to make the dawn colors, walks with her sister Ratri through the early dawn when there is color and darkness. Then she expresses the first light from her breasts.

Nearly a thousand years later, the first light of dawn is Marichi. In some sense, she becomes almost Ushas' daughter, expressed from her breast.

And you had the article from Megissen who said she unravels something to threads. I wonder if she unravels the cloak that Ushas spreads to create the dawn?

[shaberon]

Most of the Vasudhara stuff is Nepali, and, I think it all comes through the same hands, which is a group in Nepal in conjunction with New Nalanda University. It all uses approximately the same linguistics. Other Nepalese sources drift into oddball spellings like Vajjadayya.

I had not noticed her epithet was skipped. Guhya Vasini = Dwells in Secrets, that is a complete name on its own.

I might think Guhyarat = Guhyaraj, since, Vadiraj Manjushri is often spelled Vadirat, in the Nepali conventions.

And so yes, I suppose it is a twist on Vasudhara, if you knew her as a wealth or harvest goddess then suddenly dharanis show up describing her as something esoteric, which could be a surprise.

Same for Manjushri; different exegetical traditions portray him either identical to, or different from, Adi Buddha. I am not sure. I can accept that Swayambhu is Adi Buddha and that it is difficult to anybody to penetrate its inmost layers. Vajradhara is the way that it teaches tantra.

Wayman's Vajra explanation is about the same as that for Paramadya Vajrasattva and his four goddesses. Holding the Vajra is certainly something that may be described early, but is the stage of a Tenth-level Bodhisattva.


I have seen a comment that suggests the Shavara hill people are really the Svara musical notes.

These raucous Ucchista deities related to Sound also seem to indicate hearing.

Considering Elephant Ears, I am not sure why Kundali or Kundalin is not given as "having earrings".

Frequently, Kundali or Kundalin is recorded in Tibetan as "Coil". Tibetan Deities says "Circle". Either is correct, and also:

1) Kuṇḍalī (कुण्डली):—Another name for Amṛtā (Tinospora cordifolia), a species of medicinal plant and used in the treatment of fever (jvara), as described in the Jvaracikitsā (or “the treatment of fever”) which is part of the 7th-century Mādhavacikitsā, a Sanskrit classical work on Āyurveda.

Earrings, per se, are the jewelry of Amitabha. And so this has to do with binding and closing the "ears door" so that prana does not leave that way. The Amritakundalin deity has them, but, not in any special way, just as part of the standard set. The only unusual things about him is that one of his items is a Pestle and he tramples Ganesh, likely by way of destroying him, but the copy is too fuzzy for me to see what the original phrase was. His Guhyasamaja version is "green or black", wears the Naga Kings as jewelry, and has an unusual Six Places--five in the head, and his belly. This does the awkward thing of placing Gam syllable on his tongue, which sounds like Ganapati, but these really match Six Bodhisattvas. It is the Jnanapada version, i. e., same teacher as with Guhyasamaja Manjuvajra.

The mantra is probably Jivitanta [end of life] Karaya [cause].

So that is rather ferocious towards original Ganapati. But I think it does have meaning towards destroying the default/uncontrolled Hosts, and/or eliminating some of the Brahmanical portrayals of the deity. Amritakundalin is simply swiping another name of Ganapati's, Vighnantaka. This name is common in NSP, at the end of the regular group Yamantaka, Prajnataka, Padmataka, Vighnantaka, so it is a normally Amoghasiddhi deity in the retinue, which is shown as Vajra Family in his personal practices.

Pukkasi shows up in Yogambara--Jnanadakini 14 in NSP. In her directional group is Ganesvara. Pukkasi is also standard among the Gauris in this book. The NSP includes Samputa, which is the only tantra where Vajraraudris are found; at first, they look like they might be a re-iteration of Gauris, but then the last two are Shabdavajra and Prithvivajra, Sound Object and Earth Element, and so it is just sticking in two arbitrary things that normally don't go together. Except there should be some kind of a scheme, some reason for that. The Vajraraudris have Vajradakini in Jewel Family in the Agni direction, so yes, that appears similar to Jnanadakini using Vajradakini as her Flaming Crown. Vajradakini is the first deity with solo Jnanadakini 6--but the third for Nairatma. She is first for Yogambara--Jnanadakini, in Tathagata Family, mounted on an Elephant in Lalita posture. That would render her white, and so, probably rather Indra-esque here.

Vajrasaumya is the northern deity of the Vajraraudris; and Saumya is the first deity for Vajramrita 7.

3) Saumyā (सौम्या) is also the name of a Yakṣiṇī mentioned as attending the teachings in the 6th century Mañjuśrīmūlakalpa.

Vajrasaumya appears to be the Moon in Sarvadurgati Parishodana; Vajravinayaka is present; the sun is Vajrakundali with Vajramrita. The second name is plainly intended as Shakti of the Sun. The shakti of male Vajramrita is not named, but has the unusual seed syllable Ghri ("to sprinkle", generally). In Humkara 11, Amritakundalin is renamed Vajrakundali.

That may be why I thought Ganesh goes to the sun. He is or is an ingredient of Amritakundalin, who is "renamed" Vajrakundali, a name whose only other existence is the male half of the sun in Sarvadurgati. This type of change arguably revolves around Humkara or Trailokyavijaya. Humkara is another deity in Vajramrita Tantra. Himalayan Art says they are Amrita Humkara, Amrita Krodha and Amrita Kundalin (Amritakundali), as described in the Abhidhana Tantra; Vajra Humkara, Vajra Heruka, and Amritakundalin are the names in Tibetan Deities or IWS. Obviously if there is a "soft shift" from Amrita to Vajra in their names, then, Amritakundalin is equivalent to Vajrakundali.

Vajramrita mandala has Gananayaka as its final gatekeeper.

These moves are sneaky but should always suggest some type of change. Citrasena as a retinue member is in Vajra Family, but, as a consort, it is Maha Vairocana. Jnanadakini as a consort can be "either" Akshobya or Vairocana Family.

[Old Student]

I had not noticed her epithet was skipped. Guhya Vasini = Dwells in Secrets, that is a complete name on its own.

I might think Guhyarat = Guhyaraj, since, Vadiraj Manjushri is often spelled Vadirat, in the Nepali conventions.

And so yes, I suppose it is a twist on Vasudhara, if you knew her as a wealth or harvest goddess then suddenly dharanis show up describing her as something esoteric, which could be a surprise.

Same for Manjushri; different exegetical traditions portray him either identical to, or different from, Adi Buddha. I am not sure. I can accept that Swayambhu is Adi Buddha and that it is difficult to anybody to penetrate its inmost layers. Vajradhara is the way that it teaches tantra.

Wayman's Vajra explanation is about the same as that for Paramadya Vajrasattva and his four goddesses. Holding the Vajra is certainly something that may be described early, but is the stage of a Tenth-level Bodhisattva.

Among others, Niguma is said to have been able to receive teachings directly from Vajradhara, which seems to mean she could arise as Vajradhara, as could Sukhasiddhi.

Vajrasaumya appears to be the Moon in Sarvadurgati Parishodana; Vajravinayaka is present; the sun is Vajrakundali with Vajramrita. The second name is plainly intended as Shakti of the Sun. The shakti of male Vajramrita is not named, but has the unusual seed syllable Ghri ("to sprinkle", generally). In Humkara 11, Amritakundalin is renamed Vajrakundali.

That may be why I thought Ganesh goes to the sun. He is or is an ingredient of Amritakundalin, who is "renamed" Vajrakundali, a name whose only other existence is the male half of the sun in Sarvadurgati. This type of change arguably revolves around Humkara or Trailokyavijaya. Humkara is another deity in Vajramrita Tantra. Himalayan Art says they are Amrita Humkara, Amrita Krodha and Amrita Kundalin (Amritakundali), as described in the Abhidhana Tantra; Vajra Humkara, Vajra Heruka, and Amritakundalin are the names in Tibetan Deities or IWS. Obviously if there is a "soft shift" from Amrita to Vajra in their names, then, Amritakundalin is equivalent to Vajrakundali.

Two thoughts: First, "Shakti of the sun"? This seems like something that would have a lot of history, given that there is a lot from an early time about the sun, and he stays prominent throughout.

Second, does the "soft shift" from Amrita to Vajra seem at all related to the shift at some point to add "Vajra" to various names when bringing the deities into the Vajrayana pantheon?

[shaberon]

Posted by Old Student (here)
Among others, Niguma is said to have been able to receive teachings directly from Vajradhara, which seems to mean she could arise as Vajradhara, as could Sukhasiddhi.

Yes, they would.

They would also likely say Jnanadakini.

Any of them have a Tri-kaya which probably involves Wrathful Simhamukha, whereas Samding Dorje Phagmo is Vajravarahi.

The latter is what I would describe as the most powerful intact Tulku.

With the Jnanadakinis, I am not sure how they are said to remain in manifestation. So, I have to switch it around, and say, it perhaps is in any yogini.

To arise as Vajradhara would equivalently mean she has become Guru.

She has a Dharmakaya, and if you really see it, that means you only see things involved with it. Vajradhara is the teaching form of the Dharmakaya itself.

Two thoughts: First, "Shakti of the sun"? This seems like something that would have a lot of history, given that there is a lot from an early time about the sun, and he stays prominent throughout.

Second, does the "soft shift" from Amrita to Vajra seem at all related to the shift at some point to add "Vajra" to various names when bringing the deities into the Vajrayana pantheon?

Maybe, The Art site is not saying whether the "Vajra" style of names is from Bari Gyatsa or what transmission. So I am not sure what may have changed that. Humkara 11 in NSP is a mandala which specifically re-names the Ten Wrathful Ones. And for example, Prajnataka becomes Analarka, so, it is not a simple "Vajra" prefix like Vajrasekhara does.

That is why Humkara seems like a Chrysalis for these wrathfuls. You could say that without Trailokyavijaya, one has an older/more generic set, and, with Trailokyavijaya, i. e. state of an Anangamin, then you get the new names. In that case it might make sense that you were in commune with the esoteric sun deity.

Well, in Buddhism, that is Vajra Surya which is the older name of Ratnasambhava from Dakini Jala.

Sun--Surya as described in Sarvadurgati Parishodana is certainly some kind of secret sun which appears to have an encoded Ganesh as the male seed, and, Vajramrita as shakti. In Karmamudra, Vajrasurya has much to do with the male member, and, in Vilasini Tantra, it uses a Jewel Family Dharmadhatu Ishvari.

However, Vajramrita does not come up as a yogini in Dakarnava or anywhere. It is the name of a male deity for whom we do not have the full scripture, but, the little that is available says:

Chapter 7 starts with a praise of Vajrāmṛta sung by Māmakī, who is still involved in the love play with him, while joining her hollowed palms in reverence. This song contains a description of Vajrāmṛta, who is defined as a hero encircled by other heroes, who is joined by the group of Mudrās; he emits a sound similar to that of kokilas and bees, he is goodlooking, and he experiences the pleasure of love; he is omniscient and friendly towards all beings; his body hair is bristled; and he makes love to the 24 Great Wisdoms (Tārā, Vitārā, etc.) in all three spheres of existence.

The praise ends with two Apabhraṃśa stanzas, which read: “You, dark like a petal of a blue waterlily, are the Tathāgata, the Vajra-holder. Oh Pleasure of Sexual Delight, love me! By means of that you accomplish [your] duty in the three worlds. You are empty, pure, the supreme stage, the unchanging Vajra, beginningless. The living being—either moving or unmoving—who meditates on you, how can he be born again in the saṃsāra?”.


Well then I know that Mamaki will help me get through it and I am comfortable with that since I am thinking of Mam--Mamaki as her progenitor, Varuni.

This tantra is considered "advanced visualization", which if I remember rightly, has the dakinis come from the edge onto the petals.

It doesn't quite say that Mamaki is female Vajramrita. It has the unusual "Ghri", which, in its general meaning , is very close to Varuni, since she has a mystery mudra, part of which is considered to be flicking nectar on the devotee.

It seems to me this tantra is a "shift" from Varuni to Mamaki, since Mamaki has other rites. She personally is something like an Offering from Jewel Family into Vajra Family as a "revolving consort". This Vajramrita or Jewel Family Tantra has most, if not all, Vajra Family deities. One of them is Humkara, who personally focuses one rite, which perhaps is what is meant by Mahabala Krama.

Since Vajra Family has a lot more Completion Stage practice, it seems to be seeking a Mahabala Krama or i. e. control of the Ten Wrathful Ones, along with this type of Elephantine Fountain of Youth or Amrita as harnessed by Vajramrita.

In perusing the scriptures, it does say something to the effect of Ganapati being slain and stuffed into the sun, if these names are related. It must be. It is in the Sarvadurgati.

I am not sure it says this in Agni Homa or anything about his marriages.

The Sarvadurgati refers to a male Vajramrita twice in sections about Vajra Abhiseka:

samayābhirakṣāt
siddhiḥ siddhaṃ vajrāmṛtodakam||

However it does mention Vajramrita once, with its only references to Vajrakundali [Ganapati]:

vajrakuṇḍalī
krodhaś ca rathārūḍho dakṣiṇakareṇa sapadmena

vajradharo
vāmena sapadmenādityamaṇḍaladharo raktavarṇaḥ|

vajrāmṛtā
vajrakuṇḍalikrodhavad eva|

vajraprabhakrodhaḥ
sitavarṇo haṃsārūḍho dakṣiṇakareṇa vajradhārī

vāmena
padmacandradharaḥ|

It seems to say Vajra Prabha (Light) enters a White Swan Chariot.

The only particularly evident use of Surya is at the heart of Bhrkuti and Wrathful Bhrkuti.

It uses a white and dark Ganapati, and he also appears in a series of Mudraganas, which seem to apply to the Sangha and are also given by Vidyarajas, Krodhas, Duta, and Matrikas.

Amrita comes up a few ways:

amṛtakalaśaṃ
saṃdhārya mukuṭaṃ ratnapāṇinā||



or shortly after Trilokyavijaya:

oṃ ratne
ratna ityādimantreṇa kṣalayet sarvagandhataḥ|

oṃ
amoghāvaraṇetyādimantreṇa kṣalayet kṣīragāvitaḥ|

oṃ amṛte
amṛta ityādimantreṇa kṣālayet madyam uttamam|

In both it is amicably close to Ratna.

There is a Vajrayus and Vajrayur, i. e., Ayus, Life, which sounds consistent with Namasangiti in providing an "introductory" Paramita called Ratna whoe Discipline or Mastery is Ayus; after this one is:

varadaś ca| amṛtam kṣarantam|



Right before a kalasa initiation, it says to use Amritakundali mantra:

kulatrayeṣu
sāmānyaḥ krodho hy amṛtakuṇḍaliḥ||

sarvavighnavināśāya
guhyakādhipabhāṣitaḥ||

sarvakarmikamantreṇa
mūrdhny ālabhya tato japet||

So it by no means indicates how a couple called Vajrakundali and Vajramrita become the Sun. We could try the translation again. From this excerpt, I would maintain that Ganapati remains the leader of some fundamental bandwith of existence, but, perhaps forfeits his personality and power to the Buddhist version called Amritakundalin who somewhat secretly functions as Surya or Vajrakundalin.

The ancient version of Shakti of the Sun is Samjna and Samjna, which is Perception, the skandha of Amitabha.

It seems apparent to me that there is an understanding that higher Samjna is electro-magnetic and more like the corona. In Buddhist terms this is like revealing the related Prajna or Pandara. It could also be considered the marriage of Ganesh to Buddhi.

That is like Jupiter not being the final word but like a mini-sun whose Rta aligns and harmonizes us with Solar Fire.

Whether this explains why the major Sakya Ganapati is under Ratnasambhava, I am not sure.

I would still have a hard time detailing Jewel Family or saying who is in it. The thing is so much like a process, strongly related to Vajra Family, and a little bit to Lotus. It has to do with changing the nature of the sun from a force of heat to the force of life wind which becomes Amrita in our bodies.

Marici at least a couple times is in Jewel Family, although its primary administrator is Vasudhara, and its "unrecognized" major practice is Vajra Tara. It heavily deals with Yakshas, which are earthy--subterranean, but, ultimately, are considered liberation of the life winds in the Cemeteries. So again they are a kind of scale of changing perceptions or power sources.

Ganapati and Gandharvas are among the highest type of Yaksha, and so are closer to the state of door-sealed liberation.

To me, it makes sense as a flow, and usually the element of Ratna Family is Water. I am not sure if it makes much sense as a static picture, I am not sure I could describe the default status of a worldly being's Jewel Family. It manifests as Greed. Since I do not hang out with greedy types, I am not very aware of this imbalance. I guess it is like trying to get the Amrita from everything except what it actually is.

Garuda has some, and, he may have been related to various birds historically; but in astrology, he is Aquila the Eagle. Firstly, Aquarius the Water (Nectar) Bearer is usually a veil for this sign as it is reckoned among the Four Living Creatures which I take as the symbol of the Fixed Cross. And then I would put our Garuda against whatever the disciples of "Aquila" have come up with and I think he would be more reliable. I do not personally have the affinity to it but I am confident in its ability.

The Shang-sung however is a Kinnara which plays cymbals all the time while mating for pleasure in the air. So it is virtually a Gandharva. The Gandharvas are music. Are the Sabaris?

When we have Music Offering Goddesses, are those not various types of Primordial Sound?

A Drum is not really a note. The Drum is the most powerful instrument which is why it is seen with Mandarava and other accomplished yoginis and across retinues of powerful Buddhadakinis.

Sabaris are said to lead one to the slopes of Mt. Meru by their magic flutes or jangling bell jewelry.

In terms of Entering the Mandala, forests on the feet of Meru are like a peaceful equivalent of burning out the last debris in the Cemeteries.

When I look at a Buddhist Sabari and am returned a handful of Pisacis including Gandhari, a chief of Gandharvas, and Matangi, the Sound, I start to lose the ability to dispute whether Svara "notes" is just a flimsy slip of Sabara; the meaning begins to accrue whether it was a stupid pun or not.

It is just getting started but I am pretty sure about this Elephant Clan thing and that it may help me to affect another person which will be a form of Vashikarana operating through Animal Magnetism which enforces a state of Mahamudra.

I am going to need some of what Ganapati does. In Guhyasamaja terms, I can easily get Sparsha Vajra, and then there is a rotation where Dharmadhatu Vajra replaces her. This is where I have difficulty, This is where I need the Ganapati to make is a Sound-oriented Dharmadhatu Vajra. And so the instance of Shabda Vajra in the Vajraraudris makes sense, right before Prithvi Vajra or Grounds of Manifestation. If I am operating with Ganapati's Host or Marutgana, then, the Vajraraudris are probably a corresponding equivalent, and so that Shabda, makes sense to me, at this time, in that way.

I am trying to get Ganapati to cram her into Upaya or Skillful Means, so, i. e., I am doing some type of Father Tantra. Successful results would Increase Bliss which is also at stake here.

Matangi has to do with Divine Sound being repeatable by an incarnate being.

It looks like the moon is about to go dark so, being aware of her cycle, it is worth an attempt to get closer on day three.

Ganapatihrdaya is any Tuesday; there is little awareness of her as a goddess, except for something apparently named Camut based on a Vajravarman commentary on Sarvadurgati, which perhaps is related to a blue female Ganapatihrdaya found around a Trailokyavijaya mandala in Ladakh.

It is something hidden from or by artists, like Picuva Marici and Pancha Raksa 206.

The Ganapatihrdaya I have in mind seems to be hovering around Sarvadurgati and Trailokyavijaya. That appears to match her only form.

[shaberon]

In thinking of how to welcome Ganesh, I am not sure I can muster up the whole Homa as described. Possibly some day, but, not exactly like that. It has largely the same "skeleton" as ours, and for instance shows Food Offering twice, two rounds of offerings ending on Nirajan or making bright/making hot. What is interesting about this is not all those details, but, how Ganapati becomes an individual in a ceremony for him. And that part is rather small.

Ganapati Homa on p. 17 has what seems to be a Nyasa for Maha Ganapati Pranapratisthapana [to set up an idol] mantra. That perhaps is normal for invoking life force into an idol. It has Gam for the heart syllable, so, Ganapati Hrdaya in this sense is Gam. Prana Patistha is a standard ceremony whose highlight is Opening the Eye--though some say it is unorthodox.

The next part, invocation of him into the fire, uses strands of syllables which I think mostly are in Buddhism; there is a form of Soham Hamsa, then Mahaganapati prana iha pranah, and it ends on:

Om Sri Mahaganapati Pranasaktyai Namah

The mantras do not copy correctly so I did not do that. But that appears to be the main identifying feature right there. It is a bit strange that it does not say he has or is holding a shakti like "Hastipisaci" says; it is as if he is directly given an obviously feminine name.

Pranasaktyai is a rare invocation in 1008 Names of Yogeshwari or of Lakshmi. Generally, Pranashakti is breath power in complement to Kundalinishakti or intelligence power; that article accepts Marut as a synonym for prana; it says we often "fail to notice" pranashakti although we "are" it.

Ordinary beings may fail regularly, but, once you become attuned to it, you try not to forget it.

And so it does not seem disagreeable to state Marutgana = Prana = Energy Winds.

The Homa eventually refers to Seven tongues of Agni on p. 24. It does not explain any of these mantras, mostly just says to read them. Overall, it uses the sequence Ganapati, Ista Devata, and Agni, so it is still mostly equivalent to a Nepalese Buddhist Homa.

Here is a different phrase where Rupini means "she who is identical to Ganesa". It is from a Parayoga Invocation:

gaṇeśa graha nakṣatra
yoginī rāśi rūpiṇīm
devīṁ mantra mayīṁ naumi
mātṛkāṁ pīṭha rūpiṇīm

Also, Gana may be taken to mean "finest particle of caitanya [consciousness]", and Pranashakti is one of his particular talents, in another view which represents him as common to all sects. In Shakta, he is seen as married, or even honored as his female equivalent. His very name augments prana; also, he converts human language or Sound into divine language or Light. Similar principle to the Vairajas and "sound which is seen".

Breath Yoga or Soham Hamsa, etc., is very universal and certainly a part of how I got my beginning. So from just these few pieces, it certainly appears that harnessing the Marutgana = Prana is necessary before gaining the spiritual intelligence or Buddhi suggested by Kundalinishakti.

Buddhism entirely scrubs the term Kundalini, and replaces it with Candali, and when I do that, it is going to give me back Matangi who is supposed to be the Buddhi or his first celebrated wife.

This basic Pranashakti is so...basic...based almost entirely in soft breathing, I am not sure what to call it. It is not even what we call Pranayama, in fact, it is more like Pratyahara or the very first stage of Yoga. So although it is a shakti it is just about beginner's level of taking a Dharani seriously, in other words, if you were to just use Ganapati Hrdaya Dharani and associate the main meanings and concentrate on soft breathing, you would have this. Not quite as big a milestone as calling something a "wife", especially given the definition that only by augmenting the Winds do we even get to the place where Buddha's Wisdom may begun to be heard.

That is like saying his second wife Siddhi is Siddhidhatri, meaning an assembly of all shaktis. It never really says he has fourteen wives or anything like that. It usually says he has "a shakti" while at most, loosely defining her as a female equivalent. But there is a blue one at Ladakh apparently corresponding to either the trial or accomplishment of Trailokyavijaya.

There is almost nothing shared amongst Hindu sects except for Ganapati and an Apri Hymn, and, we are able to use the fullest form of Apri, plus maintain the original explanation of Bharati without getting her mixed up with Sarasvati. Bharati is arguably somewhat Jupiterian and hence reliant on the Ganesh ability; and if he is similar to Father tantra which emphasizes Method or Upaya, it is this which causes yoginis to generate and increase bliss, which is the real role of Bharati who is destined for a much more fiery character than Ganapati. Ganapati is shown as a parallel energetic stage to her, as is Kurukulla.

Fire is ultimately illumination of the mind, which itself is "mounted on" the Winds. It is not the Vital Force we are trying to enlighten, it is the mind, which is why a Ganapati Homa still renders him a precursor to Agni.

Does that mean the Seven by Seven Maruts correspond to the Seven Tongues and/or Forty-nine Fires, well, one would think so.

Is this similar to Vajra Rosary which makes the Winds into Six Families experienced in Nine Moods and doubled to 108, even though it makes an unrelated number?

I think it would work, bearing in mind the Seventh Marut or Tongue is Unmanifest and that the only way we can add a Seventh Family is like a hypostasis of six with a concealed trinity. Again this is like teaching Two Fires, Visible and Invisible, or the radiant orb and the corona.

It looks like the moon just passed the Ganapati day, so, I guess that gives about a month of warming up before thinking of it as something specific. The next New Moon is Dec. 14th with an eclipse; what the lunar calendar calls "new moon" is day one after this.