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Thread: Does Anybody Else Have Clear Body Experiences?

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Then I can gather a Horde of Taras and signs of Prajnaparamita will keep coming back, until it is revealed that the highest tantras such as Kalachakra or Guhyeshvari are really using a fusion or hypostasis of Prajnaparamita.
    In strictly historical terms, in Odisha and Bengal (Pala Kingdom really), there was a progression from Prajnaparamita to Cunda that followed the same arc as that from Shakyamuni to Akshobhya and is interpreted as a shift from Mahayana to Tantra. Not sure that progression works in other geographical locations but it might.

    Quote She has customized something called Marici Jala as the Dhatu of all the Lokas
    Several sources say maricijala is a water mirage (the watery part of a mirage in the desert).


    (Trailokyavijaya mudra)

    This is interesting that she is clothed and coming out of rain and is like a mirage in the desert.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    In strictly historical terms, in Odisha and Bengal (Pala Kingdom really), there was a progression from Prajnaparamita to Cunda that followed the same arc as that from Shakyamuni to Akshobhya and is interpreted as a shift from Mahayana to Tantra. Not sure that progression works in other geographical locations but it might.

    The impression I get from most of the Oriental systems is that they are based in Garbhadhatu and Vajradhatu, or, expanding Five Families to Six, mainly emphasizing the male aspect.

    We are, so to speak, simply outlining a Seventh and emphasizing Maha Vajradhatu and the female aspect.

    Cunda was the Yidam of one of the first major Pala kings and also a personal Protector of his by providing a magic Club, while he is also considered to have an interest in Vajrayana. And so, it mainly is the explanation of Prajnaparamita Sutra, at a Tantra level. Around that time, you do get a build-up of monasteries and universities, some of which could handle thousands of members. Most were not that big, but, there were a lot of them, and so, there must have been increasing public awareness of at least some of this. I think there was also a huge underground, since so many of the Mahasiddhas were trained by obscure, unknown, "nobodies", there must have been many more no-ones who were quite advanced; the Dharma Wheels were turned according to the time in which there was an audience to understand them; and so if Vasubandhu is writing to some crowd who can appreciate the fine points of the distinction of Arhats, it is likely that many of them were never enrolled in an institution.

    Jala can literally be "water" and marici "mirage" and so, if anything, this is also a plausible meaning for one of the first Dissolutions, first or second, depending on how you want to compare it to Smoke--Dhumavati. If I did it intentionally in the framework of a sadhana, I would put Smoke first, since it is the color of Samadhi as expressed by Candi, and also that Dhumavati is a name for Lakshmi--Kamadhatvishvari.

    I cannot yet say if this is how it is being used, here, but at least we see it is being used.

    I certainly missed a couple details in the first analysis of Six Arm Kurukulla.

    Kurukulla 181 seems to contradict the other notes by using a form of Upari, "above or upon".

    The combining form -opari is common in Sadhanamala, for example:

    candramandalopari

    "upon a moon disk".

    Or, as a pronoun, tasyopari, "upon which", referring to something just mentioned. Because there is a lot of use of "spawn stack", there are frequently multiple "-opari"s in any given sadhana.

    However it is used as a Mount very sagaciously. There is one instance of:

    mayuropari

    and it is also used with Lion or Simha for Mahasri and the Simhanadas of Manjushri and Avalokiteshvara.

    This Kurukulla is the only Garudopari.

    In fact it comes right after Naga Family, which does include Taksaka, not as a Mount:

    anantādikulikāntān nāgān nyaset sarvveṣu sthāneṣu -
    akṣarāṇāṃ purā nyāsaṃ svarāṇāṃ ca viśeṣataḥ /
    tatpaścād anantakulikau keśavandhanasthitau //
    hemābhastakṣakaḥ karṇabhūṣākṛtodyamaḥ śiraḥ /
    maṇibandhe mahāpadmastaptacāmīkaraprabhah //
    yaj˝opavītakriyayā sthitaḥ karkkoṭakaḥ sitaḥ /
    vāsukirmekhalāyāṃ tu raktapadmāmaladyutiḥ //
    kundabandhūkasaṅkāśau padmaśaṅkhau ca pādayoḥ /
    īdṛśaurābharaṇair ugrair bhūṣito mantravit sadā //
    kurukullārūpasaṃśitaḥ garuḍopari samāsīnaḥ sādhayet
    sacarācaraṃ evam anenānukrameṇa /

    He is like gold or has gold light, is the Earrings.

    Examined carefully, the Nagas given are Ananta, Taksaka, Maha Padma, Karkkotaka, Vasuki, and perhaps Padma.

    The Nagas are the method for:

    alātacakrarūpeṇa mantrarūpeṇa sādhakaḥ /

    Firebrand or glowing coal chakra? Mantra is the form of its spiritual practice.

    This is for her initiation, or her Kamandalu Jala Abhiseka as mentioned previously, it is these Nagas as a Nyasa, after which there is a Purna Kumbha, which appears to use Twenty-one (syllables or praises?). Then the strange ending with the colors.

    It perhaps means that Kurukulla adorns herself with the Nagas and then gets on a Garuda, since her form was described at the beginning, and this is the end. Because she said something about Vishnu, this would not be too surprising.

    179 is like a prelude to this, copying multiple blocks of passages, but uses her Four Arm form in Rakta Vastra or red clothes.

    Alice Getty simply said that Kurukulla "may" have six or eight arms, but claims to have seen her on Rahu. She also says that Vajravarahi is simply a form of Marici, and it is this, who is Samding Dorje Phamo.

    Most Tibetan lineages retain four to six basic Kurukullas, whereas Sadhanamala contains:

    - [171] Tarobhava Kurukulla (Kalpoktam)
    - [172] Tarobhava Kurukulla Sadhanam (Muktakena)
    - [173] Kurukulla Shadbhuja (six hands)
    - [174] Ashtabhuja Kurukulla (Indrabhuti, eight hands)
    - [175] Bhramariyoga Kurukulla Sadhanam
    - [176] Kurukulla Upadesha
    - [177] Kurukulla Sadhanam
    - [178] Arya Shrimati Kurukulla Sadhanam
    - [179] Uddiyana Vinirgata Kurukulla
    - [180] Shrulka Kurukulla Sadhanam
    - [181] Kurukulla Sadhanam, Acharya Shri Krishna Padanam Mayajala Mahayoga Tantra
    - [182] Kurukulla Shadbhuja Bhattarika Sadhanam
    - [183] Kurukulla, Sahaja Vilasya Hevajra Tantra
    - [184] Samskipta Kurukulla
    - [185] Sita Kurukulla
    - [186] Hevajra Krama Kurukulla
    - [187] Kurukulla Sadhanam Karunachalashya Hevajra Tantra
    - [188] Kurukulla Sadhanam
    - [189] Karmaprasar Prayog
    - [190] Kurukulla Balividhi

    So there are at least a couple other examples of Six Arm Kurukulla, 173 and 182, if not more. Those two are also doing Trailokyavijaya Mudra, and they are Red.

    She looks pretty potent to me.

    Here we find about a dozen articles on this goddess which are not even recognized to exist by any extant practice. Now I think that because they are stable as evidenced by these practices, and that before these practices, there was no such thing in the world, the fact that there is no such thing now, is not really a barrier.

    I was perhaps mixed-up and that Trailokyavijyaya Mudra is the same as Bhutadamaru Mudra, which is used by Vajrapani and Kurukulla. Humkara is with palms inwards. I should know better because I made these the challenge issues for Taras five and six.

    Because Kurukulla can be found somewhat wrathful, I wrapped her in as Six, Trailokyavijaya, Maroon Terrorizer, subdues spirits.

    The verse does not say she is dark red. And Kurukulla shows Trailokyavijaya (Bhutadamara) mudra on her Mayajala and Eight Arm forms. She is crucial to Sakya and considered secret and esoteric in Kagyu. Her attendants include Vajragandhari (consort of Yaksha general Candavajrapani) and Red Gauri. Hindus see her as Tara--Sundari--Matangi (the latter two being Aum and Om). She is similar to Siddhi sambhava, i. e. gives powers. Nyingma's red interpretation for this verse is compared to Vajravidarana, so, is not far from Red Vasudhara, called Vajravidarani. This one is also a Nepalese Dharani.

    The verse does not even mention Trailokyavijaya, which is just an idea from one of the traditions. The Tara in question here is simply admired by Hindu beings. Tibetans have imputed a meaning that is like Bhutadamara. Kurukulla is admired by everyone, and if not, she can do that. It does not need to be Vidarani, who is Vasudhara, as I thought Vasudhara should be at Nine because it uses a type of Prithvi Mudra, although it is called Triple Gem Mudra. Arguably something else could go here, since Vasudhara does not necessarily do it this way. This verse clearly says it is about the mudra.




    Humkara Mudra is like holding a Dorje and Bell, except nothing is there. It is the normal way Yab-Yum males are posed, and it is also the special gesture of Amaravajra. Male Humkara deity who opens Three Families of Vajravarahi is the same as Vajravali lineage held by Dolpopa and shared with the original Bodong-pa rare school used by Tibet's highest female tulku, Samding Dorje Phagmo.

    Tara Five makes things incredibly nefarious for Tibetan commentors to explain the Seven Worlds. It is just as nefarious with the unknown word "Tuttare", that has no meaning. Here, it is in conjunction with Humkara and a phrase about walking through all space since the beginning.

    The commentors tend to interpret this as is she is saying the "syllables" tuttare hum.

    I am simply open to a possibility that the "meaning" of tuttare is to have filled time and space with Humkara since the beginning, and, so, a Tara having this gesture, such as Amaravajra, could be considered here. That is, of course, not necessarily the meaning, because there isn't one. It is just a way of comparing the song to the forms of Tara that we can show were in use when it was composed, rather than the later variations by Atisha and others. There is still Sragdhara, and Vistara, and a few others that have not been scoped out.

    No dictionary, and none of the traditions can really give a meaning to "tuttare", whereas we can give a meaning of Humkara other than as the syllable.

    Amaravajra is also Maha Pratyangira.

    Although it says,

    The principal identifiable physical feature of Humkara is the main pair of arms crossed at the heart in a variant on the vajra embracing gesture with the palms turned outward and the index fingers straight and upward pointing. Alternately, a similar gesture can also be found on the top of the head rather than in front of the heart. When above the head the hands can be holding a vajra and bell. Sometimes this is referred to in texts as the 'vajra humkara gesture.'

    This is Humkara:







    Amaravajra:







    and this is Bhutadamara Vajrapani:








    he is at the level of the Second Kama Loka or Heaven of the Thirty-three and hauls in all of the Hindu deities in Sarvadurgati Parishodana; and, in Vajravali, he is related to Marici-in-Stupa.

    And so "this" Kurukulla is arguably the only one who presents an "alternative Bhutadamara". Not that her picture is available, or anyone knows much to speak of her, but as far as I know, she is unique for this. So I think that is a good reason for her as Tara Six if there is any hint that she may have tamed some of those spooks. And, if she continues it on her Eight Arm form, she perhaps does more with it than he does.

    These mudras are almost in parallel, you get Humkara--Three Families of Varahi (and Amaravajra), and Bhutadamara--Marici (and Sakya Simha and Vajradhatu). The gestures are both Vajrapani in Sarvadurgati Parishodana. Or, they are both Tara as Amaravajra and Kurukulla.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Cunda was the Yidam of one of the first major Pala kings and also a personal Protector of his by providing a magic Club, while he is also considered to have an interest in Vajrayana. And so, it mainly is the explanation of Prajnaparamita Sutra, at a Tantra level.
    This explains it then. I (with much help from you) had identified one of the Dakinis, the white six-armed one originally in my deep abdomen, with Cunda. There was one night that during something she was doing she talked about "reverting to Prajnaparamita" in order to carry it out.

    The current "new one" has both pushed towards and indicated a high preference for being called Ushas. I can't find anything "post-Vedic" about Ushas, or Buddhist for that matter, except that Marici is sometimes identified as her wrathful aspect. So this has some bearing on my interest in that interpretation of maricijala --

    Quote Jala can literally be "water" and marici "mirage" and so, if anything, this is also a plausible meaning for one of the first Dissolutions, first or second, depending on how you want to compare it to Smoke--Dhumavati. If I did it intentionally in the framework of a sadhana, I would put Smoke first, since it is the color of Samadhi as expressed by Candi, and also that Dhumavati is a name for Lakshmi--Kamadhatvishvari.

    I cannot yet say if this is how it is being used, here, but at least we see it is being used.
    So with what I said about Ushas in mind, if you will bear with me, I did some deeper diving into that passage (and since I don't know grammar very much and have nowhere near the experience you have with this, this will be a bit like watching someone read tea leaves).

    The first part reads:

    marīci-jālai daśadiksthithān sarvvalokadhātūn avabhāsya

    Both maricijala and diksthithi are states demarcated by some practitioners of kundalini yoga (the old kind, not the "Sikh" kind). maricijala has two meanings in that context, both having to do with the watery mirages in the desert:

    The first is that mistaking the body for Atman is considered a maricijala -- a mirage, and ignorant.

    The second is more interesting, it is a state, a "state of yoga" into which a practitioner can enter by activating simultaneously all of the chakras, he/she becomes in a state of being a mirage where the 5 senses realize their illusions. Because of this meaning, beings can create, arise, or whatever from this mirage "feeling".

    Diksthithi translates as bearing in the mathematical sense of a bearing -- a direction, but dasasdiksthithi is not the usual expression at all for "the ten directions". It also has a yoga meaning as a gaze or a vision, and is a 10th state two states below samadhi.

    So the whole line appears to maybe be about a state of mirage from the 10th state of vision or gazing, which illuminates all of the world-systems, and this is when Kurukulla emerges (in the next line), and gives her bija initiation which makes the maricijala clear or understood.

    Or (or maybe simultaneously, which is how a Chinese text would be read), she emerges out of the mirage and illuminates the ten visions, and establishes a seed, of the morning wind of the maricijala -- the watery mirage.

    I have this thing, which I have mentioned before, the tan dancer/rainbow dancer, which is like a shivshakti -- in that the whole body of it is filled by the two, what is not tan dancer -- mirage, is rainbow dancer -- evanescent colors out of dew. It's in the top of my head, I have become it on occasion recently when managing to do the dissolve, decay, decompose thing. I also have this newly identified Ushas, who spins the threads of the net, and who both collaborates with and shares the jewel at my throat (this is very recent, last three nights) with Kurukulla. This collaboration gets to the point of sort of melding and "mixing hands" -- doing things where some of the hands are Kurukulla and some are Ushas and they all seem to come from the same place.

    Last night they produced another plane, infinite and bound by red netting like the one at my palate, but much lighter and different, instead of the thick sweet cream or yogurt, it was made of light, and dipping a finger into it and letting it drip produced sound like either a pure tone or laughter.

    There isn't supposed to be some connection between Kurukulla and Ushas, and the dancer is also involved. So this was why I latched onto the thing about the mirage, and did the "tea leaves" translation of vibhavayet as "morning wind". Also, Ushas has appeared floating in front of me at my throat jewel (where pretty much anything can appear), bathed in golden light, holding a staff of some kind, laughing. She was clothed -- which gave me a start when you mentioned the thing about kancuka.

    Quote This is for her initiation, or her Kamandalu Jala Abhiseka as mentioned previously, it is these Nagas as a Nyasa, after which there is a Purna Kumbha, which appears to use Twenty-one (syllables or praises?). Then the strange ending with the colors.

    It perhaps means that Kurukulla adorns herself with the Nagas and then gets on a Garuda, since her form was described at the beginning, and this is the end. Because she said something about Vishnu, this would not be too surprising.
    Also interesting.
    Quote The verse does not say she is dark red. And Kurukulla shows Trailokyavijaya (Bhutadamara) mudra on her Mayajala and Eight Arm forms. She is crucial to Sakya and considered secret and esoteric in Kagyu. Her attendants include Vajragandhari (consort of Yaksha general Candavajrapani) and Red Gauri. Hindus see her as Tara--Sundari--Matangi (the latter two being Aum and Om). She is similar to Siddhi sambhava, i. e. gives powers. Nyingma's red interpretation for this verse is compared to Vajravidarana, so, is not far from Red Vasudhara, called Vajravidarani. This one is also a Nepalese Dharani
    .

    She seems very complex. Maybe it isn't that odd that she would pair with Ushas for something, and she is connected to more of what I see during shaking than just stuff at my throat or on my chest.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    The current "new one" has both pushed towards and indicated a high preference for being called Ushas. I can't find anything "post-Vedic" about Ushas, or Buddhist for that matter, except that Marici is sometimes identified as her wrathful aspect. So this has some bearing on my interest in that interpretation of maricijala --
    First of all, very good, it is best we "delve" into Sanskrit on an academic and comparative basis--this being essentially the Gatekeepers of Dharmadhatu Vagisvara mandala, analysis and so forth. I am only "familiar" with it by way of repetition, have zero formal training or anything of the sort.

    Ushas is, perhaps, a bit more "daybreak" than "last moment of darkness". She does, however, have a replete post-Vedic existence--she is known as Eos and Aurora. Savitri is the name which more specifically means "potential contained in darkness", however, it is perhaps arguable that Ushas is really Savitri, otherwise she would simply be the shakti of Surya. Savitri on the other hand is also connected to Indra and Tvastr.

    Neither Ushas or Savitri is in Sadhanamala at all.

    However, Ushas is also used in the Aranyaka metaphor of changing the literal Horse Sacrifice into a symbolic one:

    "As a further development of the Brāhmaṇas however we get the Āraṇyakas or forest treatises. These works were probably composed for old men who had retired into the forest and were thus unable to perform elaborate sacrifices requiring a multitude of accessories and articles which could not be procured in forests. In these, meditations on certain symbols were supposed to be of great merit, and they gradually began to supplant the sacrifices as being of a superior order. It is here that we find that amongst a certain section of intelligent people the ritualistic ideas began to give way, and philosophic speculations about the nature of truth became gradually substituted in their place. To take an illustration from the beginning of the Bṛhadāranyaka we find that instead of the actual performance of the horse sacrifice (aśvamedha) there are directions for meditating upon the dawn (Uṣas) as the head of the horse, the sun as the eye of the horse, the air as its life, and so on. This is indeed a distinct advancement of the claims of speculation or meditation over the actual performance of the complicated ceremonials of sacrifice."

    From "A History of Indian Philosophy" which is not set in one teaching, but for example has a major article involving Sita as Mahalakshmi.

    In most of these schools, Phenomena are a Mirage. That is still the philosophy of Yogacara or Vijnana Vada, which the same book uses Lankavatara Sutra in a manner that would appear to refute Shentong. Doesn't matter; it still has Paramartha, and yes we still agree it is comprehended only from a Nairatma view.

    "All sense knowledge can be stopped only when the diverse unmanifested instincts of imagination are stopped (abhūta-parikalpa-vāsanā-vaicitra-nirodha). All our phenomenal knowledge is without any essence or truth (nihsvabhāva) and is but a creation of māyā, a mirage or a dream."

    Jnana is the one real knowledge from which the other forms of knowledge derive, still pretty much the same as the Panacaratra or Mahalakshmi article, which is still written in a Vaisnava format anyway.

    So I suppose if you control the Parikalpa--Vasana, you no longer imagine things about things, but are seeing how the process of Mirage works as a flow. That is probably quite highly important and relevant to what we would usually describe as First Void. Most religions as I understand them are enmeshed in this Pravritti, "forward into form", revel in the fact that some kind of Creator has "made stuff for us", whereas in philosophy, this is merely an incident and somewhat of a delusive agent, which is why Nirvritti or mental reversal of the process is of interest. "The Void" will spew stuff out of itself constantly, unless we can apply a set of brakes, and/or reposition it as a Dharmodaya, in which case we control what it makes.

    Hindus seem to depict Ushas in a simple form, I am sure they would likely cringe if someone said she has Six Arms. They never use this with rare exceptions such as Dattatreya, because he is a fusion of the Trinity, like Pratyangira--who still usually only has four.

    Perhaps you will get a type of tour on how Ushas gets six arms, and/or how our re-interpretation of her as Marici may fit.

    I was also wondering when you describe Mandarava for example as flying, does this mean the raised leg or both raised legs pose, or does she move by other means?

    It is possible in one of her retinues, Kurukulla may haul in the dawn or sun in some manner, but her main connections appear to be "born from Tara" and prequel to Hevajra Tantra. She does not pop up in a multitude of ways like Marici and Ekajati. So far, her six arm forms seem to be solo. She does have more independence than most other deities. It looks in the sadhanas like she has a trend of anchoring Karuna to Citta and that Emptiness Mantra is a huge conveyor of that.

    In one area, she has the biggest cluster of "citta" in the book, is the only one that really deals with Trailokyavijaya, and her Svadisthana 183 describes Emptiness Mantra as:

    tato dharmmapuḍgalayor grāhyagrāhakasvabhāvayor abhāva-
    svabhāvām advayavij˝aptilakṣaṇāṃ śūnyatāṃ vibhāvya tanmantreṇādhi-
    tiṣṭhet - oṃ śūnyatāj˝ānavajrasvabhāvātmako 'ham iti /

    That uses the two kinds of Nairatma, Dharma (selflessness of things) and Pudgala (selflessness of persons), and the expression for Grasper and Grasped.

    Her simplest thing is Bali Offering 190, which can be an external ritual, or, it can be done internally:

    gaṃ raṃ vaṃ yaṃ paṃ śaṃ caṃ ḍaṃ kurukulle sarvvaduṣṭān nāśaya
    nāśaya kīlaya kīlaya bha˝jaya bha˝jaya marddaya marddaya dhvaṃsaya
    dhvaṃsaya apasāraya apasāraya śāntiṃ me kuru puṣṭiṃ me kuru
    abhimataṃ me kuru sarvvasattvān vaśyaṃ me kuru hrīḥ svāhā /
    oṃ hrīṃ śrīṃ huṃ hoṃ haṃ hāḥ /

    // kurukullālā balividhiḥ //

    I would guess she does not really exist until you have some of the throat energy, but, she must go considerably beyond that, affecting the mind deeply. Her mandalas are almost frightening in their subtlety--at one point, she "doubles" Aparajita.


    marīci-jālai daśadiksthithān sarvvalokadhātūn avabhāsya

    I would take as Marici Jala pervades the ten directions in all worlds and dhatus with light (bhasya) coming from her/it.

    "Ava" prefix usually means "from, away, off of, down from", but it has more meanings when joined to verbs such as Lokita: determination, diffusion/pervasion, support, purification, commanding, or knowledge, so I am pretty sure Ava Lokita Isvara is still not "Lord looking down from on high", since the "from" meaning applies mainly to nouns.

    In that Diksthitha may have a more specific meaning in one of the schools, I did not know that. I think they are all teaching progressions of Samadhi. Some use different techniques because they have different goals, different methods of union and what is united to what. Regardless, it should all come in around 60-80% similarity to Buddhist Yoga, until a few of them can only be said to have "slight differences".

    One brief article explains Savitri as the Bindu, and then explains why Brahma is not really worshipped, and equates Brahma with Marici, "details of the worlds". It is a "state" where one should see "the Lord": This is the ViShNu aspect of the trimUrti. It corresponds to sthiti in the triad of sRShTi, sthiti and pralaya. It then rips Vaisnavas who deny Shiva; and, paradoxically, Sita Upanishad refers to her as consort of Shiva.

    Exactly how they tied Marici to Brahma, I am not sure; I did not know her name was used at all, outside of Buddhism. It would be meaningful if Marici was "only" the sun's ability to animate form, but I think our understanding of Marici, or Savitri or Usas, is above and beyond Surya or the visible sun of form. So we are still almost saying the same thing, just with a difficult game of musical chairs for the names. Any time you see an argument like this, there will be another that says it doesn't matter because it is all Vishnu.

    Ushas is certainly the main Vedic goddess, and, in just about all Asian cultures, is accepted as synonymous to Marici, although it is near impossible to chronicle the transition.
    Last edited by shaberon; Today at 04:40.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    These were a couple other things I noticed.

    In Sadhanamala, there are only a few instances of Cittamatra to be found. This is not necessarily "Mind-only" philosophy which Shentong would refute, it is a synonym for Vijnana Vada or Yogacara, meaning Yoga Practice. Chronologically, Shentong would be said to descend from Madhyamika Yogacara and Nirakara Vijnana Vada.

    Uddiyana 179 says:

    tad anu saṃsārasāgarapatita-
    sattvadhātūddharaṇarūpaṃ bodhicittaṃ bibhartti / tataś caturbrahmavihāraṃ
    bhāvayet / tad anu śūnyatābhāvanā / tatra cittamātram adhi-
    tiṣṭhed anena mantreṇa, - oṃ śūnyatāj˝ānavajrasvabhāvātmako-
    'ham / iti cittādhiṣṭhānam /

    So she is saying Emptiness Mantra is Mind Isolation, which is the Consecration in her Cittamatra or Yoga Practice. There was Body Isolation of Buddha Family, then Speech Isolation mainly in Lotus Family and the Throat, and so now she is talking about the next phase, when Citta Chakra is involved with nectar penetrating it. Maybe that is the trick to Inverted Stupa. It is not a physical glyph, it is a Noumenal one. Citta Chakra is not what would physically look next, i. e. Heat from the Triangle rising in the body, it is a different state entirely, bodhicitta flowing from the Bindu, or, Head Bindu, etc., back downards to the heart.

    Allright, well, Kurukulla is suspiciously close to the Hum Hoh of Vajra Rosary here. I believe that is what the real Citta Chakra is. It is not simply having a good feeling of positive energy there. Yes that is part of it. But the subtle one of Yoga is something else entirely.

    Tarodbhava 171 has the heaviest repetition of "citta" in the book. She is:

    kurukullaparvate

    and she is evicting the five Skandhas with Five Offering Goddesses and Five Dance Goddesses:

    puṣpadhūpatathādīpagandhanaivedyasa˝cayaiḥ /
    lāsyamālyanṛtyagītavādyapūjādibhis tathā //

    Refuge in the Three Jewels:

    ratnatrayaṃ me śaraṇaṃ sarvaṃ pratidiśāmy agham /
    anumode jagatpuṇyaṃ buddhabodhau dadhe manaḥ /
    iti mantraṃ tridhā vācyaṃ tataḥ kṣantavyam ity api //
    tatreyaṃ gāthā -
    yat kṛtaṃ duṣkṛtaṃ ki˝cit mayā mūḍhadhiyā punaḥ /
    kṣantavyaṃ tat tvayā devi yatas trātā'si dehinām //

    Cittas of the Four Brahmavihara:

    cittaṃ maitrī vihāre [ca] niveṣṭavyam punas tadā /
    karuṇācittam utpādyaṃ pramodicittam āvahet //
    paścād upekṣate sarvaṃ cittamātravyavasthayā /

    Citta of Void:

    cittaṃ śūnyaṃ tataḥ kuryāt prakṛtākārahānaye //
    śūnyatāvāhinā dagdhā pa˝caskandhāḥ punar bhavāḥ /
    [paṭhitvā] oṃ śūnyatāj˝ānavajrasvabhāvātmako 'ham //
    muhūrtaṃ śūnyatāyogaṃ kuryāt cittasya viśramam /
    pratij˝āṃ prāktanīṃ smṛtvā bījamātraṃ punaḥ smaret //
    pratāritā mayā sattvā ekāntaparinirvṛtāḥ /
    kathaṃ tān uddhariṣyāmi agādhād bhavasāgarāt //
    iti sattvakṛpāviṣṭo niśceṣṭāṃ śūnyatāṃ tyajet /
    dharmadhātumayaṃ cittam utpādayati cetasā //

    Ending with a Dharmadhatu Maya Citta.


    Although I cannot really ascertain the origin of "Marici" as a Buddhist name of Savitri, they are close enough in meaning and, I think, to say that Ushas, at worst, is simply an older name wherein perhaps the Brahman caste hid the idea she was also the potential in darkness.

    We can say that "under" Surya, there are two Samjnas, and that his sheared-off rays are likely the brilliance of Tapas as intended by Vairocani who happens to be mixed-up in the ancestry.

    We would say there are Two Fires, a Seven Ray manifestation characterized by Marici, and a transcendental Three-in-One characterized by Agni.

    Savitri's Vyahriti or Words of Fire are the names of the planes in chanting form. "Bhur" = Bhu, and so on, except the last works differently:

    Om Bhur, Om Bhuvar, Om Svahar, Om Mahar, Om Janar, Om Tapar, Om Satyam

    Mahar = Maha Loka = Mahabharata = Kama Loka.

    Above this is Jana = Manasic or Akashic plane, Tapa which I believe is Tapas is the Buddhic plane, and Satya is the Atmic Plane, which means Prime Motion, Great Breath which does not cease even in Pralaya.

    So I have not differentiated the Hindu versions from our Marici, and, it is the sneakiest boomerang return possible, to employ Puranic Vairocani.

    I cannot really say Ushas "is" Marici, I just cannot distinguish them. If I honored Marici in the fullest way I know, it would evolve into an Agni Homa. One could perhaps argue that the real, self-arisen Marici requires Bhutadamara, or, its equivalent, Trailokyavijaya Mudra. It would probably take her samaya being, and this equivalent force.

    It would not be a different "source" than Ushas, it would be different mantras and so on.

    I am not sure why Marici would be part of Brahma; but Vairocana is Brahma, who "is not worshipped". He appears to be at first, then moves into the Earth plane, and other things happen, until he arises as Maha Vajradhatu, which means full Sambhogakaya. Marici is mainly related to Vairocana.

    Vairocana has sort of stuffed the visible sun into the physical body. There is a bit more to it, but, this is the "Entrance to Nirvana", sort of like Sambhogakaya is the Exit.

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