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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 Hard to be sure. I have tried to scan the piece as to any indication how or why milk is involved, and, so far, it is a riddle.
    If one wanted to, bhavagavyai could credibly be translated as, "born of a cow", but it doesn't make sense if she has a pig face, so it maybe isn't.

    Quote If the white milk is diaphonously layered, that makes sense, i. e. initially responding to Sound or to what may appear to be silent sound.

    Yes, when the weird feeling builds resistant chatter, that is one of the things we are trying to navigate, and/or what is meant by blending mantra and wind in the central channel. That is what is mean by Vishodani or purifying the principles so that dualized reaction does not take place. That mostly means the Cemeteries.

    It is difficult not to react to the barrage of weird phenomena that may arise, but, it reaches a height where it is like all of those switches are polarized, and something else happens.
    The milk is not close to where the sounds are (sometimes) produced, the milk is above my palate, the sounds are in an opening that starts with the back of my pharynx in my mouth and literally can still be felt below my clavicle. There seems to be one sound for each place between those, rising in pitch as one moves up from my chest. I had long ago done some experimenting with the binaural beats videos on YouTube, there is a progression of notes from very low to moderately high that cause a buzzing in the various chakras when one listens to them, the low corresponding to the muladhara. They are the same notes, only far less fancy and less probably pleasing to the ear.

    I am apparently spending hours per night working on my neck and throat, some of it after having been arranged and then made to sleep. It is in part how my eye got injured, it was straining somehow and stressed the retina. The work there is all about doing things with my neck, when combined with other things (techniques, actually) for my body. Short of really being able to fully see the big thing in all its splendor, it seems possible to do things, explore.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)

    The milk is not close to where the sounds are (sometimes) produced
    So I think it is more responsive to Unstruck Sound--Anahata, which regulates the Heart.

    This means the sound is "not produced" by anything, it is self-arisen or swayambhu.

    Here is a blend of insanity and how there is such a thing. For a few years, myself and another regularly slept together, and we discovered a set of nocturnal noises mixed with racy, pounding hearts. Some of the stuff we heard was actual things, like a newer kind of helicopter that doesn't really "chop", but "fans", and there was sound from just air pressure itself before the "whoosh" of the thing. Another was a train. There were no tracks for twenty miles, so, we could not figure that one out. Then there was a "refrigerator", except I could not find it. Sounded like it was in every room evenly. I looked outside. It was anywhere, everywhere, and nowhere.

    Now, the previous mechanical and/or biological defect noises have ceased, and, the refrigerator is definitely in the ceiling, except it is more musical, like a celestrum or something. I consider it a form of Primordial Sound that never really leaves me, at least when things are quiet. Unlike the previous ones, it is calming and abiding.

    A "cow" would usually be Kamadhenu or Gomata, which I suppose is another important Puranic legend, and conveyed in Buddhist sadhanas of Ila or Gopali Vasudhara. It makes most of the contributions to a Homa: ghee for the lamps, milk/curds/yogurt for Vasudhara, and something called Five Products of the Cow which are multiple Gomata I believe.

    Milk in the higher or more etherealized sense is Varuni, whereas Curds, which would usually be something you literally make and use, are like the maturation of milk-born subtle consciousness, and they can be thought of this way visually or symbolicly if you do not really have them.

    If bhavagavyai was "born of milk", it would make sense as coming in or through Varuni or Vasudhara or both. I think it will still make sense as "appearance of milk in the mind, which starts to pervade all realms". They are kind of the same thing, one more intentional and specific, the other broad and generic, or Buddhist deities and mantras take control of the same latent power that could be sensed by anyone.


    Dhyani Buddha Vairocana is not Asura Vairocana because he is more like Brahma, so, moving him to the Earth Element is close to saying the earth plane is ruled by full awareness of its operational substratum, which is also the throat nexus or jewel, at least at first.

    Because his Family is Ignorance and Pramoha is The Deluder, this very early name for pig face is clear.

    Concerning Varnani, she is not a pig face, but is a Raised Foot, however she is not called Maitri Dakini. I may have been confused, that one raised foor is an "extreme dance", whereas Maitri's manages to pick up her second foot, which is Flight. There may be that difference; I have been calling them the same thing. Obviously, we already found a white one which is an Indra Dakini, with only one raised foot. Varnani does have the characteristic:

    kalpavahnimahātejāṃ sravantīṃ rudhirapriyām //

    (expression for fire at the end of an eon)--flowing like a river--(Blood or Mars) (beloved or betrothed)

    Her relation to Oddiyana Vajra Pitha is Vinirgata, something like "hails from, or one whose family is from".

    Like Picuva Marici, none of the academics have been able to figure out Varnani, she has been related to colors, letters, or a twist on Varunani, but in actuality she is one brief lesson which is capable of porting the whole Oddiyana family--and then you find the exact same thing used with Lightning Ekajati who reciprocally spawns a similar Red Vajrayogini.

    She manifests the entire Inverted Stupa up to Mt. Sumeru, but does not have a mandala, other than Four Dakinis retinue. I would say that she must be the detailed, step-by-step explanation and experience of what this is about, since it is mostly shucked, glossed, or taken for granted in most other sadhanas, If you get a big Cinnamasta ritual, it will do this at least once, which is why none of it is any good without matching the Yoga process to the components.

    If you already have forms of inner bliss, Kurukulla, etc., then you must be at least halfway up the scale of it. I suppose it begins with an interest in Samadhi, and moves through Varuni into Vairocani, until something like White Vairocani signifies that it is Complete and you may adjoin the Stupa of a deity and/or the Completion Stage will work.

    My guess is the Arthasiddhi or Jvalamukhi is a bit more powerful, and I am not sure what else to add, she may well be the intersection of a Fire Tongue with the Ocean of Milk, which is probably more startling and vivid than things I have experienced. If Vairocani emits a Pig Face Varahi, she would be it.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Now, the previous mechanical and/or biological defect noises have ceased, and, the refrigerator is definitely in the ceiling, except it is more musical, like a celestrum or something. I consider it a form of Primordial Sound that never really leaves me, at least when things are quiet. Unlike the previous ones, it is calming and abiding.
    Okay, so there is a humming-fast shaking that I described to you that appears as bliss at the cellular level, and would be like that hum. The reason I know it is at about 7 Hz or so is because I had clocked it meticulously because I thought initially it was pathological. The sounds in my throat are actually vocalized -- and as I said are from deep in my chest to my mouth and vary because of that depth. I would suppose, though I don't actually know, that the low ones are some form of "throat-singing". If I were able to reproduce the muscular actions that make them when I wasn't shaking, I'm sure they would be recordable and might even sound like when monks throat-sing mantras.

    I have tons of things I can only do when shaking -- the eye injury was from straining muscles I have only marginal control over usually, at least in the pattern used. A lot of times it is the latter -- intercostals and subcostals are usually used in a coordinated pattern for breathing. During shaking, I make other patterns with them. So technically they're voluntary, but the pattern itself is not something that is usually voluntary. I can make some of the throat-singing noises not shaking, but the deepest one, which is literally down just above my heart physically, only happens shaking.

    Quote Dhyani Buddha Vairocana is not Asura Vairocana because he is more like Brahma, so, moving him to the Earth Element is close to saying the earth plane is ruled by full awareness of its operational substratum, which is also the throat nexus or jewel, at least at first.
    As to Dhyani Buddha Vairocana, I have read, but do not remember the details, that moving from sect to sect in Tibetan Buddhism the two buddhas, Vairocana (as Mahavairocana) and Samantabhadra are interchanged as the primordial one. Is this true? Reason for saying is that Samantabhadri and consort are at my throat. If it's a naming thing, then some of what you've written is a lot easier to paste into place in that part of my anatomy.

    Quote kalpavahnimahātejāṃ sravantīṃ rudhirapriyām //

    (expression for fire at the end of an eon)--flowing like a river--(Blood or Mars) (beloved or betrothed)
    Lover of blood, blood drinker, or even cannibal can sometimes just mean a group of people (Tibetans and Yenisei Kyrgyz come to mind) who practice sky burial.

    Quote If you already have forms of inner bliss, Kurukulla, etc., then you must be at least halfway up the scale of it. I suppose it begins with an interest in Samadhi, and moves through Varuni into Vairocani, until something like White Vairocani signifies that it is Complete and you may adjoin the Stupa of a deity and/or the Completion Stage will work.

    My guess is the Arthasiddhi or Jvalamukhi is a bit more powerful, and I am not sure what else to add, she may well be the intersection of a Fire Tongue with the Ocean of Milk, which is probably more startling and vivid than things I have experienced. If Vairocani emits a Pig Face Varahi, she would be it.
    Interesting. Jvalamukhi is apparently also used either for volcano or "erupting". Which kind of describes Chhinnamasta's neck, as well. The root of my tongue during recent shakings is definitely full of energy, it has not reached that level of intensity yet, though.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)

    As to Dhyani Buddha Vairocana, I have read, but do not remember the details, that moving from sect to sect in Tibetan Buddhism the two buddhas, Vairocana (as Mahavairocana) and Samantabhadra are interchanged as the primordial one. Is this true? Reason for saying is that Samantabhadri and consort are at my throat. If it's a naming thing, then some of what you've written is a lot easier to paste into place in that part of my anatomy.

    There seem to be two strands of interpretation, one of which seems to say that Samantabhadra is in Vajrasattva Family. But there is another that equates him to Vairocana Family, which is what I believe bears out in Hodgson's original Nepalese schemata that went up to nine families. In parallel that would equate Samantabhadri to Akasa Dhatvishvari or of same family.


    Apparently, aside from missing a couple of helpful points, Vajrayogini text does explain that her practice order should be:

    In the first stage, Vairocani ten and thirteen syllable version

    In the second stage, Varnani with retinue:

    Dakini (east) is blue-black, Lama (north) is green, Khandaroha (west) is red, and Rupini (south) is yellow. The iconography of the arms is shown in the delightful red dakini from Khara Khoto (plate 2).

    (Bhaga, Mahasukha Chakra, or Jnana Chakra)

    §11 The four goddesses are presided over by the buddha Ratnasambhava, bearing him as the seal in their crown. Between them, on the intermedi- ate petals, are four skull bowls that contain semen (bodhicittam). In simi- lar texts, other impure substances are mentioned inside the skull bowls, such as menstrual blood, or the five nectars and five lamps (see below), all of which are transformed into an elixir like quicksilver. The bowls them- selves are pure white ("like a conch, jasmine, or moon") and may be visu- alized balancing elegantly on top of ornamental vases.

    Then eight wrathful animal-headed deities of Amoghasiddhi Family are added in the second half of that stage.

    The final part is Thirty-seven point with the Pithas.

    She simply lacked the resource to say there is an individual Varnani and what it means, or where Vairocani came from. But because she understands all the language, she is able to state that it really says this format which heretofor had simply been suggested by the structure of the ritual itself.

    So if we look at Varnani fairly, she has the full Inverted Stupa and a retinue who is able to display "quicksilver", this symbolizes the whole Suksma Yoga. A whole stage is dedicated to her in five-fold form.

    What we have said is that Guhyajnana Dakini is a parallel equivalent to this five-fold, and that Ziro Bhusana is that Vajrayogini who is "over" the whole five, she is not Amoghasiddhi spawning a ring of Tramen, she is not designated to bundle all the additional material. She, perhaps, releases endless dakinis like Marici releases endless boar faces.

    That turns out to be interesting that it does make a defined "box" of building the components much as we have described. I I...feel I do not really know Vajravarahi or hold her lineage, I can say I understand Vairocani and Varnani in complete and perfect detail. Well, that was perhaps a bit grandiose, but they really are a fact in nature which is Noumenal. The additional touches, such as Offerings and Armor, I am simply learning.

    I hope that makes sense, why it is a certain type of "boundary" area. There is no such thing as Vajrayogini for the ordinary human being. There is, potentially, such a thing as Vairocani. Then by the time you add Varnani there is almost everything we can talk about in Yoga.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Very interesting. And she is called Varnani interchangeably with Varuni? Varnani more than the other name seems like she is primordially 'color'.

    Quote There seem to be two strands of interpretation, one of which seems to say that Samantabhadra is in Vajrasattva Family. But there is another that equates him to Vairocana Family, which is what I believe bears out in Hodgson's original Nepalese schemata that went up to nine families. In parallel that would equate Samantabhadri to Akasa Dhatvishvari or of same family.
    Meaning Akasadhatu ishvari - queen of the realm of space? This works very well for me.

    Quote She, perhaps, releases endless dakinis like Marici releases endless boar faces.

    That turns out to be interesting that it does make a defined "box" of building the components much as we have described. I I...feel I do not really know Vajravarahi or hold her lineage, I can say I understand Vairocani and Varnani in complete and perfect detail. Well, that was perhaps a bit grandiose, but they really are a fact in nature which is Noumenal. The additional touches, such as Offerings and Armor, I am simply learning.

    I hope that makes sense, why it is a certain type of "boundary" area. There is no such thing as Vajrayogini for the ordinary human being. There is, potentially, such a thing as Vairocani. Then by the time you add Varnani there is almost everything we can talk about in Yoga.
    Yes, it makes sense. As for no Vajrayogini for the ordinary human being I can assert that I hardly ever see her in my shaking. I saw her once in the very beginning, as everybody was "introducing" themselves, and a couple of other times, usually suddenly, and then gone again. Unlike the others, I do not feel like she was engaged in the trainings.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Trying to squeeze more from the Vajrayogini notes and appendices.

    It is stated there are only six Vajravarahi texts in the Tibetan canon, two of these being Cinnamasta. So it is considerably less of a guide than these "peripheral" sources.

    On the primacy of Dakini Jala:

    A brief summary of this tantra, or a version of it, appears in a Chinese text trans- lated by Amoghavajra, sometime between 746 c.e. and 774 c.e.

    So, again, it is "the" Chakrasamvara, or, main origin of all of these rites.

    She does a pretty good job at matching up various practices from here and there, she just has not quite cemented the basic meanings of Vairocani and Varnani, or for that matter, Mahamaya, who is a sex-changed Lakshmi, or about Jvalamukhi, who is famous. She has mostly good information, which, if tied a little tighter to how these are yogic states rather than arbitrary praises, could possibly liberate a world system.

    In Sadhanamala, 217 is a highly-developed Maitri Dakini--Vairocani. She does not review 217 or 227 much, but, includes the statement:

    The main sources in the Sadhanamala are: SM217 Vajravarahisadhana^GSSy, cf. GSS31.

    Ms. English looks more at how its next group is a "bloc":

    GSS38 Aryasuklavajravarahisadhana (Sadhana of Noble White Vajravarahi)

    After a namaskara verse, the text describes the preliminary worship and emptiness meditations, a series of awakenings from a white, five-pointed vajra produced from hrih, and the self-generation of white, two-armed Vajravarahi in alidha stance. The awakenings, yogic recitation of a mantramala, and rites are those associated with the (white?) Vajraghona manifestation described in GSS5, the Abhisamayamanjari (GSS5 Sed pp. 150-51, K35n-35vi). A much fuller sadhana centering on this white form of Vajravarahi and her associated rites, is found in the Prajnalokasadhana by Konkadatta (SM218), with some overlapping text, especially in the rit- ual portions. The brief reference to the rite of subordination (preceded by a rite of tasting nectar) with which GSS38 ends is also found in the Abhisamayamanjari (GSS K35VI-6), and this is described much more fully in SM219, probably ending with the final line listed as SM220. The GSS texts in fact demonstrate that SM218-SM220 are continuous text; the colophons in the SM (perhaps editorial?) are misleading, and the opening lines in SM219 referring to the generation of the goddess in the sequence ' given previously" (p. 432: purvoktakramena nispannam bhagavatim) refers to the previous sadhana, SM218.


    All of the Sadhanamala works appear in almost identical or similar form in the Guhyasamayasadhanamala. The one exception is the longest Vajravarahi Sadhana in the Sadhanamala (SM218, with SM219 and SM220), although this is still represented in the Guhyasamayasadhanamala in two sep- arate, but much shorter, versions (in GSS5 and GSS38).

    SM218-220: SM218 Prajnalokasadhana by Koiikadatta with SM219 vasyavidhi given as "Vajravarahisadhana" and SM220 "vajravarahyai vas'yavidhih" (final line of preceding vasyavidhi with colophon)«GSS5 (K34V5-35V6, Sed p. 149) and GSS38 (see appendix entry to GSS38).



    She also thinks that Jvalamukhi and Mahamaya are a "bloc":

    SM221-223: Printed as three texts (though probably redacted from a single source) focusing on the (male) deity Mahamaya, but with the Vajravarahi root mantra. SM221 (colophon in one ms. only: jvalamukhisadhanaprayogah) opens with verses extolling the deity, followed by the Vajravarahi root mantra, identical (with a few variants) to GSS11 §32 and related texts. SM222 (colophon in one ms. only: mahamayajvalamukhivajravarahiprayogasadhanam) refers to the previous Vajravarahi root mantra, with instructions for its recita- tion and rites for siddhi. SM223 mahamayadevyah smasanam is a short para- graph giving an account of cremation grounds a little different from that in Vajravarahi materials.



    In the missing portion of Sadhanamala, 232-238 are more Vajrayogini articles.

    GSS has more practices with more details than may be in Sadhanamala, for example:

    GSS40 opens with commentary upon the namaskara verse (GSSi: namah srivajrayoginyai sunyatakarunatmane. . .), which it interprets as an internal yogic meditation with drops based on the four consecrations in the Heva- jra system.

    GSS42 Vajrayoginipranamaikavimsika (Stotra) (Twenty-One Praise Verses for Saluting Vajrayogini)^ A twenty-one-verse stotra (verses are numbered in the text) praising Vajrayogini: her embodiment of the four blisses, her compassion, her tran- scendent wisdom (in Yogacara terms), and her ability to manifest with many different forms, including as the supreme goddess in other religious systems (Sakti, Candi, "Vedavati," Kubjika, VaisnavatI, etc., according to the different religious systems).


    GSS45 Indrajitkramavajrayoginisadhan (Vajrayoginl Sadhana with the Method for Conquering Indra) This is very similar to GSSiy (see above) and prescribes the generation of a white, raised-foot-pose form of Vajrayoginl.


    Maitri did not personally compose his famous rituals:

    According to the material on Maitri Khecari (in dPalldan sa skyapa'i lugs naro mkha' spyod ma'i skor vol. 6, p. 203), he received it from one Dar ma Yon ten, a disciple of Sum pa Lo tsa wa.

    Marici is one of the few to do this, but, there is a similar large Varahi becoming a Sanmukhi:

    This chapter of the Abhidhanottaratantra also prescribes an optional six-faced, twelve-armed form, with a hog's (varaha-) face on top.


    White and/or Hogfaced Varahis are sometimes in Vajra Family:

    Vajravarahi also appears in the Aksobhya family in the long sadhana by Kumaracandra, while Vairocana (the usual seal for Vajravarahi in our texts) pre- sides over Vajracarcika (Ratnavalipanjika'm KYT p. 127). Another white form of Vajravarahi is described in the sadhana as the consort to a manifestation of Krsnayamari called Dvesayamari/Vajrasattva {ibid: p. 124). She is like her con- sort, namely, white with three faces and six arms.


    She recognizes what we might call the seventh practical principle:

    The defiled mind (klistamanas) is the seventh category in the Yogacara's analy- sis of mind, by virtue of which one clings to the storehouse consciousness (alayah) as the self.

    More broadly perhaps, it is duality, or Atma Drsti, or any view of a self distinguished from other selves.


    We found that Mahacina Krama Tara has the trait of arising from a Kartri or Chopper; likewise, perhaps the symbol or name for Vajravarahi is that she often arises from a Vajra, although sometimes also a Kartri.

    One version of Thirteen syllable Vairocani says:

    A four-armed form of Vajrayogini in warrior stance is found in a single sadhana in the Guhyasamayasddhanamdld in a section dealing with inter- nalized practices: the Vajrayogini Sadhana in the Tradition ofIndrabhuti y by Vijayavajra {Indrabhutikramena Vajrayoginisddhana GSS35) . This sadhana takes the self-generation onto a more intensely internal level, as the yogin imagines the elements of the visualization within his yogic body.

    Following the emptiness meditations, the yogin first generates the cos- mos, starting from a white letter a (GSS35 Kii8vi: sukla akarat) that is said* to have the nature of Causal Vajradhara. Then, from a green hum, he pro- duces a five-pointed double vajra, as the five limbs of his body (head, arms, and legs). In the center of that he sees a red inverted triangular syllable e (V) transforming into a blood-colored origin of existents (here masculine: dharmodayah) marked with vajras at its points, which he understands to be his torso. Within the dharmodaya is an eight-petaled lotus wreathed in fire, which represents his nine bodily orifices, while the four-petaled pericarp has the nature of four channels within the body. Vajrayogini is then gener- ated upon a ferociously bright sun disk, as the transformation of a white chopper that represents the central channel, Avadhuti. Vajrayogini herself is a vibrant, light red ("yellow- red, like blooming saffron").

    So in that instance, white is the Avadhut. But if we say Vairocani is the first-arising and is often Yellow, it is this color which moves forward as the form of the final, central Vajrayogini and the Avadhut:

    In the central portion of this [dharmodaya- triangle] is the syllable hrim, which is described as yellow in color, (v. 3) [Trikayavajrayogini] arises from it and is [also] yellow. She is by nature (svayam) situated in the avadhuti, but in lalana (Varnani) she is very dark, and in rasana (Vairocani) she has a white [color].


    That is a continuous system based in the contemplation of the three main nerves, which are considered to be tied, blocked, and otherwise mangled at the Four Chakras. Vairocani somehow transfers her main color to the central goddess, and perhaps may remain yellow, but may often be white, when her role in the composite is activated. Then it is like you are walking around married to Yellow Vairocani, which goes through a transformative role in a rite that eventually removes her/your head.

    The Three Nerves are the target of Vajra Muttering, particularly by the Three Syllables or Om Ah Hum. It is not that relevant to a beginning meditator. It is relevant if one gets some pieces of the Inverted Stupa working. At that point, Ziro Bhusana is particularly interesting. The subtle hints in the sadhanas equate the three to the Three Worlds, Kama, Rupa, and Arupa. Ziro Bhusana arguably mutters through all of these. She has a tentacle piercing every being's heart from which she drinks their life-blood and purifies the worlds. Others do it by their vajra or other weapon, but she is very explicit and graphic compared to anything else.

    Overall, this Yoga system highly focuses on balancing three channels through four centers, before activating the Drops or Gauris.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    Very interesting. And she is called Varnani interchangeably with Varuni? Varnani more than the other name seems like she is primordially 'color'.


    Meaning Akasadhatu ishvari - queen of the realm of space? This works very well for me.
    I believe that name change is an erroneous convenience, or guesswork.

    Varnani probably does lean closer to "color", how it is applied to layers or shapes, and has been confused with alterations of Varuni in attempts to figure out who or what she is.

    The Samantabhadri you described previously seemed to fit the view of her in Vairocana Family, related to the Queen of (Bright) Space, Akasha Dhatvishvari. Vairocana "terms" all still emphasize solar or white light, i. e. Vairocani is closer to undifferentiated energy, something like "she who colors and shapes" to the Varnani who "is colored and shaped".

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    In terms of the most basic Vairocanis, there is a pre-marital Kurmapadi, and Sadhanamala 227.

    The one solo Varnani appears to be SM 225.

    Between them is a "snap-fit" design, which adds Armor, and samaya to Vajradakini, in SM226, while combining Vairocani and Varnani.

    This will make even more sense, if it is stated that Vairocani is the first stage and we can define it as intensity of Tapas, then what is a second stage and who is Varnani? Some stranger? Maybe, but she is part of the flow.

    Ms. English refers to the same set of colored deity prints that on the art site is called Rinjung Lhantab, which same set is also used in the Tibetan Deities book, which she calls Lokesh Chandra (LC). And in going through the sequence, what we saw called Varnani was green. This is because:

    "Vajravarnani" (rDo rje rab sngags ma) is seen as green, and painted in the I[cons] W[orthwhile to] S[ee] with a skull staff not given in the text or woodblock prints (IWS/T 82, LC 592, in which she is called "Vajrapranava").

    IWS is more like the closest thing to the book's own title, since it combines three sadhana oceans.

    So then if Varnani is Pranava, this makes sense, because she will arise from the major manifestation of Vairocani, which appears to be a full mandala expression of what goes into the "combined" SM 226. This is obscure, since we have to ask it about its mantric identity to be aware it is a Vairocani. It works because it is a reflex, i. e. an automated reaction, to the mantra, or particularly to its extended version. This is a copy of her material, which is a Completion Stage mandala, as if to say, the basic Vairocanis grow in one direction, which is this. It would be difficult to re-install the original Sanskrit, since she just gives portions sliced into footnotes, from which it can be seen this one is also red like pomegranate flower or Dadima Kusuma.



    The other six-armed manifestation appears in the Sadhana of the Thirteenfold Vajradakini Vajravarahi

    (Trayodasatmikavajradakinivajra- varahisadhana GSS16)

    Here it seems that the armor goddess has developed into a "terrible leader, thirteenfold in nature." Following the preparations for the sadhana, Vajradakini Vajravarahi is self-generated from vam through the series of awakenings; she is self- visualized in a form that is both kapalika in character, and passionate.

    She is seen adorned with all six mudras, a headdress, and a garland of wet skulls, blazing like the fire at the end of the eon, and trampling underfoot Bhairava and Kalaratri (named here Sambhu and Camunda). Her erotic nature is evident in her red color, her slim waist and firm breasts, and her fanged face, which is only "slightly snarling" (isaddamstrakaralinim). Her attributes are those of the armor goddess, except that she has only one face and substitutes a vajra (the usual attribute of warrior-stance Vajravarahi) for the chopper, and an ax for Brahma's head. The source for this sadhana is once again the Abhidhdnottaratantra.

    Vajradakini Vajravarahi is said to be "thirteenfold" in nature because she is a reflex of the thirteen-syllabled heart mantra. The yogin first visualizes her as the syllable vam. He then emanates a thirteenfold mandala from the thirteen syllables of Vajravarahi's mantra: om va-jra-vai-ro-ca-nl-ye hum hum phat sva-ba. Having created the mandala in this way, he begins to generate the iconographic form of Vajravarahi through the five awaken- ings, with a vajra empowered by the syllable vam at her heart. Rays issue from this vam, and through them the surrounding syllables of the mandala are "urged" or "impelled" (K77 v.6: samcodita-) to transform into the dakinis of the mandala retinue. The names of these dakinis reflect their mantric origins, thus the syllable om gives rise to Pranavajradakini (pranava = om), the syllable vam, to Vadavavajradakini, the syllable jam to Jramitavajradakini, and so on (see fig. 9). The stages of this fairly complex sadhana, and the subsequent rituals, are summarized in the appendix.

    The mandala retinue is described in some detail (GSS16 K78n-79r2). It begins first of all with the four dakinis who are installed counterclockwise on the petals of the central lotus. They are visualized with one face, four arms, three eyes, and wearing all the tantric ornaments. They stand upon corpses in the dancing ardhaparyanka pose, naked with loose hair, their bodies sensuous, "with full breasts, celestial forms, captivating, their faces [only] a little furrowed, [and] amorous with [their] sidelong glances." In their right hands, they hold a vajra and damaru, in their left, a staff and a bowl filled with blood. On the intermediate petals are ornamental vases topped with a skull bowl, which are filled with the nectars, including semen (bodhicittam), first menstrual blood (svayambhukusumam), urine (vajram- bu), and human feces (mahabhaisajam).

    At the outer gates are eight more dakinis. In the cardinal directions (installed counterclockwise) four dakinis are visualized dancing upon a "lotus moon" (padmacandre) and declaring their transcendence of male deities of other religions by trampling the corpses of Indra, Yaksa (Kubera), Jala (Varuna), and Yama respectively. They hold the same attributes as the dakinis of the inner mandala, only substituting different implements for the damaru, such as a hook (in the east) or a noose (in the north); the text for the other attributes is corrupt (K78VI-2) . They wear the five mudras and are also three-eyed, slim-waisted, and adorned with garlands of heads. Their hair stands upright (urdhvakesa-) and they are described in erotic terms, as "naked, with huge vaginas, overcome with lust." At the corners of the outer mandala (installed clockwise) are four wrathful dakinis, also upon lotus moons and trampling corpses in the dancing pose. They are described in similar terms, both as kapalika deities and as goddesses with sensuous and erotic forms. All the vajra-dakinls of the mandala are said to have their hearts filled with innate bliss (sahajananda-).

    Fig. 9. Mandala of Vajradakini Vajravarahi




    Central pericarp

    1. Six-armed Vajradakini Vajravarahi



    Cardinal petals

    2. Pranavavajradakini (white)

    3. Vadavavajradakini (green)

    4. Jramitavajradakini (yellow)

    5. VairanivajradakinI (blue)



    Outer mandala (gates)

    6. Rosanivajradakini (blue)

    7. Capalavajradakini (green)

    8. Nlharlvajradakini (red)

    9. YemalavajradakinI (yellow)


    Outer mandala (corners)

    10. Humkarivajradakini (white)

    11. Humnadivajradakini (blue)

    12. Phatanivajradakini (yellow)

    13. SvakarivajradakinI (red)


    [Varnani was red, then we said she is green, and is in here white. What is going on? She reverted into syllable Om. This is nothing new. But it is only so when Vajradakini is being arrayed.

    Vajradakini is a "class" of dakinis, related to the crown center and Iccha--Samsara Skandha. At this point, they appear to be adding Sahajananda to their qualities.

    Like the Usnisas are a "class" of deity, there you go, Fan of Knives--it is not a dakini in Vajra Family, and it is not a generic descriptor of Vajrayogini anything, Vajradakini is a specific Samaya made under Vairocani.


    In her own summary of this sadhana, it is found that in GSS, sometimes Vajravarahi has an abode between two mountains, Manobhanga and Cittavisrama, in a place with abundant red flowers. Marici also does something like this, and when we looked into Asoka Grove, it goes back to Sita.]


    The text opens with seven verses praising Vajravarahl and stating that the sadhana was taught by the lord in the Laksabhidhanatantra, on Mount Manobhanga/Cittavisrama. The visualization is of a six-armed warrior- stance Vajravarahl and her generation from the thirteen syllables of the Vajravarahl/Vajrayogini heart mantra. The sequence of the prescriptions in the text is as follows: preliminaries (« GSS3/GSS31) ending with a bodhi- sattva vow, armoring, circle of protection, temple palace (mahavimana) surrounded by cremation grounds (with a short description of the crema- tion grounds drawing on SUT), visualization of the thirteen-syllabled mantra as the thirteenfold mandala, the generation through awakenings of Vajravarahl in iconographic form surrounded by Vajradakinl goddesses produced from syllables, the worship of the goddesses with imaginary offer- ings, entry of knowledge deities, armoring, praise, and bodhisattva vow, sevenfold worship with the recitation of flower-offering mantras followed by another bodhisattva vow, emptiness mantras with nonabiding, the rep- etition of the installation of the circle of protection and the subsequent visualization of Vajravarahl produced suddenly with the mandala retinue placed on points on the body, worship, the tasting of nectar, external ball offerings, another bodhisattva vow, concluding verses possibly by Advayavajra, and dedication of merit.

    This sadhana combines several important themes. In its preparatory stages, it describes the cremation grounds in detail, as well as prescribing the visualization of a palace (vimanah/m). The erotic overtones of the sadhana may be associated with the fact that the sadhana was supposedly taught by the Buddha in the location of Mount Manobhanga and the pavil- ion, Cittavis'rama, a place associated with erotic manifestations of Vajra- yogini. The structure of the sadhana is also unusual. The mandala is first produced through an externalization of the thirteen syllables of the deity's mantra. This is then intensified by its transformation from mantric to iconographic form. The emanation of the iconographic mandala is then repeated in a completion-stage practice, by self-generating it "all at once" (jhatiti), thus indicating the sadhaka's complete integration of the external forms within himself. Finally, the mantra syllables of which the dakini god- desses are representations are placed upon his body in a short body mandala, thus internalizing the mandala back into the body of the yogin. Every step in this process includes an armoring, and the sadhana therefore includes far more armor sections than is normal. This may be related to the fact that its central form of six-armed Vajradakinl- Vajravarahl seems to have emerged from the form of the armor goddess.


    That practice is thought to combine Saraha and Maitri's styles. And so if we look at where "Vajravarahi mountains" originate, then she is correct that they do not have to be physical locations, but may be "adjectival":

    Another sadhana describes how Saraha had been granted a sadhana by Lokesvara (the bodhisattva Avalokitesvara) that was guaranteed to bring about a vision of Vajrayogini within six months. After this time, however, Saraha had still had no vision, and despite redou- bling his efforts and practicing assiduously for twelve years, he failed to see her "even in a dream." He became disheartened and was about to lose faith in the buddhas and give up completely when the goddess finally appeared to him amid the mountainous peaks:

    Then, in a flash, there was suddenly a direct vision of the god- dess adorned with color, arms, and so on to be described below.
    [She appeared] between (madhye) the surpassingly captivating, most lovely mountains [called] Manobhanga (Destruction of the [Defiled] Mind) and Cittavisrama (Heart's Repose Resting-place of the Mind) ; [these] had five peaks of different colors, and were adorned with gardens in which nagakesara flowers were bloom- ing in colorful pools.

    or: [She appeared] in the midst of the surpassingly captivating, most lovely mountains where the mind comes to rest because of the destruc- tion of the defiled mind.

    It is not clear from this portion of text whether the yogin is to visualize a pair of mountains named Manobhanga and Cittavisrama, or whether the description is to be understood adjectivally as the mountain(s) "where the mind comes to rest (cittavisrama) because of the destruction of the [defiled] mind (manobhanga)!"


    Manobhanga is also mentioned in the sadhana of Vajradakini Vajravarahi (GSS16), which claims the legendary authority of the Laksabhidhanatantra: "On Mount Manobhanga, which is the most essential [place] on earth, on
    this peak [or: within this dwelling] (tasmin kute), in a pavilion (-mandape) that is the sole resting place of the mind (cittavisrdma-) for the great- minded, [is] the terrible... leader Vajravarahl." Although the verse does not mention the second mountain, Cittavis'rama, it suggests that on the mountain peak (kutam) there is also a pavilion (mandapahlm) that is the "resting place of the mind" (cittavisrdma-). A similar kind of beautiful dwelling is also the abode of Vidyadharl VajrayoginI (GSS21), who is to be seen "entering a jewel dwelling (kuta-) (i.e., hut) made of masses of [red flowers] — Mandarava, As'oka, and Red Coral." In all these texts, there is a slight ambiguity as to whether kuta means a "peak" (kutam) or a "dwelling" (kiltah) — a problem that a second scribe attempts to clarify in GSS21 by inserting the gloss, "hut" (grham). The same verdant mountain- ous setting, with its fragrant, flower-strewn abode, is also found in the Guhyavajravilasinisadhana. This sadhana describes how the yogic partners are to meet in a beautiful glade or garden that is full of jewels and red flow- ers and resonant of love (below with n. 179).


    Do they have five huts, are they on Wu Tai Shan or Kanchenjunga, I am not sure, but if I take them as adjectives, then we see what eluded Saraha for twelve years. From him comes Arrow Dakini, Pitheshvari Tara, and what we might call Mahasiddha movement or increasing public knowledge and therefor more successful practitioners of such methids.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote SM221-223: Printed as three texts (though probably redacted from a single source) focusing on the (male) deity Mahamaya, but with the Vajravarahi root mantra. SM221 (colophon in one ms. only: jvalamukhisadhanaprayogah) opens with verses extolling the deity, followed by the Vajravarahi root mantra, identical (with a few variants) to GSS11 §32 and related texts. SM222 (colophon in one ms. only: mahamayajvalamukhivajravarahiprayogasadhanam) refers to the previous Vajravarahi root mantra, with instructions for its recita- tion and rites for siddhi. SM223 mahamayadevyah smasanam is a short para- graph giving an account of cremation grounds a little different from that in Vajravarahi materials.
    Mahamaya changes gender depending on the emanation, isn't it? He is male or she is female depending on what he/she is doing and how he/she is arrayed (in terms of arms and weapons).

    Quote That is a continuous system based in the contemplation of the three main nerves, which are considered to be tied, blocked, and otherwise mangled at the Four Chakras. Vairocani somehow transfers her main color to the central goddess, and perhaps may remain yellow, but may often be white, when her role in the composite is activated. Then it is like you are walking around married to Yellow Vairocani, which goes through a transformative role in a rite that eventually removes her/your head.
    That this is a way of rearranging and clearing and activating the channels makes a lot of sense. I do wonder, why from the chopper in particular? The chopper is in other translations and depictions characterized as a flaying knife, which asserts a connection with the charnel grounds. Is that assumed here as well?

    Quote The Three Nerves are the target of Vajra Muttering, particularly by the Three Syllables or Om Ah Hum. It is not that relevant to a beginning meditator. It is relevant if one gets some pieces of the Inverted Stupa working. At that point, Ziro Bhusana is particularly interesting. The subtle hints in the sadhanas equate the three to the Three Worlds, Kama, Rupa, and Arupa. Ziro Bhusana arguably mutters through all of these. She has a tentacle piercing every being's heart from which she drinks their life-blood and purifies the worlds. Others do it by their vajra or other weapon, but she is very explicit and graphic compared to anything else.
    More on three worlds below. Question: Ziro Bhusana is embodied, but her name means both ornaments made from skulls and a head ornament (like a ritual helmet). Does she arise from the head ornament the way others arise from choppers or vajras above? If taken to mean the quality of her ornaments, are they thought of as being made from skulls or made from pieces of a kapala? If the latter, are the connections kapala normally has, to blood, liquids, nectar still part of the symbolism of the creation of her ornaments?

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote I believe that name change is an erroneous convenience, or guesswork.

    Varnani probably does lean closer to "color", how it is applied to layers or shapes, and has been confused with alterations of Varuni in attempts to figure out who or what she is.

    The Samantabhadri you described previously seemed to fit the view of her in Vairocana Family, related to the Queen of (Bright) Space, Akasha Dhatvishvari. Vairocana "terms" all still emphasize solar or white light, i. e. Vairocani is closer to undifferentiated energy, something like "she who colors and shapes" to the Varnani who "is colored and shaped".
    This makes sense. Last night, I apparently spent the whole night working on the cellular or corpuscular level bliss that feels like it is in every cell. It was fiery as usual, but it was dark blue in color. I was led through a process of creating an overwhelming amount of it and using it like the dissolving and decaying -- the term given this time was "decompose" into those cells. This was pushed up into the space in my throat -- the one where all the activity and Samantabhadri and consort and everything are -- and then to begin decomposing. Actually, they entrained the chattering part of my mind to repeat, "dissolve, decay, decompose", and worked me on doing all of them. They associated the dissolve with the jewel at my throat, which is interpenetration, the plane (where the milk is), and the area above, which is inhabited by the tan dancer/rainbow dancer shivshakti, which during all this became kind of a bright thing in a negative space, almost like a dancing shaped crack in the darkness.

    At the end of all of that, which I can put up the notes for if you want, Mandarava called the three (dissolve, decay, decompose) "three jewels". Which I took to be a reference to the usual three jewels. They are respectively, wet, dust and windy, and fiery, but all are about ceasing and coming apart.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote om va-jra-vai-ro-ca-nl-ye hum hum phat sva-ba.
    This is also (or closely related to) a mantra for Chhinnamasta?

    Quote Another sadhana describes how Saraha had been granted a sadhana by Lokesvara (the bodhisattva Avalokitesvara) that was guaranteed to bring about a vision of Vajrayogini within six months. After this time, however, Saraha had still had no vision, and despite redou- bling his efforts and practicing assiduously for twelve years, he failed to see her "even in a dream." He became disheartened and was about to lose faith in the buddhas and give up completely when the goddess finally appeared to him amid the mountainous peaks:

    Then, in a flash, there was suddenly a direct vision of the god- dess adorned with color, ...
    I have heard this story before from I think a different place. It is possible it's the same story repeated in multiple texts or that this is a common motif? I think the story is also told with Maitripa?

    Quote Do they have five huts, are they on Wu Tai Shan or Kanchenjunga, I am not sure, but if I take them as adjectives, then we see what eluded Saraha for twelve years.
    1 The Five Great Mountains

    1.1 Nature conservation
    1.2 East Great Mountain: Tài Shān
    1.3 West Great Mountain: Huà Shān
    1.4 South Great Mountain: Héng Shān (Hunan)
    1.5 North Great Mountain: Héng Shān (Shanxi)
    1.6 Center Great Mountain: Sōng Shān

    2 The Four Sacred Mountains of Buddhism

    2.1 Wǔtái Shān
    2.2 Éméi Shān
    2.3 Jǐuhuá Shān
    2.4 Pǔtuó Shān

    3 The Four Sacred Mountains of Taoism

    3.1 Wǔdāng Shān
    3.2 Lónghŭ Shān
    3.3 Qíyún Shān
    3.4 Qīngchéng Shān

    But I think it more likely that the five maybe have to do with the visualization? That they correspond to the emanating deities?

    BTW, the form which I learned, and the standing I practice comes from Huashan. It is known for a Daoist sage who specialized in sleep/dream magic.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    First of all, I made an error, seeing that the sadhanas were attributed to Sahara I thought she was misspelling Saraha, but, it is "bad internet copy" for Sabara.

    Shamsher Manuscript or Life of Advaya/Maitri, Tucci/Taranatha, all refer to Manobhanga and Sabara or lord of the forest dwellers, which makes sense because he is also part of the Vilasini practices.

    Manasa Manobhanga is at the end of a long Mahalakshmi piece.

    Something from the Puranas says, Long ago, in Kashmir, there lived a king, Yamadhwaja, who had Srinagara as his capital city on the slopes of Mt. Manobhanga. It is not necessarily in Kashmir, since Srinagara is Manipura, and it would be on the slopes of such a mountain since:

    The way its meaning is relevant is in the basic terms Mind Breaker, which, here, compared to the Six Family Wheel, has gone beyond it, this is aimed specifically at the seventh principle or Klista Manas.



    Quote Posted by Old Student (here)
    Mahamaya changes gender depending on the emanation, isn't it? He is male or she is female depending on what he/she is doing and how he/she is arrayed (in terms of arms and weapons).
    Well, Mahamaya is also a kind of title and a kind of illusion magic which is the Yoga of Mahalakshmi. I believe it does have the understanding of this background, however, in the specific Mahamaya sadhanas in union with Buddhadakini, "she" is in male form.


    Quote I do wonder, why from the chopper in particular? The chopper is in other translations and depictions characterized as a flaying knife, which asserts a connection with the charnel grounds. Is that assumed here as well?

    Ziro Bhusana is embodied, but her name means both ornaments made from skulls and a head ornament (like a ritual helmet). Does she arise from the head ornament the way others arise from choppers or vajras above? If taken to mean the quality of her ornaments, are they thought of as being made from skulls or made from pieces of a kapala? If the latter, are the connections kapala normally has, to blood, liquids, nectar still part of the symbolism of the creation of her ornaments?
    Ziro Bhusana simply arises from Om at one's heart having emitted rays which extend through the universe performing the two benefits; the chopper is her primary item.

    The skull garlands may be designated as "fresh or wet heads", or as skulls. Generally, fresh heads refers to attacking hindrances; skulls are void. This one is described as having bone ornaments and skulls. Her more noticeable feature is an elaborate pedestal which is supported by the Five Dakinis. One of her hands has the standard blood-filled kapala, from which she drinks; otherwise, the bones are just from fire and cemeteries.

    It is my personal thought that if following how sadhanas unfold, "nectar tasting" is part of a process that is semi-mixed with Bali Offerings and requires weird processes of heating and pouring and various bowls--that I would use Ziro Bhusana for nectar taste, like a judge. Am I doing this right? And this is because, even in the sense of a Yoga or front-facing sadhana, you do not just have to do nothing. If you are making the right connections, you are able to interact with a deity, and that is what I would want to ask her. Is this going well in the way it is intended? That way, maybe I won't toxify myself with magic pollution. Her sadhana, itself, is just about the Tri-dhatu tentacles and the massing of clouds of dakinis.

    The way that she Mutters is that she iterates Four Dakinis mantra in three different orders. At that point, I am able to argue that the purification of the three worlds is aligning with purification or balancing of the Three Channels, because the Four Dakinis are the main core of all the tantras. Nothing else does this that I am aware of. It is weird and unexplained, that is how I interpret it, and not to the extent that the fourteenth syllable is on the thirty-second nadi or anything like that. Just an aligned outer-to-inner triple balancing.

    In the Varahi sadhanas, eight charnel grounds as represented by eight Amoghasiddhi goddesses are the "forbidden" orifices which are sealed, the central being the ninth or permissable crown aperture. A chopper which perhaps mainly cuts ego is instrumental in preventing wind from flowing out the doors, No Ego and Bliss being the main "quietening" agents. The seal can be ruptured by either a physical or mental impulse; "leaking" out the the body therefor being associated with the mind or Asta Vijnana and its work in the cemeteries.


    Cinnamasta is a Triple Mantra which includes Vairocani and Varnani and may be called Triple Om Mantra. And so I am so to speak dealing with her Feet rather than her whole self. The first foot arguably is her, or, is the kernel which contains all the rest

    The "mountains", each being five peaks in five colors, are Defiled Mind Breaker and Mind's Heart Repose. That tells me something about getting to Citta Cakra. I am not doing much with it without having used No Ego and Bliss to silence the ravings of the Subtle Mind, corresponding to a seventh Kaya, a seventh Dhyani, Vajradhara, and so on. That is why this seventh thing is only a hypostasis because not an inherent part of the human constitution.

    That is an interesting take on the Three Jewels, as if such in the Cemeteries. It sounds like it may have a Sanskrit correspondence. I am not sure but I will keep my eyes open.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Offhand, I do not see much in Sadhanamala that would reflect three simple commands, dissolve, decay, decompose.

    Those could have long lists of synonyms, based on Vyava, Nrtti, or Ksaya, and so of course many sadhanas will discuss something Aksaya or that does not decay.

    In the example of Ksaya, there is hardly any use of it at all, except perhaps the best example is Usnisa Vijaya 211. This is also good because she is a familiar, exoteric deity who bears out the pattern of Heart Mantra and Near Heart Mantra, and this as a functional scheme is really only used with a few of them:

    Arya Tara Bhattarika 115 has a series of unusual types

    Lightning Ekajati clearly uses Heart and Near Heart.

    Twelve Arm Marici 140 has a few kinds of them and Vajradakini Samaya.

    Dhvajagrakeyura 210

    Vairocani 226

    You occasionally see a Heart Mantra employed in some way, but those are about the only places it starts a "Russian doll" procedure.

    Usnisa 211 is with Lokesvara, Vajrapani, and Mahabala. She does a Nyasa or body placement of six syllables. Towards the end, her mantras say:

    oṃ bhruṃ svāhā - hṛdayamantraḥ /oṃ
    amṛtāyur dade svāhā - upahṛdayāmantraḥ / oṃ amite
    amitodbhave amitacakrānte amitāgātre amitagāmini
    amitāyur dade gaganakīrttikari sarvvakleśakṣayaṃkarīye
    svāhā - iti mālāmantraḥ /

    Her Heart and Near Heart are exoteric, and it is especially an "animal feeding" set, I use it all the time. As for her Mala, we find Sarva Klesa Ksayam Kariye, invoking her as "dissovling or decaying" all obscurations/hindrances (klesa).

    Usnisa is a Tara who will come to you quickly and easily, compared to the others. This one is not just a good didactic or learning device, I would say she is crucial, essential.

    I will keep looking for some phrase that represents, arguably, three stages of removal/decay, etc., it seems perhaps familiar, but this is what jumped out in thinking of likely words for it.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote The skull garlands may be designated as "fresh or wet heads", or as skulls. Generally, fresh heads refers to attacking hindrances; skulls are void. This one is described as having bone ornaments and skulls. Her more noticeable feature is an elaborate pedestal which is supported by the Five Dakinis. One of her hands has the standard blood-filled kapala, from which she drinks; otherwise, the bones are just from fire and cemeteries.
    I got the feeling you meant her ornaments -- as in 5 ornaments -- were made of skulls. Part of the reason for my comment is that her name means "head ornament", and is the name given to crowns and helmets.

    Quote A chopper which perhaps mainly cuts ego is instrumental in preventing wind from flowing out the doors, No Ego and Bliss being the main "quietening" agents. The seal can be ruptured by either a physical or mental impulse; "leaking" out the the body therefor being associated with the mind or Asta Vijnana and its work in the cemeteries.
    What is the wind that No Ego and Bliss prevent from flowing? Is this the "winds and channels" wind?

    Quote That is an interesting take on the Three Jewels, as if such in the Cemeteries. It sounds like it may have a Sanskrit correspondence. I am not sure but I will keep my eyes open.
    Or it has something to do with the Bardo -- water, smoke, fireflies

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Offhand, I do not see much in Sadhanamala that would reflect three simple commands, dissolve, decay, decompose.

    Those could have long lists of synonyms, based on Vyava, Nrtti, or Ksaya, and so of course many sadhanas will discuss something Aksaya or that does not decay.
    Right after she said that, I had thoughts and feelings about it, which are perhaps relevant. The first I had was to link up the three jewels of the refuge with these three, if done in order, it would be:
    dissolve - jewel - Buddha - throat
    decay - plane - Dharma - palate
    decompose - cells/dancer - Sangha - head

    The first one makes the most sense, the dissolve is of the processes most intimately related with the jewel, and the jewel does show the interpenetration in part by showing grottos of buddhas and bodhisattvas.

    The second is the plane and that is about being the breeze and extending outward beyond my body - don't get it

    The third is connected to cells, so maybe as a congregation of cells a sangha, but also the dancer which I don't get.

    Then the next thing that occurred to me was not to make that kind of match up at all and just think that they were the three jewels because they want me to take refuge in them. This one actually does make sense in a way.

    The analogy I mentioned, with stages of dissolution in the Bardo works only to a point and then what to do with the candle flame, but that might be okay since I'm not at my crown yet, but then why call them the three jewels if there are more of them to come?

    Quote I will keep looking for some phrase that represents, arguably, three stages of removal/decay, etc., it seems perhaps familiar, but this is what jumped out in thinking of likely words for it.
    I had been thinking that, as I had in my list above, but I'm not sure they are "stages", since I'm not sure they build on each other, they sort of "go" different places. I might have hoped to have more after last night, but it took me all night to get used to the set up, which was the same as the night before, so I didn't succeed in getting anywhere.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    dissolve - jewel - Buddha - throat
    decay - plane - Dharma - palate
    decompose - cells/dancer - Sangha - head
    Well, I think you can do that. It does not come from the Abhidharma in any way that I can think of, but, you have a meaningful triangle that would like a way to express itself.

    Usually in the teachings, you wind up finding something is "provisional", or is like an intro, and then something is added or changed.

    And yes, the sangha per se can be explained as meaning "all lives" which for an individual is cellular, and as soon as I start thinking in those terms, I think the gut flora are the motor of the body as well as the immune system, and this is of course the "first" Agni.

    The sangha in this sense would be like the following Greek symbol:

    =

    it means

    Zoe

    Ecclesia

    which again refers to the One Life and the Many Lives and the fact that this symbol can be globally recognized as "equal" is exactly this. And then, in a religious sense, there in fact was an impulse to establish Ecclesia, or Assemblies, which was usurped to make a Circe or Church which is a building and institution which has no scriptural authority.

    So you have a peculiarly throat-centered way of becoming familiar with what sounds to me to at least bear some congruency to Smoke, Mirage, and Fireflies, something like a Far Approach to the First Void. All of this is definitely stages, and if you mean something simultaneous, it is more like Tri-dhatu or Triloka. And in a lot of the slightly advanced sadhanas, they do begin to teach this Triloka in an emphatic way, it may be said to be affected by a deity's Vajra or other item, but it becomes an important subject. Various Vajrayoginis are using it, and Ziro Bhusana simply happens to be ingesting the heart blood of the sangha or entire population of all three worlds. She is an ironic purifying vampire, which is along the lines of Vetali popping up as the jazz queen in the Age of Aquarius bearing nectar.

    Ziro Bhusana's published mantra calls her Dukhaye which I am not sure is really a word, and have tried to suggest they may have jotted down the Tibetan phrase dum skyes ma which means Generation Stage. If anything, the first way would just call her Suffering. Her heart rays hook everyone's life channels, and by drinking their heart blood she is sucking the life channels into her mouth, her straws are everyone themselves. In doing so, obscurations are purified, birth and death are cut off from the root.

    I was not aware her name is a "phrase". In Tibetan, she is given the title Jetsunma. The ornamentation of her head as it appears to me is it being a Lion, which is the only case I know of where this is not Simhamukha (Wrathful Jnana Dakini). They have a similar role, or, must be connected to the Sixth element. I perhaps live with Dharmadhatu Vajra, especially understood as Mental Object not coming from the senses. The opposite pole of this is Gnosis, which is the indriya, power, or sense capable of perceiving or transcending this object. The Ishvari, Yidam, or Prajna of this Family is Ultimate Enlightenment as obtainable in this realm. So for example, when Marici is called Vajrasattva Ishvari, that is what it means. The related Sense and Sense Object are Bodhisattvas. The Mental Object Dharmadhatu Vajra is significant towards understanding Vilasini and how when it is central it can become Grey Jewel Family Padma Jalini. It is a somewhat generic name. Mental Object could be characterized by any kind of experience.

    Exactly how Dharmadhatu Ishvari at first is the five-fold mind, and then the term Dharmadhatu properly occupies the sixth position, is perhaps only the beginning of the fact that what we call Bodhisattva Path is the complete purification of the Dharmadhatu. Then it is the Seventh Kaya which gets the name Dharmadhatu Kaya.

    Five is the number of Nagas and plane of Akash, and it is correct at first the five-fold bundle is related to Vairocana and Indra, and this Vairocana is Brahma which is Shan pa or Entrance to Nirvana. It is legitimate to adapt Samantabhadri to this entourage, which would appear to exclude her from the other lineages which are using her somewhat differently, more on the Sixth principle. Here, she is more like Akasha Dhatu Ishvari, and so if there is some kind of extraction from Indra's Net and some kind of akashic milk, it seems to fit. She may be the Bodhisattva of it. When we use this system, it is Sense of Sight, but it is also Form-as-a-Whole, which is the ganglion or whatever in the palate. Anyone who can see would say they see a whole form. So this has a dual meaning where it is also a type of tantric discovery.


    Depending on how you mean "candle flame", if one follows a sadhana such as Cittamani Tara, then you will actually dissolve her Tam syllable piece by piece, and the last thing to go away is Bindu-Nada, so you get that flamelike swoosh, to a point, to nothing. I am not supposed to tell you to do that one but the fact is Death and we would try to give this to anyone who was about to die who would listen to us. Why wait around.

    And so all my Refuge would be with Amoghasiddhi Tara whom could also reasonably be called Peaceful Candi.

    I think this is this most important part, because I am going to die before I am going to arise as a Complete Manifest Buddha by knowing all the rites of all the Families. I am going to get much, much better at this before I will have anything to do with the real Ekajati or One More Birth.

    I suppose in some sense I am doing pure Death Yoga or Mrtyuvacana.

    A dissolving syllable is a yogic exercise, whereas the Bardo version is more like states of being that happen to everyone, but the subject is the same.

    Maybe it could also be said I simply have a working knowledge of the chakra above the head.

    I do not really have this towards the Khecari center, or have elaborate visionary details of any chakras. From studying the Buddhist system, it is very clear they intend a much slower, sustained visit in each of the Joys, than it was possible for me to do without that being explained to me. I ran through the motions and took unconsecrated nectar.

    I know that it works magnetically and that if pursued, it will go exactly as the tantras state, with hot nectar and cold mercury and the latter is what enters Higher Yoni Triangle.

    It is definitely death unavoidably, and is only Bliss to the extent so generated, and so over a period of years I was able to find death could become coated with bliss.

    I do not have a good understanding of the life winds on an individual basis. But we are told this is what Buddha Families actually are.

    Vayu or Wind is the Maruts, with the potential harmonized and withdrawn state being called Hanuman. One will notice how little is ever said or done with this. It is just the life-force in the nerves. It is always there, or, you are no longer alive. As it functions throughout the day, it accumulates in the organs, which causes a "heaviness" feeling and one is tired, and the sleep cycle is intended to purge this. In meditation we are cautioned about it arising as Karmic Wind, which is like a subconscious impulse, habit pattern. If this happens, the mind will begin activity; the reverse is also true.

    Everything is about this Wind, which is the beginning of Yoga.

    Wind Mandala arises from Yam, from void, or from Bindu-Nada which is the top ornament of a normal stupa. What the Inverted Stupa is saying is that its symbol, the Crescent, is the legs, i. e. in a lotus or vajraparyanka or similar yogic pose. It has at least two features; one, it is also the shape and force of a Bow. And so, at the most basic level, we are quelling and reversing ordinary habits like walking around and going to the bathroom. When this life-force starts moving towards the center of the body, there are Victory Banners on the horns of the Crescent which begin to flutter. This is the Wind which is then being aimed into the Agni Kunda or Trikona, which is where we symbolicly place three or four skullcups and begin to heat them.

    It is at that point that prana is really thought of as entering and interacting with the throat center. However this is not represented on the Inverted Stupa. The upper parts of it are taking you to Citta Chakra and Mahasukha or Jnana Chakra.

    That is why this teaching is going to pan out into a presumably long phase of throat activity characterized by Lotus Family, Bliss, and Sambhogakaya. This likely consists of getting the Winds to abide in the Three Channels until they are able to enter the Avadhut only.

    That is not to say you will not physiologically experience melting the white bodhicitta or mixing it with the red and possibly see the Voids.

    It is said when you taste Mirror Wisdom, since it contains those higher than itself, you may peer very deep without exactly being "confined" to the state of Mirror Wisdom only.

    It is something like throwing extreme power into pure harmony.

    It is like being able to run your car engine at 9,000 rpms, and it doesn't burst, because you have a magical cooling system which makes it silent.

    Also, importantly, the Winds are not a Buddhist invention by any means. It is the same in Ayurveda or Pythagoras. What we have is a certain system or school of it. For instance, the five-fold pattern which is similar to any of these, is linked to a Hexagram; this union of Garbhadhatu and Vajradhatu consists of the seventh mystical element, and Vajrayogini steps forward to speak to your Klista Manas. This is often what is considered to hold "continuity of consciousness", since both the mind-in-the-senses and the Witness or mental mind can both be interrupted.

    The Heart is the Knower of All States.

    So i. e. Klista Manas or Very Subtle Mind is seated in the Heart, which contains the Indestructible Drop. It is just made of Wind and Mind.

    As an organism, I feel this as my center of power, but one can only say a few things about it metaphysically. As the center, I am trying to grant it Upeksa, which is Vajradakini or the most powerful Jewel of Enlightenment, which being a Jewel means it is the mandatory way for the Yidam or Ishvari's Wisdom to penetrate into the candidate. The Heart is not a bodily orifice. It is not concerned with the Cemeteries--but the crown aperture is, which is also Vajradakini.

    That is without even attempting any kind of samaya to her personally. She fairly specifically is those operative powers. If I already know what I am doing, then someday it will be easier to uncover her as a divine form.

    That is why the progression, Vairocani, Varnani, Vajradakini is utterly clear to me. I did not really know it worked like that until recently studying it. I knew there was something missing from the Pabonkha type literature, and it seems to me the coil of the practices in close conjunction with the inner meaning is sublime.

    Amrita is the name the Mahatmas wished to give the "monad"; the amrita is Varuni who is the source of Vairocani.

    By simply invoking Vairocani, we are emanating a roster of Vajradakinis, beginning with Pranava Vajradakini, who is Varnani, and as soon as we are there, Vairocani--Tapas meets Varnani--Inverted Stupa.

    However, if I am not invoking her, I am able to find that Guhyajnana Dakini is defined as functioning without empowerments, and that Ziro Bhusana Vajrayogini is above Guhyajnana. I could for example substitute Vairocani's entire character with Durga Suktam. Then I can say Vajrayogini is the teacher of the Secret Doctrine of Dakini Jala, which means it combines almost every facet we have in the tantras, except it appears to stop at the fifth, Akash or Sky, of the Eight Dissolutions. Then I can go into the Dakini Jala and realize its goddess of the Sixth Family is ambiguous. If it wants to be Ziro Bhusana, it will, since she arguably corresponds, any of this caliber are based in Dharmadhatu Vajra.

    At the same time it is said that Vasudhara is a preliminary to Vajravarahi, and I can see how Ila, Bhu, and Bharati are directly employed. Eventually, it all leads to Agni, in a Buddhist version who has a samaya being. Correspondingly, there was no way I would say a Vairocani mantra without doing a samaya and so forth with Ila and the others.

    Part of the message in that is Yaksha as something different from Dakini, having many kinds, importantly Gandharvas and Maruts.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Sorry for so late, we had a power outage.

    Quote Well, I think you can do that. It does not come from the Abhidharma in any way that I can think of, but, you have a meaningful triangle that would like a way to express itself.

    Usually in the teachings, you wind up finding something is "provisional", or is like an intro, and then something is added or changed.
    Yes there have been things "discussed" and updated.

    Quote So you have a peculiarly throat-centered way of becoming familiar with what sounds to me to at least bear some congruency to Smoke, Mirage, and Fireflies, something like a Far Approach to the First Void. All of this is definitely stages, and if you mean something simultaneous, it is more like Tri-dhatu or Triloka.
    It is both, but that may be because I struggle with trying to do so many things at one time. The ordering is what you have there in getting things off the ground, it almost seems backwards or simultaneous when trying to perceive what is expected to be perceived. I have to do throat, palate, head in getting it working, in comprehending it, to the extent that I can thus far, the throat (interpenetration) is the hardest and last.

    Quote It is legitimate to adapt Samantabhadri to this entourage, which would appear to exclude her from the other lineages which are using her somewhat differently, more on the Sixth principle. Here, she is more like Akasha Dhatu Ishvari, and so if there is some kind of extraction from Indra's Net and some kind of akashic milk, it seems to fit. She may be the Bodhisattva of it. When we use this system, it is Sense of Sight, but it is also Form-as-a-Whole, which is the ganglion or whatever in the palate. Anyone who can see would say they see a whole form. So this has a dual meaning where it is also a type of tantric discovery.
    Some information: The night before last, I wasted the whole night not figuring out what to do until morning. I went into tonight determined not to let that happen again. I was woken and positioned and "slept" for a while and then I woke and did things as they came without worrying about what was and wasn't familiar. I got the three places at least open a crack and held it for a while. There were times when I was practically chanting about taking refuge in dissolve, decay, and decompose, I was eventually told it wasn't for that -- wasn't to make a ritual of. When the three happened, I understood that:

    Dissolve is a coming apart that results in me being anybody
    Decay is a coming apart that results in me being anywhere
    Decompose is a coming apart that results in me being anything

    This is because the particular loss of self involved is
    Dissolve - no one
    Decay - no where
    Decompose - no thing

    When things cracked open a little -- I didn't get to see visions I could tell were there, I held in it, with a lot of help, and after some time realized that all of this was happening from the throat up while my body had gone into that rainbow liquid covered with sparks thing below.

    There was one other thing, at one point the jewel was a sun disc, the plane was the upturned crescent, and the dancer was the nadi-flame. And in the build up, I summoned twice, and both times the middle of me split away from the edges (the summoning is in the arms for the beginning) and did the Phowa sequence, the one I associate with the Phowa and the drops and so forth.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    The odd use of Samantabhadri was an interpretation, based in the Nepalese source which calls female Samantabhadra by the term Sita Tara.

    This pattern seems fairly close to what the reviewers of some of the medieval Nepali manuscripts surmised:

    "Prajnaparamita becomes Vajradhatvishvari by appropriating Marici and radiating light".



    So if we copy from Hodgson, it is clear that what is initially centered on Prajnaparamita then becomes so on Vajradhatvishvari. And this is good for a mnemonic, except we would reason at first it would be Dharmadhatvishvari, which increases and transmutes into things deserving of more specific names, wherein Vajradhatvishvari pertains to the upper life sustaining wind and the Vajra Kaya, which is a very advanced, extremely subtle ability which requires harnessing a power such as Amaravajra.

    His expanding groups of Families go one, two, three, five:

    1. Prajnaparamita

    2. Prajna--Upaya (and the reverse)

    3. Three Jewels (iterated three ways like Ziro Bhusana's mantra)


    Pancha Jina scheme:

    Vairocana--Vajradhatvishvari, Akshobya--Locana, Ratnasambhava--Mamaki, Amitabha--Pandara, Amoghasiddhi--Tara

    their Bodhisattvas:

    Samantabhadra--Sita Tara, Vajrapani--Ugra Tara, Ratnapani--Ratna Tara, Padmapani--Bhrkuti Tara, Viswapani--Viswa Tara

    Sixth is Vajrasattva--Vajrasattvatmika with Ghanta (Bell) bodhisattvas.

    It makes Nine Buddha Families by collecting all ten Buddhas and Prajnas and making Vairocana--Vajradhatvishvari one central deity, followed by eight singluars.

    These have bodhisattvas as Samantabhadra followed by eight "-pani" types.

    But then there is a change, to a Misrita or "mixed" category, which is centered on Avalokiteshvara, and uses scriptural bodhisattvas:

    Avalokiteshvara, Maitreya, Gaganaganja, Samantabhadra, Vajrapani, Manjughosha, Sarva Varana Vishkambhin, Ksitigarbha, Khagarbha.

    The corresponding females are:

    Bhrkuti Tara, Maitrayani, Pushpa Tara, Sita Tara, Ekajati, Vagisvari, Dhupa Tara, Dipa Tara, Gandha Tara

    Those are followed by the nine Dharanis, and, then the one known instance where something talks about Dharma Amnaya or lineage of reality, which is Vajradhatvishvari and the Prajnas followed by Vasudhara, Pratyangira, and Guhyeshvari.

    So what it is calling Sita Tara there would be understood as Samantabhadri, and in one sense she is the Bodhisattva of Vajradhatvishvari, but even when they circulate the mandala to be centered on Lotus Family, she still comes up as the correspondence to Samantabhadra. Here, she pretty specifically is the Bodhisattva of Vairocana Family, which is not really the same as the chiefly Nyingma lineages where the couple are the Dhyanis of the Sixth Family.

    It would be legitimate to use either one, but, if Samantabhadri seems meaningful as the center of five-fold power, then it is this one, which is a type of Sita Tara and Akasha Dhatvishvari. But it is not "Sita Tara" as a proper name, which means she has four arms. It is just a White Tara and a White Dakini of Vairocana Family--which would generically be called Buddha Dakini, which again is not the same as the proper name Buddhadakini who is Mahamaya's red consort. However, most of those red consorts are a Vajravarahi from Vairocana Family.

    Ms. English is correct that you have to evaluate whether a name or word is being used generically or specifically. Again, especially Bhrkuti, as an adjective it always means scowling, but, as a personality, she is not.






    And then if we say Vajrasattva is explanatory at first, towards most tantra, like in Khasama or Equal to the End of the Sky and into Samputa Tantra, then we find Guru is explanatory towards this most subtle portion, or the use or explanation of Vajradhatvishvari, if she is just a "mnemonic placeholder" in the above, she really means the critical life wind.

    What we call Vajra Rosary is based on a published Columbia thesis. It will download from there. One summary says:

    The Vajra Rosary Tantra (Śrī Vajramālā Vyākhyā Tantra) is one of the most significant and detailed tantras attributed to the Buddha, in his emanation as Vajradhara. It instructs a practitioner how to overcome the 108 energies and their related instinctual conceptions that circulate in the subtle body and mind and drive continued rebirth in cyclic existence, in order to attain the freedom of enlightenment. One of the explanatory tantras of the Buddhist Esoteric Community (Guhyasamāja) Tantra, its unexcelled yoga tantric system is among the most advanced systems described in Tibetan Buddhist literature. It mainly focuses on the final stage of Buddhist tantric practice, the perfection stage by means of which a person is said actually to become a buddha.

    There is no more authoritative endorsement than that of the great Tibetan renaissance scholar, Lama Tsong Khapa, who strongly recommended the Vajra Rosary Tantra as follows: “Nāgārjuna, in condensing the perfection stage into the five stages, follows this tantra; he also follows it regarding the creation stage three samadhis, four yogas, thirty-two deities, and so forth. . . . It explains the many stages of creation and dissolution of the body in terms of the channel structure, wind energy movement, and enlightenment-spirit substance as a factor in the decisive ascertainment of the internal and external life-energy controls for bringing forth the four voids and the magic body, depending on . . . the hidden discipline of desire and of the vajra recitation . . . and the limitless ways for the dawning of realization. . . . It seems that such excellent elucidation is rarely seen.”

    This is similar to the thing from Nepal. The main life wind is counted separately, and Vajradhatvishvari is found as Space Element and Sense of Touch. This is in common with Guhyasamaja. The Prajnas, particularly, are intended to move. So Locana will be in a different family and so is Mamaki.

    The energy-winds are explained by Alamka to consist of the ten better-known
    root and branch energy-winds, nine of which (minus the life energy energy-wind) are
    found in each of the six chakras, making fifty-four, moving both in the day and night,
    resulting in one-hundred eight. Adding the life energy energy-wind would make “more
    than one-hundred eight.” The Vajra Rosary, however, gives these energy-winds rather
    colloquial names, describing how the energy-winds grasp objects, beginning with
    “Sending and Grasping, One Hundred Million, Intoxicating, Stupid, Cooling, Itching,
    Mucus, Axe,” and so forth. Since we only have the Tibetan for these names of energy winds, the task of comparison is made difficult. Back-translating into Sanskrit, however,
    yields some insight. For example, Alamka comments that “The ‘One-Hundred Million
    [Tib. dung phyur] [Energy-wind]’ is supported by the Extreme Power Channel.

    ‘Realized by A and RA,’ [it is called] One Hundred Million; the two winds are the
    Evacuative Wind.” This seems rather strange unless one realizes that “realized by A
    and RA” could be rendered in Sanskrit as arbuda (/bud being an alternate root for /budh
    and /bund, meaning known or realized), and that arbuda is also Sanskrit for “One Hundred Million.”768 There are other instances of this phenomenon, illustrated in the
    notes to the translation. 769

    As explained in more detail in the CMP, meditation on the energy-winds is the
    preparatory stage of the first of Nagarjuna’s five stages, vajra repetition. In accordance
    with the well-known notion that the subtle body energy-winds are the mounts of the
    subtle-mind conceptualities, chapter three concludes with the naming of the one hundred
    eight conceptualities.

    768 Jayabhadra, writing in the ninth century, discussing the etymology of rahasyam, “secret,” notes that “Ra
    is said to mean ‘penis,’ and the syllable ha, ‘vulva’.”

    769 I am pursuing further research on the names of the energy-winds in an attempt to identify whether they
    are so called in other systems. The energy-winds’ colloquial rather than technical names, with the
    incorporation of various puns and so forth suggests a mnemonic device, which may make sense if this
    tradition was primarily oral.



    Chapter forty-five summarizes in part the body mandala of the Secret Community
    Noble tradition, but only places relatively few of the thirty-two deities at particular parts
    of the body. The five aggregates are the five Buddhas: form is the “Conqueror of
    Conquerors,” JINAJIK (Vairocana); consciousness the “Vajra Holder” VAJRADRIK
    (Aksobhya); feeling the “Jewel Holder,” RATNADRIK (Ratnasambhava); perception
    “Crossing Over from Cyclic Existence,” AROLA1KA (Amitabha); and compositional
    factors the “Wisdom Holder,” PRAJÑADRIK (Amoghasiddhi). The elements are:

    earth as “Ignorance Ecstasy,” MOHARATI (Locana); water as “Hatred Ecstasy,”
    DVESARATI (Mamaki); fire as “Passion Ecstasy,” RAGARATI; wind as “Vajra
    Ecstasy,” VAJRARATI; and space as Vajradhatuisvari.


    The five sense goddesses are:

    form as Rupavajri; sound Sabdavajri; scent Gandhavajri; taste Rasavajri; and touch as
    Sparsavajri, Vajradhatuisvari. The sense media are the bodhisattvas: eyes are
    Ksitigharba; ears Vajrapani; nose Akashagharba; tongue Lokesvara; body
    Avaranaviskambini; mind Samantabhadra; and the channels as Meitreya. Supreme
    wisdom is Mañjusri, and “the entities of the body” are the ten Terrifics.


    The tantra itself begins on p. 413 to 700-something, is based on the Lhasa rescension, and is like an Arya lineage of Akshobyavajra. It is a bit different from our Yoga preliminaries because it is only a Completion Stage. It deals with six chakras by adding the ajna, and its main subject is in opening and using Citta or Heart Chakra via the life winds and subtle body. Its association of Winds to Buddhas is:


    Energy-Wind Buddha Color Element Aggregate Wisdom

    Life-Energy Aksobhya Black Water Consciousness Dharma Sphere

    Evacuative Ratnasambhava Yellow Space Sensation Equalizing

    Ascending Amitabha Red Fire Motivation Discriminative

    Equalizing Karmavajradhara Green Wind Perception Accomplishing

    Pervading Vairocana White Earth Matter Mirror-like

    So again, this is something that I am not sure I would use much of, directly, but it is something rolling in the background while working up to it. In this classification, Akshobya has taken Dharmadhatu Wisdom from Vairocana by attaching it to the Life Energy Wind. Which will return us to the fact that this is more like the Book of Winds, is the place where they are directly and thoroughly handled.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    Dissolve - no one
    Decay - no where
    Decompose - no thing


    There was one other thing, at one point the jewel was a sun disc, the plane was the upturned crescent, and the dancer was the nadi-flame. And in the build up, I summoned twice, and both times the middle of me split away from the edges (the summoning is in the arms for the beginning) and did the Phowa sequence, the one I associate with the Phowa and the drops and so forth.
    In thinking of the first, it suggested the three natures or natureless-nesses of Yogacara, but I am not sure. The intent of the first sounds the same, No Ego or Nairatma, but of the others I am not sure. For example, it does not seem that there is usually much difficulty about thinking one's self to be a thing or some kind of foreign object. So it sounds more like a mental ability to selflessly experience various objects, than the transmutation of a sin or impurity.

    But then if you have the sun--crescent--nada, that is amazing, that would be a Nimitta or Sign in any school, very major. Hum syllable in some schools of Nyingma is based on exactly this. That has nothing to do with the Crescent of Inverted Stupa, it is closer to the upright one.

    Vajra Rosary deals with "sixteen emptinesses" which is beyond my understanding. The first main reference to the Winds in chapter sixteen is very difficult, but, after iterating their behavior, it sum totals it with an interesting mix of death and bliss focused in the throat center:

    Having been obscured,
    From that, even consciousness, Becomes insensate,
    And you faint.
    It obscures part
    Of the sense bases.
    It is the wisdom of purity,
    Supreme of supreme.
    From that, the life energy
    [Energy wind] dissolves
    Becoming equal
    To consciousness. //22//
    Supreme reality
    Is thus explained.
    The dissolving and arising
    Of the life-energy [energy-wind]
    And exact understanding
    Arises through the process
    Of the lineage guru. //23//
    I will also explain
    The reason
    For attaining
    The vajra body,
    Achieving
    The deathless state.
    One who achieves
    The supreme body
    Of immortality
    Is the support
    Of good qualities. //24//
    Because of that,
    Owing to the short lifespan
    Of living beings,
    They unable to accomplish
    The immortal state.
    Thus, with utmost effort,
    You should achieve longevity. //25//
    O Lord Savior!
    Supreme Wisdom!
    Transcendent Reality Yoga!
    He bowed to Vajrasattva, asking:
    How do you dissolve well
    Into the lineage
    Of the two immortalities? //26//
    Then the Vajra Lord said:
    The state that achieves
    All actions,
    The great deathless yoga,
    Ascertains perfect reality. //27//
    For the short-lived beings
    There is no way
    To achieve attainment.
    Therefore the good yogis
    [Hold] longevity to be a virtue.
    For that, first the intelligent one
    [Versed in] supreme yoga
    Should accomplish
    The inner nature. //28//
    Touching the tongue
    To the middle of the palate,
    Repeat the thatness word.1902
    Having assumed the
    Spiritual hero posture,
    You should recollect
    Perfect yoga.1903 //29//
    You should move the breath
    To the tip of the nose,1904
    And should clearly
    Shut the mouth.
    The moon arrives
    At the place of the palate,1905
    And melts by the yoga
    Of mantra.

    1902 Robert Thurman says this is to be done silently. Personal Communication 4-20-06.

    1903 The Commentary states that "perfect yoga" refers to sems kyi ‘jug pa ‘gog pa’i rnam pa’o, a kind of
    shutting down of the engagement of the mind. 121A. This stanza is also quoted in Alamka 31B in
    discussing the attainment of "paralyzing an army."

    1904 I.e. the conventional nose. Commentary 121A. As for the method, Alamka states: dbugs ni mi ‘byung
    zhes bya ba ni ‘od zer gyi thig le bsgom pa’i bdag nyid can no// "The breath not arising" means having the
    nature of meditating the drop of clear light. Commentary 121A.

    1905 Alamka explains: "'The moon arriving at the place of the palate' means enlightenment spirit in the
    aspect of a moon. 'One should melt' means by applying the uvula.1905 If someone asks how, it is stated as
    the 'yoga of mantra,' the meaning which is 'connected' 'by the unbroken mantra.' [The enlightenment
    spirit] is melted by means of the uvula. 'By wind yoga' means by applying the falling of the downward
    voiding wind. 'Drinks' means that one should experience nectar." 121A. "What is particularly surprising
    about this passage is the characterization [in the Ta#tir#yopanishad's Shiks!valli] of the uvula as Indra's
    womb. Indra is of course the great Soma drinker from the Vedas. Throughout the Yogic and Tantric
    literature we find that the uvula is described as the site where the nectar of immortality (amrta, also a
    common epithet of Soma) drips down, after the kundalini or enlightenment spirit has risen up to the crown
    of the head.” Hartze1l 1997, 582.

    The chief of yoga
    Should always drink
    By the yoga
    Of the melting
    Of energy-wind. //30//
    At the end of the middle
    Of the night,
    The yogi recites mantra
    In one session without stopping,
    Making the vajra body. //31//
    To summon the life-energy
    Of the practitioner,
    Always repeat
    Without losing the limbs
    The third of the second group,
    Including the vowel. //32//
    Also, you should always
    Use the substance,
    Producing the stage
    Of the five realities.
    When you complete
    The recitation,
    There are never
    Any stains arising
    On the body. //33//
    As for the vessel
    Made of five metals,
    You holding it
    Until sunrise,
    Pouring constantly into it
    The blood
    Of a young woman
    And enlightenment spirit.
    The supreme substance
    Is called the seven nectars. //34//

    So again, this is focused on all the winds, opening the heart, and relying on the main central wind. The "many winds" are the basis of conceptuality, but the prime wind is non-conceptual. So it is something like a rosary of 108 pranic transmutations followed by "one state".

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote It explains the many stages of creation and dissolution of the body in terms of the channel structure, wind energy movement, and enlightenment-spirit substance as a factor in the decisive ascertainment of the internal and external life-energy controls for bringing forth the four voids and the magic body, depending on . . . the hidden discipline of desire and of the vajra recitation . . . and the limitless ways for the dawning of realization. . . . It seems that such excellent elucidation is rarely seen.”
    I get the feeling that the winds are not, or not exclusively, in the channels. I had made this error in thinking because of the three channels in the middle, but the "winds" seem to be more pervasive than just the channels, or the channels are more pervasive than I'm thinking of them.

    Quote earth as “Ignorance Ecstasy,” MOHARATI (Locana); water as “Hatred Ecstasy,”
    DVESARATI (Mamaki); fire as “Passion Ecstasy,” RAGARATI; wind as “Vajra
    Ecstasy,” VAJRARATI; and space as Vajradhatuisvari.
    Do RAGARATI and VAJRARATI also have correspondences? For some reason I searched the document and did not come up with anything, except for a surprising number of words which have "rati" in them.

    Quote In this classification, Akshobya has taken Dharmadhatu Wisdom from Vairocana by attaching it to the Life Energy Wind. Which will return us to the fact that this is more like the Book of Winds, is the place where they are directly and thoroughly handled.
    This looks promising.

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