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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 Posted by Old Student (here)
    Quote In Sanskrit, two apparently separate words in Avalokiteshvara's mantra are just one: Manipadme.

    Jewel Lotus. I. e., you perceive a jewel at the center of a net at the throat. So this experience is already equivalent to stability in the samadhi of Om Manipadme Hum.
    This would fit with Samantabhadri and consort being there. Manipadme is the Vajra in the Lotus you were referring to earlier. Whenever I hear it described like this, all I can think of is Georgia O'Keefe. But truth be told I have this motif all over the place. Both of the moons, the thin smoke, and others.

    Interesting song. Not sure what she is saying at the end, it sort of sounds like Chinese but not intelligible or at least not compatible with facial expressions.

    Here is Om mani padme hum in Mongolian

    Here in Dharmshala this track has been played since ever, it’s the Dharani of Mahakarunika Mantra of Avalokiteshvara.
    It soothes all hearts and bestows peace and tranquillity.




    The meaning is always more important no matter what kind of language as this should be language coming from heart.

    Mani Padme is also Padme Amidala of Star Wars.


    Padme Amidala is none else than the Lotus of your Amygdala.

    By indulging in thoughts of love and compassion, the intelligence of amygdala is pleased and prompted bestowing lasting benefits on humanity.


    Padme Amygdala is the Queen of Great Bliss
    and one in full control of its environment.

    You could say that this civilization already destroyed the name of Isis so also it’s forgotten about existence of pure intelligence of their jewel lotus amygdala.


    By the power of our amygdala that is subtle intelligence and bliss we are able to reimagine better world than this.
    Can guarantee you the kids can do that 🥳


    We all should start thinking way ahead



    It’s but a wish 🙏🌈🌟

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Suka would be a spelling error for Sukha.
    Thanks. I was hoping so, I couldn't find it anywhere.

    Quote So there are quite a few terms for the same thing--and Sahaja has an extremely precise meaning in Suksma Yoga. Mahasukha Chakra refers to the crown, and for that reason, it seems to me redundant to use it as a term for a Kaya--but if it has the same definition in the Abhidharma, I cannot refute it. All I can say is that Jnana Kaya is used in Dakarnava discourse which gets us to Seven Kayas.
    She (Sarah Harding translating Niguma) presents it as being what svābhāvikakāya becomes on attaining one of the grounds. Niguma presents 4 grounds above the tenth, all seem to be accomplished by or conferred by a karmamudra.

    In the painting, there is a square cauldron with a crescent moon and six jewels and flames. Do you know what it is?



    Quote If I translate "White Tara", there are two possibilities:

    Sita Tara, having four arms, doing dharmachakra mudra

    Sukla Tara, having six arms, casting Vajra Fence

    Sukla means moonlight color, or, moreover, glowing like the moon. Most, if not all, the advanced "White Taras" share the sukla coloration. But only this one has it as her name.



    In the sense of a womb expanding to space, I don't know if this pertains to the new mystery dancer, but, just drawing from the words:

    Space Womb is the name of a male bodhisattva, Akasha Garbha or Kha Garbha. He is a standard Bodhisattva, also appearing in Dharmadhatu Vagisvara mandala; these usually refer to nothing female.
    I wonder if she's Candra or derived from her (you had said Cunda before, or this one, Sukla Tara). Recently (last night included) she shows not as a dancer or Dakini but as the moon, appearing first as the cold physical moon (craters, mountains and all) but then as she moves (and generates bliss), she becomes what I thought was a light, like a powder blue, but it turns out to be a bright, deep blue inside of white mist. Her light is still moonlight colored. The space is definitely womb, but except for one time, was not infinite, it was inside of me. She generated a flow of bliss last night, she was also a participant in a very complicated reworking of my upper torso as part of opening up from my throat to the inside of my head.

    Cundavajri seems to resonate if that means a female deity that is a vajra made of moons.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    This is pretty interesting:

    Quote Padme Amidala is none else than the Lotus of your Amygdala.

    By indulging in thoughts of love and compassion, the intelligence of amygdala is pleased and prompted bestowing lasting benefits on humanity.


    Padme Amygdala is the Queen of Great Bliss
    and one in full control of its environment.

    You could say that this civilization already destroyed the name of Isis so also it’s forgotten about existence of pure intelligence of their jewel lotus amygdala.


    By the power of our amygdala that is subtle intelligence and bliss we are able to reimagine better world than this.
    Can guarantee you the kids can do that 🥳
    So in the mantra, as Shaberon was saying, the middle is often treated as "Manipadme" meaning the feminine lotus possessing the jewel which is thought of as being the vajra.

    So your equation of "padme" with the amygdala represents the amygdala as a feminine organ. Last night, when they were opening up my throat so that there would be flow of the rainbow liquid through it, at one point they replaced or capped the (usually a well) area above my magnum foramen with a vagina opening before the flow started from below.

    That would be very near below where the amygdala is.

    I like the Dharani track, thanks.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Several deities can teach or manifest Transference, although the Red and White Celestial Women of Shangpa are mostly just for this purpose.


    This is a detail from something larger said to represent Transference:








    If I am not in Shangpa, I can at least say there is a Red Guhyajnana who will harness the Four Dakinis, and a White Guhyajnana (Siddharajni) who combines dakini items with a Fancy Pants Tara form, an assistant to Vimala Guru or Pandita Vajradhara, which must be rooted in one or more prior world systems, according to his name.

    Tara does the same thing. As Amoghasiddhi's Tara, she was Wisdom Moon (Yeshe Dawa) in a prior world wherein he was Dundhub Isvara, or the Yidam of Drum Sound, and we see drums are with higher energy or level two dakinis, so to speak. So there is a tenuous link of Green Tara to the Moon.

    In working out the classifications of Buddhist tantra, there is a rough spot whereby the name Cunda is perhaps considered a peaceful version of Candi, who is the wrathful Amoghasiddhi smoky Tara--whose peaceful forms are green. Cunda does not seem to match, linguistically by meaning, whereas Canda is a word for wrath generally, such as Canda Maharoshana, a wrathful form of Vajrapani.

    Candi is difficult to analyze, she is a wrathful Durga, and I am trying to keep in mind that before any written tantras, a large portion of Buddhist tantra intent can be seen in verse two of Durga Suktam, which was written like this ca. 300 B. C.:

    Taam-Agni-Varnnaam Tapasaa Jvalantiim Vairocaniim Karma-Phalessu Jussttaam |
    Durgaam Devii[ngu]m-Sharannam-Aham Prapadye Su-Tarasi Tarase Namah


    Agni colored Tapas Jvala Vairocani Justam

    refers both to Jnanagni--the offering of Karma Phalesu, or the fruits of one's actions--down to the Ucchista or "Scraps", usually for Smoky Ganesh and other low class tantric deities--and to Vairocani as the manifestation of blazing tapas.

    Then to the devi is Saranam, Refuge, same as in our Refuge Vow, and then some obvious variations on Tara.

    The song is closer to Katyayani or Vimala, who is violent without taking an angry or scary appearance.

    Chandi is the one shakti not produced by a male god, is like a direct twin of the transcendental Devi in the manifested world.

    It may be the case that Cunda is Buddhist for the unmanifest, whereas Candi would not generally be known without a lot of details about the Families. I am not sure. The similarity of the names would tend to want to make us jump to this conclusion, but we should not necessarily do this unless we can trace it in the Abhidharma.

    If we look into Hindu Candi, she is inextricably tied to a major Ista Devata of Hinduism and Buddhism.

    There is a Nava Chandika from Skandaya Mala tantra, who over-writes Nava Durga, having nine pairs of arms, or eighteen. It is a nine-deity configuration wherein the center is called Ugra Canda. She is mounted on a lion, and the retinue members have sixteen arms.

    Ugra Canda is Vahni Samnibha--color of fire, or "just alike" the Vahni which are vehicles of Agni.

    1. Rudra Canda, bright red like a lotus

    2. Candogra, roshanamaruna or resembles Arunodaya (dawn)

    3. Pracanda (Cinnamasta), krsna or dark blue

    4. Canda Nayika, nila or blue

    5. Canda, sukla

    6. Candavati, dhumra or smoky

    7. Canda Rupa, pita or yellow

    8. Ati Candika, Panduragneya, pandura pale or robed in white, fiery

    Also similar in Kalika Purana.


    The two things that remain unclear to me from having spent a lot of time poring over these subjects, is whether Cunda has to do with Candi, and the nature of Raudri or the first form above. Most of the tantras use similar rings and retinues so we can get an idea of how it evolves and shapes, but, for some reason, Samputa Tantra manages to unleash a whole ring of Vajra Raudris who continue, I believe, only in Weapon Hevajra.

    That is the significance of Ghasmari and why I have to tie off my personal sadhana at that point, Ghasmari is Maheshvari and how is this related to Raudri.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    In the painting, there is a square cauldron with a crescent moon and six jewels and flames. Do you know what it is?

    Cundavajri seems to resonate if that means a female deity that is a vajra made of moons.

    Which part of which painting? So many details...

    Cundavajri is the name specifically used in Guhyasamaja. We would have to refer to the full text, it is difficult, but primary. I will try to see if I have anything on it later.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    This one. There turn out to be two such moons, the one in the center I described with the 6 jewels in the Chinese cauldron and one to the lower right of it.
    Attached Thumbnails Attached Thumbnails Click image for larger version

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    This one. There turn out to be two such moons, the one in the center I described with the 6 jewels in the Chinese cauldron and one to the lower right of it.

    Oh, these are Lakshmi gems of some form or another.

    Vasudhara and Jambhala proliferate them, Citrons, or Jewels.

    Same pattern, starts as "a" gem and then something like three, to six, to nine.

    Amoghasiddhi does the collection this way in Namasangiti Dharanis:


    Yellow Vasumati Mahalakshmi with Corn is first, Ila Vasudhara.
    Red Ratnolka with Cintamani Banner.
    Sita Usnisa Vijaya with a jar of moonstones.
    Reddish White Marici with a needle and string.
    Dark Green Parnasabari with peacock feathers.
    Sukla Janguli with poison flowers.
    Priyangu Anantamukhi with jar of treasure (nidhi) on a red lotus (kalasa)
    Sukla Cunda with rosary and kamandalu.
    Sita Prajnavardhani (Prajnaparamita--Sarasvati) with a sword on a blue lotus (nilotpala)
    Harita Sarvakarmavaranavisodhani has a vajra with three thongs on a sita kamala lotus.
    Red Aksayaknanakaranda has a basket of gems.
    Yellow Sarvabuddhadharmakosavati has a trunk full of jewels on a padma lotus.

    Nidhi or secret treasure underneath the Yaksa kingdom is the theme here. But likewise the Fruit aspect. These are the true wealth, what is really asked to increase, or the real Noose.




    In Guhyasamaja, Cunda vajri is the Tri-kaya of a particular samadhi:

    || vīravajrormimālā nāma samādhiḥ||

    atha bhagavān vajradharaḥ samantanirghoṣavajraṁ nāma samādhiṁ samāpadyedaṁ mahāvajrabhāvanāpadaṁ svakāyavākcittavajrebhyo niścārayāmāsa|

    |u||

    khavajramadhyagataṁ cintetsūryamaṇḍalamuttamam|
    buddhameghān vidhānena trivajrātmā mahāyaśāḥ||76||

    pātanaṁ kāyavākcitte cundravajrīṁ vibhāvayet|
    sarvālaṅkārasampūrṇāṁ sitavarṇāṁ vibhāvayet||77||

    vajrasattvamahārājaṁ dhyātvā mantrapadaṁ nyaset|



    The subject of this samadhi is Vira or Heroine Vajra Urmimala Wreath or Garland of Waves.

    The first line is something about Vajradhara is going to demonstrate something:

    Kha Vajra within a Sun--Surya Mandala
    Buddha Clouds contemplate Tri Vajra Atma with a great retinue.

    "Coming down", inferring from the clouds, meditate Body Speech Mind of Cundavajri, which likely means one of Vajradhara that he has extended in her form.

    Ironically her color is Sita here. Then one recites Hundred Syllable mantra.

    So she is mentioned one time, and, to sift through the hay to enquire how noteworthy or obscure her gigantic form in Guhysamaja might be, this is about how hard you have to look:


    There are three principal lineages for Manjuvajra form of the meditational deity Guhyasamaja. The first is the lineage of Abhayakaragupta contained in the Vajravali text. The second lineage is that of the Yogini Risul and Nyen Lotsawa, no.44 in the Gyu de Kuntu set of mandalas. The third lineage belongs to Marpa Lotsawa and the text is found in the Kagyu Ngag Dzo.


    In this lineage, Manjuvajra peculiarly emanates in the Northeast, Yellow Locana, and Cunda in her Maha form, which goes with her regular dharani, according to Taranatha. They begin his unique retinue not found in Akshobya Guhyasamaja. He has the additional ring of Cunda NE, Ratnolka SE, Bhrkuti SW, Vajrashrnkala NW. Graphically, Manjuvajra has "sent" Locana and Cunda to Akshobya, who has "sent" Mamaki to Ratnasambhava. Manjuvajra has completely kicked out Vairocana, probably by way of making a fusion.

    Guhyasamaja Manjuvajra is actually simpler than the Yoga version of Manjuvajra, placing the Sense Objects of Touch and Dharmadhatu in noticeable positions--Touch being in Amoghasiddhi Family, and Dharmadhatu, of Vajradhara. Yoga Manjuvajra is not using Sense Objects and the like, it is closer to a standard assembly of Bodhisattvas and Ten Wrathful Ones. The problem of Locana and Mamaki has led to perhaps a few mistakes, such as a Japanese idea that Offering Goddesses transform into Sense Objects. But we think most of these moves are intentional and have a meaning. Otherwise,Manjuvajra is the same as Akshobya Guhyasamaja; Purified Sense of Touch has entered the center: Manjuvajra's consort is Sparshavajra as Vajradhatvishvari.

    Locana has a dual existence in Vairocana Abhisambodhi: In the north-east, the Mother of all the Buddhas, the Blessed Lady Gagana-locana, or else her syllable GA. Locana returns forty verses later on a Gold Square mandala and is flaming Yellow and the Mother of Bodhisattvas.



    None of the Guhyasamaja mandalas show Cunda because they do not have enough rings to support the entire retinue. It can be found in a Varavali relationship of the three kinds of Guhyasamaja: Akshobyavajra, Manjuvajra, and Lokeshvara. She isn't very distinct, but in Manjuvajra's upper right mandala, in the border of green and blue, is a white deity with so many arms she just looks like a square, this is Cunda, or. Cundavajri:







    Here is a zoomable Manjuvajra that is perhaps better.

    My best guess is they are counting twenty-six arms plus one face = twenty-seven lunar mansions. Otherwise she seems in keeping with her basic version, i. e. an assembly of Buddhas and Bodhisattvas; for which, as the word, Saptanam, has only one meaning which is in the Vedas which would mean having seven names: The Seven Names of Samyak Sambuddha Families seems to be the venue of her appearance and mantra.



    Candi's seed syllable is Ca, so, she is a slightly different pronunciation from Cundi, though both are C or Ch and mean almost the same thing. Ca is "to move", as in Cale, and so Candi's other common name Chamunda is perhaps "she who moves in the head".

    The syllable Hum is said to be the Dhenu bija, the ‘seed sound of the Mother cow’, calling its calf back to it. Phat is the bija of the great fire at the end of time (Pralayagnirmahajvala, or Vidyujjvha, like Ekajata). Svaha, otherwise known as Thah Thah, is Vahnijaya, representing the fire sacrifice.

    In Four Brahmavihara, Mudita is Joy, which is Vajrasattva. And so in Hundred Syllable mantra, the four "Ha"s are the Four Joys.

    Eventually, Four Joys are said to work four ways, Sixteen, reiterated by descending red and ascending white drops, but for most purposes, by Suksma Yoga, at first, we only mean One--i. e., being able to sense it at all--then Four, to accomplish the white descent properly, and then Eight with the ascending red.

    Since this is internal, thereby unable to observe the happiness of other beings, it is no longer exactly Mudita, the emotion in Four Brahma Vihara, and so the Sanskrit term Ananda is applicable here. In Tibetan, it is Kunga, i. e. Kunga-mo. Buddha's disciple Ananda was given "Prajnaparamita in one letter, A".

    So this is a valid list:

    joy (Skt. muditā; Tib. དགའ་བ།, gawa, Wyl. dga' ba),
    supreme joy (Skt. pramuditā; Tib. མཆོག་དགའ།, chok ga, Wyl. mchog dga'),
    special joy (Skt. viśeṣamuditā; Tib. ཁྱད་དགའ།, khyé ga, Wyl. khyad dga') and
    innate joy (Skt. sahajamuditā; Tib. ལྷན་སྐྱེས་ཀྱི་དགའ།, lhenkyé kyi ga, Wyl. lhan skyes kyi dga' ba)

    And so is this (Naro's terms):

    (1) joy (ananda)
    (2) perfect joy (paramananda)
    (3) joy of cessation (viramananda)
    (4) innate joy (sahajananda)

    Sahaja is not exactly a philosophy, it is a physiological condition, the fourth Bell or Gnosis Activity of Ananda or Bliss.

    Once this condition is reached, there are no joys which are not innate, and so the ascending joys are all Sahaja.

    Maitri wrote about Four Joys in terms of Seals, Mudra, but his terms "include all Four", they are Sahaja, the first is Karma Mudra or sexual yoga, then Dharma, Maha, and Samaya Mudras. As his samaya, I expect he means to the true transcendental Yidam with whom one would practice Transference, which would make Transference sound likely possible at the Eighth Joy when the Mercury has fully risen.

    Naro lacks the Seals, and only wrote in terms of Empowerments; Maitri's system allows for more interpretations and the extended sets and so forth. This is similar to how their Dakinis have a certain order, Naro's begins basically standing and moves towards dancing and drinking, but Maitri's is a raised-leg flyer.

    It is, indeed, written that there are even sixteen or more Bhumis. Namasangiti summarizes any additions with a spellcaster having a treasure chest. The first is Bhumi is Mudita. We may, perhaps, comprehend them all, but to really be on it, it has to be immutable. Do I sense it, yes, of course; is it permanent, no, unfortunately not. What may help, Bodhisattva meditations with Offerings.


    Vajrasattva--Pramudita, Joy

    Offerings are related to the paramita of generosity (Skt. dānapāramitā)

    1. Freedom from conceptual elaborations is known as generosity.

    The Discipline (or Mastery) here is Citta, or mind, or perhaps shorthand for Bodhicitta as Vajrasattva would normally say. The spell, however, is Ratnolka, Meteor Face, which is Dhvajagrakeyura, Ornament on Victory Banner, which is odd because it is the highest and final symbol. For example in Lama Yeshe's Thirty-seven point mandala offering, it starts around Vajra Bhumi--the Ground, or golden ground, not originally or inherently in existence--builds the realm, and culminates with Eight Offering Goddesses, Sun, Moon, Parasol, and Banner. So if Sun and Moon are the two drops, inherently dormant, then they are awakened, aided, and assisted by Parasol and Banner. Those things are self-secret Nidhi or just buried by mundane mind, so, we may learn about them conceptually, and slowly build them as inner recognition and ability grows.

    Mipham recommends Dhavajagrakeyura to increase Wind Horse. It is on prayer flags but also on permanent posts.

    Wind Horse or Lungta Tibetan dance rock:







    Mantric music is intended to be versatile, or to cover the whole range of dynamics. And so compared to the basic Twenty-One Taras recording, the actual perpetual one in Tara's Acacia Grove has wild singing and expert musical lines between the verses. Dakini music particularly may be bold and brash. And then some of it should be more emotional, some of it just plain lucid, and some that is soft.

    Joy or Pramudita is already in Four Brahma Vihara, it is indeed a firm, early basis which just grows: personally pleasant to be around, and finding joy in the happiness of others.

    In Namasangiti, Dana Paramita is whitish red in colour and holds in her left hand various kinds of ears of corn. Citta Vasita is white in colour and holds in her left hand the red Vajra with five thongs. Pramudita Bhumi is red in colour and holds in her left hand the Cintamani jewel. Ratnolka Dharani is red in colour and in her left hand she holds the Cintamani Banner.




    All Schools of Tibetan Buddhism, new and old, practice White Tara. Within the Sarma Schools there are four famous lineages: Bari Lotsawa, Jowo Atisha, Kashmiri Pandita Shakya Shribhadra and Nyen Lotsawa Dharma Drag. These forms are all Cintamani Chakra Tara, and the main difference is: Atisha's is Seven Eyed. Bari's has two, Nyan's has three, Sapan's has two. So here is where Atisha has something new that is not in the Indian heritage, which either the two or three-eyed ones are.

    And, it is said that Atisha's "true" form only has two eyes. So there is chiefly one version which has Three Eyes and appears to be the same who can Reverse Amitayus or other consort and is almost indistinguishable from Three Eyed Reversed White Vajrayogini. It seems that Mrtyuvacana and White Vajra Tara have two eyes; the first Sadhanamala form that has three is the Four Arm White Tara of Ngor; and this is the only one that actually has the name, Sita Tara, and, she carries a Cintamani.

    Nyan also transmitted a Six Limb, i. e. Sadanga Yoga Tara.

    So we see he has a fair few unique deities as well as Guhyasamaja Manjuvajra.

    Cintamani Wish Jewel is itself, is a type of Chakra, is the image on Banner.
    Last edited by shaberon; 23rd July 2020 at 08:44.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    After many years of inter-dependent observations I have come to the same conclusion as previous: the 5,6,7..families of Buddhas in their respective directions of space represent none else than actual races of entities who both preceded humans and gave birth to several human progeny lineages here on Earth.

    Then according to the Kalachakra teachings , the Kings of Shambhala practised mixing of the society, to the verge of revolt from devoted Brahmin caste.

    The population of Shambhala had to be quite diverse considering it was nested somewhere along the ancient Silk Road.

    By practising the Kalachakra teachings in grand manner, establishing new calendar count etc. new advanced state was achieved among the populace.


    It’s again, more interesting to observe today in the context of this mixed world .


    What I mean to say also, todays “modern human being” is more less a beautiful mix of lineages and races of beings,
    dating to Space for billions of years, of this planet alone.

    It’s where human consciousness turns very mixed but rainbow like as well. Pure families and consciousnesses became redundant, and many Star family connections were lost and forgotten by people of today living in their “busy busy” trance.

    Thanks to those guardians of the galaxy who keep the connection with their higher selves,
    the Jedis of the truth

    and of course, thanks to Mr Yoda for his unconventional and unconditional sense of Wisdom


    Thanks Shaberon and Old Student for this precious thread


    🙏🌟🙏

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Agape (here)
    After many years of inter-dependent observations I have come to the same conclusion as previous: the 5,6,7..families of Buddhas in their respective directions of space represent none else than actual races of entities who both preceded humans and gave birth to several human progeny lineages here on Earth.
    Yes, I think there is something to that; but also it was the weakness of, not exactly original Theosophy, but Mr. Sinnett's line of inquiry was about "this", and less about practical inner meaning--which is what Alex Wayman started asking about.

    The teachings as a whole, Theosophical or Buddhist, are said to pertain to this planet at this time. Avalokiteshvara is the major Bodhisattva Mahasattva for everyone, because this is the cycle of Lotus Family as the main governor. In the Puranas, one will find that "Amitabhas" will be the basic building blocks of the next world. One also finds that "Tusitas" are formless from a prior world, and are currently in the third Kama Loka where Maitreya is nestled.

    "Indra" is merely an office, occupied by different individuals at different times.

    There are Puranic lists of several world systems; Buddha's memory was said to extend Ninety-one Kalpas, entire days--nights of Brahma.

    There are only a few ports or emphasized aspects of continuity between world-systems, Drum Sound Isvara Amoghasiddhi and Jnana Candra Tara being perhaps the main one. It is, for instance, the source of her refusing to be reborn as a male. She made that decision against the wishes of her elders in her previous world. In this system--or during its pre-cosmic gestation--she eloped with the Moon against the wishes of Jupiter, which again is the rejection of "ritualistic repetition" versus inner meaning, which is also the removal of Yoga from exclusive "Brahman--only" hands, into those of any kind of person with Merit. Tara then returns the Moon's power to Jupiter, which becomes Kavya or the art of poetry. Adi Kavya or primordial poet of our earth was Valmiki, author or rather compiler of Ramayana, himself a Maha Cina.

    Perhaps the main stellar legend is the one of Agni and the Pleiades and Arundhati, which repeats itself in the Gangetic or astral plane, which tells us about various layers or bodices of Maya and Shakti. On the Path, stellar or cosmic matters are the domain of Marici.

    So when we have Vajrapani and Eight Planets, this is to say that on Earth, aspects of the other planetary lords are permanent residents and so forth. With Jupiter being a bit subdued into his correct role as Deva Guru, then, the Human Guru is revealed as Venus--Lakshmi.

    One can see this in western astrological glyphs. Just as the top of an Inverted Stupa is intended to meet the base of a Divine Stupa, the glyphs of Earth and Venus should merge to make the complete key:

    O
    +
    O



    The Earth Glyph is the Orb of Kings as held by Holy Roman Emperors and others; that of Venus, an Ankh, or Mirror. The Alchemical language as understood even by Isaac Newton is startlingly close to the alchemy as designated in the Sanskrit system. In Sanskrit, Rasa is Taste or Mercury, which is both symbolic, and the actual substance. Nagarjuna was one of the most important alchemists, and this was centered at the Eastern Silk Road which links Assam to China, so it is mixed right in to the Maha Cina culture.

    Maha Cina Tara does the odd business of importing Kama Devi from Assam, and arising in the Bhattarika Taras which include Sragdhara (whose garland is actually gooseberries). In Sadhanamala, Sragdhara comes right before Vajra Tara.

    Mangala Rupini is a Kama Devi song from Kanchi, Adi Shankara's home base in Orissa:






    Jaya jaya Sankari gouri krupakari, dukha nivarani Kamakshi.

    Victory, victory to wife of Shiva, the white Goddess,
    The merciful one, she who removes sorrows and the Goddess Kamakshi (Kama Eyes)

    Dukha Nivarani would be quickly familiar to Buddhists, i. e., Sarva Nivarana Vishkambin, or the Sarva Varana epithets of Prasanna and Vijayavahini. Mainly the varana or veils are five hindrances of baleful emotions that are pretty much the same Buddhist or Hindu. Dukkha is a fairly standard word for suffering.

    And so the alternate title for the song is Dukha Nivarana. And I cannot find any way that the major basis of Adi Shankara's resident goddess is any different from Buddhism, since Dukha is the main reason for having the training, and Nivarana is the basic cleansing or purging technique. If you just add two more veils, then you have the full RGV or all Seven Buddha Families.

    Prasanna Tara is Amrita Locana.




    In Sadhanamala, there are no Amitabha Green Taras, his female emanations are only Kurukulla, Bhrkuti, and Sitavati (who turns green when she moves). Sragdhara is "potentially but not explicitly" in Lotus Family, since she refers to Amitabha, and overall, is part of the Mahakarunika cycle; her relation to Amitabha appears unique:

    amitābhabuddhamadhyāṃ jaṭikāṃ dadhatīṃ manoharām evam

    Amitabha in the middle of Jhatika (Plums) arranged beautifully.



    Mahakarunika is the overall cycle of Lotus Family practices, having Maha Sri (or Mahalakshmi Sutra) for its Messenger. In Kriya, it employs three forms of Avalokiteshvara:

    Amoghapasha, Padmajala, and Simhanada.

    That means those are his main basics with public dharanis, etc., and that he has more subtle forms intended to be drawn in by those. Padma Jala and Sukhavati Avalokiteshvara are among his tantric practices.


    Simahanada has a sadhana with Pandara. His usual appearance is with Eight Naga Kings. They are under Nagaraja who is doing "preventing bad rebirths gesture" (Sarvadurgati Parishodana) and Nagarjuna:









    Sragdhara originally was thirty-seven verses in Sragdhara meter, and is still used for Tara's grace before Vajrakilaya or Mahakala practice, for instance. It comes from Kashmir, ca. 8th century. Sragdhara is related to Sukhavati Avalokiteshvara, i .e his Pure Land. So she is also a "lace-up" from outer to inner.

    Manipadme begins to look like the fact of Mani Tara and Padma Tara. Avalokiteshvara invokes Mani Tara followed by a strand of Padma Tara. In Sadhanamala, after Dhanada, Bhagavati Arya Tara is Om Mani Tare, followed by Sragdhara. Elsewhere, Om Padma Tare has multiple uses, such as Pandara. 108 is a Mani Tara who invokes Avalokiteshvara and is described as labdhā(ma)mitābhagarbhatantre. That looks like an attempt to correct a scribal redundancy in Labdha (has received) Amitabha Garbha Tantra.

    Outside of Sadhanamala, Nagarjuna is recorded as transmitting fifty-nine practices, including:

    Mahakarunika Arya-tara sadhana samanyabhi-samaya

    Sragdhara is in Nepal's Dharani Samgraha, something like Sadhanamala, or perhaps itself a song using 535 deities.

    The five hunredish sections of Dharani Samgraha have the contents near the end. The whole thing is perhaps one massive song, but it seems to be clear the invocations follow a purposeful order. It begins with something that resembles Paramadya, conjures Buddha Families and Namasangiti:

    Vajrasattva Kaya: Four kinds of Prajnaparamita
    Sapta or Seven Buddhas, i. e. Historical Buddhas
    Vajrasattva Kayodbhava, born from the body of Vajrasattva: Vairocana, Musa Mantra Vidya, Maya Jala, Akshobya, Ratna, Amitabha, Amoghasiddhi
    Namasangiti followed by many Manjushris and Lokeshvaras

    Sarvadurgati and Sutras

    It then becomes almost a "who's who" of Sadhanamala with Pancha Raksa and so forth, and does contain certain rare things showing they are pretty closely related:

    Dhvajagrakeyura
    Guhyeshvari
    Janguli
    Sragdhara
    Swayambhu Purana
    Vasudhara and Vajravidarini
    Vijayavahini

    Seeming to end with:

    Vajra Tara and Paramitas, Mahakala.



    Tibetan Deities records Nyan's White Tara as an Amitabha goddess; Nyan's Green Tara is an Amoghasiddhi goddess, whose role is to "summon her likeness from Potala"--and since her name is Sadanga Tara, and she is really invoking her Sambhogakaya, the meaning of this one is quite clear. It is not quite like Avalokiteshvara and Guhyajnana, who simply "are" in each other's hearts; this one uses seeds in her heart to draw forth the higher power. It sounds like the Potala Tara is front-generated with a host of Buddhas and Bodhisattvas, and there isn't a culmination to it. This would have the effect of building her power for a long time prior to another sadhana which would establish her as Mahasri, or a stable Sambhoga Kaya Tara; or install her heart gnosis being. It also uses a Tara Mahakaruna dharani, and 108 names of Bhattarika Arya Tara.

    After this are the Three Reds of Sakya where Sukha Bharati is rendered as Sukha Vardhani (Increasing Bliss).

    The index re-names Ziro Bhusana to Bhattarika Kapalika, which is fairly close in meaning.

    So if the title of "Bhattarika" is any kind of clue, then, it relates certain specific Taras, to include Sragdhara, which means that Mahakarunika is inevitably a part of it. Chances are, I will not get Amoghasiddhi Tara to do very much, unless she has a stable footing in Lotus Family.

    Prasanna is an Amitabha Tara. Guhyajnana is not by name in Sadhanamala, but Vajrayogini is.

    Saraha's Oddiyana Krama Lokeshvara 35 uses an Amitabha Sattvavajrayogini and winds up invoking Hariti. Manjushri 48 is similar. The big Ekajata 123 somehow finishes with a Red Two Arm Vajrayogini with a chopper and skull who is not the normal naked, digambara, but is nagnam, which is more like a naked sl ut. Nagnam is rarely used, Kurukulla 188, Varahi 224 and 225 (with the Four Dakinis). Vajrayogini is also in Nagarujuna's Ekajata 127.

    Usnisa Vijaya is an Usnisa who "holds" Amitabha--i. e. she may be born of Buddha or Vairocana, but has attained something with Amitabha. If this kind of thing is perhaps a bit mysterious, it becomes even more intense.

    We have found a, largely unknown to the western world, "Jala" class of tantras which seem to be explanatory of, and the basis for, the more commonly-known systems. Jala or Net refers to Varuna, and so the shakti or associated power must be Varuni. And again, the outer approach to Jala is given by Manjushri.

    Mayajala Manjushri may have Six Arms, or, particularly in Nepal, six pairs of arms. This larger version can however be found outside the country. Twelve Arm Manjushri is in the special Manjushri temple at Sakya Town in Tibet. Here, he notably is holding Amitabha:






    That temple, restricted in the second floor over a Tara temple, shows all of Manjushri's forms, with this one perhaps as supreme.
    Last edited by shaberon; 24th July 2020 at 05:41.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote pātanaṁ kāyavākcitte cundravajrīṁ vibhāvayet|
    sarvālaṅkārasampūrṇāṁ sitavarṇāṁ vibhāvayet||77||
    So she's not really Cundavajri here she's Cundravajri, no?

    I don't understand your comment about Sita color. I tried looking up Sita and she is golden but I looked up "sitavarna" and it was "pale, white like a shell".
    I do like the motif of a vajra garland of waves, not sure if it is supposed to have a very specific portrayal.

    Quote My best guess is they are counting twenty-six arms plus one face = twenty-seven lunar mansions. Otherwise she seems in keeping with her basic version, i. e. an assembly of Buddhas and Bodhisattvas; for which, as the word, Saptanam, has only one meaning which is in the Vedas which would mean having seven names: The Seven Names of Samyak Sambuddha Families seems to be the venue of her appearance and mantra.
    Again references to the moon.

    Between the spelling "cundra" the pale shell color, the 27 mansions, she looks pretty candra-like. Or maybe that's what I want to see.

    Quote Yellow Vasumati Mahalakshmi with Corn is first, Ila Vasudhara.
    Red Ratnolka with Cintamani Banner.
    Sita Usnisa Vijaya with a jar of moonstones.
    Reddish White Marici with a needle and string.
    Dark Green Parnasabari with peacock feathers.
    Sukla Janguli with poison flowers.
    Priyangu Anantamukhi with jar of treasure (nidhi) on a red lotus (kalasa)
    Sukla Cunda with rosary and kamandalu.
    Sita Prajnavardhani (Prajnaparamita--Sarasvati) with a sword on a blue lotus (nilotpala)
    Harita Sarvakarmavaranavisodhani has a vajra with three thongs on a sita kamala lotus.
    Red Aksayaknanakaranda has a basket of gems.
    Yellow Sarvabuddhadharmakosavati has a trunk full of jewels on a padma lotus.
    This is an interesting list. I saved it with my list of "decorations" of my clear body I started.

    She was again there last night, again only as a moon-like body. I had a time limit so I started things and kept them moving -- I don't usually do that. I was heading for the technique from the night before that opened my throat, which I've called, in my notes, the "four body" technique, because the area between my heart and the bottom of my throat has to be four things at one time.

    I'm not sure what to think of the four joys, I have encountered them before. I have different types of bliss, they are not progressive -- one does not become another in any progression -- they can simultaneously be there, they are different, differently generated and differently perceived. During my shaking, bliss is not an end in itself, it is a source of energy and empowers something or teaches something.

    The flags I see during my shakings are on poles, in the desert -- here is a place:



    It's a "mazar" of a particularly saintly or notorious imam depending on which side you were on, and a lot of these "mazars" are built in what were once viharas when they were no longer used as such. You can see the inheriting of the prayer flag as now a votive at a Muslim shrine.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote The population of Shambhala had to be quite diverse considering it was nested somewhere along the ancient Silk Road.
    I love this story, I like thinking of the different populations that must have been there and how they interacted and exchanged things. At times, I like to think of things coming from Harappa, at other times, from Bactra, still others from the Pamir mountains, I wonder how they all communicated and where some of them went.

    Thanks, Agape.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    So she's not really Cundavajri here she's Cundravajri, no?

    I don't understand your comment about Sita color. I tried looking up Sita and she is golden but I looked up "sitavarna" and it was "pale, white like a shell".
    I do like the motif of a vajra garland of waves, not sure if it is supposed to have a very specific portrayal.

    Yes, I noticed that. Again, it is simply a copy; it may be a spelling error. Yes, these things are subtle; I and most other people imagined that Ramayana Sita is white, but, actually--and especially during her trial by fire--she is luminous gold. In Buddhism, she is accepted as Vasudhara, not as White Tara. Normally, Sita color would be a pale or soft white, whereas Sukla is intended to be moonlike. Guhyasamaja may be so old that the habit of using Sukla for a color had not started yet.

    I have no idea how or why the "r" is there, and I cannot say for sure how the "Waves" manifest. It is outright bizarre that one of the oldest and most widespread deities is "stuck" with a short mantra, but for some reason, with Manjuvajra, evolves into one of the most-multiple-armed forms. We could try to dissect her Sadhanamala articles, but, even there, she is still four armed with bowl and the same mantra.

    In Namasangiti, the Dharanis are Amoghasiddhi emanations, and so their primary item is always a Crossed Vajra.

    We could never see these unless expanding a Namasangiti mandala to 800%, but there is one example of how they look.

    Although Usnisa Vijaya is hardly ever found without multiple arms and faces and Amitabha, this 1700s Kagyu is exactly the same as the dharani, with crossed vajra and jar of moonstones:









    In the Dharani Goddesses, Cunda fairly clearly stands for some type of initiation prior to something major about Prajnaparamita. Those spells are in the linear order of the Bodhisattva Bhumis.

    There may be more information on Cunda somewhere, perhaps in a Guhyasamaja commentary, but all I have is breadcrumbs, and am only a seeker.

    It perhaps may be helpful to enumerate "the Dhyanas", or stages of Samadhi. I think they are accurate. Buddha says that without a good guide, a person might attain one or two dhyanas, and then crash, which is more or less what happened to me. As they progress, Bliss more or less "drops below the threshhold". It is, indeed, the method of entry, but not the end, actually quite far from full enlightenment.

    I have this somewhere and will try to dig it out later on.

    To me, one of the most potent uses of moon is Water Moon (containing a hare). It is the whole Generation Stage up to Bliss or Sambhoga Kaya; the hare is the Androgyne. Water Moon does not work when the water is agitated. And it must rely on Vajrasattva + some kind of moon goddess shakti.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    The Eight Jhanas or Dhyanas are an ancient tradition which pre-dates Buddhism.

    They require any "object of focus", whether an image, mantra, visualization, or your breath.



    The first Dhyana requires physical seclusion from extraneous activity, to put time into spiritual development. It also requires mental seclusion from defilements. At that point, one starts changing the Five Hindrances into the five factors for dhyana. The first dhyana possesses five component factors: applied thought (vitakka), sustained thought (vicara), rapture (piti), happiness (sukha), and one-pointedness of mind (ekaggata). The dhyana factors are first aroused by the meditator's initial efforts to concentrate upon one of the prescribed objects for developing dhyana. As he fixes his mind on the preliminary object, such as a kasina disk, a point is eventually reached where he can perceive the object as clearly with his eyes closed as with them open. Through practice, Hindrances are overcome by concentration, and the outcome is "seclusion from the substance" (upadhiviveka) or a prelude of nirvana.

    You shift your attention from the meditation subject to the joy associated with your concentration. You do not cling to the sensations, but just watch them. The experience can include some very pleasant physical sensations such as goose bumps on the body and the hair standing up to more intense pleasures which grow in intensity and explode into a state of ecstasy. The pleasant sensations can be so strong to eliminate your painful sensations. You enter the dhyanas from the pleasant experiences exploding into a state of ecstasy where you no longer "feel" any of your senses; although sense-feeling may not completely vanish yet.



    The second Dhyana does not proceed directly from success with the first. In fact, the opposite is true. Tathagata has said that if you start the second too soon, you will fail, and then not be able to regain the first. So it requires total mastery of the first. Mastery in attaining is the ability to enter upon dhyana quickly, mastery in resolving the ability to remain in the dhyana for exactly the pre-determined length of time, mastery in emerging the ability to emerge from dhyana quickly without difficulty, and mastery in reviewing the ability to review the dhyana and its factors with retrospective knowledge immediately after adverting to them. When the meditator has achieved this fivefold mastery, then he is ready to strive for the second dhyana.

    With the subsiding of applied thought and sustained thought he enters and dwells in the second dhyana, which has internal confidence and unification of mind, is without applied thought and sustained thought, and is filled with rapture and happiness born of concentration. Here, you analyze the defects of the first: it is only a minor shield against the Hindrances, and applied and sustained thoughts are found to be gross impediments.

    Then one directs the mind to the meditation subject — which must be one capable of inducing the higher dhyanas such as a kasina or the breath — and resolves to overcome applied and sustained thought. When his practice comes to maturity the two kinds of thought subside and the second dhyana arises. In the second dhyana, only three of the original five dhyana factors remain — rapture, happiness, and one-pointedness. Moreover, with the elimination of the two grosser factors these have acquired a subtler and more peaceful tone.

    It is more sublime and produces confidence, faith, and tranquility. Concentration becomes undisturbable, and samadhi as experienced at first becomes much more eminent. Furthermore, with the stilling of directed thoughts & evaluations, one enters and remains in the second dhyana: rapture and pleasure born of composure, unification of awareness free from directed thought and evaluation — internal assurance. One permeates and pervades, suffuses and fills this very body with the rapture and pleasure born of composure. There is nothing of the entire body unpervaded by rapture and pleasure born of composure.



    In the third dhyana, one finds the defect of the second, rapture. One discards this and is left with happiness and one-pointedness. With the fading away of rapture, one dwells in equanimity (upekkha, neutral feeling, mental poise), mindfulness (sati) and discernment. These prevent the return of rapture, which is always waiting like milk for a suckling.


    In the fourth dhyana, the defect of the third is found to be sukha or happiness, which leads to clinging. With the abandoning of pleasure and pain, and with the previous disappearance of joy and grief, one enters and dwells in the fourth dhyana, which has neither-pain-nor-pleasure and has purity of mindfulness due to equanimity. Neutral feeling replaces happiness. The purification of sati--mindfulness is done by "specific neutrality", the sublime impartiality free from attachment and aversion.

    Those are "with form" and the second four are formless.


    The fifth dhyana enters the formless realm. Akāśānantyāyatana perceives infinite or boundless space. There is no more elimination of previous dhyana factors; equanimity and one-pointedness remain, so sometimes the formless set is just considered part of the fourth dhyana. You enter the fifth dhyana by remaining in the utter peacefulness state and then shift your attention to the boundaries of your being. You focus your attention outward as if you are watching yourself from above. You may feel like you are floating above your body at first. You put your attention on your body so that it feels like you are filling the room. This is expanded further and further so that you fill your whole neighborhood, city, country, continent, and then to space itself. You find yourself in this huge expanse of empty space.


    The sixth dhyana takes equanimity and one-pointedness to a state called vijñānānantyāyatana, wherein space is no longer a barrier; there is only infinite or boundless consciousness. You enter the sixth dhyana by realizing that the infinite space you occupy includes your consciousness. You may feel “at one” with all nature and existence, but do not be fooled, this is not full enlightenment.


    The seventh dhyana carries equanimity and one-pointedness into ākiṃcanyāyatana, wherein there is no consciousness, but infinite or boundless nothingness. It is entered by realizing that the content of the infinite consciousness is basically empty of any permanent nature. There is nothing in the universe that has any permanent essence to it. We realize that everything is in constant flux.

    The eighth jhana consists in the most discrete possible state of mind, which justifies the using of "neither perception nor non-perception": naivasaṃjñānāsaṃjñāyatana.

    Buddha did not rest there.

    Instead there is a ninth:

    When you reach the limits of perception, you realize that lesser mental activity is better for your calm and peaceful state. You enter a state of “cessation” of consciousness where there is only a very subtle form of perception. The meditator may appear to be unconscious. There have been reports of meditators having heart beats as low as 20 to 40 beats per minute at this jhanic level. The nearest way to describe this state is something like a very deep sleep. The eight and ninth jhanas are not full enlightenment, but very close stepping stones to full awakening.

    -----------------------------

    It sounds a little strange, when most all of the Yoga is directed at how to reach and expand Sukha, and then it seems to be scrubbed away here.

    In my experience, I understand what is described as manifesting Eight Joys. So again, I would have to witness or testify that these work the way they say they do. But then even in doing these, the goal is something else, Transference or at least some experience of Dharmakaya. It is entered by bliss, it is bliss, but then you just kind of quite noticing it since there is something more subtle and profound. Because I did not have a very good guide, I was not really training in Buddhist Samadhi, but mostly just enacting a physiological process, wherein I probably thought the state of bliss was satisfactory.

    What excites me about Buddhism is both the Bodhi Mind intent, as well as the pantheon it uses to enhance and strengthen the interesting physiological process one might get from any kind of yoga. Any deity is a much better guide, a Quintessence is even better, and a Quintessence of Quintessences would be superb.

    When counted as Sixteen Joys, those are sixteen kinds of voidness that Buddha manifests at all times.

    So it is perhaps accurate to say a Suskma Yoga cycle underpins what one is able to achieve in Samadhi, which is some stage of Dhyana as applied to any kind of meditation subject. You could use kasinas. But since we have long appended everything to mantra and Deity Yoga, it is these that would generally be the object of focus.

    ------------------------------

    Alex Wayman unsearchable PDF on parts of Guhyasamaja (note Suksma Yoga p. 26). Francesca Freemantle full translation beginning p. 26. It is difficult, but in ch. 16 p. 118 she gives:

    The samadhi called "Garland. of waves of the Vajra hero'

    Then the Blessed. One, Vajradhara, entered. the samdahi
    called "Vajra of universal sound.", and brought forth from his
    vajra body, speech and. mind. this great vajra meditation word,

    CUM

    74-75 At the centre of space visualise the holy sun mandala,
    and. according to the ritual, clouds of Buddhas, the most renowned.
    Three Vajras; to make them descend into body, speech
    and mind, visualise Cundavajri, white in colour, complete
    with every adornment; visualising Vajrasattva the great King,
    place the mantra word.

    She didn't find an additional "r". Each edition of this text seems to have or lack something from the other. This is not unusual.

    Vajri is just feminine for Vajra, and so other names such as Sparshavajri are equivalent to Sparshavajra and so forth. However, Cunda is the only use of it that does not specifically refer to a Sense Object or a Buddha Family--unique.

    Her original is p. 364; I haven't made all the corrections to the difficult copying, but:


    viravajrormimala nama samadhi /
    atha bhagavan. vajradhara samantanirghoavajraii nama samadhi
    ampad.yed.aii mah avaj rabhvanpad.aip svakyavãkcittavajrebhyo
    nicrayan /

    /CUM/

    havajramad.hyagataii cintet sryaina4a1ani uttamam /
    buddhamegha vidhxiena trivajr suinahyan II 7
    patanam kayavakcitta cundavajri vibhvayet /
    sar1akraswppiriip sitavarziip prabhvayet /
    vajrasattvahrjaip dhytv mantrapad.aip nyaset // 75
    vajrasainayajiiarami? nina samcmi /

    Her note says one source writes the name as Candra-vajri. So add an "r", get an "a", and you are back on the moon.


    Candra Vajra is a mantra used in the consecration of alcohol-to-Amitayus nectar. Vietnam also records Candra Vajra Prabha (light), and Candra Vajra Samadhi, but otherwise I have no clue what they are saying.

    Ca is of course a syllable for Candra.

    There is a subscribable paper which tries to sort these variants through Khotanese Sanskrit with reference to Manohara, which hits upon the difficulty of Canda meaning "fierce". Candika is definitely fierce, and, we already have the confusion of whether Cunda is supposed to be peaceful Candi, especially since they are not in the same family.



    Miranda Shaw apprises us of a couple things. The Pala king was instructed by a Vajracharya to honor Cunda. A Bengalese Nagini had been killing anyone who tried to take the throne--but Cunda enchanted the would-be-king's club, he defeated the Nagini, and was elected. Her mantra should be recited until one has a dream of removing mental impurities. She says it is very bizarre that such an important deity has no mandala.

    A relatively recent Indian tour of Tripura says:

    More enquiries led us to the massive, modern Raj Rajeshwari temple in nearby Muhuripur. Inside stood the statue of a unique four-armed Durga, a Ganesha and a Surya, all three from the Pilak site. Even more astonishingly, in the centre was a massive image of the popular Pala-era Tantric Buddhist goddess Cunda, complete with eighteen arms. With crudely painted eyes and a garish gold necklace, it is worshipped as Kali here.


    So Hindus don't know what a four armed Durga is, but, we do, Durgottarini--the one whose land grant is recorded at a Cunda temple. These two Buddhist relics have evidently fallen into Hindu curatorship, like all the rest of them. As we see, without the paint, a generally white deity can be mistaken for a generally dark one.

    There is not, exactly, another Buddhist moon goddess. There is, however, half of one. It relates to a very under-utilized animal mount.

    In Dharmakosha Samgraha, Amritananda refers to an unknown planet Janma Graha (possibly Ascendant, "birth planet"), wearing a garland of heads, riding a camel. He has one head, blue fearsome face, ten arms. Virupaksha (Khaganana's consort) is assigned a camel mount in Vishnu Purana, but has no images in India but two in China. Camel Goddess has warlike origins in Rajasthan and is found obscurely across India. Ustra is camel, Mayuri Dharani has Yaksha Ustrapada, Vikrita Gauri uses camel. There is also Vikata, and Gauri on an iguana that appear related. Overall, it is from a Pashupati sect who are also Shaktas.

    In Buddhism, Ustra Vahni or Camel Rider appears with Uddhata Vajra Paksha, Waxing Moon Fortnight Lakshmi:










    What seems to be the case in astrology is that if exact birth time is not known, the Moon is used for Janma Graha, but the Ascendant or Lagna is superior:

    This is also why the first importance will go to the Lagna's (Rashi & Nakshatra) and Lagna Lord's (Rasi & Nakshatra) which represents the true Janma Rashi and Janma Nakshatra...


    Because I do not know all of the Sutras that well, here is a little reminder which actually is about Manjushri and Avalokiteshvara and the Display of the Dharmadhatu:

    There is a character called Sudhana Kumara who is in the retinues of Amoghapasha, Khasarpana, and Padmanartesvara Avalokiteshvara. The reason is that he is the prodigal at the end of Avatamsaka Sutra called:

    Gandavyuha Sutra

    Sudhana was a youth from India who was seeking bodhi (enlightenment). At the behest of the bodhisattva Mañjuśrī, Sudhana takes a pilgrimage on his quest for enlightenment and studies under 53 "good friends", those who direct one towards the Way to Enlightenment. Avalokiteśvara is the 28th spiritual master Sudhana visits at Mount Potalaka. Sudhana's quest reaches its climax when he meets Maitreya, the Future Buddha, who snaps his fingers, thereby opening the doors to his marvelous tower. Within the tower, Sudhana experiences all the dharmadhatus (dimensions or worlds) in a fantastic succession of visions. The final master he visits is Samantabhadra, who teaches Sudhana that wisdom only exists for the sake of putting it into practice.

    In Gandavyuha Sutra, Vairocana vyuha alamkara garbo Mahakutagara is The Great Many-peaked Palace that Contains the Adornments of Vairocana's Magical Array. Sudhana does not actually see Vairocana here, because this is a Pure Land or Sambhogakaya, and Vairocana is really Dharmakaya. It may be considered the Dharmadhatu Treasure Tower, as this is taught as arising a a concept, in womb form, and growing ever-more real. Its inexhaustible jeweled treasures are the limitless wealth of Dharma over the economic maladies of samsara. In the Sutra, the Tower is conjured by Maitreya, or, by extension, any Bodhisattva. So Avalokiteshvara appears to be governing it with Mahakarunika dharani.


    Swayambhu Purana heavily focuses on Namasangiti and on Uposadha Vrata, which is an Amoghapasha rite. Amoghapasha in his heritage describes Sudhana Kumara as winning the Kinnara maiden Manohara twice (which is reflected in the difference of saying "hara, twice" in Vasudhara mantras).

    His apparent behavior with Manohara is full of pleasure: Kinnara or shang-shung are said to spend all their time united in pleasure without producing offspring. However, he succeeds in pursuing her to her divine realm, and this gets her to return to earth. His birth was a product of Uposadha Vrata and is an incarnation of Amoghapasha or of Buddha as told in Jataka tales. The story begins with the gift of Noose from a beneficial naga. So this story is the main meaning of Amoghapasha.

    Kinnara is a type of Gandharva, so it is beyond the Dakini and Yaksha realms.

    Karandavyuha is apparently not a spelling variation, but, a separate sutra featuring Six Syllable Sadaksari and Cunda. Or 2018 Karandavyuha.

    The other related Vyuha is Sukhavati Vyuha Sutra, or i. e. Sukhavati Avalokiteshvara.




    There is at least a Chinese opinion on Mahacina Krama or the Tara practice in Mahacina. They believe it is a Hindu Shiva tantra which appeared there around 6,000 years ago, and tantra in Chinese was called Dao De, and so it is the backbone of Chinese culture. That is why there is a "Chinese sadhana", returned to India, then to Tibet, Mahacina Tara.

    In Sadhanamala, Mahacina is described as extending her tongue, which is like Kali. Very strangely, at least two 16th century Hindu Ugra Tara tantras carry the phrase "crowned by Akshobya", they have almost literally copied Sadhanamala along with the relevant Dhyani Buddha. Hindu deities never even have such a crown. Conversely, Mahacina is the only mention of Ugra Tara in Sadhanamala, although is is a complicated phrase where Blue Poison, also Jadya--Cold or Stupidity (Tamas), or lack of taste in the tongue, and three deities Trijagatam, do a form of striking or destroying, Hanta, to Ugra Tara, then there is honor or praise to three Bhava, moods or meditations or forms of Tara, seemingly based on Om, Ah, Tam. Or, Tara carries one across the three worlds.

    Gudrun Buhnemann translates it as, Ugra Tara destroys the stupidity of the three worlds, which she places in the skull. I guess that is how the grammar works, Ugra Tara is the subject, not the object, of Hanta. My scratching does not compete with her full translations of both sadhanas, except that Ekajati and Mahacina are not quite identical as she says: Mahacina uses Hrim Hum, Ekajata has Hrim Trim Hum--Trim being a Hindu syllable for Tara or Ugra Tara.

    Mahacina has an unusual spawn sequence, from Red Ah (lotus), White Tam (skull), and Blue Hum (chopper/herself). She is a fat dwarf.

    If it "looks" like Ekajata, but has a sword and arises from a skull, it is probably Maha Cina:







    The lower one is Hara Siddhi who is a different subject.
    Last edited by shaberon; 24th July 2020 at 09:21.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    I do want to say something about arms: I was looking up Usnisa Vijaya after looking at your pic of her, and noticed that in many of the renditions of her and then I looked at others, there are two arms which are in a mudra at the heart and not seen in the silhouette. Since a lot of them have this, it's possible the number of hands that she had when I saw her was not six but eight. For your 12 handed Manjushri, it took me forever to find all 12 hands.

    Quote In the Dharani Goddesses, Cunda fairly clearly stands for some type of initiation prior to something major about Prajnaparamita. Those spells are in the linear order of the Bodhisattva Bhumis.
    I'm getting the feeling that in the Bay of Bengal area, the Cunda and Prajnaparamita were possibly interchangeable, possibly completely so in Srivijaya.

    Quote Yes, I noticed that. Again, it is simply a copy; it may be a spelling error. Yes, these things are subtle; I and most other people imagined that Ramayana Sita is white, but, actually--and especially during her trial by fire--she is luminous gold. In Buddhism, she is accepted as Vasudhara, not as White Tara. Normally, Sita color would be a pale or soft white, whereas Sukla is intended to be moonlike. Guhyasamaja may be so old that the habit of using Sukla for a color had not started yet.
    There may be more information on Cunda somewhere, perhaps in a Guhyasamaja commentary, but all I have is breadcrumbs, and am only a seeker.
    So I think I may have some part of that. She in the oldest renditions is described as the "color of the autumn moon". Which is somewhere in between. As for why there is so little about her, her Dharani apparently went straight to the far eastern languages instead of through Tibet, where she apparently shows up late. So possibly since a lot of the best records for some of these bodhisattvas have been preserved in Tibet, the "standard sources" don't have as much because it is people with an interest in Tibetan Vajrayana who pore over the Sanskrit Buddhist texts the most.

    There is more about her in Chinese, in which there has been some mixture of "language divination" in her persona. When transliterated into Chinese, they use 準提 (zhun ti) which would mean to "properly offer" but also possibly associate her with chun 純 meaning "pure".

    Also, the 84000 website translation of the Karantavyuha where she and "Om mani padme hum" show up they believe that "Cale Cule Cunde" is from "Cala Cula Cunda" (all with long a's at the end), which they say are all her names. In that case, Cala means "lightning", Cula means the head of a comet. It can also mean a topknot, so perhaps it is a synonym for Usnisa at some point.

    That's all I was able to dig up, the Chinese Tangmi ritual for her is elaborate and seems almost Tibetan.

    She is still worshipped in Bengal, which makes it even more strange that nothing is written down in Indic languages. The statues of her in 4 and 8 arm poses are all near the harbor in Odisha, makes me suspicious that she is Srivijayan, and really is Prajnaparamita. I had even entertained that her name came from Candi which is temple in Malay.

    Just my natural inclination to look for stuff in cultures that have disappeared on the theory that their write-ups in history have been abbreviated by the "victors".

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Thanks very much for all the sources. Of some of them, I had read that the Karantavyuha Sutra is the first place (of what is in existence now) for the mantra, and that the Cunda mantra is the response. Which made me think of the fact that when I tried the Cunda mantra in my shaking, I got another mantra as a response.

    In Japan, she is known as Jundei-Kannon. Jundei is Cunda, Kannon is short for Kanzeon, Guanshihyin or Avalokitashvara. Also I wrote on the last response that I had the feeling that she was from Srivijaya, that she might be in Vietnam as Candra Vajra Prabha might make sense.

    You had mentioned that Avalokitashvara was given a version of the Prajnaparamita that was reduced to "a".

    On the subject of bliss or of sukha being the point, I have a very complex relationship with bliss in my shaking, as I think I have mentioned. It has developed over time but one form does not displace another as in the Dhyanas you outlined. One form does create or reveal the next one, though. In the current development with the four bodies and the expanding the rainbow liquid up into my head, the bliss created by the one we are trying to name, together with a bliss created in my upper chest, and another created in my clear body and another at my throat, all separately generated and different, have to be there or it doesn't work. And the very deep place that becomes "visible" when that all works is probably another kind. It's the deepest I've encountered so far.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    I do want to say something about arms: I was looking up Usnisa Vijaya after looking at your pic of her, and noticed that in many of the renditions of her and then I looked at others, there are two arms which are in a mudra at the heart and not seen in the silhouette. Since a lot of them have this, it's possible the number of hands that she had when I saw her was not six but eight. For your 12 handed Manjushri, it took me forever to find all 12 hands.

    Usnisa is a Stupa deity, and she may often hold a nectar vase to her heart, or even a five-color vajra:








    The six-arm close relative of Parasol called Graha Matrika does Dharma Chakra, the same teaching gesture shown by Prajnaparamita--from whom, without the color, Mahasri Tara is nearly identical by doing the same thing.



    Quote In the Dharani Goddesses, Cunda fairly clearly stands for some type of initiation prior to something major about Prajnaparamita. Those spells are in the linear order of the Bodhisattva Bhumis.


    I'm getting the feeling that in the Bay of Bengal area, the Cunda and Prajnaparamita were possibly interchangeable, possibly completely so in Srivijaya.
    Yes, some images form a triad of Prajnaparamita--Sarasvati--Cunda. They are virtually identical, very close at least, and the different forms and mantras and so on are simply different shaktis or visions of her. It is said that all mandalas spontaneously co-exist, so for example the real Kalachakra and Dharmadhatu Vagisvara are really just "right there" while we are in a position of looking at one or the other. Vajrapani is simultaneously in all of his places, and so forth.

    I edited some more Cunda stuff into the previous post that I found in Guhyasamaja.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    You had mentioned that Avalokitashvara was given a version of the Prajnaparamita that was reduced to "a".

    On the subject of bliss or of sukha being the point, I have a very complex relationship with bliss in my shaking, as I think I have mentioned. It has developed over time but one form does not displace another as in the Dhyanas you outlined. One form does create or reveal the next one, though. In the current development with the four bodies and the expanding the rainbow liquid up into my head, the bliss created by the one we are trying to name, together with a bliss created in my upper chest, and another created in my clear body and another at my throat, all separately generated and different, have to be there or it doesn't work. And the very deep place that becomes "visible" when that all works is probably another kind. It's the deepest I've encountered so far.
    Manjushri and Vajrasattva are also "Ah", the Ali of Ali Kali.

    Ah Am Arolik is Lotus Family of Om Ah Hum.

    If we look at Samadhi of Vajra Garland of Waves, it tells us to do Om Ah Hum of Cunda.

    In Kagyu we usually teach this on Prajnaparamita, so there is an exercise based in Hrim syllable which raises Sarasvati and then uses her mantric identity to obtain Prajnaparamita and do Om Ah Hum on her.

    Those are classed as Sherab deities which increase one's faculties, and is consistent with the theme of a white goddess who is found through emptiness and remains, growing, and displaying other forms of emptiness.

    The dhyanas are not really the Bliss teachings which is what we use at the upper part of Yoga.

    Sukha is the opposite of Dukha.



    In Avatamsaka Sutra, Sudhana Kumara is the protagonist, who goes into Amoghapasha Avalokiteshvara's retinue. His syllable is Sum; Sumbha is also Sum. Sumbha is in Ten Wrathful Ones in the underworld with a Serpent Noose.

    Vasudhara is like a protectoress of the Yaksha realm, which itself becomes the Vighnantakas, or Krodhas or wrathful ones.

    She is a very important deity involved in Agni Homa as well as Entry of the Mandala. Entry or Pravesa is Noose Avtivity:

    Om Vajrapasi Pravesaya Hum

    Wrathfuls are mainly in Vajra Family, whereas Vasudhara is Jewel Family. She is very primordial.


    All of the Historical Buddhas and Dipankara visited or dwelt in Nepal.

    In Swayambhu Purana, Vispasi went to Mount Phullocca and observed the light of the Swayambhu. Vasudhara dwelt on Mount Phullocca and made rivers flow. Then Manjushri came and split open the lake at Kathmandu with his Chandrahasa sword (30,000 years ago according to geologists). He was initiated by Guhyeshvari in her worshippable form, Eighteen Arm Saffron Khaganana. Krakucchanda was after him.

    Ila Devi with corn or wheat is Vasudhara's form as the first of the Namasangiti Dharanis, which is like Kolhapur Mahalakshmi and Lakshmi Tantra, as well as our Buddhist Mahasri Sutra. Ila distributing gems is the center of the next piece.

    Vasudhara is perhaps unusual in that she has two samaya beings, Gopali and Manohara, the main lower figures in the next thangka. Manohara is Hook, the first Activity, who must have been involved with Sudhana Kumara.

    At the top center is Shakyamuni Buddha with Green and White Tara seated on the left and right. Directly above the central Ila Vasudhara is Yellow Jambhala. To the left of that is White Jambhala. To the right is red Kurukulla. Below that on the left is Vaishravana Riding a Lion:










    There is also Cintamani Fruit-picker Vasudhara, who uses the Jupiterian Bhrim syllable, and passes it to Bharati.

    And so in the sequence of Entering the Manadala, you go through the Forest after the Sabaris, and Gopali is around Jamdhi at the base of Mt. Meru. And then there are many instructional deities until one could perhaps say that Durgottarini is Dhruvam or the top of the full version.

    Vasudhara is not a Sherab, she is something that must be Matured, like ripening of the earth.

    Esoteric Vasudhara is the "public face" of Varahi. And this Matured one is supposed to be an Amoghasiddhi version by her crown. This is hard to find, but her faces should be Saffron, Honey, and Vermillion, and here she could perhaps be under a Kinnara which is equivalent to Karma Family:








    In this Newari version, if not with Green Janguli below her, it is someone similar, receiving a stream of gems. Around the Kinnara are serpent-hooded Yakshis. In the same way Vajrasattva is the door into any Guru Yoga, this charged-up mystery Vasudhara is the door to goddesses. To continue into Completion, Bharati--Bowl must be very powerful.

    Sudhana Kumara is man in the Chiliocosm, wherein a "world" is a sentient being, as it is made of Mt. Meru.


    The typical ingredients of a mandala will include the Seven Jewels of Enlightenment, Eight Sambhogakaya Bodhisattva Offering goddesses, and then tantric equipment:

    LONG MANDALA OFFERING

    OM VAJRA BHUMI AH HUM Great, powerful golden base.
    OM VAJRA REKHE AH HUM Diamond-hard fence.
    This iron fence encircles the outer ring.
    In the center Mount Meru, king of all the mountains,
    in the East is the continent Purva-Videha,
    in the South Jambudvipa,
    in the West Apara-Godaniya, and in the North Uttarakuru.
    In the East, are the islands Deha and Videha,
    in the South, are Chamara and Apara-Chamara,
    in the West, are Satha and Uttara-Mantrina,
    in the North, are the islands Kurava and Kaurava.
    In the East is the treasure mountain,
    in the south the wish-granting tree,
    in the west the wish-granting cow,
    in the north is the unsown harvest.

    Here are the precious wheel, precious jewel, precious queen, precious minister, precious elephant, precious horse, precious general and the great treasure vase.

    Here are the beauty goddess, garland goddess, song goddess, dance goddess, flower goddess, incense goddess, light goddess and the goddess of perfume.

    Here are the sun and the moon.

    Here is the precious parasol, the banner of victory in every direction.

    In the center all treasures of both gods and men.

    This excellent complete collection, I offer this base to You, Great Compassionate One, together with your deity-entourage.
    Please accept with your compassion, these offerings made by all suffering beings and bestow your loving blessings, on me and my countless mothers.

    This ground I offer, as Buddha-fields, resplendent with flowers, incense and perfume in the center Mount Meru, four lands, sun and moon, may all sentient beings enjoy this Pure Land.

    IDAM GURU RATNA-MANDALAKAM NIRYATAYAMI



    That is not the Completion Stage version, which adds Canopy or Vajra Panjara, Blaze or Jvala, and Usnisa Vijaya.



    Vimala is often an attribute of Lotus Family, is the name of the second Bhumi, and is also a name for Katyayani. She is commonly taken for a regular love goddess like Kurukulla is, but, each of them have a little more to say.

    The Virgo-esque Katyayani is like Sodashi or Sixteen, Kurukulla, the Red Powder or Kunkuma. Kanya Kumari has an incarnation at the very tip of India, and another in Nepal, who is simultaneously a Hindu and Buddhist Goddess. The Buddhist one is also Varahi. Varahi usually has a chopper, which is curved. This shape derives from Katyayani.


    This is a Rosary of Katyayani's Puja, or, a visualization of her form and dedication to her meaning:







    Chandra Hassoja Vallakara
    Shardulavara Vahana
    Katyayani Shubham Dadya
    Devi Danav Ghatini

    Many Indians do not understand it.

    This type of Sound is very steady and concentrated and takes over half an hour.

    Out of the wide array of weapons she used in battle--Shiva gave her a trident--nevertheless, her meditative form holds Chandra Hassoja or "Moon Sword", meaning crescent-shaped sword or scimitar, a very rare, special Shiva item shared with only a few others.

    It looks a little different in Buddhism: it is Kartri or Vajra Chopper, used only by more advanced deities with the intent of cutting out ego.

    In other words, one of the main symbols or items in Buddhism, comes from this relatively misunderstood mantra.

    Cutting obstacles away from Vow, or from the Marriage of Shakti to Vishnu.

    This is like male Ganesh, who, unlike most deities who have only one Shakti, collects them all. Katyayani has been infused with all the male energy and all the males' weapons, and, is not won by merely asking, the Vow and Penance must be actually performed.

    Some of the other words are obscure; Shubham usually refers to Fortune and well-being, and, the main ritual sense of Dadhya is Curds--i. e., from Sacred Milk, there is a type of gestation and transformation making Food, or Yogurt, which matures the meditation. That is an essential ingredient of an Agni ritual. Kunkuma is in Kumari's container, Yogurt is in Vasudhara's container.

    And so the verse means something like:

    Wielding a Crescent Moon Sword
    Mounted on a Lion
    Katyayani's Blessings and Increase of Wisdom
    Devi, give us these.


    Both Hindu and Buddhist tantra use Gana Chakra or "Circle of Hosts", involving a feast with dancing. One might not exactly dance to the concentrated kind of mantra like the previous. So here is Katyayani in a very musical song:








    Uma Katyayani Gauri Dakshayani Himavantha Giriya Kumari

    Uma (Shiva's wife) in the form of Katyayani Gauri (Vow) Mind-born Mountain Lord's Daughter



    Then from Mahanarayana Upanishad with Katyayani Gayatri, we maintain that Vairocani of verse two (the result of drinking Varuni--Soma) is harnessed in Samvarodaya Tantra in Vajrasattva Family to protect Nirmana Chakra:








    Greenmessage translation:

    जातवेदसे सुनवाम सोममरातीयतो निदहाति वेदः ।
    स नः पर्षदति दुर्गाणि विश्वा नावेव सिन्धुं दुरितात्यग्निः ॥१॥
    Jaatavedase Sunavaama Somam-Araatiiyato Nidahaati Vedah |
    Sa Nah Parssad-Ati Durgaanni Vishvaa Naave[a-I]va Sindhum Durita-Aty[i]-Agnih ||1||

    Meaning:
    (We offer our oblations to the Fire of Durga to cross over this very difficult ocean of worldly existence)
    1.1: To that Jataveda (one from whom the Vedas are born) we press out the Soma (i.e. Invoke Her ardently); (We invoke that Jataveda) Who consumes by Her Fire of Knowledge (Veda) all the Adversities (within and without) (And frees us from the bondage of the world),
    1.2: May that Agni (Fire of Durga) carry us over this Ocean of the World which is full of Great Difficulties and beset with great Perils; like a Boat (carrying one over a very rough Sea),

    तामग्निवर्णां तपसा ज्वलन्तीं वैरोचनीं कर्मफलेषु जुष्टाम् ।
    दुर्गां देवीँशरणमहं प्रपद्ये सुतरसि तरसे नमः ॥२॥
    Taam-Agni-Varnnaam Tapasaa Jvalantiim Vairocaniim Karma-Phalessu Jussttaam |
    Durgaam Devii[ngu]m-Sharannam-Aham Prapadye Su-Tarasi Tarase Namah ||2||

    Meaning:
    (We offer our oblations to the Fire of Durga to cross over this very difficult ocean of worldly existence)
    2.1: To Her, Who is of the colour of Fire (Agni Varna) and blazing with Tapas (Tapasa Jwalantim); Who was born of that Fire (of Tapas) (Vairochinim), and Who is worshipped through Fruits of Actions (Karma Phalas) (offered to Her Fire as oblations),
    2.2: To that Durga, to that Devi, I take Refuge (Sharanam Aham) by falling at Her Feet (Prapadye); (O Mother Durga, I Prostrate before You) Please ferry me mercifully (over this Ocean of the World full of great Difficulties and Perils),

    अग्ने त्वं पारया नव्यो अस्मान् स्वस्तिभिरति दुर्गाणि विश्वा ।
    पूश्च पृथ्वी बहुला न उर्वी भवा तोकाय तनयाय शंयोः ॥३॥
    Agne Tvam Paarayaa Navyo Asmaan Svastibhir-Ati Durgaanni Vishvaa |
    Puush-Ca Prthvii Bahulaa Na Urvii Bhavaa Tokaaya Tanayaaya Shamyoh ||3||

    Meaning:
    (We offer our oblations to the Fire of Durga to cross over this very difficult ocean of worldly existence)
    3.1: O Agni (Fire of Durga), You Who are eulogized (for carrying one across this Samsara); Please ferry us (too), by carrying us (i.e. our Souls) over Your Auspicious Nature, and make us cross this World full of Great Difficulties (Samsara), ...
    3.2: ... (and also spread Your Auspicious Nature over the) Land and Earth, (so that the Earth) becomes abundantly Fertile and Green (and we feel Your presence in external Nature); And fill us, (We who are) Your Children with Your Bliss (so that we feel Your presence internally),

    विश्वानि नो दुर्गहा जातवेदः सिन्धुं न नावा दुरितातिपर्षि ।
    अग्ने अत्रिवन्मनसा गृणानोऽस्माकं बोध्यविता तनूनाम् ॥४॥
    Vishvaani No Durga-Haa Jaatavedah Sindhum Na Naavaa Durita-Ati-Parssi |
    Agne Atrivan-Manasaa Grnnaano-[A]smaakam Bodhy[i]-Avitaa Tanuunaam ||4||

    Meaning:
    (We offer our oblations to the Fire of Durga to cross over this very difficult ocean of worldly existence)
    4.1: O Jataveda (one from whom the Vedas are born), You remove (grave) difficulties in all the Worlds; Please carry us like a Boat in this very difficult Ocean of the World (Samsara),
    4.2: O Agni (Fire of Durga), our Minds are invoking You (ardently) like sage Atri (who continuously chants the mantras), and our beings are (now) filled with Your Consciousness (by continuously invoking You),

    पृतनाजितँसहमानमुग्रमग्निँ हुवेम परमात्सधस्थात् ।
    स नः पर्षदति दुर्गाणि विश्वा क्षामद्देवो अति दुरितात्यग्निः ॥५॥
    Prtanaa-[A]jita[ngu]m-Sahamaanam-Ugram-Agni Huvema Paramaat-Sadhasthaat |
    Sa Nah Parssad-Ati Durgaanni Vishvaa Kssaamad-Devo Ati Durita-Aty[i]-Agnih ||5||

    Meaning:
    (We offer our oblations to the Fire of Durga to cross over this very difficult ocean of worldly existence)
    5.1: (She is) the (Great) Fire Who is Invincible in Battle, and charges ahead in a Terrible manner conquering (the Enemies); We invoke Her together from the Highest Assembly (i.e. ardently invoke Her together with the greatest reverence),
    5.2: May that Agni (Fire of Durga) carry us over this World full of Great Difficulties, by (charging ahead and) Burning to ashes the very difficult Enemies (within us) with Her Divine Fire,

    प्रत्नोषि कमीड्यो अध्वरेषु सनाच्च होता नव्यश्च सत्सि ।
    स्वां चाग्ने तनुवं पिप्रयस्वास्मभ्यं च सौभगमायजस्व ॥६॥
    Pratnossi Kam-Iiddyo Adhvaressu Sanaac-Ca Hotaa Navyash-Ca Satsi |
    Svaam Ca-Agne Tanuvam Piprayasva-Asmabhyam Ca Saubhagam-Aayajasva ||6||

    Meaning:
    (We offer our oblations to the Fire of Durga to cross over this very difficult ocean of worldly existence)
    6.1: You are lauded for spreading Bliss in the Sacrifice since ancient times (The Bliss resulting from killing the inner Enemies); You act as a Hota (Invoker of Bliss) by abiding as a New Maiden (Who is eternally young and free of decay) (in the Sacrificial Altar within the Hearts of the Devotees),
    6.2: Your own Conscious Form, O Agni (Fire of Durga) is a source of Happiness (Bliss) for us, and a source of Welfare for our Sacrifice,


    गोभिर्जुष्टमयुजो निषिक्तं तवेन्द्र विष्णोरनुसंचरेम ।
    नाकस्य पृष्ठमभि संवसानो वैष्णवीं लोक इह मादयन्ताम् ॥७॥
    Gobhir-Jussttam-Ayujo Nissiktam Tave[a-I]ndra Vissnnor-Anusamcarema |
    Naakasya Prssttham-Abhi Samvasaano Vaissnnaviim Loka Iha Maadayantaam ||7||

    Meaning:
    (We offer our oblations to the Fire of Durga to cross over this very difficult ocean of worldly existence)
    7.1: With Senses (i.e. Mind and Heart) Pleased (by Your Blissful Presence) and becoming Unattached (to the external world), we are Infused with Your (Devotion), O the Highest One; May we Follow (i.e. Immerse ourselves in) Your All-Pervading (Blissful Consciousness) ...
    7.2: ... within the Spiritual Sky (Chidakasha), and dwell here in this Vaishnavi Loka (World of Your All-Pervading Consciousness), being Intoxicated (by Your Blissful Nature),

    ॐ कात्यायनाय विद्महे कन्याकुमारि धीमहि
    तन्नो दुर्गिः प्रचोदयात् ॥
    Kaatyaayanaaya Vidmahe Kanyaakumaari Dhiimahi
    Tan-No Durgih Pracodayaat ||

    Durga Gayatri:
    1: Om, (Let our mind contemplate) on Devi Katyayani to know Her (Conscious Form); (And then) Meditate on that Kanyakumari deeply (Who is the Universal Mother),
    2: May that (Fire of) Durga awaken (our Consciousness).

    ॐ शान्तिः शान्तिः शान्तिः ॥
    Om Shaantih Shaantih Shaantih

    Om, (May there be) Peace, Peace, Peace
    Last edited by shaberon; 25th July 2020 at 09:23.

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  35. Link to Post #138
    Aaland Avalon Member Agape's Avatar
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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Thank you Shaberon and Old Student 🙏

    Yes it seems to me also and longer I place my mind on the teachings and mandalas, trying to read their true message on various levels as time passes (oh now it’s only few decades, so slow I’m ) their greater meaning is revealed to us spontaneously and openly to those who have eyes to see.
    The vector seems to be interplay of cosmic forces as described conceptually in Vedas,
    Buddhist Cosmology, the Cosmic Butterfly of Mayans,
    frequency waves rotating in and through this Universe,

    the hidden meaning turns to obvious
    confirmed by our physical observations of greater reality
    we are inhabiting but do not understand yet fully.

    There was something about the ancient seers of human civilisation not everyone today can match,
    they had impeccable character and also impeccable memory.

    They could redraw and describe in the sacred language of mantras creation and dissolution of mind and matter.
    They could repeat the sequence correctly. They knew the right frequency any particular pronouncement should follow.

    They did not talk a lot otherwise and did not indulge in vain gossip. They had characters difficult to encounter today.

    We still get glimpses of those visions, memories and abilities since they are deeply coded in us on more levels than we know of even and they link us to our ancestors that is also ourselves through our various advanced and pure dimensions.
    It’s where we should return as well, in better case ,

    sometimes..in my dreams and small visions I see lots of pilgrims going somewhere for hundreds of miles in the dark ,
    that’s also us, in this difficult age of Mahakali.


    But the light is so bright out there at all times,
    so I presume that my vision is only metaphorical
    but has reality meaning to it as well.

    It’s where my Bodhgaya ET Encounter paradoxically placed me and where other life events always place me times to times , to the checkpoint of reality we are living being the dream we are dreaming,
    in this specific kind of conditioned human world.


    The time is so accelerated now that one can see reflections of all possible eons, epochs and entities repeating and exhausting the last few of their natural cycles.

    But we are really watching and counting for the reality sequence nowadays, globally,
    and will probably understand the meaning of all previous “prophecies” in one little lifetime.

    It’s since we invented washing machines, anyway😅
    ( *and particle accelerators)


    The CERN Mandala: https://www.smithsonianmag.com/smart...ncy-180958448/

    Interactive panorama: Step inside the Large Hadron Collider

    Better chant Om Nama Shivaye on entry I presume 😷


    Om Subham 🙏 Om Shanti:
    Last edited by Agape; 25th July 2020 at 14:20. Reason: *

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  37. Link to Post #139
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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Thank you Agape.

    What I am doing may seem very in-depth and hardcore, but, in a way, I am just re-tracing the steps of the first western convert to Buddhism.

    When rather young, I had a powerful kundalini catharsis based mostly from Laya Yoga. I tried conglomerating Buddhism and several other systems of magic together. Later, even after I "shut off" the yoga, I kept trying to make spiritual practice that drew from Egypt, Gnosticism, and so forth.

    I had picked up a copy of The Secret Doctrine as a collector's item and never paid much attention to it.

    Over the years, with more study, I was left wondering why S. D. seemed closer to the most meaningful and intact praxis system I could find, Prajnaparamita Heart Sutra with Vajrasattva--Vajradhara Guru Yoga. I started realizing that everything New Age was distorted bunk that had nothing to do with it. So I started letting go of most everything that was not legitimately attached to the traditional style.

    And so when I started getting a little more serious, then I got another catharsis from a Lightning Deity, which welded original Theosophy to Buddhism. Since then, I have been doing that...around fifteen years by now.

    HPB never revealed "who or what" she was dealing with. She had been given an honorary Masonic diploma by John Yarker, is perhaps the only outsider initiated into the Druze, but in Tibet, she was not allowed in the inner sanctum.

    The Eighth Panchen Lama re-printed Voice of the Silence with Alice Cleather, and said his predecessor knew HPB well.

    She said she was in a Buddhist Yogacara school which had continuity to the Yogachara of Yajnawalkya and Sita. We can show this is accurate. The entity called Yogacara in Buddhism is only half of the more complete philosophy, Madhyamika Yogacara, something like "mind-only" plus "emptiness". Shentong or Para Sunya is within this. HPB is also correct that Para Sunya is not really a different philosophy than that of Adi Shankara of Shaktism--slightly different practice, certainly not enough to fight about.

    However--and we only know this thanks to Boris de Zirkoff and Katinka Hesselink--deep inside her memoirs, she defines occult initiation as that of Cinnamasta.

    That is barely a part of "Tibetan Buddhism".

    However it clearly is the teaching of Vajrayogini.

    I am not sure how I would have tried to present Cinnamasta to Victorian England, I do not think it would have gone over well.

    By intense scrutiny, it would be a small addition to how we have discovered the Cinnamasta attendant Vairocani to be something like an esoteric practice of Katyayani which has continuity into Samvarodaya tantra.


    Indrabhuti's Vajrayogini mandala captures almost everyone: Vajradhara and White Consort on top. Kalachakra + Vishvamata on one side, with White Vajrayogini Kachod Karmo a Raised Leg flyer or Maitri Dakini special to Shangpa. Other side, Hevajra + Vajra Nairatmya and Naro's Dakini. Bottom center is un-named White yogini with twelve arms on a buffalo. On one side, Chanda Maharoshana (Acala) + Consort and Standing Red Charchika. Other side, Sera's very secret Hayagriva Heruka + Consort and then either Krodhakali or Vajra Nairatmya. Between the Palace and Circle, nothing but cemeteries. Six Yoginis in the hexagram, Four Dakinis in the core, and she is in a downwards triangle:







    What is excellent is that Charchika is involved, which is a very specific Candika of Orissa, who is Vajra Muttering, the main practice based on Om Ah Hum which grows more intricate and subtle. In essence, "this" is important, and the Cinnamasta Triple Mantra is to be avoided.

    Indrabhuti's sister Laksminkara was Cinnamasta.

    Newari Cinnamasta:







    So I will say there definitely is continuity, and, a thorough practice which blends all the necessary pieces, and does not need to be bombarded by externals.

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  39. Link to Post #140
    Canada Avalon Member Ernie Nemeth's Avatar
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    Default Re: Does Anybody Else Have Clear Body Experiences?

    With all respect, as a mere student, could it be that a point can be reached where study can interfere with practice? And conversely, that practice interferes with study.

    It has always seemed to me to be very much a high wire act.

    The fools path seems safest...and the most direct. imnswio (in my not so well informed opinion)
    Empty your mind, be formless, shapeless — like water...Now water can flow or it can crash. Be water, my friend. Bruce Lee

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