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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?

    We might say, outer interferences can be removed by Marici, and inner interferences by someone with a Vajra Chopper.


    I have not disposed of them all, yet, however I am in a position to maintain there is a viable method to avoid using Vam for Vajravarahi and instead to use Vam for Vajracharchika to replicate Indrabhuti's mandala. It simply rolls straight from her definition and through her attestation in Sadhanamala, and she is pinned to a pretty exalted spot with the rest of those lineages.



    Kurukulla has been described as "what everyone wants".

    I can't recall exactly where but apparently L. A. Wadell in Lamaism found the assembly:

    Mrtyuvacana Tara with Kurukulla and a male Wrathful Niladanta Krodha Raja.

    There is also such a thing as Bhutadamara (Demon Subduing gesture) Kurukulla, done on her Astabhuja Kurukulla (eight arm) form in Sadhanamala.


    If you study the Sri Yantra, its chief deity is Tripura Sundari "who has the bauddha philosophy as one of her branches". And her two chief attendants are Varahi and Kurukulla, who are the white and red bindus in that system.

    In Sundari Tantra, Varahi is the New Moon, Kurukulla is Full.

    Kamala (Lotus) is tantric Lakshmi, usually golden, and moves in a sequence similar to what we might call Generation and Completion or even Reversal:

    Lower Kamala is Varahi, Charchika, Ushas, Yellow Sun, Yama Shakti

    Higher Kamala is Sundari, Kurukulla, Uddiyana, Moon, Brahman Shakti.


    It is not our system, although if you look at the arrangement the resemblance is evident, and so if we think we might find a type of Lower Kamala by sealing Varahi behind Vasudhara, but perhaps using Charchika and Ushas--Marici, then that is pretty much what is happening.

    So if Power of Kumari (or Sundari) is definitely a thing, and Kurukulla is a Kumari and hardly ever shown in union, since we have a Maha Cina Tara in Nepal that keeps saying think of Kamakhya Devi, here is something from an Indian study in Chapter Three concerning Assam:

    Tara was worshipped as Mahacina Sweta Tara along with Sambara Heruka at
    Kamakhya in the seventh –eight century when Kamarupa developed as a center of
    Vajrayana. There are various Vajrayana pantheons such as Sambara Heruka,
    Kurukulla Vajravarahi and Vajra-Vairocini were prevailed in Kamahhya.

    Heruka was worshipped in Kamarupa (at Nilachala) in the form of
    Sambara Heruka along with its consort Tara Kurukulla.
    The concept of Heruka is revealed in Kamakhya tantra,
    which is an offshoot of Hevajra tantra.

    The color Sveta is synonymous for Sita. It may also imply Venus which is Sukra which is semen white. And so now, Maha Cina is telling us something about Vairocani and a mated Kurukulla at Kamarupa Pitha. Samvara Heruka is Seven Syllable deity.


    As a major observance, there is even a Dravidian Agni Kurukulla Homa.


    Concerning a noose, and Lotus Family, there is a widely-esteemed inter-faith deity that we like to call the mysterious Padmavati.


    The mysterious Padmavati is perhaps a Noose goddess.

    Jain Padmavati in multiple forms mainly displays serpent and noose. Similar to Sumbha, or Varuna, or such a thing as a Serpent Noose.

    In Buddhism, the name has more to do with chiliocosm:

    “when the Buddha Śākyamuni transforms the Sahā universe, he gives it a resemblance (sādṛśya) to the Padmāvatī universe. This is why it is compared here to the Padmāvatī universe” (of Samantakusuma) or of a Devaputra at Buddha's Enlightenment, which can be seen as Emerging in Reverse Order, he descends through the planes of Kamaloka. Then he is on his way to Kashi. In Japan, this devaputra is in the heaven of the fourth dhyana, bodily cessation.

    The Transformed Saha Universe compares to Padmavati because other Pure Lands such as Sukhavati are weaker. Samantakusuma is then re-iterated as Samantabhadra.

    Kusuma is to bloom, whether the Saha or Universe Lotus or tantric Kamala, into a Quintessence and a Quintessence of Quintessences so to speak.

    Most Secret Guru:










    Four Lamps of Transcendence:









    Having already mentioned her, Emerald Citta Mani is that Tara who runs the Eight Dissolutions of Death by dissolving Tam.

    There is Ten Arm White Marici, and Fourteen Arm White Amaravajra, and despite being able to explain Indrabhuti's mandala in voluminous capacity, he for some reason has shown us an unidentified Twelve Arm White Dancer. Although a lot of these figures appear a bit androgynous, males almost always have a squared hairline, and females have a rounded one.

    Detail of Twelve Armed Deity doing one Dharmachakra gesture:


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  3. Link to Post #142
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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote 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.
    Over the last two nights, there has been another thing introduced, and that is balance. Apparently the different movements are separate the way the different blisses are separate, and what happens in my throat is a product not just of the "cleaning" they do but also the balance. The night before, there was a massive cleaning in my throat, during the four body movement, precipitated by the arrival of another dancer, with many arms, rainbow colored (or some other colored and splattered with rainbow), and after it pushed through, there was flow to my head, and my neck became glass-like and clear with a very clear view from within of the jewel at my neck shimmering in the front. Then last night the balance was different, and there was again the glass-like clearing out of my neck, but no jewel, and instead a "river" of rainbow liquid rushing into my head.

    Quote 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.
    Katyayani seems very close to Durga in her iconography? If she's related to Varahi, then how close is Durga to Vajrayogini?

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote 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.
    I wonder about this sometimes. Whether things are "coded" in me and come out in my shakings or come in from the outside. A lot of times I think it's some of both. I think they make use of anything in my subconscious or collective subconscious that is relevant and already there, when trying to get a point across.

    Quote 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 😷
    Ha! It's the ultimate in "move fast and break stuff." When I was taking physics, there was still some concern that just because you break a coke bottle and find shards doesn't mean coke bottles are made of shards, but that worry is long since gone.

    Om spin color charm beauty svaha!

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote 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.
    I actually started with a random event. I was asked to pick a second book to read over the summer (by parents), and didn't have one in mind so I walked down the aisle of the bookstore and closed my eyes and picked a book off the shelf. It was called "Yoga and Health". My brush with Theosophy and the Rosicrucians was going through a series of books and ending up on one about astral projection. I did the exercises and put myself across the room from where I was lying in bed. The next day, I dropped the book out of the pocket of my jacket on the way to work, grabbed the brakes in the wrong order on my bike and went over the handle bars and then eventually to the hospital to be stitched up.
    Quote 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.
    In physical, I have had lightning go through me -- it hit my apartment when I was home reading, I was sitting reading and then I was standing holding the book and nothing in between. It knocked out all the dimmer switches, set my computer on fire, and broke off the tree it jumped to on the way down destroying my neighbor's balcony. Lightning comes in two voltages, one blows things to bits and the other sets things on fire.

    In shaking, I have two lightnings: One is wedded to a dew drop in my abdomen at the point of generation (I described this before) the other is a sheet lightning that cuts my skull in planes when I make my scalp shake.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote It has always seemed to me to be very much a high wire act.
    It is a balance to be sure. Thank you.

    I am from a math background. The Aha! experience in math requires filling the brain with the tiniest details of the problem before it happens. So I tend to think of it this way. I find that if I work on trying to understand all the details in my shakings and my visions and perceptions, then the sequel is that much better created, and if I write down what happened, then I make progress but not if I don't.

    I tend to think of it as a bargain. I do my part to try to keep up and write stuff down, and they impart and teach.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    This is one form of an Apollonian gasket:



    Quote Detail of Twelve Armed Deity doing one Dharmachakra gesture
    She looks very much like the rainbow colored dancer who has shown up in my upper chest, if you see her "from a distance". The dancer is much smaller so I have no details (or whether she is really rainbow colored or is smeared with the rainbow liquid which is so much a part of these shakings), and the dancer has a much more sinuous body below the waist (and might even not really have legs, like a naga or something). Her function in that spot is very much like the white one we had been discussing in my lower abdomen, to "create a womb space" in that part of me. Collectively, they use the four body movement that they have had me do to "clean out" my throat, and make it flow, when they were done the night before last, my throat and neck were clear like glass and I could look out of them.

    We are definitely headed for the crown of my head. There is suddenly old wooden dusty scaffolding there, and it will need to be "cleaned out". Like my throat, there was nothing to "clean out" before we got there. Now there is. Maybe its wood because of all the Newari stuff you've been showing me, after all, Kathmandu is the "city of wood".

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    In shaking, I have two lightnings: One is wedded to a dew drop in my abdomen at the point of generation
    That almost certainly is Vasanta Tilaka "drop of springtime", the real consort of the Mahasiddhas.

    What you referred to as "balance" is like the second half of Vajra Muttering. It has an initially vertical component, or i. e. the reversal of winds, which, for most of us is Accomplishment, but it sounds like you can do this basically at will, and so when they are moving, it is something like a matter of balance in the Three Channels until you are able to enter solely into the Avadhut.

    I am thinking the Wrathfuls or Yakshas may interpose between those stages. Perhaps from within the dusty scaffolding.

    The most accurate way of understanding Wrathful Deities is Brain Mind. It "may" be adhered to the Bodhi Mind, but, it may be dualized. And so the Wrathful arises in a different kind of flame called Incandescence. The thing itself is not angry or violent, but acts in a Reflex to either subjugate or destroy obstacles.

    Katyayani is Durga in that particular form (Kanya Kumari): magically born, the answer to a sage's prayer by erupting from the eye fire of the Trimurti or Trinity. She is very beautiful and peaceful and extremely violent.

    There are Nine Durgas and a tenth Jaya Durga. It is astrology among other things.

    Durga is "Fortress", Durgottarini is Tara, and there is a Tara Vajrayogini. In Buddhism, Four Arm Durga is Durgottarini and also a pinnacle of Sarvadurgati Parishodana.

    Hindu Tara is from the set of Mahavidyas, which pertains to the incarnations of Visnu, and also states that the wisdom of the Devi resides in her sounds and mantras. Mahacina Tara is Sankhu Vajrayogini of Nepal, somewhat clandestinely; generally, Naro Dakini is Vajrayogini and basis of Cinnamasta.

    The way I see it is that Vajrayogini has for her Tri-kaya Cinnamasta. She teaches the entire outer Yoga Path up to the Fifth Dissolution in Dakini Jala Rahasya: The Secret Doctrine of Dakinis' Net.

    So it is like a summary or guide to the set of Dakini Jala deities and mandalas. And so, like Vajrasattva Jala is the root of Guhyagarbha Tantra which is famous as Bardo Thodol and the Kagye' or Hundred Peaceful and Wrathful Deities, Dakini Jala is "this" and it is "the Samvara" or i. e. root of Chakrasamvara. And so especially in Nepal, we would see Samvarodaya as the first of these because it is like saying Dharmodaya of Chakrasamvara, and this is where it has a very specific use of Vairocani with Vajrasattva at the Vasanta Tilaka. And then we go back and, oh, this Vairocani is the Tapas of verse two of Durga Suktam. The meaning is the same.

    She is not even mentioned in many major Puranas such as Srimad Bhagavatam. However, both Varuni and Vairocani have an intricate existence in at least some of the Puranas. And so if we train to this point, we have one way of doing our rite, the deities' history and meaning is always the same. It takes a while to get the hang of it but, it gels.

    By definition, they raise Khandaroha and Vajravarahi. Khandaroha is one of the Four Dakinis which penetrate the entire tantric system, who are arrayed by Guhya Jnana Dakini's mantra. Vajravarahi is so conflated with Vajrayogini, some would just say they are the same, except Vajravarahi is Samding Dorje Phamo. Varahi has a specific pedigree and saga according to Vajrapani, which is a motion from Varuni towards Marici or Hell to the Sun.



    Buddhists do not like to talk much about Durga and what they perceive to be non-Buddhist stuff, however, you would probably be 75% accurate in thinking Hindu Shakti is re-cast as Buddhist Prajna.

    So then when Ganesh collects all the Shaktis, this is like Vajrasattva collecting all the Prajnas.

    So they don't like to say, Mahanarayana Upanishad is Durga Suktam, even though we have a single answer to it, The Inquiry of Narayana to the Buddha for Mahamaya Vijayavahini Dharani.

    Dharani is from the same stem as in Vajradhara or Vasudhara, to bear, to hold, etc.

    The Dharanis are Amoghasiddhi goddesses.

    Shiva's wife is Durga.

    In Buddhism, Shiva is Amoghasiddhi.

    Amoghasiddhi's wife is Tara.

    Verb forms of Tara are right there in verse two of Durga's song.


    And so one would tend to view Tara as Durga; it is a little more than a stylistic difference, because we could reason our basic philosophy in Para Sunya is virtually identical to that of Adi Shankara and Shaktism, but the practice and motivation are very specific, especially the way we mean Refuge of One in relation to Karuna.

    Probably the most compassionate thing we can do with any sentient beings is try to promote each other's Bodhi Mind in a Field of Constructive Emanations (Nirmana Kaya).

    This causes Yoginis on the four levels to arise.

    When the Vajrayogini gets in balance with Vairocani and Varnani, it blows her head off and replaces it with a Dharmodaya. Cinnamasta arises in a normal form with her head, and the decapitation is the rite. They very specifically are the Three Channels.

    Is this related to magnetism and the human brain, certainly. Polarization is the alignment of parts that otherwise scramble. So we designate the Avadhut as having North and South Poles.

    And so with the "dual" Peaceful Green Day---Wrathful White Night Tara, then there is a different Day Yoga and Night Yoga.

    Koothoomi said a couple of peculiarly interesting things about his training. And in the Puranas, 1/8 of the Sun's rays are sheared off because he is too hot for his wife. And so one may find images of Surya with his head gouged out. There is also an old Indian prayer translated as something like, lead me from the unreal to the real, and show us the true face of the sun. This, of course, is rarely possible at a full solar eclipse, but Koothoomi said they could view the corona at will.

    He also described a dark place which sounds intended to view the aura in a magic mirror. It would be in some small adjunct room of a temple, probably underground, where one of the walls would be covered in a sheet of copper alloyed with certain rare metals. A neophyte would sit in a chair before it with his feet in a glass bowl and a big bar magnet suspended over his head, which would be set spinning.

    Most people can not spontaneously astrally project or have coherent visions of dakinis. That is something like HPB who within Tibetan culture is thought of as a self-arisen yogini. Besides Dream Yoga and Mayavi Rupa, she was also clairsentient or able to see or know whatever had happened or had been written.

    I have never been able to do much of that kind of thing. The method I say is completely real is that, in the upper part of the head, the forces will burn Locana and all the Buddhas and there is a White Seed, which melts. If successfully placed in the Container, it makes a cool Mercury. If successfully raised, it will transfer to the Vajra Danda or Staff which is the Avadhut extended through the crown aperture. It will experience the Four Pithas as Voids, which have a spring-like resistance to an individual. In the Fourth is the Para Sunya. That is what we meditate.

    The teachings say that Transference is to move one's Indestructible Drop through this into the Deity.

    I have not personally enjoyed this part. It is correct to say that the prior part is physiogical, and without Bliss, is Cold as Death, because we are using the Death Bardo consciousnesses. If it is impure we will see that too. The Vimala is the pure one. And then the Buddhist instruction is to Emerge in Reverse Order, with the rites of all the Families and make a Nirmanakaya in the Ten Directions and let that replace us back to ordinary waking consciousness.

    I am not as adept as when they say Sixteen Joys.


    Part of Muttering is to balance the three nerves, which can be done in the Three Jewels or Three Families. This is going to be done in the following mantra. Since it is the three, what it will do is to Mutter Marici, and it is a very nice job.

    This was made for an earthquake benefit for Nepal:







    Om Manipadme Hum (Avalokiteshvara or all consciousness in our solar system)

    Om Vagishvari Mum (Manjushri, founder of Nepal)

    Om Vajrapani Hum (Lord of tantra, Protector of Shaolin temple, used in Voice of the Silence)

    Om Maritsye Mam Svaha


    They are calling the Bodhisattvas of the primary three Buddha Families (Lotus, Buddha, Vajra).

    Marici obligingly just uses the syllable for the first letter of her name.

    The secret twist is that Mam is also Varuni, and finally or ultimately, is Mamaki, or, the arch-goddess or Adi Prajna of the entire Nepalese occult system, which, roughly, is Marici along with Ekajati her dark side or Midnight, the Buddhist Dharmakaya.

    If you listen to it, your ego will simply be swept out of existence.

    If you balance to it and get your Dhruvam then it may affect you. Then we would learn to do this internally and mentally. Using the Three Families as Om Ah Hum syllables is the most direct way, but, it can progress, for instance if you look at Pratisara in her Three Places, her Ah Throat syllable is Gold. Pratisara is also Mamaki.
    Last edited by shaberon; 27th July 2020 at 20:33.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    As to the literal stitch of Durga to Tara, there are exactly three evidences. One is a modest article in Sadhanamala. In her sadhana she is part of Mahakarunika, she is Mahayogeshvari (generally meaning Durga or Parvati) and Dhruvam Arya Tara. She has or is with Ten Directions as Locana and the rest. Her title of being the North Pole (or, Tara "star" = pole star) is a unique meaning and I believe a unique usage. Her close resemblance called Dhanada is rather more esoteric and more like a full mandala.


    A Durgottarini image preserved in Calcutta shows Durgottarini-Tara Flanked by Sudhanakumara and Ekajata on the Pedestal and by Arya-Sarasvati/Mahattari-Tara and Bhrkuti above with Aksobhya and Amitabha at the Upper Corners.

    She has somehow gotten Avalokiteshvara's friend.


    At Ratnagiri: Khadira, Astamabhaya, and Durgottarini:







    Another epithet of Durga is Kha Kamini. "Kamini" may just be woman or devi generally, but, this name continues into the higher tantras such as Vajradaka, Dakarnava, and Buddha Kapala.




    NSP copy with spelling problems, or cleaner Nispanna Yoga Vali scan.


    A bit more on Abhisambodhi:

    Mkhas grub rje is a primary disciple of Tson-kha-pa; he became the head of Ganden monastery and is retroactively considered the first Panchen Lama. He divides the Paramitas into seven and three, the last three being irreversible stages. He gives the abhisambodhis:

    First is called Pratyaveksana; resulting from discrimination and the attainment of Mirror Wisdom (which is transmutation of alaya-vijnana according to Lva-ba-pa, Blanket Guru). Its mantra is Citta Prativedham Karomi: I perform thought penetration. One faces the svabhava visuddhi, intrinsic purity, of sixteen kinds of sunyata--voidness, which become the sixteen vowels on a moon disk in the heart.

    Second is called Paramabodhicittopada, its mantra is Om Bodhicittam Upadayami, and so this is generation of bodhicitta. With this, one attains Equality Wisdom of Ratnasambhava, freedom from defilements, and the consonants occupy a (red) moon disk in the heart.

    The third is called Drdha Vajra, firm vajra, and its mantra is Tistha Vajra, which is a command to vajra to stand up, and it puts a five-pronged thunderbolt in the heart. It is the attainment of the Discriminative Wisdom of Amitabha, which itself has the same name as the first Abhisambodhi. The concept is that something previously awakened, but unexpanded, becomes newly awakened and expanded.

    Fourth. He (Buddha) had been given the garment and diadem initiations prior to the Abisambodhis, and here, he takes the third initiation of the name, becoming Bodhisattva Vajradhatu. It is called Vajratmaka, vajra composition, the mantra being Vajratmako Ham. When this happened, the vajras and perfections of all Tathagatas streamed into the five-pronged vajra in his heart. This accomplished the perfect action wisdom of Amoghasiddhi.

    Fifth is called Sarvatathagata Samata, equality with all tathagatas, its mantra being Om Yatha Sarvatathagatas Tatha Ham. At this point, Mahavairocana, the Sambhogakaya, came into direct view, accomplishing the Dharmadhatu Wisdom. This is when he became a Manifest Complete Buddha.

    Jnanapada explains the Abhisambodhis a bit differently, giving him the third initiation, Prajnajnana-abhiseka, same as the "name" initiation, before the sequence begins. Artha-prabhasvara (Absolute Object) is what is eventually seen, and he attains the fourth initiation and the rank of Vajradhara, beyond learning.

    By moving the third initiation to the beginning, they seem to intend abhisambodhis as "completion stage", whereas with Tson-kha-pa and Vajrapanjara, they are generation stage. They mention three voids, citta, caitta, and avidya.

    In Yoga, the goddesses are seen as capable of bestowing the Diadem initiation of the Families. So again this training would be the link into Highest Yoga, irrespective of where Name Initiation or Prajna Jnana Murti occurs.

    Ali Kali is intended to be in the first two Abhisambodhis, vowels and consonants.


    Lotsawa Vairocana ca. 800 was considered "the best" by HPB. His Vajrasattva tantra did not enter Tibet, but is available now as Equal to the End of the Sky..

    RGV is perhaps the main doctrinal collision of the Shentong or Para Sunya concept of the Absolute with seven aspects or Families. Dolpopa gave the philosophy its Tibetan name, Shentong.

    The "Maitreya" line, for the Sarma or Second Transmission to Tibet concerns Ratna Gotra Vibhaga, Sublime Continuum, or Uttaratantra Sastra (Seven Vajra Points attributed to Sthiramati by the Chinese). This line includes: Naropa (950-1040) --> Ratnakarasanti (Santi pa) --> Atisha and Maitripa (ca. 1000); Maitripa-->Anandakirti in Srinagar-->Ratnavajra-->Sugata --> Sajjana or Satyajnana (source of the full RGV book)-->Ngok Lotsawa-->Tsen Kawoche-->Third Karmapa (Luminous Heart), Dolpopa. "Great Lion's Roar".
    Last edited by shaberon; 27th July 2020 at 20:26.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote That almost certainly is Vasanta Tilaka "drop of springtime", the real consort of the Mahasiddhas.
    It was the first of the "micro-pairs". I had months of problems hooking the shaking from below dantian to the shaking from above. Most of the time if it became visual, I was on the side of a mountain looking downward at the clouds there. The fire from below could not mix with them so there was no working together between the two parts of me. When they finally did, there was the first of what I call the 'murmuration' shaking, in which the clouds were simultaneously birds murmurating, and usually simultaneously like the ripples from raindrops on a lake as it begins to rain. When I went down to the very smallest part of what made things fuse, what made the fire and the water fuse, at the very smallest, the dewdrop in the (thunder) cloud was creating its tiny piece of lightning and being created by the energy in the cloud, so the two of them as the lightning came off the drop were an act of creation or genesis between fire and water.

    What happened next was an "external Phowa". I had a sequence through to the Phowa experience in my head, which I've described here already, but I was outside of it. There was an act of creation waiting there, a lily and a jewel, the lily white and green and the jewel light yellow like topaz. The light from the jewel created the white moonlike surface of the lily and the lily germinated and brought forth the jewel.

    At that point I went looking for other "micro-pairs". Most of them were found after the Phowa sequence, in the external part. So the complete list is this:

    crown -- lily and jewel
    center of head -- seed rootlet and fetid decay (at the point when the decay or foul becomes nutrient to new life)
    front upper of head -- ring of clouds and empty space
    throat -- jewel and river / Samantabhadra and Samantabhadri
    subclavicular -- crescent moon and milk drop
    heart -- sunflower and dust/pollen
    solar plexus -- maple branch and stream
    dantian -- dewdrop and flame
    huiyin -- thin smoke between twilight

    There are times when these symbols hang like ornaments on my clear body.

    When the thing happened in the notes I put up previously, the lily and jewel could be seen shining like a moon on the other side of the passage they brought me to in my head (which was wrong because it was at Shen Ting (spirit temple, the point at the hairline) instead of crown). It made up one of the two "moons.

    Quote What you referred to as "balance" is like the second half of Vajra Muttering. It has an initially vertical component, or i. e. the reversal of winds, which, for most of us is Accomplishment, but it sounds like you can do this basically at will, and so when they are moving, it is something like a matter of balance in the Three Channels until you are able to enter solely into the Avadhut.
    I think I understand what you are saying here, that this is basically like a subtle method to get a flow upwards, like the flow in the nadi? It is similar, but in my meditation the nadi are there, in my shaking the whole symbolic landscape is portrayed differently, like connecting bandhas (in common parlance, bandha can mean "link" in addition to lock or belt), links in a chain. At will yes, but it took quite a while to figure out how to do it. It is a balance, but it's more like a dance between forces, and my usual problem is that I have to be competent and "not know" what to do at the same time. When they are joined, the energy surges upward, but it doesn't go all the way to the top unimpeded, there are other places to link things up.

    Quote The most accurate way of understanding Wrathful Deities is Brain Mind. It "may" be adhered to the Bodhi Mind, but, it may be dualized. And so the Wrathful arises in a different kind of flame called Incandescence. The thing itself is not angry or violent, but acts in a Reflex to either subjugate or destroy obstacles.
    I think most of the Dakinis that teach me are at least partly or fully "wrathful". I'm sometimes confronted by it -- they do something so abruptly that it seems violent because I have the wrong idea. Also on the usually rare occasions when they make me fully embody them, I am always surprised by having things like fangs push outward from my lips or to be holding things that have to do with death. I made the offhand comment one night to Ekajati that I had missed her (I usually manage not to make mundane comments but this time it slipped out), and was confronted with, "You missed me? One does not miss the destroyer of souls!".
    Quote Most people can not spontaneously astrally project or have coherent visions of dakinis.
    Have most people tried? On the astral projection thing, I just followed instructions out of a book. On the Dakinis, I was told repeatedly first to ignore shaking when it happened (I followed that advice for over 40 years), and then, once I had stopped following that advice and started to have visions, was repeatedly told that the "contents" of the visions was not useful, they would go away, and to ignore them. I don't know for sure that this could be more common, but I do know that people all over the place are ignoring things purposely because they believe that the visions "are not real" and "are a distraction from "non-dual" emptiness which is the true goal."

    I wrote above that I think of writing my stuff down and studying to understand it as part of the bargain that I work for the lessons and trainings. I would maybe further say that narodha is cessation of desire and attachment, cessation of dukkha, not cessation of the world, which is and always was "non-dual" and not to be ignored. Melting or dissolving into things where there is no me is about giving up control and comfort of "me" when it happens, it isn't that I disappear into nothingness, it's that "I" cease and there is nothing that is me.

    I hope that didn't sound too harsh, I know I did a lot of hard work over a year and a half but I still don't see what I did that wasn't something anyone could do at the beginning.

    Quote The teachings say that Transference is to move one's Indestructible Drop through this into the Deity.

    I have not personally enjoyed this part. It is correct to say that the prior part is physiogical, and without Bliss, is Cold as Death, because we are using the Death Bardo consciousnesses.
    The first sounds like the Phowa sequence, the second sounds like when they brought me to the Spirit Temple point to scare the living *** out of me for wanting to go off and do something I didn't know how to do, that was in the notes I put up.

    I wonder if the muttering is the same as the sitting at the fulcrum balancing. It seems like it. I wonder why it is called muttering?

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote As to the literal stitch of Durga to Tara, there are exactly three evidences. One is a modest article in Sadhanamala. In her sadhana she is part of Mahakarunika, she is Mahayogeshvari (generally meaning Durga or Parvati) and Dhruvam Arya Tara. She has or is with Ten Directions as Locana and the rest. Her title of being the North Pole (or, Tara "star" = pole star) is a unique meaning and I believe a unique usage. Her close resemblance called Dhanada is rather more esoteric and more like a full mandala.
    This kind of make each goddess to be all things, which then means they are the same? That was something I noticed about Prajnaparamita and Cunda, they were both the mother of the Buddhas.

    Quote By moving the third initiation to the beginning, they seem to intend abhisambodhis as "completion stage", whereas with Tson-kha-pa and Vajrapanjara, they are generation stage. They mention three voids, citta, caitta, and avidya.

    In Yoga, the goddesses are seen as capable of bestowing the Diadem initiation of the Families. So again this training would be the link into Highest Yoga, irrespective of where Name Initiation or Prajna Jnana Murti occurs.
    Two questions:

    isn't it possible to have the same training be given for both generation and completion? The second Dalai Lama in discussing the teachings of Niguma seems to have each thing have both a generation "version" and a completion "version".

    Is abhisambodhi (simultaneous enlightenment) related to simultaneously arising bliss -- something Lama Yeshe talks about in his explication of Lama Tsongkhapa's text to explain the stages of inner fire?

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    I had months of problems hooking the shaking from below dantian to the shaking from above...

    That is "past the point".

    The object of what we call Vase Breathing in Pranayama is this hooking of upper and lower winds. In Yoga I am only able to present it as Soft Vase Breathing. Usually the expectation is to train this way for at least six months. If there is no sign at that point, then Hard Vase or Fire Breathing or the like may be used to force it.

    Traditionally that is at a guru's discretion. And so when compiling information that would be safe for most people to practice, we disregard the other techniques, and it is all about hooking upper and lower winds. This is what is pulled inwards and up and "balanced".

    It would be pretty useless to tell someone to stick to Soft Vase when they are past that point, but, if one has not realized the result, it is best to say that stage represents six months or even more. And yes, it is possible to attain in the Soft method which has no kind of physical exertion, or, I personally know it to exist solely as the Soft method.


    You are not only past that but are finding the clarity of the Sixth Skandha which is about not having a "me" or identity with any skandhas. The fact that this does not mean "become nothingness" is the Para Sunya view, which states that reality is Neti Neti or has nothing that can be named, it is empty of everything else, except for what it actually is. Most Prasangikas are apparently loath to say this, and, I am not trying to argue, I am simply presenting Para Sunya as it is.

    We can describe various stages which each have a goal or Accomplishment, but, Ultimate Meaning is that there is only one goal, Anuttara Samyak Sambuddha, Complete Manifest Buddha. Non-dual emptiness is like the power it holds or the sphere that it is in, but, it has seven aspects which are matured by the Seven Jewels of Enlightenment, which is what Seven Syllable Vajradaka is about.

    Look at Avatamsaka Sutra even briefly, and this one goal is obvious even on a Sutra level. All we are doing is a more intensely-lived version of the Sutras by using symbolism, living lights, and magic words.

    I am not sure what people may apply themselves to or if they succeed. I talked to someone on here with a similarly powerful type of experience who wanted to take Durga and re-brand her as the Sumerian Innana. Why would you do that? Do you really have a full library and school of Innana? I don't think so. We do however have such a thing with Tara.

    The electric result of fire and water you mentioned sounds accurate to the fact that Agni called Vaidyut, or Lightning, is Ocean Fire. It is not called Electric Fire, it is electrical, but its existence is tied to water.

    Dakinis would probably have to be described as partly or temporarily peaceful. They have made irrational demands and sometimes attacked some of the Mahasiddhas. Mostly, we should expect some noise, dark imagery, and harsh remarks from them. They may clean up, a little bit, sometimes, but peaceful nature is more exclusive to Bodhisattvas and Prajnas.



    Quote Posted by Old Student (here)
    I wonder if the muttering is the same as the sitting at the fulcrum balancing. It seems like it. I wonder why it is called muttering?
    Three Channels means the three main Nadi, and in Yoga we would try to balance these through Four Chakras, and, even if you know from experience that there "are" more than four chakras, let's say the Near Goal is still about the same, opening the caves in the head which are a reflection of the caves in the heart, and opening and passing the crown--Vajra Dakini.

    The "balance" is not exactly gravitational, but more like fine tuning, like trying to broadcast specific frequencies at given amplitudes, something like a chord, and a dance, agreed. As if you could say, "Kaleidoscope, make the constellation Ursa Major!" and you get the result. Like you know how to make sand patterns on a drum head.

    The reason it is called Muttering is due to the three stages of mantra: Spoken, Whispered, and Mental. So we recite or repeat (Japa) the mantra in that type of de-crescendo.

    One does get benefit Muttering Om Ah Hum, which is probably the best way to get started, but it may be done with any Guru or Yidam.

    Sadhanamala specifically mentions Mental Muttering in one place. Vajra Tara says:

    manasā vācayen mantraṃ oṃ tāre tuttāre ture svāhā


    And so if I was going to Mutter Tara, the high, or, rather, subtle end of it is intercepted by Vajra Tara.

    Can you try this on another Tara without insulting her, yes, probably so, but if we ignored the existence of this subject until it forced its appearance, it happens here. And so we have jumped from "Three Places" to "Ten Syllables" to do our balancing.

    Vajra Tara has a 3D mandala, the Jnanagni aura, and the mental extension of Pranayama--Muttering. She is the combination of pretty much everything we can train as outer Yoga.

    I, personally, love Vajra Tara in her White Heruka form, but that does not grant me the ability to operate her major form with all the components in it. It will, however, make it easy to navigate the numerous intervening Taras who are intended to teach and compose the mandala. I have something in mind to show how this is the case and how it attaches to Completion Stage that I will try to post next.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)

    isn't it possible to have the same training be given for both generation and completion? The second Dalai Lama in discussing the teachings of Niguma seems to have each thing have both a generation "version" and a completion "version".

    Is abhisambodhi (simultaneous enlightenment) related to simultaneously arising bliss -- something Lama Yeshe talks about in his explication of Lama Tsongkhapa's text to explain the stages of inner fire?

    This depends, since Abhisambodhi is taught in all four levels of tantra, as a style of visualization. The early levels do not teach it in conjunction with Bliss or with Generation and Completion, and the things that carry those instructions ignore what Buddha actually did.

    If we pry open the full Abhisambodhi that Buddha accomplished, he did so in Union with Tilottama. Her name is "finest", i. e., from the sesame seed, Tilo, plus Uttama, "the most". So she is the most beautiful, finest-textured one, i. e. the most subtle. And so Abhisambodhi must have acquired Bliss at some point.

    "Simultaneous" resembles any time they say "co-emergent", "together-born", "co-natal", etc., this specifically means Sahaja. Spontaneously self-arisen is Swayambhu.

    The closest thing to it being "the same training" is perhaps that in Nepal, there is no such thing as Hinayana or Mahayana Buddhism, it is all Vajrayana or tantric, which just has a public face and a restricted one. So if I just learn how to say Namasangiti, it is Kriya, if I study the doctrines, it is Chara, if I pursue these into their inner meaning, it is Yoga, and then Namasangiti is considered capable of working in non-dual Yoganiruttara or Highest Yoga.

    Vajra Tara works the same way.

    Things like Hevajra and Kalachakra do not have a Yoga version.

    Generation and Completion are different beasts, and so--again, for most people who have an interest but are not that advanced in Yoga--Generation is really big and elaborate. But then once you Accomplish it, then it can start to truncate into just a few symbols and some breathing and then you can perhaps just Mentally Mutter and within a minute or two, completely cross the threshhold which generally is at least six months of daily practices of Generation in all its details.

    "Completion" sounds a bit like, oh, now, we're going to finish something, but it just means "Complete", it is the applications of the "complete working unit" created by the Generation Stage, which is Seven Syllable deity.


    The Durga in Sarvadurgati Parishodana is Simha Durga, i. e. Lion Durga; I cannot recall what said she is green with four arms, but I think that is the case.

    Pandara "is" red "robed in white", Samadhi of Entry Gagana Locana is Gold robed in white. When I looked into what Durga and Tara might possibly be doing together in one form, Durgottarini, which is Syama or dark green robed in white, there was a re-direct to a fairly similar Four Arm Green Tara.

    A major Indian study looks at Ratnagiri Taras and Bhrkuti. The author says that Abhayakaragupta picked the Dharanis ad hoc; he has missed the point that Dharmadhatu Vagisvara Manjughosha assigns them. But he has found that the original system of Taras is that of Sadhanamala. This is, perhaps, the only set of archaeological ruins that comes with a gigantic user's manual.

    We were easily able to find that Vasudhara flings out Yellow and Red Samaya beings.

    From Taranatha, Four Arm Green Vasudhara is the Kashmir style arising from Tam and having Ten syllables at crown, forehead, eyes, throat, shoulders, heart, navel, secret place. It is an Amoghasiddhi Tara. She has a complete coven, a dozen attendants which are Four Prajna Taras (just using Family names Vajra, Ratna, etc.), Four Offering Goddesses (Peaceful on moon disks), and the Four Wrathful Activity Goddesses on sun disks or i. e., the Four of the Weapons Activities mantra that Manohara is the first line of (Hook). The Vasudhara key goes into the normal mantra, Om Tare Tuttare Ture Danam Meda Da Svaha. She does Dharmachakra, has rosary, utpala lotus, and text. Very appropriate. This is Amoghasiddhi quintessence on outer (Wrathful), inner (Offering) and secret (Prajna) circles.

    This is Dhanada's mantra, and her same retinue, therefor she is the same as Green Vasudhara. So after all these centuries, Sadhanamala Dhanada #107 is the same as Taranatha's Green Vasudhara #64 from Kashmiri Pandit. Four Arm Tam arising Green Tara is the same in both; Sadhanamala is a little more explicative. In this book, Sukla Tara in the cemeteries who casts Fence is followed by Dhanada, who adds a flat-plane retinue, Canopy, and Blaze. She lacks the magnetic poles and the tantric items. These are Amoghasiddhi White and Green Taras.

    And so she would be easily overlooked as a "wealth" goddess by her simple name, except when we put her in place, she is giving the majority of a full mandala. If I ignored this subject until Tara forced it on me, that happens here.

    In Sadhanamala, she is invoked simply as Nama Aryatarayai; she is vasista ("Characterized by") Ati ("highest") Durlabha ("difficult to accomplish").

    Near the beginning, there is Purity mantra, and Om Amrte Hum Phat. Something happens with the syllable Pam, and then Red Repha, Ra, becomes Suryastha, "Sunset", and from a Dark Blue Hum emerges a crossed Vajra. Along with this:

    vilokya tatkiraṇavajrair vajraprākāraṃ vajrapañjaraṃ vajrabhūmiṃ ca dhyāyāt

    Meditate that the Blaze, Fence, Tent, and Ground are seen.

    Then the Crossed Vajra emits a Red Pam with a Kamala or Lotus above, a Lunar Bhrum syllable becomes a white disk with Bhrum. Something else happens, then Dhanada appears. Her clothing is not white, but Vicitra, piebald or variegated; she is very peaceful in something called Candrasanaprabham, which is not her pose, sattvaparyanka is cross-legged posture similar to Vajra Feet.

    She does Varada rather than Dharmacakra:

    akṣasūtravaradotpalapustakadharāṃ

    Rosary (Aksa Sutra, "syllable string", which, according to Vishnu Purana, is Time), Varada, Utpala lotus, Pustaka (book, i. e. Prajnaparamita).

    Syllable or Aksara is the negation, a-, of ksara, to perish, change, or dissipate. Bliss is also designated as Ksara (oozing, or lossy) or Aksara (non-oozing ecstasy of the Akanistha). The syllables are immortal, immune to time.

    Then:

    Om sirasi, ta lalate, re caksusoh, tu kanthe, tta bahvoh, re hrdaye, tu nabhau, re guhye, sva janunoh, ha padayor nyasyet

    Which is the Ten Syllable mantra strewn around her body.

    tato hṛdaye padmacandrasthasvabījaraśmisañcoditalocanādibhir
    devībhir abhiṣiktam ātmānam amoghasiddhimukuṭaṃ dhyāyāt /

    Heart is lotus--moon--svabija (seed syllable)--rasmi (rays)--sancodita (instigated, excited, or ordered by)--locana and others, and then she is an Amoghasiddhi devi

    atha vā puṭasthacandreṣu vajratārādidevīr jhaṭiti dṛṣṭvā paścād vibhāvayet /

    It may be saying we are seeing Vajra Tara in this manner; in any case, she must be related, but is not in the retinue per se. Dhanada does not have Emptiness mantra, which Vajra Tara does.

    Then other Family Taras, Offering Goddesses, and Activity Goddesses come. Her normal mantra is:

    Om Tare Tuttare Ture Dhanam Me Dada Svaha

    Towards the end it refers to devatachakram and jnanamandala, in seemingly the only time in the whole book it is put together this way.


    She is identical to Taranatha's Green Vasudhara from the Kashmiri Pandit, and this is a more sensible Sanskrit for her mantra, compared to the Tibetan notes on Taranatha, which again tend to stick syllables wrongly, just like Sumbhani Sumbha or Vyuhara Jaya are basically meaningless until you make an adjustment. However, we will find it is accurate that Mahasri's mantra is close to this one. Well, this means Mahasri, Amoghasiddhi Green Tara in Sambhoga Kaya or Akanistha, is not far from what Dhanada can do. This mantra is more or less just saying "give me gifts", which is intended to be spiritual treasure; male Dhanada is generally taken as Kubera.

    This is a "krama", or method, like Mahacina Krama, and so it could perhaps be argued that Dhanada is not really even a name, since she has no personal seed syllable and seems to only be called Arya Tara. Mahacina has no syllable or name or invocation like Nama Mahacinayai, but she is called Arya Tara Bhattarika.


    Taranatha's version of the sadhana skips the beginning, it presumes a circle and mansion, at whose center is the eight-petaled lotus with Tam. This becomes Dhanada, and then it just lists the twelve deities and says to repeat the mantra and use general Tara praise. Sadhanamala has an Amrita mantra and Bhrum before Dhanada appears. The middle part is the same, and the end includes something about sunlight, suryaprabha, and a few other things after her mantra. It contains everything in the translations, but has more, in the original.

    From the original, we would get slightly different colors than the translation.

    Blue Vajra Tara, Yellow Jewel Tara, Red Lotus Tara, Buddha Tara (Vairocana Family has been kicked to the North).

    [White Puspa Flower is missing], Blue Dhupa Incense, Yellow Dipa Lamp, Red Gandha Perfume (these first two groups peaceful seated on moons)

    Blue Hook, Yellow Noose, Red Chain, White (Sukla) Bell (wrathful, warrior pose on suns)

    Although this retinue is rather generic, it is one of the few times that Bell is white in Vairocana Family. This is like Durgottarini's clothes and Day-Night Tara, if White to Green is the main axis of the most pure to the most materialized light, and green is what is going to be dis-assembled.

    Sadhanamala Dhanada is "Haritasyamam" which sounds mid-toned. Dhanada's animal vehicle is not mentioned and Newaris portray her on a human.

    In the primary image of Seven Syllable deity from the 1100s, the lower register is Dhanada, Tarodbhava Kurukulla, Prajnaparamita, Cunda, and (likely) Vasudhara.

    In browsing "Himalayan Passages", this contains a pretty detailed study on the actual Seven Syllable Heruka painting that goes with the mantra. The paper is rigorous enough to refuse to identify the very common Yellow Vasudhara and call it "likely", I suppose due to the lack of an inscription. She is the last one in the lower row of goddesses, who have no standard relationship, in other words, those are a personal selection by the donor. He picked Gold Prajnaparamita for the middle one. However, they have no problem telling us the one closest to him is Dhanada.

    Since that is the "complete working unit", we are not remiss in thinking it might be related to the Indian Taras, among whom we can easily say that Dhanada and Kurukulla lack a "beginner" level, and that what they have must be pretty close to Completion.


    From Rinjung Lhantab which illustrates the batches of initiations, they come in sets of frames, which might make one big assembly, or, be individuals following the roster.

    This is Day/Night Tara, Pitheshvari, and Cintamani:





    The very next one is Manohara, Green Vasudhara--Dhanada, followed by what seems to be a seated Cintamani or Yellow Vasudhara Ila Devi:







    By implication, if you get the Yellow and Red Samaya Vasudharas, the Green one pretty much fits in.

    Vajra Tara gives the finishing touches, like 3D retinue and Jnanagni aura.

    Amoghasiddhi emanates most of these greens and quite a few other goddesses, but, he has only one male emanation, Vajramrita, who quixotically is Jewel Family Tantra.

    His other obscure Sadhanamala entries include Mahasri, who then becomes something like Quintessence Sambhogakaya Tara, whereas Mahattari is Varendra Vana Icchi and something like "inclusive of Kubjika and Matangi" from Hindu Yoga.

    So before I would ever consider getting anywhere near Varahi, there is indeed a Vasudhara who interrupts and wants us to gather the magical elements.

    Large Dhanada:















    So there are numerous examples of retinues that are "assemblies", like with Khasarpana, they are just standing around. With Dhanada, it is a retinue formed into a mandala. It is a very "cookie cutter" retinue using the most basic names; this, or parts of this, continue to be used in the tantras. Here, you are cobbling together the basics such as Four Activities, on three levels.

    She has a single, specific role in the system of Taras, and is seen as highly germane to Seven Syllable deity. And if it is just a progression of the basic Green Arya Tara that helped me with mental and emotional problems so long ago, then she must have a Tara-based samaya being, but when she steps up to the mandala, then she is also a Vasudhara, and only a slight change from Durgottarini.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote You are not only past that but are finding the clarity of the Sixth Skandha which is about not having a "me" or identity with any skandhas. The fact that this does not mean "become nothingness" is the Para Sunya view, which states that reality is Neti Neti or has nothing that can be named, it is empty of everything else, except for what it actually is. Most Prasangikas are apparently loath to say this, and, I am not trying to argue, I am simply presenting Para Sunya as it is.
    I have taken quite a bit of "comfort" in the interpretation of everything, including emptiness, as illusion that is in Niguma's Stages in the Path of Illusion, e.g.:

    Quote Beginningless basic space itself,
    primordially nonexistent illusion,
    is the seed of all phenomena,
    the buddha nature, and virtue.
    It is known as the essential base of all.
    If I put it all in the (admittedly) idiosyncratic terms of my shaking and the vocabulary I have built up around it by writing them down all this time, there is a difference, to be sure, between the perception of "reality" as "emptiness", and the perception of reality "in forms", one is much harder to maintain "meditatively" than the other, and it is easy to see all the possible "in forms" realities being versions of the "emptiness" version. The emptiness version is what happens within the dissolve, the "in forms" versions are before and after passing through it. It is possible to see the state in the dissolve as being primordial and empty and "before form", and that any "in form" reality is a possible "direction" to go from that primordial state.

    But it's also possible to feel them all as illusion and that the empty primordial is just the illusion from which the other illusions are "created". Then everything is just as empty, or just as not empty. Preference for one of them, be it the empty one or any of the "in form" ones is a composition of likes, dislikes, desires, attachments, etc., which isn't necessarily bad or good, it just is how the one that is one's "home base" for experience is chosen. Accessing the others vary in difficulty. That's what it seems like after a while. Any recurring motif can become an attachment, being lazy or obsessed by a particular state makes one "stuck". I can't dissolve if I am attached, because I have to lose myself for it to happen, whichever self that is.

    There is a phenomenon in my shaking that I call being "completely in" my clear body. When it happens, I have no "muscle memory" at all of my physical body or how I got to this state or how to get back. The first time it happened I completely freaked, and it dredged up all sorts of past trauma and I was miserable for several days after. The reason I bring it up is that it is possible from that state to go through the dissolve to my physical body, which then feels like the clear body of my clear body. That is how the lack of there being a "more real" world feels. (I hope that actually explained something, it occurs to me that it doesn't.)


    Quote The "balance" is not exactly gravitational, but more like fine tuning, like trying to broadcast specific frequencies at given amplitudes, something like a chord, and a dance, agreed. As if you could say, "Kaleidoscope, make the constellation Ursa Major!" and you get the result. Like you know how to make sand patterns on a drum head.
    Thank you. I'm very glad to be doing this, I'm learning a lot of context and feeling a lot more comfortable with things.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Tara has a well-sculpted path and teaching in the Indian version; Vajrayogini is similar, if we examine the tantras from the same standpoint.


    When Tara arises as Pitha Ishvari Tara, she uses the same Body Mandala Syllables as Jnana Dakini--who indicates Vajradakini at the crown.

    And so there are two elusive groups of goddesses we want to follow in Generation and Completion Stages: Gauris and Vajraraudris.

    Gauris are in Dakini Jala in unique forms.

    Samputa Tantra, which shows Jewel Family as the single fiery one, uses Paramadya Tantra, Dakini Jala, and Jnana Dakini. It adds Vajraraudris, only in the NSP version, and this ring is transferred to certain Hevajras other than the common skull one. Mitra's 108 Sadhanas reflects this continuity; Mitra is considered personally close to Ekajata and Sukha Dakini, and the transmitter of Seven Syllable deity. If we look elsewhere, the Vajraraudris vanish.


    One of their retinues is with Trailokya Ksepa Hevajra; he is a Vilasa or male Vilasini, throws his limbs in wild abandon. He has eight Vajraraudris near him; and then there are the Musicians and Gatekeepers:







    Vilasini is love play, which, semi-exoterically may be sex or Karma Mudra with Guhya Jnana, Padma Jala and Padma Jalini--Dharmadhatu Vajra, but it has further use.

    Virupa's Vajrayogini begins by saying Locana and others are Ten Vajravilasinis in an equivalent way to the next line saying Yamantaka and others are Ten Wrathful Ones. That piece is based on Guhyasamaja Trikayavajrayogini. The subsequent song puts her in Kubjika's family in verse fourteen.

    Vilasini must have something to do with Cinnamasta.



    This has a close Shiva Ucchusma parrallel: Ucchusma (‘Desiccating [Fire]') is the first of Ten Rudras, who have female counterparts by the same names, and in some variations, Candali, Matangi, Sabari, Yami, and Pukkasi start showing up, until the reviewer finds that there is a common group in dharanis as we found with Parnasabari, five non-Vedic goddesses: Gauri, Gandhari, Candali, Matangi, and Pukkasi. So they straddle a twilight area between Ten Vilasinis, and various sized groups of Gauris. Although Parnasabari is a major exoteric goddess, she is used in occult healing, and burrows right through Yamari into Dakarnava tantra, with this group and Janguli.


    Shangpa version of Weapon Shastradhara Hevajra that blends Tramen, Musicians, and Gatekeepers into one, and so the Gauris are skewed from their directions, but, the Agni Kunda can be found on one:









    Aside from the Samputa Tantra, the most common reference and ritual source for the Shastradhara form of Hevajra is the Vajravali text of Abhayakaragupta.

    There are at least two "Vajravali Samputa Hevajras" which turn out instead to be Kapala Dhara with two arm goddesses. The correct one was made by Newaris, so the upper left large form has the Gauris, the other three have Vajraraudris, and the second ring of Musicians and Gatekeepers is the same for all:









    Pabonkha was anti-Rime'; Jamgon Kongtrul was Rime's prodigy. The first took Vajrayogini from Sakya, tried to pin it on Tson kha pa, and make this the new blanket policy for all Buddhism. It throws Cinnamasta right in the neophyte's face. Instead, we are working under her hood.



    Jamgon Kongtrul mentions Samputa a few times:

    For Mahamaya, the shape, mantra, and reality;
    For Chatuhpita, the four seats; Samputa, seven secrets;

    (seven secrets may also be considered the subject of RGV)

    The Continuation of the Samputa Tantra is to be expounded by means of
    the seven secrets, such as the obscure. These are summarized as follows:
    one, the obscure, the causal continuum, the meaning to be understood;
    two, the concise formulation of essential reality, the eleven [vase] initiations; three, the five seed syllables, the phase of generation; four, the concealed sacred element, the view that realizes the meaning of essential reality;
    five, the secret lotus, the path connected to the third initiation, the means
    of the mandala circle; six, the joy at the navel, the phase of self-blessing;
    and seven, that which serves all [purposes], the different branches of the
    path such as pledges and vows.

    The Samputa and the Net of Magical Manifestation, and masters such as Nagarjuna and his spiritual heirs teach in addition the preparatory ritual of the earth goddess.

    That means it begins like a Homa.

    In 2016, "Before a Critical Edition of Samputa", we find that only paper copies have been used in translations. One of the main unworked originals is Hodgson's manuscript from ca. 1045 which includes Samputatilaka (eleventh chapter, "Continuation", which uses portions of Tattvasiddhi). Samputa shares verses with Chaturpitha Tantra. The study dissects the origin of every bit of Samputa, mostly from Chaturpitha and Hevajra, Dakini Jala, Maya Jala, Vasanta Tilaka, Vajradaka, and various Chakrasamvaras. It says Marici and Parnasabari are used. There is very little original in Samputa, but it sculpts a relation among tantras, with the overall purpose being Homa. It has nothing to do with Kalachakra, which was almost certainly published later. In its place we would set Dakarnava which is based in all of our stuff.

    Samputa Tantra, Abhayakaragupta, and Vajravali are all working towards Agni Homa.

    What appears original in this tantra is the Vajraraudri goddess ring shared by Samputa Vajrasattva and Samputa Hevajra; they are with Body, Speech, and Mind of Hevajra, and with the large, elaborate Vajrasattva. Jnanadakini was written first, and, from her, Vajradakini is the only one placed in this group, and would seem to be associated with Agni by design, since she was moved from the East to his corner in the southeast.

    Concerning who the Vajraraudris are:


    Samputa Vajrasattva's core is Jinas and Prajnas; and, his special ring of Four Armed Vajraraudri deities is cast normally. The cardinal directions as a cycle are Vajraraudri, Vajrabimba, Ragavajra, and Vajrasaumya; and the second cycle to the corners are Vajrayaksi, Vajradakini, and Sabdavajra and Prthvivajra.

    Vajraraudri is also with Seven Syllable deity as found at Ratnagiri; Smoky, Hrih-arising. One could say Seven Syllable mantra begins with Om Hrih like Ziro Bhusana and Guhyajnana, and the rest are wrathful syllables. Vajrashrnkala at one point seemed to be the Activity of this Vajraraudri; both are Samadhi. If we take it literally, Raudri is Maheshvari--Ghasmari. A Chinese basket has a thangka of her, but she is not smoky, and with Seven Syllable, she is loose hair, naked, greatly fierce, three eyed, four armed.

    Bimba is one of those words which in astrology, means an original orb such as sun or moon, but otherwise usually means reflection as was discussed at Rajgrha:

    They accepted that dharmas are like a reflection (bimba). The reflection (bimba) in the mirror is not produced by the mirror (ādarśa), nor by the face (vaktra), nor by the person holding the mirror (ādarśa-dhara), nor by itself (svataḥ); but it is not without causes and conditions (hetupratyaya). It is the same for the dharmas: they are not produced by themselves (svataḥ), nor by another (parataḥ), nor by both together (ubhayataḥ); but they are not without causes and conditions (Catuskoti or Jewel of the Doctrine).

    On its own, Bimba is used in a conventional way, but this Vajrabimba deity is found in:


    samaya-saṃbhava-ratnādhiṣṭʰānaṃ samādhi

    In STTS, Vajrapani is Maha Bimba. Around the middle of the text where we might first look for the main meaning, there is a turn of phrase after a dozen or so invocations and descriptions of Suksma, at:

    sarva-tathagata-suksma-jnana-vajra-bimbam atmnam adhisthaya

    followed by a large batch no longer pertaining suksma, but to Vajra Bimba, and what appears to be four heart seals:

    vajra-ratn'atmaka'//hrdaya-vajra-surya'// tistha vajra-dhvajagravam'// hrdaya-vajra-hasa'//sarva-tathagata-vajrabhiseka-jana-mudrah/

    Jewel Family is intended to match Vajra Surya as a wrathful, in this somewhat difficult document, which is the name used in Sarvadurgati and Dakini Jala.

    A more extensive Gretil document invokes Vajra Bimba four times related to Nidhi; and then Nidhi opens into Vajra/Ratna/Dharma (Lotus)/Karma Families, or, it is a type of Pancha Jina evidently stemming from Suksma, which links Ratna to Vajra Family via Nidhi, secret subterranean treasure; Yaksha realm. The relevant mantra is Om Tishta Vajra, a vajra in general stands at attention, or, Hand Symbol manifests. This central Samputa is called Vajrasattva, "or" Vajradhara, in other words a hypostasis, where they have blotted out Akshobya. It is the same concept as Kagyu Guru Yoga; the one is the forefront of the other, who does not directly teach us, but to Bodhisattvas. To us it is tantra. Vajrapani does most of the explaining to Mamaki.

    Third:

    Male Ragavajra would be a form of Lokeshvara or of Atisha's Ganapati, one of the common phallic deities, of Vajrabhairava, Yama Dharmaraja, Black Jambhala, Ganapati, and Mahadeva. It means he has Mahasukha.

    Rāgavajra (रागवज्र) or Mahāmāyā is the name of a deity associated with the Āyatana (sense) named Mukha, according to the 9th century Vajraḍākatantra chapter 1.16-22. If Mukha is not meaning the face generally, its next choice is mouth, so this must mean taste. Female Ragavajra is Vajrasattva's first glimpse in the East, so to speak, at non-duality; there she is in Vajra Family, and her duty is to please Vajrasattva's mind so he will not swerve from the thought of Enlightenment. The basic pattern of that one formula is more or less permanent, in the sense that each portion is forever increasing. But compared to that first retinue, now for Samputa she moves West, in a manner suggestibly close to a female equivalent of the male version.

    Fourth:

    Saumya (सौम्य, “pleasing one”), alluding to Soma, lunar (there is also a male one in Chandra--Moon mandala, Yellow on a Lotus in the South), is a Vidya or Wisdom produced by Vajramrita Tantra. She perhaps is an Amoghasiddhi deity close to Ghanta--Bell, which would fit North here. If Ragavajra has a need to please, here is the ability.

    A similar statuette set from Forbidden City:

    1. Vajraraga (Fo mu) (Ragavajra). 2. Vajrasanti (Fo mu) (vajrasaumya). 3. Dakini (Fo mu) (Vajradakini). 4. Vajrabhumi (Fo mu) (Prthivivajra).


    In the corners of Samputa's mandala, Vajra Yakshi--secret world is before Vajradakini--flaming crown, followed by Sound which perhaps is Gandharvas, and then Prithvi here is likely intended as Vajra Bhumi or First Bhumi.

    The male Vajra Yaksha is an all-purpose banisher in Yoga tantra such as Vajradhatu.


    Vajradakini is The End of Seven Syllable mantra: Upeksa. So two Seven Syllable deities are in this retinue, her and Vajraraudri.

    Jamgon Kongtrul ends his long list of initiations with the cycle of Vajradakini Sitatapatra and the cycle of Padmadakini Kurukulle; Mongolia has a Seven Arm Sitatapatra.

    Vajradakini Nispanna Krama (Completion Stage) is by Vinapada; her sadhana is by Dipamkara. I am not sure how you count him as an author. She has another sadhana by Kanha, and a "Giti Nama" translated by Sha ma Lotsawa, which sounds like a namasangiti, name song.

    Vajradakini's Completion Stage author is Vinapada in Melody of Dharma:

    The lineage of Ashvapada, Vinapada,
    Indrabhuti, Lakshminkara
    Lilavajra, Ghunaderi
    greatly compassionate Master Padma

    and is mentioned similarly in Indian Kavya Literature, and thought of perhaps as a teacher of Tilo (whom Taranatha does not mention).


    In Nepal's archive, so far there is only Nagarjuna's Vajra Devi Stotram, where she is Varahi, Vilasini, Jnanadakini, and others; verse two starts:


    nagnāṅgā grīvamālyā naraśirasahitā bhūṣaṇaṃ pañcamudrā

    which includes the name Ziro Bhusana if you splice it; generally saying Naked Body Neck Garland Human Heads with Ornaments of Five Seals. This Vajra Devi is in at least Vajra and Tathagata families; the verse quoted is a Padma Rupa.




    Kongtrul saw in a dream:

    Seated on thrones were the deities Vajradakini and the three-faced, six-armed form of Simhamukha; they effortlessly bestowed on me a blessing of supreme timeless awareness, the unity of bliss and emptiness.


    Kongtrul begins his classification of Anuttarayoga — Mother Tantras 1. Sarvabuddha-samayoga [Dakini Jala] one hundred and thirty-five and one hundred and twenty-seven deity mandalas 2. Sarvabuddha-samayoga Vajrasattva two hundred and eighteen deity mandala.

    Samputa Vajradhatu and Samputa Vajrasatva are called Non-dual. Spiritual Advice includes Mayakaya Maheshvari mandala (Shangpa Kagyü), shortly followed by Vajrayogini mandala (Rechungpa).





    The rest of Samputa's retinue uses a slight trick.

    If we see how Bimba is in a Catuskoti with Adarsha, then, after Samputa ends a cycle abruptly by "doubling" Gandha Tara and Gandha Vajra, his last cycle before Gatekeepers is:

    AdarsI, Rasa, Sparsha, and Dharma [Dharmadhatu].

    It is, perhaps, going inside the Mirror or Form via Nectar--Rasa, Purified Touch Object--Sparsha, to Dharmadhatu Vajra and Dharmadhatu Ishvari.

    The last deity is equivalent to the culminatrix of Dakini Jala; or, Dharmadhatu Vajra realized as Dharmadhatu Ishvari, who esoterically becomes Jnana Dakini by using Four Chakras.


    So it is Vajradakini which arises as the power of the crown, and has continuity through the tantras, unto the highest or seventh power of the Jewels of Enlightenment as in Vajradaka.





    Tibetan Art portrays the large Samputa Hevajra with Guhyeshvari Kali at the top centre, flanked by the four Newar aspects of Vajrayogini; and with the ten-armed form of Buddhadakini Vajravarahi at the bottom centre, flanked by red Kumara and white Ganapati (sons of Shiva) with their consorts Kumari and Lakshmi.

    Guhyeshvari's main human face is blue; she has eight tramen faces topped by Lion; and her upper human face is yellow; this form is a Hindu Guhyakali from Mahakalasamhita. Vajrayogini is considered the consort of Chakrasamvara; In the top right she appears in her six-armed form as Khandaroha Yogini, who is one of the four direction yoginis that encircle the central dais of Vajrayogini's five-deity mandala. Red Khandaroha abides in the east and traditionally holds a skull-cup, curved knife, damaru and khatvanga in her four hands, but she appears here with six arms holding a curved knife and skull-cup in front of her heart, with a damaru, rope-noose, lotus and bell in her other four hands.The lower Varahi has two Ghonas and shares Varuni's trait of being on a fish. Guhyeshvari's heads include the first tier having the heads of a horse, a makara, her main human face, a garuda, and an elephant. The second tier has a boar, a tiger, and a monkey head; she shares Varuni's trait of Bindu Kapala Mudra at her heart. The Vajrayoginis are Swayambhu Bijeswori Maitri Vidyadhari Dakini, Sankhu Naro Khecari, and Pharping trampling Maheshvari, and they do not know where Khandaroha is from, except she belongs in the mandala.
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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote The Vasudhara key goes into the normal mantra, Om Tare Tuttare Ture Danam Meda Da Svaha. She does Dharmachakra, has rosary, utpala lotus, and text. Very appropriate. This is Amoghasiddhi quintessence on outer (Wrathful), inner (Offering) and secret (Prajna) circles.
    This seems to put her close to Prajnaparamita. So far, I've found at least three mothers of all Buddhas, for various reasons.

    Quote ...Mahasri, who then becomes something like Quintessence Sambhogakaya Tara...
    Isn't Sri a kind of general moniker for Shakti type goddesses?

    Quote Vajra Tara works the same way.

    Things like Hevajra and Kalachakra do not have a Yoga version.

    Generation and Completion are different beasts, and so--again, for most people who have an interest but are not that advanced in Yoga--Generation is really big and elaborate. But then once you Accomplish it, then it can start to truncate into just a few symbols and some breathing and then you can perhaps just Mentally Mutter and within a minute or two, completely cross the threshhold which generally is at least six months of daily practices of Generation in all its details.

    "Completion" sounds a bit like, oh, now, we're going to finish something, but it just means "Complete", it is the applications of the "complete working unit" created by the Generation Stage, which is Seven Syllable deity.
    So "completion" is somehow filling in the details of "generation"? That would correspond well to what the Second Dalai Lama wrote, the two seem to be covering the same material, but differ. I had also heard that, for instance, visualizing Heruka is generation stage, arising as Heruka is completion.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)

    ...Mahasri, who then becomes something like Quintessence Sambhogakaya Tara...

    Isn't Sri a kind of general moniker for Shakti type goddesses?

    Yes, which would render it quite diffuse, except we have had reason to hone our attention on Kolhapur Mahalakshmi and Lakshmi Tantra.

    It is like using the name Chamunda but however referring to Candi and specifically to Charchika.

    It is like trampling Kalaratri, since Kalaratri is a Durga and we just revered her as Tara. What is going on here? It may have something to do with Buddhist Lakshmi's Mule. In Buddhism, Lakshmi is very heavily loaded, put it that way.

    In the process of converting Hindu deities to Buddhism, it appears that out of the "general and popular" terms, it is highly selective and then narrowly focused in its application.

    Mahasri has a Sutra basis, is a Sambhoga Kaya Tara, with Mayuri, Janguli, Marici, and Ekajati; in the tantras, Lakshmi is Kama Dhatu Ishvari, which must be related to a subtle aspect of the Dharma Kaya. It means she is ultimate enlightenment as accessible through Kama Dhatu Vajra which would mean the Object in Kama Loka. That also refers to the Black Void and Ekajati and Tamas Guna.

    So the real Kama Dhatu is not perceivable by the physical senses. One can manifest Sambhoga Kaya physically, or, in the Akanistha. And so the Akanistha is the Pure Land in the Kama Loka. That is what the Vimala quality will perceive. For others, not so.

    From Uma Mohan, Lakshmi Gayatris and Root Mantras:





    Siddha Lakshmi:






    Traditional song of Kolhapur Mahalakshmi, often called Ashtakam or Namostute or Mahamaya:





    That is the tantric one and contains for instance the line: Sthula Suksma Maharaudre, and, again, I am trying to get to who the Vajraraudris are, and I think it may be in there somewhere and for the time being I am just going to tack it to "first Dharani goddess".

    I am putting the full lyrics at the bottom of the post.


    Quote
    So "completion" is somehow filling in the details of "generation"? That would correspond well to what the Second Dalai Lama wrote, the two seem to be covering the same material, but differ. I had also heard that, for instance, visualizing Heruka is generation stage, arising as Heruka is completion.
    Yes, exactly, Heruka Yoga.

    We are talking about Sahaja Heruka. He is in Union with White Vajrayogini who is called Vairocani and is said to be able to Reverse the Union.

    In the following, think of the White Heruka as Spontaneously Arisen and tied to the various iterations. In other words, a student could be initiated and trained in the sadhana, without necessarily having its key factor, the power of this Arisen One. And so he would remain in the Generation Stage, at least physically. I suppose you could also be trained in the Completion ritual without really being able to do it. I am only talking about that force which will place one at the Akanistha or Stupa, and following the teachings of Generation Stage, that is, enabling the Heruka to Arise. Then you would easily be able to tack on Completion Stage and do it fully.

    Part of what that means is that the actual Completion consists of only a small amount of ritual material and time spent, because that is just going to act as a kind of trigger or catapult to enter the Samadhi that is being displayed.

    It is like a tapestry of Samadhis, so you have Samadhi of Entry and then other main forms and you can look and find hundreds and thousands of Samadhis. So we go through these and whip up a broth of Nectar and Void Gnosis, which typically comes on by degrees until we "have" Heruka.

    And so he will make subtle Kayas inside the Dharmakaya--Ultimate Enlightenment or Dharmadhatu Kaya because he operates the Jewels of Enlightenment, and Deathlessness or Vajra Kaya since purified white deities sling out of him. We used Svabhavika Kaya (Vajrasattva) and the multiply-named Bliss kaya to get here, there is nothing left. All that can be done is increase and expand.



    According to Taranatha, there is a Seven Syllable Maha Sri Avalokiteshvara, "inseparable from Heruka", because they share the same mantra. This is Blue Avalokiteshvara with Red Gegmo (Varahi), surrounded by six Four Arm drummer dakinis of the White Vajra Dakini class, which is Armor or Rays.

    So the "Armor-like" deities is like Sat Chakravartin, showing Six Families or Elements. Seven Syllables is the Near Essence mantra of Chakrasamvara; With Avalokiteshvara, who is Hum, continuously pronounced, it makes a ring of Six Vajra Dakinis.

    In Rinjung Lhantab, there is a series of four armed drumming dakinis (Armor-like Heroines), then White Heruka with consort, and then Seven Syllable Saptaksara Heruka Avalokiteshvara with Red Two Arm Varahi Archer (Lasya), just as in the sadhana. Starting from the Blue one at the end of this frame:















    Seven Syllable deity is the first one of these, then something else, then Kalachakra:







    Reduce the male to two arms, it becomes Sahaja Heruka, Chakra Paramasukha, which is Chakrasamvara, an Akshobya deity, united with Red Varahi, a Vairocana deity. Same mantra.

    Avalokiteshvara takes the Hum syllable and gives Hrih to Amoghasiddhi Heruka and Akshobya Samvara, but they all use Seven Syllable mantra.

    This Seven Syllable Avalokiteshvara is simply Maha Sri Heruka. He is the root of a shared mantra. The full explanation of it is given by his Vajradaka form.

    This makes a pretty straight equivalency of Vajrasattva, Heruka, Hevajra, and Avalokiteshvara, at the center of Six Shaktis, from a common mantra. Vajrasattva is the source of Peaceful Deities, Heruka of the Wrathfuls, Red Vidyadhari Guhyeshvari Jnanadakini of Sages or throat center (mantra).

    According to Bhattacharya, Saptaksara Hevajra is with Varahi, is crowned with Vishvavajra, has a crescent moon and six auspicious symbols on his head. On the spokes of his sun disk are Blue Heruki, Yellow Vajravarahi, Red Ghoracandi, Green Vajrabhaskari, Smoky Vajraraudri, and White Vajradakini. Each has a sava vahana, corpse vehicle, they stand on a sun orb on a corpse. All carry human skin. You may notice the strange nature of Varahi Armor Deities since Varahi repeats herself in the retinue. This is about to be resolved.

    Saptaksara mantra is mentioned several times in Sukla Kurukulla sadhana, 180.

    The full Sanskrit Seven Syllable Vajradaka sadhana by Durjayachandra (250) commented by Advaya Vajra or Maitri (251) (as in Mitra's 108 sadhanas) has been published in Himalayan Passages: Tibetan and Newar Studies.

    The Seven Syllable mantra is the end, not beginning, of this rite. You go through your Buddhist and tantric prestidigitations to set it up and get to it.

    The powers of this retinue include at least some Vajraraudris:

    Smrti is Sri Heruka, Dharma Pravicaya is Heruki, Virya is Vajrabhairavi, Priti is Ghoracandi, Prasrabdhi is Vajrabhaskari (Light Maker), Samadhi is Vajraraudri, Upeksa is Vajradakini, These are Saptabodhyangabhavana, born or becoming through the Seven Jewels of Enlightenment.

    Of all those, Vajrabhairavi would suggestibly be rather common but, this is almost her only appearance in Buddhism. These are not Armor Deities, but, she winds up being a substitute for Varahi--and/or in Samputa, Vairocani overwrites Varahi in Armor.


    The Seven Syllable male deity is like the Kalachakra Va syllable, Fifth Yoga, Smrti, which is the Sati or Mindfulness of the Seven Jewels of Enlightenment at Completion Stage in this engagement.

    All Six Yogas is Buddha Kapala, produced by this deity, just as Smrti produces Samadhi.

    Nothing in the sadhana mentions Avalokiteshvara, except maybe "Sadaksharabhava", suggesting that you cultivate the Six Syllable form first. Vajradaka was the chief of the "Six Buddha" mandala, now he is central here. It could also be pointed out that Vajradakini is not his consort.

    Most of the texts use the term, Embrace; this is allowed in the Outer meditations.

    Vajrasattva gets together with Varahi or the Clear Mind of one's own, and her fruit, or Vajradhatvishvari, is something like an offering to Vajradhara, or, opens the awareness and realization of the Sahaja couple.



    According to Taranatha, there are two deities who exclusively have Vajra Vairocaniye (active radiance) in their mantra.

    One is Hrih-arising Golden Varahi Kurmapadi which is Tortoise Pose (I think there may be one similar in a normal pose).

    The other is White Vajrayogini who has reversed White Heruka. They arise from Hum and evoke her and Seven Syllable mantra.

    So if I do Varuni Yoga, Vairocani is in her body, and she comes out to get this Heruka. She is part of Cinnamasta, and this is what she does. In Samvarodaya, she proceeds to melt him.


    The other Cinnamasta attendant, Vajra Varnani (Sarva Buddha Dakini), is the true nature (varna = color) of the vajra: transparent, pure, object-free, non-dual, changeless and indestructible like Void. Accordingly, at the beginning of Tummo or inner heat practice, the body of Vajrayogini should be clear. Varnani appears to be a mix of Vairocana's empty consort niche with Vetali (corpse). That stage is the turning point, since tummo is the basis for the other aspects of Completion Stage, or the Six Dharmas of Naro or Niguma. So you get to this body-less dakini, stage five, Dharmadhatu, and then reversed White and Green Tara and Buddha Kapala unpeel the normal color spectrum.

    On this particular subject, one of the oldest artifacts has been kept in high regard as being the best illustration of cemeteries. Maybe so. It is the one used in Vajradaka, with the lower register of Dhanada, Tarodbhava Kurukulla, Prajnaparamita, Cunda, and Vasudhara.

    Here is an 1100s Nepali showing the Six Yogini retinue, Avalokita Chakrasamvara and the consort Lasya, accompanied by six female retinue figures and surrounded by a palace, mandala circle and extensive cemetery scenes according to the tradition of the Indian siddha Advayavajra as found in the teachings of Mitra Yogin. A description for this deity and retinue can also be found in the edited Bhattacharya version of the Sadhanamala Sanskrit text (see #250) where the tradition is attributed to the Indian siddha Durjayachandra.

    Seven Syllables and Seven Jewels of Enlightenment:










    It is correct that very, very few, perhaps only one other mandala, uses a hexagram or six figure retinue.

    Same deity appears for Vajra Kaya:







    Indra Krita Mahalakshmi Ashtakam by Uma Mohan


    Namastestu Mahaa-Maaye Shrii-Piitthe Sura-Puujite
    Shangkha-Cakra-Gadaa-Haste Mahaalakssmi Namostute ||1||

    Meaning:

    1.1: Salutations to the Mahamaya (the Great Enchantress), Who is Worshipped by the Devas (Suras) in Sri Pitha (Her Abode).
    1.2: Who has the Conch, Disc and Mace in Her Hands; Salutations to that Mahalakshmi.

    Namaste Garudaarudhe Kolaasura Bhayangkari |
    Sarva Paapahare Devi Mahaalakshmi Namostute ||2||

    Meaning:

    2.1: I Worshipfully Salute Devi Mahalakshmi Who is mounted on the Garuda, and Who is the Terror to Kolasura,
    2.2: (I Worshipfully Salute) the Devi Who Removes All Sins (when we Surrender to Her); I Worshipfully Salute Devi Mahalakshmi.

    Sarvajnye Sarva Varade Sarvadushta Bhayangkari |
    Sarva Duhkhahare Devi Mahaalakshmi Namostute ||3||

    Meaning:

    3.1: (I Worshipfully Salute Devi Mahalakshmi) Who is All-Knowing (Knowing even our Innermost Thoughts), and Who Gives All Boons (When Her Compassion is Aroused); (I Worshipfully Salute Devi Mahalakshmi) Who is the Terror to All the Wicked(Destroying our Evil Tendencies),
    3.2: (I Worshipfully Salute) the Devi Who Removes All Sorrows (When Her Grace is Aroused); I Worshipfully Salute Devi Mahalakshmi.

    Siddhi Buddhi Prade Devi Bhukti Mukti Pradaayini |
    Mantra Murte Sadaa Devi Mahaalakshmi Namostute ||4||

    Meaning:

    4.1: (I Worshipfully Salute) the Devi Who Bestows Accomplishments (When She becomes Gracious) and Intelligence (to direct our Lives properly with those Accomplishments); (I Worshipfully Salute the Devi) Who Bestows both Worldly Prosperity as well as directs our lives towards Liberation (Merging in Her Lotus Feet),
    4.2: (I Worshipfully Salute) the Devi Who Always Abide by the Subtle Form of Mantra (behind Everything in Creation and Within our Hearts); I Worshipfully Salute Devi Mahalakshmi.

    Aadyanta Rahite Devi Aadya Shakti Maheshvari |
    Yogaje Yogasambhute Mahaalakshmi Namostute ||5||

    Meaning:

    5.1: (I Worshipfully Salute) the Devi Who is Without Beginning (Aadi) and End (Anta), being the Primordial Shakti (behind Everything); I Worshipfully Salute that Great Goddess,
    5.2: (I Worshipfully Salute Devi Mahalakshmi) Who is Born of Yoga (out of the Great Consciousness) and Who is always United with Yoga; I Worshipfully Salute Devi Mahalakshmi.

    (alternate verse five)

    Adyanta-rahite devi
    adyasakti mahesvari
    Yogaje yoga-sambhute
    mahalaksmi namo stu te.

    Meaning -

    O ! Goddes Maheshwari,with you is the begining and with you is an end,you are the energy source of the universe born of yoga,O ! Mahalakshmi I always worship you.


    6.

    Sthula-suksma-maharaudre
    mahasakti-mahodare,
    Maha-papa-hare devi
    mahalaksmi namo stu te.

    Meaning -

    O ! Mahalakshmi,you are the life of all the beings in ultra fine,you are the great power,who has great prosperity and you are the remover of all sins,O ! Mahalakshmi I always worship you.


    7.

    Padmasana-sthite devi
    parabrama svarupini,
    Paramesi jagan matar-
    mahalaksmi namo stu te.

    Meaning -

    O ! Mahalakshmi,seated on a Lotus flower,who art lord Brahma ,who is the great lord and look after your devotees like a mother , you are the source energy of the Universe.O ! Mahalakshmi I always worship you


    8.

    Svetambara-dhare devi
    nanalankara-bhusite,
    Jagat-sthite jagan-matar-
    mahalaksmi namo stu te.

    Meaning -

    O Goddess,who is in white saree,decked with very precious ornaments,you are the mother of the Universe and the energy support fo it,O Mahalakshmi I always worship you.

    She who is Forgiving , Pure ("Satva") , who is worshiped by Gods without whom the world is Lifeless , the one who is Everywhere in Everyform , The one who causes the Cosmic/Celestial Dance , The one who feeds all forms of Life .


    9.

    Mahalaksmyastakam stotram
    yah pathed bhaktiman narah,
    Sarva-siddhim-avapnoti
    rajyam prapnoti sarvada.

    Meaning -

    This song is for you the great Goddess of wealth,If read with devotion will attain all the success and will get all the worldly position.


    10.

    Eka-kale pathen nityam
    maha-papa vinasanam
    Dvi-Kalam yah pathen nityam
    dhana-dhanya-samanvitah

    Meaning -

    If this song is read Once a day,all the sins will be destroyed and if a person reads this twice a day wealth and prosperity will be showered on him/her.


    11.

    Tri-kalam yah pathen nityam
    mahasatru-vinasanam,Mahalakshmir-bhaven-nityam
    prasanna varada subha.

    Meaning -

    If a person reads this thrice a day,all the enemies (ego) will be destroyed.Goddess Mahalakshmi will be ever pleased with that auspicious one.

    Uma adds a line that has something about Sambuddha, and this is very near Sarva Siddhim in verse nine as we use in Vajrasattva mantra; and her outcome is Prasanna. There isn't really anything here I could call non-Buddhist, and it has to do with purity re-applied towards a beneficial outcome, and the main difference is we give her a green murti called Maha Sri, and she is green because that is supposed to mark Accomplishment
    Last edited by shaberon; 29th July 2020 at 08:52.

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  33. Link to Post #157
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    Default Re: Does Anybody Else Have Clear Body Experiences?

    In thinking about nagas, I have just found a surprise.

    Janguli is not a "regular" snake goddess, because the lower half of her body never becomes a naga.

    Nagas themselves are already magical; Mysore has a preponderance of triptych style masonry, the panels being firstly, male cobra of one to seven heads; next the female naga or half woman, with a tiara; and finally, them entwined round a linga, as a caduceus.

    Nagas pertain to the number five, like Varahi, and among their offshoots is Khodir Maa or Crocodile Devi.

    Among the nagas, there is a rare, and very rare in Buddhism, exalted (virgin) species.

    The distinction of a Nag Kanya from a Naga is the wings:






    This makes of her a Sky-Goer. Flight is the desired ability for all the Dakinis and Yoginis, showing their mastery over Form and Space and enlightened natures.

    She is said to be Manasa, but Manasa is Janguli--however as we can see it is not her form, and is not a plain form but a tantricly-advanced one, where does it come from or who is it?

    In the Book 9 of the Devi Bhagavatam Purana, Chapter 1, the following text is written (starting with verse 71): "Then comes the Manasa Devi, the daughter of Kasyapa. She is the dear disciple of Shankara (Lord Shiva) and is therefore very learned in matters of Shastras. She is the daughter of Ananta Deva, the Lord of Snakes and is very much respected by all the Nagas. She Herself is very beautiful, the Lady of the Nagas, the mother of the Nagas and is carried by them. She is decorated with ornaments of the Snakes; She is respected by the Nagendras (Lords of Snakes) and She sleeps on the bed of Snakes."

    Traditionally she is Manasa because mind-born from Kasyapa. However the passage somehow refers to two fathers.

    If she is mystically Ananta's daughter, Varuni is mystically her mother, Varuni is Ananta Shakti.

    As Daughter of Ananta, she would appear as the enemy of Lakshmi's Garuda and slashed into pieces. Thus the halves of Daivi Prakriti are split right now and we are starting to form the connection. Some speculate the manifest Nag Kanya is the re-unification of Garuda and Serpent (Finite Time Cycles and Infinite Time). By Daivi Prakriti, it refers to the virginal solar essence and its "missing half" in a person, having to do with Varuni and melting Heruka.

    If we ask Sadhanamala, we get one answer. Naga Kanya appears one time in Sukla Kurukulla 180. It is nowhere near the beginning of the article, and even further from the end. It says:


    saptākṣaramantro 'kṣaralakṣa-
    japena homāktavidhānayuktatrimadhurāktaśuklapuṣpāśīti-
    sahasrahomena nāgakanyām api ākarṣayati, aprārthitadivya-
    mānuṣīṃ ca labhate /


    Seven Syllable mantra is repeated a lakh, 100,000 times.

    During a ritual to anoint and bind (yukta, similar to yoga or yoke) impurities to the three:

    Madhu, honey or mead
    Rakta, Red
    Sukla, White

    Madhu Rakta Sukla sounds like it is talking about Om Ah Hum or the three skulls in the Triangle or, i. e. the tantric offering substances Varuni--Soma, Meat, and Nectar, but I cannot be positive.

    A thousand puspasiti, probably white flowers, are offered.

    Naga Kanya then is hooked and pauses for rest

    full of or busy with wishes, desires, petitions of

    Celestial--Human

    are Accomplished.

    Divya--Manushi is tricky:

    According to the 2nd century Mahāprajñāpāramitāśāstra (chapter XIV), it is customary in India to call celestial (divya) anything that is beautiful. Even though the flowers of the manuṣya and amanuṣya do not come from the heavens, they can, nevertheless, be described as ‘celestial’ because of their beauty.

    It is, perhaps, saying communication from the Bodhisattva to the Human.

    The phrase Divya Manusya occurs one other time near the beginning of Sadhanamala.

    This is curious, because you have a bajillion of a relatively secret mantra which we say is an important "switch" into Completion Stage, and it evokes the Nag Kanya who then herself is apparently not named. So this is the tip of an iceberg. I can say approximately what is happening here, Kurukulla and Seven Syllable mantra produce something like a White Heruka except it is not human, is more like Quetzal Coatl, and more than just an image it must correspond to an inner reality.

    Manasa--Janguli is mostly from around Bengal.

    The Nag Kanya is Haridwar Manasa:


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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Yes, which would render it quite diffuse...
    Om Manipadme Hum in Mongolian is apparently Ong Manibamai Hongshi, which elsewhere is Om Manipadme Hum Shri. Which seems like it is also a Shakti usage, but I'm not sure.

    Quote Mahalakshmi,seated on a Lotus flower,who art lord Brahma ,who is the great lord and look after your devotees like a mother...
    This is interesting but not unexpected -- the words go back and forth between being lord and being mother. I am aware that Lakshmi is Brahma's Shakti, this kind of vocabulary seems like they are always conjoined or co-emergent.

    i am kind of used to people going back and forth between various equivalent goddesses -- Parvati, Durga, Devi maa, Chandi -- but seeing this is interesting.

    Quote Here is an 1100s Nepali showing the Six Yogini retinue, Avalokita Chakrasamvara and the consort Lasya, accompanied by six female retinue figures and surrounded by a palace, mandala circle and extensive cemetery scenes according to the tradition of the Indian siddha Advayavajra as found in the teachings of Mitra Yogin. A description for this deity and retinue can also be found in the edited Bhattacharya version of the Sadhanamala Sanskrit text (see #250) where the tradition is attributed to the Indian siddha Durjayachandra.
    One of the mandalas you posted earlier when I looked up things, there was a gate, then a wall, then a wall of fire, then the cemetery. Is the double ring on this one supposed to be that, or does that not always occur?

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    So this gets somewhat confusing. I had told you that the Dakini who carved out a womb space in my upper chest was rainbow color and I wasn't sure if she was dancing or did not have legs and was more Naga-like. Descriptions of Nag Kanya have her as rainbow colored, too. But:

    Quote As Daughter of Ananta, she would appear as the enemy of Lakshmi's Garuda and slashed into pieces. Thus the halves of Daivi Prakriti are split right now and we are starting to form the connection. Some speculate the manifest Nag Kanya is the re-unification of Garuda and Serpent (Finite Time Cycles and Infinite Time). By Daivi Prakriti, it refers to the virginal solar essence and its "missing half" in a person, having to do with Varuni and melting Heruka.
    The wings that generate from the center between my shoulder blades are part of a "body" or dissolve or being that is a golden eagle. In Shang-shumg --> Tibetan Bonpo, that being is pretty close to Khyung which is often Sanskrit-ized or Buddh-ized as "Garuda".

    Quote This is curious, because you have a bajillion of a relatively secret mantra which we say is an important "switch" into Completion Stage, and it evokes the Nag Kanya who then herself is apparently not named. So this is the tip of an iceberg. I can say approximately what is happening here, Kurukulla and Seven Syllable mantra produce something like a White Heruka except it is not human, is more like Quetzal Coatl, and more than just an image it must correspond to an inner reality.
    Quetzalcoatl is quetzal colored, which matches early descriptions in my notes for the coloring of my clear body when various things happened.

    I did feel that because there was beginning to be shaking there, and then the "womb sequence" that a balance in my upper chest was forming that was like, but not the same as, the balance in my pelvis that created the desert-flags-loom-tapestry | cavern-cauldron-rainbows-lake split. The bird emanates from between my shoulder blades the rainbow figure who dances out a womb space is directly across in my upper chest.

    Last night the hollowing and murmuration-enabling continued, one of the things that happened was a shaking deep in my chest that seemed like a flickering flame or a swimming eel.

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    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    Quote As to the literal stitch of Durga to Tara, there are exactly three evidences. One is a modest article in Sadhanamala. In her sadhana she is part of Mahakarunika, she is Mahayogeshvari (generally meaning Durga or Parvati) and Dhruvam Arya Tara. She has or is with Ten Directions as Locana and the rest. Her title of being the North Pole (or, Tara "star" = pole star) is a unique meaning and I believe a unique usage. Her close resemblance called Dhanada is rather more esoteric and more like a full mandala.
    This kind of make each goddess to be all things, which then means they are the same? That was something I noticed about Prajnaparamita and Cunda, they were both the mother of the Buddhas.

    Quote By moving the third initiation to the beginning, they seem to intend abhisambodhis as "completion stage", whereas with Tson-kha-pa and Vajrapanjara, they are generation stage. They mention three voids, citta, caitta, and avidya.

    In Yoga, the goddesses are seen as capable of bestowing the Diadem initiation of the Families. So again this training would be the link into Highest Yoga, irrespective of where Name Initiation or Prajna Jnana Murti occurs.
    Two questions:

    isn't it possible to have the same training be given for both generation and completion? The second Dalai Lama in discussing the teachings of Niguma seems to have each thing have both a generation "version" and a completion "version".

    Is abhisambodhi (simultaneous enlightenment) related to simultaneously arising bliss -- something Lama Yeshe talks about in his explication of Lama Tsongkhapa's text to explain the stages of inner fire?

    Looking at the quintessence of all the teachings I’ve ever studied, practised or encountered, no matter how “high” or good they are,
    it always brings me back to where I started.
    I would say the (accomplished) end is like the beginning.

    There’s a state of Knowing Mind that is natural to us yet it takes time to human minds to discover it
    and state of Ignorance that is confused mind of experiencer and the experienced with all its transformations, progressions and set backs.

    The Knowing Beings is ourselves and the State of Confusion is lasting condition of this world.

    Both always exist, in different proportions.

    The state of Knowing Mind is quite like the state of No Mind. It’s our higher intelligence no different from intuition and perfect insight of seeing reality just for what it is, not more or less or something else.
    It’s. Mind of Yoga empty of alterations.

    Everything else including psychic and energy work and experiences is more like our effort to balance ourselves carefully on our “designated spot” and passage through this world,
    the rebalancing of inner energies and whatever kind of practice we can undertake themselves help to bring more balance and transformation of the environment.

    As in Dzogchen, the Advaita school of philosophy I also believe we are endowed with the Knowing State naturally and experience it whenever we can dissolve both action and non-action principles.
    So the “path to enlightenment” is hard trial of indulgence in the fullness of illusion that contains all principles one may encounter in any human lifetime,
    all emotions, consciousnesses , living transformations of forms and emptinesses,
    as some of the most powerful experiences of human kind.


    Sometimes, I feel as if I lived not one but many lives in one life. Well I always think “this is the last one” but looking ahead is no different from looking within.


    My bits 🦴🍬🍬🍬😀


    Thanks to both you and Shaberon for sharing again, I still don’t have Photobucket account this year ..


    🙏

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