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Thread: The Serpent, the Black Sun, HPB & St. Germain

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain


    A critical identifier for Swat as the location of Uddiyana is that there, the capital is Dhumatala. In this style, it is recorded by Tibetan pilgrims around the 14-1600s who are well-known for describing a trek through Kashmir to get there. The area was important in Buddhism since Ashoka's time; these medieval pilgrims found no institution left, only scattered practitioners.

    We would guess they are talking about Smoky Hell, although no one really seems to say; there is a milder interpretation, "smoky or misty place", for Dhuma Tala. However, the dakini queen encountered there is a hundred years old and has three teeth and so forth.

    This indicates goddess Dhumavati.

    Ngok and Marpa Kagyu include her practice, as the main protector, Dudsolma, or Sri Devi Dhumavati Kamadhatvishvari Parvati. A major transmission of deity practices in Kagyu will be closed with the Protectors, Four Arm Mahakala, Four Arm Dudsolma, and Tseringma and her sisters. It is only in Nepal that somehow she has melded with Mirror Goddess and has become youthfully rejuvenated.

    One of Dhumavati's only temples is at Kashi--Benares, where she also has the role of protector.

    "Smoke" may just mean formless. However, in Upanishadic tradition, the rays of the sun may be called smoke, explained in an article about Dhuma Vidya, Smoke Wisdom, specifically from Brihadaranyaka Upanishad. Although the article does not say this, when it speaks of mind and voice dissolving into prana (smoke), this is very nearly exactly the same thing we mean by Muttering, mixing mantra and wind (prana) in the central channel.

    Dakinis in Dhumatala are marked with a swastika on the forehead; and from the above, this refers to solar rays.

    She is rarely revered in Hinduism, and if anything, her role is almost purely left-handed, destructive, slurping away energy at the end of time, associated with the monsoon blocking the sun, not very nice, a smoked out husk. She is supposed to be about as repulsive as a person could be, starving, widowed, ugly, and cold. She is filthy and nasty, A-lakshmi, or the opposite of Lakshmi. Rare in temples, commonly honored in cemeteries.

    But we are supposed to toss her a coin, to accept her as part of reality and be nice to her anyway.

    A place related to her is considered a pilgrimage site as early as Mahabharata:

    One should next proceed to the tirtha of Dhumavati(धूमावती) (III.82.20). Fasting there for three nights, one obtaineth, without doubt, all the wishes cherished by him. To the southern half of this spot of the Goddess, there is, a tirtha called Rathavarta(रथावर्त) (III.82.21).

    In Mahabharata, Arjuna burned the Kurus by the heat of his weapons, like the Dhuma Ketu (comet) that appears at the end of the Yuga, burning all creatures. As if he were the sun that rises at the end of the Yuga. Arjuna has just slaughtered 100,000 relatives with a "comet" that is a particular name of Agni, associated with the end of time. Dhuma Ketu "smoke-bannered" is an exclusive epithet of Agni, i. e. supporting the sky with smoke.

    As Dhuma or Dhumra it is in the book other times, and also mentioned by Panini or the codifier of Sanskrit grammar.

    Giuseppe Tucci relates Dhumatala as a place where flesh-eating Tramen appear to become one's spouse; Lawapa turned them into sheep. A sandalwood Bhattarika Tara, called Mangala Devi, self-arose. Near it is a cemetery called Bhirasmasana (fear, intimidation).

    Dhumatala in Longchen Nyintik Fire Offering.

    Dhumatala referred to as luminous in Yeshe Tsogyal song

    The place is old, but the deity name Dhumavati does not come from any particularly ancient source (Mahavidyas), although it likely refers to Nrrti or Danu of Rg Veda. Since her vehicle is Crow, she is likely represented in the Tramen as Kaka Mukhi, in the northwest, or Nrrti direction. That is something like her basic or apparent mode, whereas in the Twelve Arm Varahi mandala, being called Kakasya, meaning the same thing, she is the presiding deity of the eastern outer gate of the vārāhyabhyudaya-maṇḍala; being in the east, or "first", means something has already been established or accomplished with her.

    Sanskrit Documents has a really long list of Thousand Name songs. This is one of the only places to find Dhumavati, ITX being the Romanized format. When we refer to her, she is, for instance, Cinnamasta, who is one of the "latest" deities, can likely be viewed as emerging in Buddhism and being accepted in Hinduism, having an incarnate representation with Laksminkara and friends. That is slightly redundant since Cinnamasta is also a Mahavidya. Dhumavati is also the mysterious Padmavati. When we go through these, we are bound to find clusters of titles calling them Durga and so forth, along with a few other things to show how this is a specific form or she works in a particular way. So if we try Lakshmi, we are unlikely to find her called Cinnamasta, whereas Dhumavati is her direct support or antecedent.

    Dhumavati is also:

    nArIprIti narArAdhyA

    Nara-Radha sounds like Radha or Krishna's beloved in Vaisnava Sahaja. It is followed by a dozen ways she loves sex. She is in the cemetery several times, and has many Lotus epithets followed by Munda Mala. She is pralaya. She is apparently a vetala and dakini with a drum.

    Her first name is Mahamaya.

    The list lacks Nrrti, Jyestha, or Alakshmi, and those deities were never called widows or ugly.

    Her tantra is supposed to be on Muktabodha, although it is hard to find. They do however mention that in a related group of Kashmiri Siva tantras, all twelve were taken from Nepali manuscripts.

    Similar to Vajradaka, Hindus believe offering her black sesame seeds in black cloth alleviates karma.

    Nepali Dhumavati yantra:

    I do not know why they give her an upright or male triangle, unless she is fascinated or fixated on "male".

    She is the Sati who ate Shiva, and the insatiable hunger remaining when the male has been "erased" at pralaya, which is the reign of worldly mamos. To an ordinary being, pralaya is just more unconscious deep sleep. Paramartha is the "formless" condition that a yoga practitioner strives to reach, which is to remain in absolute perfection during the sleep or the pralaya. What we call the black void then is no longer an obstacle, because one has attained Great Void or Maha Sunya, based in Clear Light or Prabhasvara. Mahamaya is the yoga that aims to do so.

    In Himalayan regions, Yellow Crane Face Bagalamukhi is usually with Dhumavati. After she ate Shiva, he was irked because that meant she widowed herself; the blow of "stopping his speech" is Bagala, and the smoke she burped is Dhumavati.

    Dhumavati is usually considered the producer of Matsya or Vishnu's Fish avatar. Varahi, rarely, is depicted with fish. In a description of twenty-eight of her forms (murtis) along with the source and tradition, we are able to find there is such a thing as a Dhumavati Varahi hybrid. The hybrid is from the aptly-named dhumravArAhi kalpa.

    The unique Nepali image of her astride a peacock is widely-referred to, but utterly unexplained:

    She follows the same narrative as other flesh-eating ghouls, pisaci, or tramen, who confront and threaten yogis, but then in these stories--I guess they can only be told by survivors--she is tamed or harnessed, as if by a Kila, and becomes a Wisdom Dakini. Guhya Jnana does roughly the same thing. Basil Bodysis contends Dhumavati represents manasic or mental control of the Ida Nadi, the lunar nerve. So, this is perfectly complementary--Guhya Jnana becoming Varahi meaning mastery of the solar nerve. As a hybrid, it would mean control of both main branch nerves. Cinnamasta is meaningless and non-existent without the support of lunar Dhumavati and solar Varahi.

    The more terrible appearance as Dudsolma carries a mirror; if we know how to use it, and offer her some energy without being attached to it, perhaps inside the mirror she really does have a nicer appearance.

    In Orissa at Chaurasi, Varahi has one of her only personal temples, where she is generally considered Matsya Varahi. They simultaneously understand her as Dhumra Varahi, a Ratri or night goddess, but also believe her the inspiration for Marici. According to Parsurama Kalpasutra, the time for worshipping Varahi is in the middle of the night. Surya is also there on a seven horse chariot. How can Sun, the God of the Day be worshipped along with the Goddess of Darkness ? Apparently this seems to be a riddle.

    Fat Varahi in Orissa with Fish and Bowl

    It definitely would be a riddle if distracted by the forms and not understanding the relationships. Well, this is not much of a secret in Buddhism. The most common form of Lakshmi as Dudsolma is Alakshmi, or, something fairly close to that, Dhumavati. Once we see fish, know about the solar and lunar nerves, and how desire or Kamadhatvishvari is sort of the "make it or break it" with dakinis, then it is a continuum of the same thing. Tramen as "objects of desire" will control and devour you; tamed or pacified, they produce wisdom. On the other hand, Prajnaparamita becomes Vajradhatvishvari by appropriating Marici and radiating light. And so the, perhaps, ultimate hybrid is Marici Vajradhatvishvari, who has also grafted Varahi, as also Varahi's metaphor is chained in hell, but flies into the sunlight, on a Garuda, I believe. Although there is nothing much said about her besides describing the form, there is no scripture that explains it, for some reason there are websites copying my idea that she fits into the more "standard" progress of Jnana Dakini, Buddha Dakini, and so forth. All I am doing is associating the symbolism, noting it is almost identical to how Visvamata works in Kalachakra, and that the volume of information about her in Sadhanamala is staggering. Some go so far as to call her the Prajna of Vairocana, or the Bodhi of Shakyamuni. Tibetan lamas invoke her at dawn, like Savitri.

    Varahi, Sow Face, is like the pig gouging at roots. She violently attacks delusion at its source. So again, instead of attempting to handle her, there is--and we could call this exoteric form of an esoteric experience--Four Arm Guhya Jnana with human face. She may become white, or have Two Arm forms. So she is still Vajrayogini, a mistress of cemeteries. This Vajrayogini will eventually adorn herself with sow face, or, at least the small one, the Ghona, sticking out of her ear or head.

    Dhumavati is perhaps smoke screen, or smoke and mirrors, as Maha Maya, Great Illusion. The "opposites" of Lakshmi have little choice but to be a veil over the real one, transmutation of obstacles being a main source of Gnosis. The Mahamaya tantra character seems to be a sex-changed Lakshmi, who enters union with the increased form of Varahi called Buddhadakini. The Mahamaya subject is the main explanation of Hindu Lakshmi tantra. This text only minimally deals with ritual or public temple functions, and is mostly aimed at the individual practitioner. The published tantra is medieval, although it stems from Pancaratra (Five Nights), which is in Mahabharata, and in the Taittiriya Samhita section of Krishna Yajur Veda. Its prior origin or how it got in these major works is unknown, as the "five nights" are.

    By using the Arabic loan-word, "fakir", Morya states that "nothing can cause us personal pleasure or pain". Why would he call Mohammed a "mamo" and then refer to himself in that language? So it is only the state of a fakir that will overcome the mamos or tramen. Because this is a state of mind, there is no reason Uddiyana cannot be in Swat, Orissa, and Pundravardhana. Each place has trends of yogic wisdom that were collected by Buddhism into one bundle with no regard for the fact that one is, or was, a Vaisnava, Shakta, Muslim, or any of that. A Bihari Yoga article on samadhi explains much the same thing as "fakir" and goes on to Vairagya, part of the Pali Paramitas that HPB for some reason mixed with the Mahayana.

    HPB, as a more "public mouthpiece" of him, was constrained to do it in a certain way. As an unqualified woman attempting to be taken seriously, that is why many, many quotes of famous men were used. And, she spent a lot of effort towards explaining how the Dhyani Buddhas were related to the "then-serious" topics such as Elohim and Greek and other pagan gods. That similarity is however quite fleeting; all those "equivalencies" are either archaeological fragments, or a narrowly-framed narrative. It is only the Dhyanis that could be said to have such a living, thorough tradition, which has absorbed the vast majority of Hindu mythology. The only "new" information to be added to what she said is really a vast amount of "old" information.

    Dhumavati primarily is the cemetery, or Smasana Kali. Although she is Paramartha, her imagery makes it rather clear that this is the same as the destructive worldly mamos of darkness, in a different condition, that is, mentally conquered by us. Paramartha could perhaps be said to be as hungry for the "male aspect, enlightened mind" as the apparent Dhumavati is to consume all form and energy, or Siva himself, or anyone who gets close. She is the Yidam or Ishvari of Kama Dhatu, Desire Realm, which can only flow one of those two ways: into the objective is into the Talas, or Hells, or destruction; selflessly offered to mind itself and to compassionate means is primordial wisdom or Prajna. Likewise, the Central Sun is what eventually dissolves a world and causes pralaya, using a "poisonous Agni" that will also erupt from Vishnu's serpent Ananta at the bottom of the Talas. Varuni is Ananta's radiance, the hellfire itself, the way in which the mind interacts with the objective. In the Theosophical terms, this is called either going to Kama manas, the mind that desires the object, or towards Buddhi, Ganesha's heart bride in practice.

    In mantra and especially Muttering, the syllable Hum likewise arises from the visible Sun and also reflects from the Talas. This, and especially as it is emphasized in Vajra or Akshobya Family, is the practical standpoint of increasing awareness of that process. Om is really just the beginning, the universal emanation of light; Hum is its manifestation, or the individual heart of beings.
    Last edited by shaberon; 30th September 2019 at 20:32.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Joy and Laughter

    Here is why Vajrasattva mantra is like a permanent fractal.

    If not the first, it would be among the first, exoteric mantras used. It does Purification and Samaya, and then we say Vajrasattva remains, and is the main mode of explanation and practice of everything else.

    It is not a brief mantra, but it does have a group of seed syllables.

    The seeds of the Four Activites are Jah Hum Vam Hoh, and each of those could be said to have its own training and practices to convey its meaning and power.

    Hoh is the fourth activity, Bell, which more or less rings as a lesson is taken, clearing the atmosphere of disturbances, with its own sound being a type of seal to plant the vibration into the aura. And so as the completion or final part, then it is the gnosis aspect of the Activities.

    Vajrasattva himself basically is gnosis, and then when we use his mantra, Hoh is something like a fifth activity after the first four are all the same, Ha. In the most destructive type of wrathful mantra, Ha is the final syllable, and you spit it out harshly. We rarely do that, and here, it makes a peal of something resembling laughter, Ha Ha Ha Ha Hoh. So when we use this mantra and learn the meaning of the "regular" words, the section of "laughter" then has no definition other than, so to speak, all the associated meaning we can learn and pack into the seeds. But that is like the Mamos. The same syllable, with a different feeling and sound, is either destruction or joy.

    Vajrasattva is defined as the first bhumi, Mudita or Joy. These softer Ha syllables are Mudita, and so the cluster is Four Joys of the subtle or Suksma Yoga. This ability is what in Buddhism would be considered the apex of Generation Stage, and then we would go in a seamless motion to Completion Stage.

    This is considered very difficult to do the first one, but after that, it gets easier.

    At first, Vajrasattva is defined philosophically as an Adrogyne, Prajna-Upaya. If we follow the Generation Stage and become fluent enough with mantra to utilize the Speech vessel, then Prajna is no longer just Emptiness, which is the same as death, it becomes Sukha, or Bliss. The cold, creepy touch of death that a person normally experiences will no longer be observed. An excerpt from Highest Yoga Tantra also explains why the Joys are related to, but not the same as, the Four Voids.

    If Muttering is working right, eventually mantra causes the life winds and inner heat to fully enter the central channel or Avadhut which melts the White Drop of Bodhicitta in the head. This, itself, is the First Joy; as the drop swells, gathering more energy, or nectar, enough of it will melt to flow down into the Khecari chakra or junction of the senses in the soft palate, causing the Second Joy. When this is enough to start dripping, it will continue into the body into the heart (dharma) and nirmana chakras, and then you have Four Joys caused by the white drop descending. It should be done slowly, actually one should become able to hold it in each of those chakras as long as desired.

    Ratnasambhava was originally about nectar and in the nirmana chakra, and we find at the Five Family Activity level of Vajrasattva, Five Dakinis go into nirmana chakra, and Amoghasiddhi gives way to Karma Family Vajrasattva in the root chakra, Vajrakumara or Vajrakilaya with Diptachakra, "Flaming Wheel".

    At that point, you are ready for the second set of Four Joys, which is the Red Drop of Bodhicitta in the Secret Place ascending to the crown.

    This should help explain how this is a Noumenal Path. In physical or Hatha yoga based kundalini, it is usually a mantric, breathing, and posture stimulated focus on the root chakra to activate it. Buddhist Candali Yoga by using Bodhicitta can be said to do it very differently, if not backwards. Although there is a description that says it starts by ascending, this seems to be a presumption without a specific source; Naro explains it as the crown's bodhicitta descending, because melted.

    The change to solar plexus, nirmana or earth chakra appears similar to the fact that originally, Touch is with Air Element, implying "whole surface sensation". When there is stillness, you quit noticing it, and when there is motion, you feel it. As the sense of Touch becomes purified, the mandalas switch the sense to line up with Purified Earth Element, having Sparsha (touch/contact) goddess in the center with Space Element. From there one must find the Queen of Space/Wisdom Dakini, and then "within" Space Element, the subtle minds may be traveled. Sambhogakaya or Illusory Body would still be Form, compared to this, and we will find formlessness or subtle-mind-only at the height of the Path via the Joys.

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

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

    So this is a valid list:

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

    And so is this (Naro's terms):

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

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

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

    Maitri wrote about Four Joys in terms of Seals, Mudra, but his terms "include all Four", they are Sahaja, the first is Karma Mudra or sexual yoga, then Dharma, Maha, and Samaya Mudras. Karma Mudra may be relevant to attain Sahaja, or, to increase Sahaja. However this makes the Mahamudra something that sexual yoga can only indicate, without, itself, being the ultimate condition.

    Naro lacks the Seals, and only wrote in terms of Empowerments; Maitri's system allows for more interpretations and the extended sets and so forth. This is similar to how their Dakinis have a certain order, Naro's begins basically standing and moves towards dancing, but Maitri's is a raised-leg flyer. Overall, they are both a bit hazy on how Empowerments and Sexual Yoga either cause or pertain to advancement on the "levels"--they definitely assist, but do not utterly define it. The rhythm itself is the definition. If someone goes slowly, then giving them empowerment number two is not necessarily going to make condition two, but then if someone is faster, they do not necessarily require every possible detail. And so that is why we have Guhya Jnana, if one is able to center heat and achieve the correct dakini effects, then one is with her by definition. She is, more or less, the secret, or personal, version of their formal initiations to the same Vajrayogini.

    Tantric union approaches in four degrees, Smile, Gaze, Embrace, Union. Then, according to Tsonkhapa from the Amnaya Manjari, the Kama Dhatu is inverse, Union is in the lowest region, Thirty-three gods and Four Kings, contact is in Tusita/Yama plane, gazing in the sex at will plane, and smiling in the sex offered by others plane.

    Complete Buddha is the permanent perception of all sixteen Voids and Joys. Different tantras may describe the "higher" drops differently, such as red and white combined. However, Generation is pretty much always be the same. It may be done more quickly when one is good at it, but there is no way to rush the practice.

    We may not be that good, but if we firmly stand on the Ground, Joy, in the general emotional sense, bringing that type of Bliss into the meditation, which, in following the Generation, "...one is drawn back into meditative equipoise because bliss has caused the winds of the sense powers to withdraw inside. This in turn increases bliss because the winds ignite the Fierce Woman, which melts the drops, causing them to flow in the central channel, producing great bliss."

    If one is close to igniting Fierce Woman, this will be the Triangle, where we are bound to Guhya Jnana or Ziro Bhusana in practice. The reversing winds are the Crescent, i. e. the legs, so there is still a familiar-looking aspect of lower centers gathering force to shoot into the head, but it has done nothing with the Root Center per se, and nor does it express the resultant light in the head to be full illumination, or the goal, it is "only" the first inner Joy, which is then the thing that eventually affects the Root Chakra.

    This is where in practice, we would say, Fourfold Om, as in Raja Yoga generally, is correct, we use it, and it is incomplete. We want to shape it like a candelabra around the fourth aspect, like sets of parentheses:

    ( ( ( ! ) ) )

    And re-iterate that the voids are not just death; it is the same process when falling asleep; and it may be triggered by Yoga, or by "other methods". White, red, black, clear, black, red, white is the sequence. They are the subtle minds inside or behind mundane consciousness, transcended by No Ego, Suchness, and Ultimate Meaning, or when "empty of what it is not", those three remain.

    White is not the moon, but like moonlight; Red is not scarlet cherry red, but a reddened yellow, like sunrise or sunset; Black is plain dark. The three dissolve into each other, one observes the Absolute Object or Clear Light, and then emerges in reverse order.

    Fully crossing all voids in a stable manner in all possible ways is the removal of vajra ignorance on the Irreversible stages of the Bodhisattva Path. So their basic names are how they will arise to us, and the Irreversible stages are extremely subtle; I cannot currently, in words, sum up what it means to realize the Emptiness of Infinite Nothingness, other than to say it is on the ninth bhumi somewhere beyond thousands of Suksma cycles:

    The four voids or emptinesses are: (1) emptiness (sunya); (2) highest emptiness (atisunya); (3) great emptiness (mahasunya); (4) universal emptiness (sarvasunya). In the tantric systems these four emptinesses correspond to: (1) the emptiness of self or body; (2) the emptiness of mind; (3) the emptiness of the contents of mind; (4) the emptiness of all phenomena. The four emptinesses may also be classified as: (1) the emptiness of things; (2) the emptiness of non-things; (3) the emptiness of nature; (4) the emptiness of transcendental nature.

    The methods through which one can approach realization: (1) emptiness; (2) signlessness or absence of attributes; (3) wishlessness or lack of aspiration; (4) the ultimate emptiness or lack of composition of all phenomena.

    So those are the basic Four Voids and Catuskoti of centering them. Once this is working:

    The four most refined states of mental absorption, the attainment of which leads to rebirth in one of the four formless heavenly realms. These four absorptions are known as: (1) limitless space (akashanantya); (2) limitless consciousness (vijnananantya); (3) nothingness (akinchaya); (4) neither cognition nor non-cognition (naivashanjnanasamjna).

    When attached to the Path, the four formless realms or states of being are Bodhisattva bhumis seven to ten. Everything we experience about Space and perhaps correspond to the Seventh principle and use as a sort of "switch" from mundane to transcendental, is only a Bodhisattva's basic starting point. That is why we train in Six or Seven Families and Paramitas; Generation aims to make this a "working unit", and Completion is not the end of the Path, but the use of that complete unit.

    A Bliss Whorl may have different numbers of arms; when it has four, the swastika shape, the limbs are the Four Joys. Usually, Naro Dakini gets four whorls. We have seen this before, but in it, she has acquired six whorls of the Four Joys. She has the Four Dakini retinue; towards the upper left is Samvara--Varahi with the same retinue. The upper right is Hevajra--Nairatma. Under Samvara are Six Armor Yoginis; under Hevajra are the Six Tramen of the Six Yogas.

    In the foreground is Naro's Remati or Dudsolma, i. e. Dhumavati.

    Clear Light of Bliss has a good straightforward version of all seven wind and void dissolutions after the remark that doing the Suksma will probably cause breath to cease.

    There are reports of even a non-Buddhist yogi flat-lining his heart for seven days, so, we did not invent the body's ability to enter these conditions, but we are operating it according to Bodhi Mind. If we follow the rhythm in Generation stage, our breath will probably get shallower and shallower while bliss and consciousness expand. With so many ways of having shown Earth element as esoterically very different from just "the dense", as the plane of nirmana chakra--and then following the Generation, it will be the first to leave. In that location, Ratnasambhava--I am not sure if we should really say he "leaves", but, effectively, is overwritten by Guhya Jnana Dakini. His Wrathful aspect is the protector of the crown. This is a Peaceful one, who, I am not sure does much besides provide an endless cascade of nectar. Since his wisdom is Enlightened Use of Six Families Equally, and the special Vajrayogini above shows Four Joys in six modes, we may be saying she connects to every possible vein for the nectar.

    Joy or Mudita from the basic Four Brahma Vihara never stops; Joy that is specifically meant by Ananda is no longer simply an emotion, but has its beginning in the head from the practice of Candali Yoga, where dakini is no longer in control, but you have subjugated her to a service indicated by the Vajrayogini mandala above. If this becomes meaningful, and we lack a Varahi Empowerment, then Vajrayogini is Guhya Jnana Dakini.
    Last edited by shaberon; 3rd October 2019 at 18:23.

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    Quote Posted by shaberon (here)
    The only way to get Buddha's teaching is in Mahamudra or Great Bliss, beyond words and concepts. So our words and concepts are those which have been found useful to place us in this condition safely. None of the Mahayana has an objective connection to Buddha that was recorded during his lifetime. It is all a type of cumulative tradition, wherein we say that he and his close disciples have a spoken/heard esoteric lineage, which has only slowly and progressively been revealed to people "once they became able to understand it". So there are plenty of Buddhists who would dismiss it as make-believe, or unnecessary. All we are saying is it is more direct and powerful. This is reflected by schisms in the oldest Buddhist councils, dissent between "literalists" and "transcendentalists", if you will.
    So are these schisms a question of the theravadins being literalists with their pali canon and the mahayanists being transcendentalists or is it something different from that?
    Last edited by Peter UK; 5th October 2019 at 06:37.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Quote Posted by Peter UK (here)
    So are these schisms a question of the theravadins being literalists with their pali canon and the mahayanists being transcendentalists or is it something different from that?

    I am not sure how to put it. Most Mahayana is described as "not contradicting" the Pali.

    Mahayana already appears to have standing self-contradictions, such as a rule about celibacy for monks, and then a tantric verse which advises one to go in disguise as a Hindu Shiva Pundit and gain an advisor or house priest position, for the express purpose of shagging the guy's daughter.

    There is, in India, a counter-reform against tantra altogether. Similarly, I believe many Theravadins would be suspicious about "new Sutras" and Hindu-ization or perversion of what they consider authentic.

    Aside from the scriptures or authenticity, Mahayana is mainly different by using Bodhisattva Vow. In terms of practice, to me, at least, this is the common factor to all Mahayana, which is not held by the Theravada--Hinayana, or by the Hindus.

    It has many meanings, but, is a form of "occult acceleration" one can do on one's own. Part of the practice is to ask all one's "karmic seeds" to ripen, we try to burn away the load, and quit putting new ones there. This is anything but particularly pleasant.

    We can find limited amounts of "acceleration" in non-Buddhist settings, for example, the Buddhist Morya "quickened" the Advaita disciple Subba Row at a festival in Kashi--Benares when he was thirteen. After this, he began reciting memories of the Gita and Vedas, which did not come from this life. The very syncretically-occult Dnyaneshvari was written by a sixteen-year-old; it was the "unofficial" occult program around Maharasthra--Bombay for five hundred years until published, anonymously, at the University of Dublin in 1854, or, that is, referred to by the "Dream of Ravan", which, itself, is a twist on "esoteric scenes" which are sometimes added to the Ramayana. The explanation of the title would be Jnana Ishvari, which is not a far miss from the Buddhist Dharmadhatu Ishvari or Jnana Dakini. If I remember rightly, it actually means the Kolhapur Maha Lakshmi, same one, I, at least, have been using for a reference point, to help clarify the many Tibetan veils on Lakshmi.

    I believe it is accurate to say there was a Lokottara Vada: Loka--World, Uttara--Highest, Vada--Way, in other words, a type of transcendental Buddhism that came up before Mahayana. So, there are plausible grounds to say that there well may have been a private, spoken lineage from Buddha's direct disciples that attracted a few followers outside of the "main" or monastic entity.

    Buddha preached Dharanis or spells around Amaravati in Orissa, and there is said to have also emanated Kalachakra and Dharmadhatu Vagisvara mandalas simultaneously--"floor and ceiling".

    All Mahayana does Bodhisattva Path, and all Vajrayana, deity or tantric style, is part of Mahayana. The Vajrayana is a minority wherever it exists, except in Nepal, where it is the only kind.

    Otherwise, Mahayana is the majority. I believe it can still claim the leadership in Bhutan, Mongolia, and Buryatia. HPB spent a noticeable amount of time with the Buryats as a teen-ager.

    Because Hinayana is somewhat of a localized minority, I have never encountered it. I believe the only Dharma centers I have trained in were Kagyu and Kadam. On the face of it or at a basic level, you won't find any difference.

    In Mahayana, however, there are two different ways to enter Bodhisattva Path.

    The Extreme Deeds lineage of Asanga and Maitreya requires one to first accomplish Pratimoksha vows (monastic) prior to Bodhisattva Vow.

    The Profound View of Manjushri and Nagarjuna does not. This is less about formality, and is more about Awakening Mind itself. And so it goes with the Jnanapada lineage that heavily focuses on Yoga in Namasangiti and Vairocana Abhisambodhi and so forth. It is possible as a non-monastic to take a "lay person's" set of vows, called Upasaka, or Upasika, which HPB had. The Nepali Vajracharyas are not monks, neither are the Tibetan Ngak-pa.

    As outsiders or converts, if we admire the Bodhisattva Path, then, by definition, Profound View applies to us, and so that is the epicenter of the research I have done. For many of us, it would be a rare occasion to be able to get empowerments or take vows, and Profound View opens a lot for study and practice that might otherwise go by overlooked.

    In Kagyu Dharma centers, we transmit you Prajnaparamita Heart Sutra whether or not you have any clue what's going on. This means you should study and train in Prajnaparamita, which is not the Bodhisattva Vow, but is, more or less, what is involved with it. Then if you do this, it opens bundles of "categories or lists" and mass numbers of deities. It is said to have been hidden by the Sea Nagas during the time "there was no one to understand it". Its emergence from the watery depths was at one time paralleled by the school of Aphrodite, which is now just a few relics, whereas, especially in Vajrayana, Prajnaparamita is only "the tip of the iceberg".

    Mahayana includes multiple lineages and variant beliefs or doctrines, but it all has Prajnaparamita and Bodhisattva Vow.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Lighter Methods of Namasangiti Dharanis

    We have found hundreds of spiritual practices, and that they work in a way that follows a general structure, but does not have to be the same thing every day. Some of the practices would literally take hours, or the whole day. Most of us lay disciples are in a position where we might occassionally do something big, but many days we won't have the opportunity for something very complex. Nevertheless, the system can guide us towards times we would try to do a longer Guru Yoga with perhaps an additional deity, versus other times where a quick, exoteric recital is fine.

    Buddhism and Hinduism both follow a Lunar calendar, which starts on new moon being the first crescent, or, a day after the astronomical dark moon, which is the thirtieth day. Waxing is auspicious, Vajra Paksha and Janma, and full is highly auspicious. Day eight is for Tara. Tsog is the tenth and twenty-fifth. Protector is the twenty-ninth.

    In Mahavairocana, Buddha says we should do the Fierce Rites on the eighth or fourteenth day with Saturn or Mars in the Lunar Mansions Hasta, Citra, Asvini, Uttara-phalguni, Punar-vasu, Svati. So the eighth could be Blue Sarasvati or Maha Cina Tara if those conditions call for it, or, any wrathful deity at either of those times.

    For general purposes, the new and full moons are best for larger sadhanas, Tara and/or wrathfuls have a suggested time, and Protector comes at the end. Loosely, waxing is more for sending merit, and waning is more wrathful and protective. So that is a simple guide, based solely on the Moon, which is common to India and Tibet. This part is the same.

    So if I am on day four which is nothing special, then it would be fine to read Sutra and Dharanis. Any "ritual", which for our purposes is just Guru Yoga, begins with Vajrasattva, and although it begins arbitrarily short, it is what we build into something as deep and intense as possible. Once you establish a Guru, Vajradhara or otherwise, the thing cannot be done in less than twenty minutes, and can easily go much longer. Because I am comfortable with Vajradhara, I tend to want to ask him for something, and so it would now be difficult for me to use the basic format where you just establish and meet him. I still do that, of course, but then it is time to ask him about a mantra, deity, etc., so he actually does something, which is not really "doing something" except in the mental sense.

    If we take the case of Dharanis, then they are very adjustable. I use short Usnisa mantra all the time. They can stand alone, be made part of a quick practice, or be used in a larger sadhana. It is perhaps best to use the whole Sutra introduction they usually come with, but, we do not have this in all cases.

    I can think of three relevant ways in which Dharanis are grouped: Nepali, Avalokiteshvara, and Dharmadhatu Vagisvara. These are not exhaustive, I have no idea how many there really are, but it will gather the vast majority, the most important, and in a few cases, the tricky and obscure.

    Nepal uses seven dharanis per day of the week (Saptavara), starting with Vasudhara on Sunday. So anything is appropriate, from a quick reference to her, up to giving her the whole day and a box of candles and so forth. If once in a while she is on Tara day, then it would be considered especially auspicious. It would be fine for instance to use Usnisa in the day, and then go to a Tara that is meaningful to you in Guru Yoga in the evening. It is adjustable, within certain guidelines.

    In Saptavara Dharani, there are seven shaktis, Vasudhara, Vidarani, Ganapati Hrdaya, Usnisa, Marici, Parnasabari or Prajnaparamita, and Grahamatrika.

    Ganesh or Ganapati "Lord of Hosts" accomplishes that part of Vajrasattva mantra, "sarva siddhim me prayaccha", bestow all siddhis on me. Hrdaya is his heart-bride, which, at first, is Buddhi, Matangi, and eventually is Gauri or Siddhidhatri, essentially swiping the wives of all the worldly deities. Ganesh, himself, usually "goes first" before meditating on other deities, but also is an Ucchusma or "scraps" deity, like Matangi and Dhumavati. Here is a Ganesh article ending with the dharani, or, Ganapati Hrdaya Dharani itself.

    The seven dharanis are actually in order in the middle of Dharani Samgraha, which would probably be the main source for Grahamatrika Mahavidya, who occupies pages 350-362.

    om namo bhagavatye āryya grahamātṛtakāyai

    The actual dharani is only the last part, but still big:

    namo ratnatrāyāya | om vajaddarāya namaḥ | om padmadharāya namaḥ || om kṛmārāyanamaḥ || om namaḥ sarvagrahāṇāsarvāṇāparipurakānāṁ om namo nakṣatrāṇā om namo dvādaśarāśināṁ om namaḥ sarvepadravānāṁ || tadaya thā || om buddhe 2 vaje 2 padma 2 sara 2 prasara 2 smara 2 krīḍa 2 krīḍaya 2 mara 2 māraya 2 mardaya 2 dhāṭya 2 mama sarvasatvājāca sarvavidhnānchhinda 2 bhinda 2 sarva vighnānnaṇeya 2 kurū 2 mama saparivārakasya sarva satvānāṁca kāryya kṣepaya 2 sarvapāpāni mama saparivārebhyaḥ śānte 2 dānte 2 dāpaya 2 drataṁ darśayātmānaṁ bhagavati rakṣamamabharva satvānāca sarvagraha nakṣatra pīḍā nivāsya bhaṁgavātithneyaṁkuru mahāmāyā prasādhaya sarva duṣṭhānāśaya 2 sarva pāpāni mamasaparivāra kasya candre 2 candrāni 2 turu 2 maru 2 bhū 2 bhūṁcara 2 bhavābhave ugrāugre tapātape pūrayabhagavati manoratha mama sarva satvānāṁca sarvanakṣa nṛgraha piḍānivāra sarva tathāgatādhiṣṭā nādhiṣṭate samaya svāhā || om svāhā || hū svāhā || hrī svāhā || dhṛḥsvāhā || dhīḥsvahā || om ādityāya svāhā || om somaya svahā || om dharaṇīsutrāya svahā || oṁ buddāya svahā || om brahaspataye svahā || om śukrāya svahā || om śaniśvāra svāhā || om rāhavai svāhā || om ketave svāhā || om buddhāya svāhā || om vajrapāṇaye svāhā || om padmadharāya svāhā || om kumārāya svāhā || om sarvagrahāṇā svāhā || om sarvanakṣatrāṇāṁ svāhā || om sarvepadravā sarva vighneya rhuṭha 2 paṭha 2 svāhā

    It is in Nepali accent, i. e. Vajradhara = Vajaddaraya. "2" is a standard shorthand for "repeat previous word".

    She has an unusual fourteen-deity configuration in a lineage from Virupa. She normally is shown without sire, but, this is considered Mahavidya Manadala of Tathagata Family in Kriya. Her arrangement is unusual because she has a Swan-driven Marici in the ring, and, apparently, a Horse-driven Marici close to her:

    If we refer back to Tathagata Family, the Mother is equivalently Marici, Grahamatrika, and Pancha Raksa--Pratisara. Grahamatrika is against "planetary misalignments", and so Earth, or Bhu, is not specifically in the list of planets she hails, but Rahu and Ketu are. Her form with Vajra as main item is from Dharani Samgraha, and suggests her as an Akshobya deity, at least to Bhattacharya, although in the text, he says Vairocana. He actually used Dharani Samgraha for her, and a Nepalese painting owned by Evans-Wentz. If not from Sadhanamala, she shows up in a Vajravali relationship including Eleven Face and Padmanartesvara. In 346, we find her to be a curious parallel to Parasol losing her Parasol when she has six arms, with a slight change of Grahamatrika's items, and having a similar role with planets, in Sadhanamala 192. However, according to Kazumi Yoshizaki, "The first reference to the Buddha Aksobhya of the Lhasa Newars is, as far as I know, found in the colophon of Saptavara-dharani (Grahamatrka-nama-dharani), which was copied in the Newar year (N.S.) 773 by Srimantadeva Vajracary." The manuscript was commissioned after paying homage to a statue of Akshobya, ruler of the Himalaya, Sri Sakyamuni.

    Her ten pages of explanatory prose in Dharani Samgraha seem unusual for that text, and far surpass anything I can find in English. I cannot make much of it, but does seem to include a mandala retinue, with:


    Followed by a three face, six arm description, so, Bhattarika is either there, or, Grahamatrika counts in Bhattarika forms. It seems to involve Red Mars, Blood Red Jupiter, and Smoky Saturn.

    Vidarani, Ganapati Hrdaya, and Grahamatrika are pretty clearly important to the Nepali system, whereas the other four are much more widespread. We have already studied the more common ones, so, I will just note that they are used, and probably add links or copies later for convenience. They are common to DDV and Saptavara Dharani.

    Another significant group of Dharanis would be for Lotus Family, dovetailing into Bhattarika Tara.

    As much as Lotus Family is related to sex, we also find that it employs the Vaisnava powder kunkuma, which is a female celibacy mark, similar to male ash-smearing. Celibacy is specifically referred to only a few times in Sadhanamala. Brahmacharya is only mentioned by Avalokiteshvara Mahakarunika Dharani 41, Sragdhara 109, and Vajra Sarasvati 164-165. Although the latter continues her "prajna vardhani" mantra, she is a red deity with a lotus as her primary item. Because Mahakarunika is involved, then Simhanada and Amoghapasha are also appropriate. 21 Taras is a type of dharani sutra.

    Sragdhara is a Bhattarika, something like lady of the house, and this title is carried by only a few others, which are not or are barely sexualized.

    Bhattarika Taras include Sragdhara, Mahamaya Vijayavahini, Maha Cina, Vajra Tara, the heart of White Ekajata, referred to by Marici a few times, and 115 that splits Golden Drop Kurukulla. Since Kurukulla is defined as Tarodbhava or generated by Tara, this sequence would have to be important if not critical for the result.

    If Varahi means centering the dakinis and activating the Drop, the first, or One Joy, then, as a sweaty saturation of nectar, Kurukulla is more like a Suksma cycle. Lotus is more or less the straight, direct line to her, but it employs Nectar, originated from Jewel Family, who tells us we need all families. That is why we are going to stick closer to Sarvabuddha Samayoga, so we have the clarity and protection of them all, this foundation is really important, the enlightened Dakini Jala, not merely dakini activated by "any means" which can be very dangerous.

    As far as I know, Dharmadhatu Vagisvara is the only place where Dharanis are intended to correspond to Paramitas. Usually, Dharanis just mean whatever it says in their Sutras. Marici has been described as Sila Paramita (second), and the seventh, Anantamukhi, depends on the first Paramita, according to Tsonkhapa. It could be argued that they do not correspond one-to-one, or do not correspond at all, but just happen to be twelve deities in the same ring with Paramitas, Bhumis, and Disciplines, which do correspond to each other. So far, the only supporting evidence is a song, which more or less just names the inhabitants of the mandala.

    Encyclopedia says the dharanis, or esoteric descriptive formulas of each Buddhist divinity, were muttered in a mechanical way. At the time of Bengal's Pala ruler Devapala (9th century), the dharani of the popular Buddhist goddess Tara was well-known in eastern India. Abhayakaragupta selected twelve principal dharanis and deified them with human shapes, colors, and weapons.

    The NSP with these deities was published in something like 1925, and, a few of its blurry spots have been clarified by the Sanskrit Buddhist Canon within the past few years. So we have a unique class of Twelve Dharanis for the Dharmadhatu Vagisvara mandala, which go with the Twelve Bhumis--Paramitas. In practice, only six or seven will affect us, but that is no reason not to learn and contemplate all. The first correction is that the first one is not the male Bodhisattva Sumati.

    Vasumati means possessing treasure, and is found in 1008 Lakshmis:

    parA vasumatI devI


    arundhatI vasumatI bhArgavI vAstudevatA |
    mAyUrI vajravetAlI vajrahastA varAnanA || 93||

    Bhargavi is a very rare name, "Radiant, Beautiful and Charming". This verse is highly esoteric as Tara really is Arundhati, then you have a few beautiful terms, followed by Mayuri, Ghoul, Vajra Holder, and Varnani or the lunar nerve, or, what appears to be the evolution of corpse bride.

    Dharanis in DDV are Amoghasiddhi goddesses, in Hinduism they are Lakshmis and consorts of Parasurama, the Immortal, who will be Maitreya's guru in the final cycle when Amoghasiddhi replaces Amitabha. They are inherently mysterious from using non-words. If the first one corresponds to a special pre-Paramita, and that goddess is a Pancha Jina in Sambhogakaya at her lowest form, it would have to be said that an exoteric recital relating to an undefined preliminary Paramita is definitely only like an outer shadow of her true meaning, which would have to be considered at least five Paramitas at once.

    Vasumati Mahalakshmi -- Mahasri Sutra
    Ratnolka -- Dhvajagrakeyura Dharani
    Usnisavijaya -- yes
    Marici -- yes
    Parnasabari -- yes
    Janguli -- yes
    Anantamukhi -- yes, copied below
    Cunda -- yes
    Prajnavardhani -- Prajnaparamita, Vajra Sarasvati
    Sarva Varana Vishodani -- Mahamaya Vijayavahini Dharani
    Aksaya Jnana Karanda [Imperishable Wisdom Casket]
    Sarvabuddhadharma Kosavati or Dharmakāyavatīṃ

    On the final two, a straightforward deity interpretation cannot be given. Karanda's meaning is perhaps comparable to terma, or, to a basket of "other things". Kosa could be "cup or vessel", "storehouse or treasury", or a term for the sheaths of the body, mind, and subtle mind. The Nepali version of the last simplifies it to Dharmakaya, which is a fair reason to equate it to the final Paramita. The one that made sense to me for Dharmakaya is Parasol (copied below).

    If Karanda is a container of unknown contents, some of the remaining Dharanis and Sutras which have come to our attention would be:

    Golden Light
    Mayuri and Pancha Raksha

    Here is what happens. This only exists in Namasangiti. It is a special way of learning Paramitas. It just says they are there, it isn't anything about what they are, so we have to supply that. Although there are interpretations that would place these out of order, we will simply note that. Taken on an individual basis, it would be acceptable to take Ananta Mukhi for first or Dana Paramita.

    We are really just indexing Dharanis with Paramitas and Bhumis that are already known and established to correspond with each other.

    Naga Kings are cultivation of Paramitas. In Sarvadurgati, Offering Goddesses are Eight of the Paramitas.

    The Six Families method that would follow from Dakini Jala is that in Abidhanottara (Samvara tantra), there are six Bhumis in order of Vajrasattva, Buddha, Jewel, Lotus, Vajra, Visva Daka. Then, Acala is a divider to the four magical females such as Lama, Khandaroha, Dharmamegha, and Rupini.

    With Vajra Tara, Paramitas are the ten syllables of Tara mantra, i. e. her retinue, as in post 384. In her case, it is Four Offerings, Puspa, Dhupa, Dipa, Gandha, then Hook, Noose, Chain, Bell, Sumbha, and Usnisa, in 110. They are actually not Ten Directions, only six. This is really her own personal practice, where we would apply what we glean of the Paramitas.

    In Kalachakra, Dhuma is Dana and Marici is Sila. The rest are its own unique system.

    HPB adds "VIRAGA, indifference to pleasure and to pain, illusion conquered, truth alone perceived", fourth, moving Prajna up to seventh. With her, the Paramitas are really keys to portals which open the hard and thorny way to Jnana, and she uses the normal Tara expression "other shore". Instead of Vi Jnana or mundane concsiousness and reason, it is Pra Jna or Straight Forward Knowledge which is Param Ita or It Crossed to the Other Side.

    If these are keys, the Portals, themselves, would be Disciplines, Grounds, and Dharanis.

    Longchen and Mipham's Ten Components of tantra as Paramitas reflect that Jnana is behind or within Prajna, is primordial. This is the first iteration, or line with the Sanskrit name, in the following list.

    Kalachakra also gives them in a tantric sense. That is the numbered line.

    Namasangiti has a unique "first or prior" Bhumi called Adimukticarya, which is Zeal, Confidence, Sraddha, and so on. The Discipline to train is simply called Ayur, meaning Life, as in Ayurveda or Amitayus, and these Discipline goddesses, Ayur and those who follow, are daughters of Amitabha. This cultivates Ratna Paramita, and the Paramitas are Ratna goddesses. Grounds are Vajra Family.

    Because this special preliminary is unique, it has no standard commentary, only a deity and her Dharani.

    According to Bhattacharya, this Mahasri conforms entirely to Sadhanamala:

    In conformity with the Sādhana the principal deity Mahāśrī Tārā is shown as one-faced and two-armed exhibiting the Vyākhyāna or the Dharmacakra-mudrā [or, two of them]. There are two night lotuses on either side. The principal deity sits in the Rājalīlā pose on a lion-throne and bears on her crown the miniature figure of Amoghasiddhi with the Abhaya-mudrā. To her left is the fierce figure of Ekajaṭā, sitting in the Ardhaparyaṅka attitude and holding the Kartri and the Kapāla in the two hands. She has a protruding belly, garment of tiger-skin, and she bears a wrathful demeanour which is clear on the stone. To her right similarly, sits Aśokakāntā Mārīcā who wears a bejewelled crown, and carries the Vajra and the Aśoka flower according to the direction of the Sādhana. The statuette also depicts Ārya-Jaṅgulī towards the extreme left of the deity and shows the snake and the Varada-mudrā in accordance with the direction of the Sādhana. The statuette also includes the small figure of Mahāmāyūrī to the extreme right of the principal goddess. She shows the peacock’s feathers and the Varada-mudrā.

    She is almost mantrically identical to Dhanada; presumably green, arises from Harita Tam and is Syamam, or, apparently darker than the syllable. This has got to be the same image as in 341, and, even so, we have to rely on him for the details. I cannot really say her retinue appears to be holding any items. Although she is supposed to have two lotuses like Tara and Prajnaparamita, she is also supposed to be amidst a variety of other flowers.

    Khadira is similar to her, but has one hand extended in Varada Mudra, and is with Marici and Ekajata. This three deity configuration is much more common.

    Lotus Family has the Messenger Mahasri, which is right from Mahasri Sutra, which is her dharani.

    It would be fair to also use Maha Lakshmi and Vasudhara. In the strict sense, Mahasri is a Green Amoghasiddhi goddess, but in the mandala, she has a Vasudhara appearance, in Amoghasiddhi Family.

    In Namasangiti, "The Twelve Paramitas are two-armed and hold in the right hand the flag [Banner] marked with the Cintamani jewel, and in the left their own symbols. But Prajnaparamita has two more hands." The first, or zero compared to regular lists, Ratnaparamita is red in colour and holds the disc of the moon on a lotus in her hand.

    All Vasita goddess hold a lotus in the right hand, with certain exceptions. Ayurvasita is whitish red in colour and holds in her left hand the image of the Buddha Amitayus in the Samadhi mudra on the Padmaraga jewel. So here, we find that Usnisa does not hold Amitabha as usual; Amitabha's first Ayur goddess holds the Amitayus form, and at the end, he is in the hand of Samantaprabha Bhumi. This at least superficially resembles the strand of Lotus or Mahakarunika dharanis and outer practices, and does not resemble the popular Long Life Trinity as much.

    Bhumis are two-armed and hold in the right hand the Vajra. Adhimukticarya Bhumi is of the colour of a red lotus, and holds in her left hand the red lotus.

    Dharanis are endowed with one face and two arms. They all hold in their right hand the double thunderbolt or the Visvavajra. Vasumati is yellow in colour and holds in her left hand the ears of corn.

    This ring of goddesses corresponds to the four unique Gatekeepers, Pratisamvits, consisting of Dharma (nature), Artha (analysis), Nirukti (etymological analysis) and Pratibhana (context). On the Eastern gate there is Dharma Pratisamvit of whitish red colour, holding in her two hands the goad and the noose marked with the thunderbolt. In the South, there is Artha Pratisamvit of the colour of an emerald and holding in her two hands the jewel and the noose. In the West there is Nirkuti Pratitamvit of red colour, holding in her two hands the chain from which a lotus is suspended. On the North there is Pratibhana Pratisamvit of the colour of an emerald (green), holding in her two hands a bell marked with a Vajra with three thongs.

    Vajrasattva--Pramudita, Joy

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

    1. Freedom from conceptual elaborations is known as generosity.

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

    Vajrasattva is already defined as Pramudita in Yoga, and this is re-iterated by Samvara. In this scheme of Paramitas, they have done the same thing we have done with Namasangiti: stick Vajrasattva at the beginning as a Cause.

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

    The Namasangiti goddesses have little other representation, but this is a Tibetan Dana Paramita from the 11th century:

    In Namasangiti, Danaparamita is whitish red in colour and holds in her left hand various kinds of ears of corn. Cittavasita is white in colour and holds in her left hand the red Vajra with five thongs. Pramudita is red in colour and holds in her left hand the Cintamani jewel. Ratnolka is red in colour and in her left hand she holds the Cintamani banner.

    In 269, Mipham recommends Dhavajagrakeyura to increase Wind Horse, and her dharani is there. 346 has her personal forms after comparing Grahamatrika to Parasol.


    samaya is related to the paramita of discipline (Skt. śīlapāramitā)

    2. Not losing one’s regenerative fluids even when in union with a consort is known as ethical discipline.

    According to Kalachakra, Marici is the condition of 2 here, or the Paramita itself. In Samvara, Vairocana is the sire. Namasangiti says to use Usnisa Dharani. The Ground is Vimala, or Stainless, which in a feminine sense is close equivalent to goddess Viraj. The discipline called Pariskara resembles polishing. Circularly, it would simply mean "mastery of discipline".

    Sila is discipline, or, moreover, morality, "...wholeheartedly following the good path (kuśalamārga) without allowing any faults (pramada) is what is called Śīla”.

    Śīla is of three kinds:

    hīnaśīla – By means of “lower morality”, one is reborn among humans (manuṣya);
    madhyaśīla – By “middling morality”, one is reborn among the six classes of gods of the desire realm (kāmadhātudeva);
    praṇītaśīla – By “superior morality”, one is reborn among the pure gods (śuddhāvāsadeva) of the form realm (rūpadhātu) and the formless realm (ārūpyadhātu).

    "...it is an adornment (ālaṃkāra) that surpasses the seven jewels (saptaratna). This is why morality must be guarded as if one were defending the life of the body (kāyajīvita) or as if one were watching over a precious object. The immoral man endures ten thousand sufferings; he is like the poor man who broke his vase and lost his wealth, This is why pure discipline must be observed."

    The Seven Jewels are means or methods whereby enlightenment becomes available, Paramitas being closer to the thing itself.

    Silaparamita is white in colour and holds in her left hand the discus made of white flowers and leaves. Pariskaravasita is yellow in colour and holds in her left hand the Cintamani banner. Vimala is white in colour and holds in her left hand the white lotus. Usnisavijaya is white in colour and holds in her left hand a jar full of Moonstones.

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

    Usnisa Vijaya Dharani Sutra


    action is related to the paramita of patience (Skt. kṣāntipāramitā)

    3. The non-craving for the ordinary and the non-craving for true existence are called patience.

    Here is where Namasangiti places Marici as Dharani. The discipline goddess is Karma which is action as given above. Action is related to the perfection of patience. Prabhakari is Luminous Ground on which the Bodhisattva radiates light of wisdom.

    Shantideva gives the Dharani for Marici but the Dharani never refers to her as Vajravarahi. The conception of Marici has a greater antiquity than the conception of either Vajravarahi or Heruka. She is more of a Tara Bodhisattva already enlightened from the prior cosmos; Varahi is more having problems in this one and it is her or us rising through the muck to Marici.

    The Bodhisattva-mahāsattva in the third bhūmi (prabhākarī) should devote himself to five dharmas.

    What are these five?

    An insatiable desire for learning.
    Choosing the selfless gift of Dharma by preference without deriving any pride.
    The purification of the Buddha-fields, without deriving pride from it.
    [The Bodhisattva “does not tire” of dwelling in saṃsāra].
    Settling into shame, but without deriving any pride from it.

    "The Bodhisattva who practices patience toward beings acquires immense merit (apramāṇa-puṇya); the Bodhisattva who practices patience toward the Dharma acquires immense wisdom (apramāṇa-prajñā). Endowed with these two benefits, merit and wisdom, he obtains the realization of all his wishes (yatheṣṭa-siddhi): he is like the person who, having eyes and feet, can go wherever he wishes”.

    Ksantiparamita is of yellow colour and holds in her left hand the white lotus. Karmavasita is green in colour, and holds in her left hand the Visvavajra (double crossed thunderbolt). Prabhakari is red in colour and holds in her left hand the disc of the sun on a lotus. Marlci is reddish white in colour and holds in her left hand the needle with string.

    Marici appears in her Obstacle Clearing form. Again this is like a tiny image, an exoteric handout which is really the tip of the iceberg, or, needle, for her, and it is a regular appearance, same as found elsewhere.

    Marici Dharani

    Golden Light Sutra mainly uses Sarasvati as Memory, and she gives her dual dharani with Marici. Lokesh Chandra has a translation of it, and also interprets Marici as the ray of light at a Buddha's Final Enlightenment.


    accomplishment (sadhana and siddhi) is related to the paramita of diligence (Skt. vīryapāramitā)

    4. The gathering of the ten vital energies in the central channel is called zeal.

    This Dharani is Parnasabari, on Arcismati, Brilliant Ground. The discipline Upapatthi refers to reason, such as examples through various real-life scenarios and logical arguments. The ground may be described as shiny or fiery, and here the Prajnaparamita Sutra begins using rules for monks or ascetics. The subjective guidelines have to do with virtue, little desire, satisfaction, up to disdain for everything.

    That combines with the perfection of diligent, zealous energy, which is successful in sadhana, and accomplishes the purposes of Muttering. According to Samvara, this is governed by Padma, Lotus Family.

    Viryaparamita is of the colour of emerald and holds in her left hand the blue lotus. Upapattivasita is of variegated colour and holds in her left hand various kinds of creepers of variegated colour. Arcismati is of the colour of an emerald and holds in her left hand the blue lotus. Parnasabari is green in colour and holds in her left hand the peacock's feathers. In this case, two standard iconographical versions of Green Parnasabari also carry plumage as their primary item, one of which works as a mirror or scene of a house.

    Sadhanamala 150:

    namo ratnatrayāya, namo 'mitābhāya tathāgatāyārhate
    samyaksaṃbuddhāya, nama āryāvalokiteśvarāya bodhisattvāya
    mahāsattvāya mahākāruṇikāya, namo mahāsthāmaprāptāya
    bodhisattvāya mahāsattvāya mahākāruṇikāya /
    vāmane tvāṃ namasyāmi vāmane tvāṃ bhagavati /
    piśāci parṇaśavari pāśaparaśudhāriṇi //
    yāni kānicit bhayāny utpadyate yāḥ kāścit māryo
    yāḥ kāścit mahāmāryo yāḥ kāścid ītayo ye kecid
    upadravā ye kecid apāyā ye kecid ādhyātmikā bhayā ye
    kecid upasargā upasargasambaddhā vā utpadyante sarvāṇi tāni
    sarvāstāḥ sarve te bālata evotpadyante na paṇḍitataḥ /
    tad anena satyena satyavacanena satyavākyena jjaḥ jjaḥ jjaḥ jjaḥ
    ebhiḥ paṇḍitādhiṣṭhitair mantrapadair mama sarvasattvānāṃ ca rakṣāṃ
    kuru, paritrāṇaṃ kuru, parigrahaṃ kuru, paripālanaṃ kuru, śāntiṃ
    kuru, svasstyayanaṃ kuru, daṇḍaparihāraṃ kuru, śastraparihāraṃ
    kuru, yāvad viṣadūṣaṇaṃkuru, agniparihāraṃ kuru, udakaparihāraṃ
    kuru, kākhorddacchedanaṃ kuru, sīmābandhaṃ kuru, dharaṇībandhaṃ
    kuru / tad yathā, amṛte amṛte amṛtodbhave amṛtasambhave
    āśvaste āśvastāṅge mā mara mā mara mā sara mā sara śama
    praśama upaśama sarvavyādhīnupaśama sarvākālamṛtyūnupaśama
    sarvanakṣatragrahadoṣānupaśama sarvadaṃṣṭrināṃ copaśama bhavati
    parṇaśavari tunna tunna vitunna vitunna tuṇa tuṇa tumule
    svāhā / oṃ gauri gāndhāri caṇḍāli mātāṅgi pūkvasi
    svāhā / oṃ aṅkure maṅkure kurukure parṇaśavari svāhā /
    oṃ namaḥ sarvaśavarāṇāṃ mahāśavarāṇāṃ bhavati piśāci
    parṇaśavari piśāci parṇaśavari piśāci pāśaparaśudhāriṇi
    yāni kānicid bhayāni(yau) svāhā / oṃ
    piśāci parṇaśavari hrīḥ huṃ phaṭ piśāci svāhā /
    // āryaparṇaśavarītārādhāraṇī samāptā //

    Medicine Buddha uses Vajradhara with Varahi in one's crown. In Vajradhara's chest is Amitayus, inside him is Drubpai Gyalmo and the lineage. In Varahi's chest is Parnasabari, and inside her is Vijaya, Nampa Gyalma (Usnisa).


    samadhi is related to the paramita of meditative concentration (Skt. dhyānapāramitā)

    5. The mind that single-pointedly abides in immutable bliss is known as meditative stabilization.

    These descriptions refer to Mahamudra and Samadhi of Nisprapancha or Nirakara variety, or the type of Reversal that comes from the previous step. The Ground is Sudurjaya which is Difficult to Accomplish, and, its discipline is Rddhi, which is Magical Powers, including four kinds of gamana or movement, nirmāṇa or creation and āryaṛddhi or noble magical power. It is a name for Varuna's younger wife, who may even be invoked:

    oṃ ṛddhyai namaḥ

    The full Dharani for this is that of Janguli.

    Dhyana we have variously translated as Dzyan, Chan, Zen, and so to us as practitioners it may seem very deep and intense and regarded as samadhi, which, provisionally it is, but eventually samadhi is determined to be a process between the ten winds and Clear Light or Prabhasvara.

    Dhyanaparamita is of sky colour [gaganasyama, i. e. dark sky] and holds in her left hand the white lotus. Rddhivasita is green as the sky and holds in her left hand the discs of the sun and the moon on a lotus. Sudurjaya is yellow in colour and carries an emerald on her open palm on the lap. Janguli is white in colour and holds in her left hand buds of poisonous flowers.

    Generally, it is the large Yellow Janguli that carries a blue poison flower.

    oṃ ilimitte tilimitte ilitilimitte dumbe
    dumbālīe dumme dummālīe tarkke tarkkaraṇe marmme marmmaraṇe
    kaśmīre kaśmīramukte aghe aghane aghanāghane ili ilīe
    milīe ilimilīe akyāie apyāie śvete śvetatuṇḍe
    ananurakte svāhā

    Visva Daka:

    view (drsti) is related to the paramita of wisdom (Skt. prajñāpāramitā)

    6. The wisdom that is not overcome by conceptualization and that bears the speech of the buddha, which is perfectly suitable for those to whom it is directed, is known as wisdom.

    Prajnaparamita, herself, does not really have a dharani. The Ground is Abhimukhi, which is the Bhumi of Presence, or stage of the manifest. It somewhat circularly means to perfect the manifestation of all the prior perfections. The discipline Adhimukti is resolution, trust and confidence, and the worst thing to be avoided here is Arhat sin or doubt.

    The Dharmasamgraha here in listing the vasitas or disciplines as "masteries", uses Janma, or mastery of birth; Adhimukti and the rest are pushed forward one spot. Namasangiti has really added two disciplines at the end, instead of one first and then one at the end; normally they do start with Ayur.

    As we see this one is circular, it is of course around the summit of what we can possibly train, with the next perhaps being a kind of mystic thread we are able to perceive. This one is already asking us to emit some kind of Buddha Speech, so, it may be a bit ahead of where we are now.

    Prajnaparamita is of delightful yellow colour- In her left hand she holds the Prajnaparamita book on lotus. The two principal hands display the Dharmacakra mudra; here she also has Banner, different from her standard iconography. Adhimuktivasita is white like the stalk of a lotus, and holds in her left hand the buds of the flowers of Priyangu. Abhimukhi is of the colour of gold and holds on a lotus the Prajnaparamita manuscript. Anantamukhl is green as the Priyangu flower and holds in her left hand the jar full of inexhaustive treasures, on the red lotus.

    The dharani used in Namasangiti loops back to the beginning:

    Boundless Gate--Nirhara--Anantamukhi (Dana or First Paramita, Generosity, according to Tson Khapa)

    (Arya ananta mukha sadhaka nama dharani)

    As to living beings who dispute with others,
    It is tightfistedness that is the root cause.
    So renounce that which you crave.
    After you give up craving, the formula will work.

    Tadhyata ane akhe ma-khe mukhe samanta-mukhe su me satya rame saudhi yukti nir-ukte nir-ukti. Prabhe hire hiri kalpe kalpasi sale. Saravati hire hire hire hire hire hire hiri hirile maha-hi hire cande javane cara carani acale ma-cale anante ananta-gati arani nir-mani nir-vapani nir-vartane nir-dante. Dharma-dhare nir-hare nir-hare vimale sila vi-sodhane prakrti-dipane bhava vi-bhavane a-sange a-sanga vihare dame. Vimale vimala-prabhe sam-karsani. Dhire dhi dhire maha-dhi dhire yase yasovati. Cale a-cale ma-cale sama-cale drdha sam-dhi su-sthire. A-sange a-sanga vihare a-sanga nir-hare. Nihara vimale nihara sodhane drdhasu me. Sthira sthame sthamavati. Maha-prabhe samanta-prabhe vipula-prabhe vipula-rasmi samanta-mukhe sarvatranugati anacchedye. Dharani dharma ni-dhana gotre samanta-prabhe. Sarva tathagata adhisthanadhistithe svaha.

    Yellow Prajnaparamita is in some respects the first goddess, as this is one of the oldest dharanis, and commonly refers to the first paramita. So it is very circular, a Six Buddha Wheel where the end is the beginning. That is why Infinite Gate makes sense here. Knowledge and interest in paramitas is indeed the key that would open it, and the portal would mainly consist of repetition of the six.

    Originally, only six paramitas were taught. The end section has always been a kind of special addition that explains the full Bodhisattva path in a way that most of us ordinary humans would not likely achieve in one lifetime. It would not be out of line to consider the rest as the Seventh Family, or as Vajradhara teaching during samadhi at Completion Stage. One may be just as well off to dismiss them and concentrate at this current point. This is flexible and bendable, a series of mainly exoteric formulations intended to help us get familiar with what Perfection is and how to pursue it.

    The spells do nothing inherently, but work as portals, the more we pour in the associated meaning, the more the "nonsense" does what does to stabilize it.

    We did, so to speak, "cross a degree of space" to unite the five senses under the sixth sense of mind, which then encounters additional spatial barriers.


    He is a non-associated divider. He has to do with Trailokyavijaya and the Queen of Space, and after him, instead of Buddha Families, the Paramitas are governed by Four Dakinis. There is not one which does not know Bliss or does not originate in Sambhogakaya, all of the Joy is now Sahaja. There is not one which is anything but barely understandable in ordinary terms.


    mudra & mantra are related to the paramita of skilful means (Skt. upāyakauśalapāramitā)

    7. Meditative stabilization is the means for retaining the drops while engaged with the three mudrās, namely, the action mudrā, primordial wisdom mudrā, and the empty form mahā- mudrā.

    The discipline is Pranidhana, which is the next Paramita. The Ground is called Durangama, "Far Going". The dharani used is Cunda.

    Upayaparamita is green like the Priyangu flower and holds in her left hand the Vajra on a yellow lotus. Pranidhanavasita is yellow in colour and holds in her left hand the blue lotus. Durangama is green like the sky and holds in her left hand the Visvavajra (double thunderbolt) on a Visvapadma (double conventional lotus). Cunda is white in colour and holds the rosary from which a Kamandalu [water picher] is suspended.

    Cundi Dharani Sutra against karmic seeds


    enlightened activity is related to the paramita of aspiration prayers (Skt. praṇidhānapāramitā)

    8. Prayer is bringing oneself and others to fulfillment.

    This discipline is Jnana, which is the tenth Paramita. The Ground is Acala. Its dharani is Prajnavardhani, apparently a common mantra of Prajnaparamita and Vajrasarasvati.

    Pranidhanaparamita is of the colour of the blue lotus, and she holds in her left hand the sword on a blue lotus. Jnanavasita is whitish blue in colour and holds in her left hand the sword on a blue lotus. Acala is of the colour of the moon in autumn, and holds with pride in her left hand the stalk of a lotus over which is placed the five- thonged Vajra on the disc of the moon. Prajnavardhani is white in colour and holds in her left hand the sword on a blue lotus.

    That leans more towards use of Prajnaparamita for the dharani. Red Vajrasarasvati is like her but changing into something like a celibate kunkuma-smeared female who "was" white and now is bathed in Desire splashed all over her. When in practice we breach the subconscious and open a bunch of karmic seeds, inevitably in some way there is a stage where the poor celibate student is burned alive and raped by us, showing us in a mirror what we are really doing.

    This is using a non-iconographic form of her where she is required to have a Crossed Vajra. This is taking White Prajnaparamita and asking what it is like for Amoghasiddhi as sire and what it means to be increased in wisdom by using mantras which in some parts are very precise and symbolic, and in other parts are "meaningless spells".

    If we look at Namasangiti Prajnaparamita, we find her general Four Arm Yellow form still as the mistress of the process of Paramitas, and her personal, inner, or esoteric form migrated to Amoghasiddhi or Activity or Accomplishment through mantra. Usually, she would have Red and White Lotuses with her text on them. Here is is just a Blue Lotus with a Sword, which is closer to Manjushri. Siddha Ekavira is the Two Arm White Manjushri who has a Blue Lotus with a Prajnaparamita text. This is an unusual nineteenth century Mongolian Manjshri whose lotuses have Sword and Text:

    Prajnaparamita with Vardhani mantra and muttering

    Dharmamegha [or Dakini]

    empowerment (abhiseka or wang) is related to the paramita of strength (Skt. balapāramitā)

    9. Power refers to the power of immutable bliss in which one gains liberation from the three states of existence.

    Dharmamegha is normally just the name, Cloud of Dharma, of the tenth Bhumi; however it was used as the third dakini. The discipline is Dharma. Its Ground is Sadhumati, "Good Prajna":

    What are these twelve?

    In universes infinite in number, the Bodhisattva takes hold of the class of beings capable of being converted (vineyabhāga).
    All obtain according their wishes.
    The knowledge of the languages spoken by the devas, nāgas, yakṣas and gandharvas.
    The talent of eloquence.
    The excellence of the descent into the womb.
    The excellence of the birth.
    The excellence of the family.
    The excellence of the clan.
    Excellence of the entourage.
    Excellence of departure.
    The excellence of the splendor of the tree of enlightenment.
    Excellence in the complete accomplishment of all the qualities.

    These, O Subhūti, are the twelve dharmas which the Bodhisattva-mahāsattva in the ninth ground must fulfill completely.

    It is the place of Bala Paramita and uses Sarva Karma Varana Vishodani, which, in deity terms, is found most closely with Mahamaya Vijayavahini and Prasanna.

    Śraddhā, vīrya, smṛti and prajñā are called faculties (indriya) when they are weak, called powers or strengths (bala) when they are strong.

    Also, “when the five faculties (pañcendriya) have been developed (vṛddha), they are able to intercept the afflictions (kleśa): this is like the power of a big tree (mahāvṛkṣa) that is able to block off water. These five faculties, when they have been developed, are able to gradually penetrate the profound Dharma (gambhīradharma): this is called ‘power’ (bala)”.

    Balaparamita is red in colour and holds the book Prajnaparamita in her left hand. Dharmavasita is white in colour and holds in her left hand the Bhadraghata (auspicious bowl) on a lotus of red colour. Sadhumati is white in colour and holds in her left hand the sword on a night lotus. Sarvakarmavaranavisodhani is green in colour and holds in her left hand the Vajra with three thongs on a lotus.

    Mahamaya Vijayavahini with dharani in part seven


    mandala is related to the paramita of primordial wisdom (Skt. jñānapāramitā)

    10. Taking the bodhicitta from the tip of the jewel up to the crown of the head and experiencing immutable bliss is called primordial wisdom.

    The tenth discipline is simply Tathata. The Ground, Cloud of Dharma or Dharmamegha, is again a type of cumulative reprise. Its Paramita is Jnana. The dharani is an Imperishable Container of Jnana.

    Jnanaparamita is white in colour and holds in her left hand the Bodhi tree which is adorned with various kinds of jewels and fruits. Tathata is white in colour. She holds in her right hand the white lotus and in the left the bunch of jewels. Dharmamegha holds in her left hand the Prajnaparamita manuscript which is composed of the clouds of Dharma. Aksayajnanakaranda is of red colour and holds in her left hand the basket full of jewels.

    As a final or eleventh stage, Namasangiti adds Buddhabodhiprabha Vasita, Samantaprabha Bhumi, Vajrakarma Paramita, Sarvabuddhadharmakosavati or Dharmakayavati Dharani.

    Various schools or texts have ways of adding two or three or six Bhumis as extremely subtle refinements of the last. We can say little but see Prabha or Prabhasvara, the Dharmakaya, and can identify a Vajrakarma deity which is something like an inner grade of Vajradhara.

    Since we can barely say anything about these last stages that do not seem to have a specific spell, we will simply attach some that we have found to be relevant somewhere.

    Vajrakarmaparamita is of variegated colour and holds in her left hand the Visvavajra (double thunderbolt) on a blue lotus. Buddhabodhiprabha is of yellow colour. She holds in her right hand a Vajra with five thongs on a yellow lotus, and in the left the discus on the Cintamani banner. Samantaprabha is of the colour of the sun at noon, and holds in her left hand the image of Amitabha Buddha which indicates Perfect Enlightenment. Sarvabuddhadharma-Kosavati is yellow in colour and holds in her left hand the trunk full of various kinds of jewels on a lotus.

    Parasol Dharani is commonly used on Prayer Flags.

    Om Sitatapatra Hum Phat

    White Umbrella Ushnisha-Sitatapatra (gTsug-tor gdugs-dkar) Praise

    Great repulser, queen of mantra,
    Invincible lady, very strong!
    To great White Umbrella and her host
    Of buddhas and bodhisattvas, praise!


    If one is familiar with Lakshmi lineage, and we see two Lokeshvaras in Grahamtrika's Vajravali relationship, then we have one for Eleven Face Lokeshvara:

    Namo Ratna Trayāya, (homage to the triple gem)

    Namah Aryā Jñāna Sāgara, (homage to the ocean of noble wisdom)

    Vairocanavyuha Rajāya (to the king of the display of Vairocana [Dharmadhatu Tower])

    Tathagatāya, (to the tathagata)

    Arhate, (to the arhat)

    Samyak sambuddhāya, (to the perfectly awakened one)

    Nama Sarva TathagatebhyaH (homage to all tathagatas)

    ArhatebhyaH, (to the arhats)

    Samyak SambuddhebhyaH, (to the fully and perfectly awakened ones)

    Nama Aryā Avalokiteshvarāya (homage to noble Avalokitesvara)

    Bodhisattvāya, (to the bodhisattva)

    Maha Sattvāya, (to the great being)

    Maha Karunikāya, (to the greatly compassionate one)

    Tadyatha (thus):

    Om Dhāra Dhāra, (bearing)

    Dhīri Dhīri, (firm)

    Dhuru Dhuru (bearing a burden)

    Itte Vatte, (??)

    Cale Cale, (moving, trembling, shaking)

    Pracale Pracale, (moving, trembling, shaking)

    Kusume (in flower)

    Kusume Vare, (in the circumference)

    Illi Mili (??)

    Citi Jvālam, (blazing understanding)

    Apanaye Svāhā. (leading away) hail!

    In 2010, in Bengal, A Center for Advancement of South Asian Dance & Music -- presented 'Charyapada', also known as 'Vajrapada' or songs of Vajra, as a living Nepalese performative tradition within Vajrayana tantric rituals. Bengal has been familiar with the medieval Buddhist text of 'Charyapada' since 1907, when Sri Haraprasad Shastri discovered a manuscript of the 'Charyacharchavinischaya', the earliest example of written Bangla, in the Royal Archive of Nepal...That ancient Bengal had deep-rooted ties with Buddhism, and regions adherent to the Buddhist way of life, including Nepal, is evident from various archaeological and literary sources. Unfortunately, not only have these ties been severed, even the memory of these contacts have been erased from our collective history.

    Vajrayogini and Mahamanjushri dances upper left and right:

    Last edited by shaberon; 15th October 2019 at 05:10.

  8. Link to Post #426
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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Quote Posted by shaberon (here)
    Serpents rightfully appear in articles across Avalon, found world-wide from ancient times. We commonly know of one story that explicitly curses a serpent as a deceiver. Ophite gnosticism holds differently. It explains the "knowledge of good and evil" as a natural and necessary step in the activation of the mind. That through experiences, many of which involve suffering, wisdom can be developed. If we were all drones, reading instructions, and nothing bad ever happened, we would remain mentally undeveloped and unwise. The serpent didn't make us automatically happy forever--it opened our eyes to taking responsibility for our actions.
    Why is the serpent the creature of choice within the myths of the world? Why not any other creature?

    What is the actual significance of the serpent?

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    Cara (12th October 2019), Inaiá (13th October 2019), shaberon (12th October 2019)

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    As for "why" a serpent, probably undulatory and circular motion, referring to vibration and cycles of time, or, really, Ouroboros, one cycle of time. I am not aware of it having anything to do with being cold-blooded, shedding skin, etc., I think it is mainly due to the winding slither.

    The main Sanskrit time cycle is Kali Yuga, the time of Krishna's death in 3102 B. C., at a time when the pole star was Thuban in Draco the Dragon. This era appears significant to Astrology, or, when the Four Living Creatures of Ezekiel would have been around the solstices and equinoxes. In the sky, this constellation is vast, and much more important than the one called the serpent, the two creatures being roughly equivalent anyway.

    In Indian astrology, the Dragon is the Nodes of the Moon, which cause the eclipses. The nodes are a head severed from the body. During the Churning of the Ocean of the Nectar of Immortality, the Dragon tried to steal some nectar, and it got a drink, but was decapitated before it could swallow.

    The Dragon's Tail or south node, the lunar eclipse, is therefor considered particularly troublesome. It pertains to the dictatorial thrust of old karma. So you can't exactly blame the dragon for what you, yourself, did, it is just the name of the force. It is related to Smoke Goddess Dhumavati. It is Ketu, Planet of Death. The same word would apply to the tail of a comet, which is the source of meteors, which is Goddess Dhvajagrakeyura, Meteor Face. Both of these fall in the basket of dharanis I am assembling above.

    Churning of the Ocean is perhaps the most important myth to learn, as it is relatively brief, and although it has local variations, it is the main background of Hindu and Buddhist tantra. This plus the destruction of Rudra.

    "All time" in terms of our planetary cycle is Vishnu and his serpent Shesha-Ananta or Endless. Ananta resides in the core of hell and will eventually destroy the planet or at least end its life wave. Hell is the consequence of bad karma. When we stop accumulating karma, then, hell itself still exists but we are unaffected by it. It is in something like a triangular relationship, in other words, universal energy or Om being the source-->filtered through the underworld of our mind-->manifested experience. That is why it is said we are radiating hellfire continuously, it is simply a lower spectrum of energy than the spiritual plane, but not yet physical.

    If we create monsters in it, then it will justify the name, hellfire. If not, if, according to the meditative visualizations, we make a full moon reflected on a calm lake, then it is only astral light. Eliphas Levi's Baphomet is really a symbol of this dual nature. Relative to Earth, it could be called "One Element", by alchemists and so forth, but in metaphysics, it is understood as an offspring or product.

    Against the serpent is Vishnu's Eagle, Garuda, the two are called mortal enemies. The serpent is "all time" and the eagle is "finite time cycles", so it can bite snakes in half, kill them over and over, and there is always more to come back.

    I am not as familiar with why Jesus said "be as wise as serpents", or the Ophites or Mayans actually used it. In the East, serpents, or Nagas, simply mean initiates, and so when we say Nagarjuna retrieved Prajnaparamita from the Kingdom of Water Nagas, some say he only went somewhere in consciousness.

    The real significance, I think, is the Naga Kings represent the cultivation of Paramitas or Perfections of the Bodhisattva Path. And so they become related to the Skandhas or the Eight Consciousnesses or the "layers of psychology" that we seek to transform. This is related to a set of teachers and deities that either hold snakes or have a Naga Hood. Buddha was sheltered by a Seven Headed Serpent during his Enlightenment. The outer deities Janguli and Parnasabari are the preparatory path for Krishna Yamari, which is a form of Black Manjushri, and this tantra is that of overcoming all hell and death itself. This is not necessarily the most profound or ultimate tantra, but, an experience of this class appears to be what all outer practices lead to, and what the higher tantras stem from.

    The "class of experience" would be called Trailokyavijaya, "Victory over three worlds", which I believe is the same in Hinduism. In Buddhism, Manjushri does it in several guises (Yamari, Vajrabhairava, Yamantaka), and it can also be done by Acala and Vajrapani. If one had the opportunity to pursue a real initiation of some kind, I would try to get one of these. I believe a serious practitioner can get self-started and make a degree of progress, but, at this point, the proper transmission becomes important.

    Nagarjuna is Dragon Tree, or One Initiator, and probably the single most important medieval Mahasiddha in all of the Buddhist teaching I have accumulated. It may be a bit surprising that when one delves into it, Buddha almost disappears from view, and we are really just studying Nagarjuna.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    The Two Nepals

    I dug around a bit more in terms of ancient history and what exactly Buddhism is, and why tiny Nepal should be important. In the broadest sense, it appears accurate that there were Indic or Dravidian peoples in the western wilds, whereas there was also an incursion of Mongols; the Indic history is that of the Hindus, and the Mongol is that of Manjushri.

    Nepal is only about five per cent Buddhist, but these are all in Vajrayana. It did not really invent this. It appears to flow from Mantrayana of South India, which had large Buddhist institutions interfacing with Hindu ones. When this is expanded with visualizations, then you have tantra, which emerged around 150-300 via Prajnaparamita, Manjushri Mulakalpa, and Guhyasamaja. This was rather restricted, until the Mahasiddha period, which does not mean they invented their practices, but became more open and publicly-accessible, resulting in major school systems. They do, however, have a large number of disciples who take some amount of training and then quest and then are directly initiated by a dakini or deity, which become new practices. They achieved the meditative equipoise and its benefit, we do not, which is why we try to replicate what they did.

    In Nepal, Guhyeshvari is a spring, which is the umbilical cord, or the root of the lotus at Swayambhu, the eternal flame.

    There was Buddhism in Nepal prior to Vajrayana; all historical Buddhas and Shakyamuni visited the Swayambhu location before the Caitya was built. The Caitya or Stupa was built much later. The first human Nepali teacher of Vajrayana was directly empowered by Manjushri and Guhyeshvari. Upon examination, the first appears to be Gunakara, followed by Shantikara. Eventually, Vagisvarakirti was there. If we try to sort out these three, it is not very easy.

    According to a recent German translation of Vagisvarakirti's Mrtyuvacana Upadesa, Vagisvarakirti was an Indian scholar of the 10th/11th century and one of the great Tantric masters of his time. He reckoned among the so-called "six doorkeepers," eminent teachers of the Buddhist monastery of Vikramasila. The Mrtyuvancanopadesa Treatise on Cheating Death is his major work. The text describes various omens and oracles to predict the end of one's life, followed by a compendium of religious practices to escape death. To reach longevity White Tara in particular is evoked. According to Tibetan tradition, this deity is a personal revelation of Vagisvarakirti. In transmitting her practice to Tibet, the Indian scholar Atisa used Vagisvarakirti's treatise and translated it together with Rin-chen-bza-po into the Tibetan language.

    We would take this to be 112 in Sadhanamala, and the last thing directly related to what we have called Nagarjuna's "missing" White Tara, which is Vajra Tara and Mrtyuvacana and then Sita as used in Ngor (Sakya).

    As far as we know, Atisha translated Vagisvarakirti's works, but was not in the Mahamudra lineage.

    Taranatha says Vagisvarakirti was from Varanasi and received his name from spiritual inquiry as to whether Vagisvara sadhana would work. After he was at Vikramasila, he spent the rest of his life in Nepal where he preached Vajrayana and almost nothing else.

    At least two of the Vikramasila Gate Scholars, Vagisvarakirti and Bodhibhadra, are also called the "Phamting brothers of Nepal", which is not their name, but refers to Pharping refuge site, Vajrayogini temple of south Kathmandu. They were disciples of Naro, who did not transmit to Atisha, but to Melgyo Lotsawa Lotro Drakpa, an early Sakya translator/practitioner and teacher of the great Sakya teacher Kunga Nyinpo. Naro was the northern gatekeeper and was succeeded by Bodhibhadra, who was from Odvisa. So we see that Pharping Vajrayogini is a direct transfer from the long-gone Vikramasila tantric university.

    But we would have to say this is "in addition to" whatever happened due to Nepal hosting the presence of Guhyeshvari and Swayambhu.

    According to Indra Siddha Bhajracharya, Buddhism during Early Medieval Nepal Mandala,

    Svayambhupurana states that a certain king named Prachandadeva from Gaud
    who came to Nepal Valley seemed to have developed the tradition of initiating
    Vajracaryas. He is described to have received his initiation in a cave at
    Svayambhu from a Siddha Guru Gunakar Acarya who had attained all the
    powers of a Vajracarya by his own yoga. After the initiation, he was named
    Acarya Shantikara and he erected five temples for five deities around the
    Svayambhu stupa.

    He was sent by Kanakamuni Buddhi from Gaur (Bengal). An old Calcutta Review says he was from Santipore amidst the Gar Gowala people, and renounced the world to retire to Nepal, and has the unusual name Prachanda Deva Burma. And so by building Shantipur temple, it appears to be a renaming from his old place. Gunakar Acharya's "own yoga" means from Manjushri and Guhyeshvari.

    The earliest record of the main stupa is from the 5th century. According to the Gopālarājavaṃśāvalī, it was founded by the great-grandfather of King Mānadeva (464-505 CE), King Vṛsadeva, about the beginning of the 5th century CE. Here, if the yoga lineages are unclear about it, the royal record is fairly precise.

    Swayambhu temple complex:

    Hubert Decleer maintains that Shantikara was Vagisvarakirti:

    "In Taranatha's 'Buddhist Transmission History in India', there occurs an account of the consecration of the three-dimensional Shri Chakra Samvara mandala within Shantipura's underground temple at Swayambhu. This alone should be sufficient to tentatively identify him as Shantikara Acharya, to whom the foundation of the five 'pura-s' at Swayambhu is ascribed in the Purana. The description comes at the end of the biography of one of the Gate Guardian Scholars at Nalanda and Vikrama-shila, a Master by name of Vagishvara-kirti:

    Once it happened that the king built a Chakra Samvara temple at Shantipuri. To conclude the consecration ceremony he wished to hold a large gana-chakra Circle of the Multitudes rite and for this purpose had numerous Mantra practitioners assembled all around the temple. He sent a messenger to ceremoniously invite the Master to preside over the gana rite. At the entrance to the straw covered hut of the Master stood one beautiful girl and one extremely fierce and nasty looking woman with dark skin. As the messenger inquired: "Where does the Master stay?", they told him: "He is inside". So inside he went and announced: "I request you to come and preside over the Gana-chakra rite of the king". The Master replied: "You better hurry back, I'll come in a moment". The messenger took leave in a hurry, but at a crossroads in the vicinity of Shantipuri he found that the Master with his two consorts had arrived there before him. They greeted him with the words: "As you hadn't arrived yet, we've been waiting and waiting for you here!"

    After the departure (of the guests to) the extensive Gana-chakra of the actual consecration, there remained inside the temple only the Master together with his two consorts. The Master came to fetch loads of Gana substances, enough for more than sixty people and went (back inside). The king wondered: "There is no one inside except for the three of them. Why then would he need that amount of Gana food offerings?" and he could not refrain from peeping through a slit in the door. There he saw the mandala of Chakra Samvara sixty-two deities actually present and enjoying the Gana articles. Right then the Master achieved the rainbow body and (as he dissolved into rainbow light) entered (the mandala). It is known that at present he still resides in that sacred spot.

    Again, the story of Vag-ishvara-kirti is sufficiently close to what we know about Shantikara Acharya to conclude that both accounts refer to the same event. If, in relation with Dharma-shri-mitra we have noted that the Esoteric Assembly is the model Father Tanra, the Samvara plays the same role for the Mother Tantras. Moreover, the Newar tradition, like the Kagyu order in the Tibetan tradition, accepts the Chakra Samvara Tantra as the model Tantra for most major ritual activity. Not surprisingly, the shields on the muku a crown of Swayambhu reflect the same: Jalandhara Acharya, his disciple Krishna-charya and eventually Vagishvara-kirti / Shantikara Acharya himself foremost represent Mother Tantra, i.e. the Chakra Samvara and Vajra Yogini lineages."

    Well, it is stated that the king built the Shantipur temple already, and that Master Vagisavarakirti attained Rainbow Body inside it. It says nothing as to whether the king also did later on. Swayambhu Purana seems clear the king Prachanda is Shantikara and is not Vagisvarakirti, and that he built the main Stupa. Vagisvarakirti seems to be historically placed several centuries after the stupa was built. He may well have attained Rainbow Body as others previous. If they happen to be doing it in the same place, it is because it is a powerful place.

    Taranatha considers the histories he collected to be "confused".

    As in many places, there are reliable records going back to around the year 1,000, partial ones for a few centuries, and anything further is a bit of a lucky find. Nepal, for the most part, means the Kathmandu Valley; Sita and Buddha were from Mithila, which is the border region with Bihar, only becoming "Nepal" in modern times. Kathmandu Valley, originally just a Naga lake, inhabited by Karkotaka, therefor has an exceptionally brief history compared to Orissa:

    Stone age tools indicate at least 10,000 years of settlement. This more or less matches the removal of the lake and decline of the Ice Age. This if anything is original Australoids and Austro-Asiatic speakers, earlier Gopals or Abhiras, both of whom may have been cowherding tribes.

    Nepal's recorded history began with the Kirats, who arrived in the 7th or 8th century BC from the east. They are more of the forest trapper type. Buddha and his disciple Ananda visited the Kathmandu Valley and stayed for a time in Patan. In some sense, Buddhism was never not present, and increased until the next era. There are not really records, other than the change put it in decline.

    Kirats are Mongolians who have been in the eastern Himalayas for about 30,000 years:

    They are attested in ancient Indian works such as Yajur and Atharva Vedas and Mahabharata. They practice Mundhum, which was originally state law, and appear descended from Naga King Virupaksa. They believe in a shapeless light that has male and female earthly forms.

    All kings of the more southerly Mithila were called Janaka, the most famous Janak was Seeradhwaja Janaka, father of Sita. Shortly after his time, Mithila appears to have entered the Vajji confederacy, which the Licchavis were also a part of. This is considered one of the world's first republics. There is no precise time frame, but, Mithila appears to have dissolved in this arrangement. Maghada Empire was slightly south of this; expanded; and met Alexander the Great's army, who mutinied. Morya dynasty with Ashoka later arose to control this empire. Buddha was mainly active within Maghada Empire.

    The Lichhavi dynasty dethroned Nepal's Kirat rulers in 158 AD (evidence: statue of Jaya Barma found in Maligaun of Kathmandu), without gaining the country for themselves yet.

    Nepal was conquered by the Hindu Licchavis of Bihar from ca. 400-750. The theoretical first Licchavi king of Nepal, Vrsadeva, appears to have provided construction of the main Stupa.

    Its rulers are almost completely Hindus, but we see they turn to Buddhists in times of need, and are overseen by the Buddhist Kumari. Something is going on above what is normally considered "tolerance".

    From some Kathmandu local legends:

    The history of this Tantric Master [Shantikara] goes from the reign of King Brikha Dev in the 5th C, when he was active in the construction of the stupa and in pursuit of Tantric meditation skill under the guidance of Gunakar, the great Vajrayana priest to the time of King Pratap Malla in the 16th C. At that time of drought in 1658, the king went under Shantipur through a room filled with bats and hawks, then one of hungry ghosts, and one of nagas, before finding the saint Shantikara still meditating. He received a mandala which brought rain.

    So that is saying Brikha is an accent for Vrsa. It is in that time that Prachanda--Shantikara came in and made the stupa. Shantikara becomes a public-facing teacher for Gunakar, who "remained". Prachanda renounced one kindgom, and the world, sought to become a nirvani, so it is a bit strange that by showing up in Nepal as a disciple he would also be king. The successor to Vrsa or Vishwadev is called Shankaradev. That name is based on "sham" (auspicious, lucky), and usually refers to Shiva. It has further meanings, but does not seem to be confused or conflated with Shanti.

    It may just be saying that Vrsa or Brikha is Prachanda, since it seems he pursued tantric meditation under the guidance of Gunakara. Although it is equating Gunakara with being Shantikara who was still sitting there after 1,200 years. It is hard to tell them apart.

    The Newar chronicles speak of a King Gunakamadeva who entered the inner sanctum of Santipur to meet Santikar to make rain. The approximate Licchavi ruler list places him around 550. It is alliance of Nagas which results in needed physical rain, or, rain's metaphor in cemetery meditation as developing Bodhicitta.

    The temple is named “Shanti Pur” after the bhiksu Shantikacharya who is credited as going before King Gunakara Deva requesting the construction of Swayambu Stupa. This greatly accomplished meditation master is considered by many to be still living in this Pur – a period of approximately 1500 years. Originally, Shantikacharya was a king of Guar, now West Bengal, named Prachendra Dev, an emanation of Vajrasattva, who having heard of Swayambu’s greatness from Kasyapa Tathagata came to Swayambu to pay his respects.

    Current Shantipur building:

    Gunakara is not recorded as a king, the closest is Gunakamadeva, who is said to have asked Shantikara for rain.

    "After the death of Prachanda Deva, his son Shakti Deva ruled over Nepal [actually remained in Gaur]. After him Gunakama Deva and his son Simha Ketu ruled over the valley", meaning Prachanda was a king of Nepal, according to Himalayan Tours. The additional names do not appear in the "approximate" Licchavi list, although Gunakama is. But he seems to be quite distinct from Gunakara.

    An important Licchavi monarch was Anshuverma, early 600s, who opened trade routes to Tibet. One of his daughters, Bhrikuti, who was married to Tibetan ruler Tsrong-tsong Gompo, was instrumental in spreading the Gospel of the Buddha in Tibet and China. He was Hindu but said to be religiously tolerant. He overall is considered to have established Nepal as a nexus between India, Tibet, and China.

    In the temple called Santipuri, Manjughosa’s emanation, the Dharmaraja Amsuvarman, met Vajrasattva’s emanation, the Acarya Santikar, who had obtained the Body of Immortality. Herein is the mandala drawn in the heart blood of the Eight Great Nagas.

    This says that Shantikara also remains in manifestation, in Shantipur, not Swayambhu.

    “In Shantipuri there is an entrance to three tunnels: a tunnel to Swayambhu Stupa; a tunnel to the Naga Realm; and a tunnel to the realm of obstructive spirits (bgegs). At present there is a six foot square stone covering the entrance. The sixteen volumes of the Prajnaparamitama written upon lapis lazuli paper with ink of gold from the Jumbu river brought from the Naga Realm by Nagarjuna is to be found in the Thang Baidhari of Kathmandu (Thamel Bahal).

    Nagarjuna was custodian and King Amsuvarman was patron… Santapuri was Nagarjuna’s place of meditation. In each of the four cardinal directions of Swayambhu is a treasure trove. These treasure troves were hidden by Nagarjuna for the future restoration of the Stupa. …."

    Tantric Nagarjuna was a disciple of Saraha, to whom no definite date is given, ca. 800-900. Amsuvarman does not really match the dates of either Sutra or Tantra Nagarjuna. It would mean the two are one person who lived throughout the centuries.

    Laksminkara and Jalandhara were gurus of Krshnacharya, whose commentary on Inner Heat is still considered the most important. Krishnacharya was followed by Damarupa or Dharmapa, then by Avadhutipa, then Gayadhara, who introduced Lamdre or Margapala into Tibet. Gayadhara outlived Drogmi, ca. 993-1074, who was among the first sent from Tibet to get clean and perfect versions from India.

    Naro lived 1016-1100, and so Vagisvarakirti cannot be much earlier than ca. 1050. Vagisvarakirti blessed a Samvara mandala built in the underground part of Shantipur; it does not mention this being the first building on Shantipura, because it is a cave. We are not sure if this is the Samvara temple where Candradhvaja took residence. Keith Dowman also argues against the identity of Vagisvarakirti with Shantikara. He also says that Shantikara is not doing Rainbow Body, but Suspended Animation. There simply is no outflow of prana from his center.

    Either one of those is Cheating Death. Either one is an aspect of Vajra Kaya or Deathless Body. Vajra Kaya would eventually be the same, continuous, in Dream, Bardo, Illusory Rainbow Body, normal waking consciousness, or samadhi where the physical body stops working but does not perish, by removing vajra ignorances in all the subtle spheres.

    Avadhutipa governed as the ruler of a provincial kingdom in northeastern India, likely in the 10th Century. He famously renounced his kingdom and converted to Buddhism under the guidance of the wandering Indian yogi and mahasiddha Damarupa, who is also called a disciple of Kanha, which is arguably a Krishnacharya confusion. Kanha is in Virupa's lineage.

    According to Naresh Bhajracharya:

    In Swayambhu Purana, in the middle of Tretayuga, Manjudeva Acarya, a Bodhisattva, the Nirmanakaya of Manjusri with his consorts namely Varada and Moksada and also with Dharmakara, the Prince and other people from the holy mountain called Pancasirsaparvata (five peaks mountain) of Mahacina (Great-China) arrived at this lake to pay homage to the Adi-buddha (Svayambhujyotirupa). He interacted with the lake, the deities dawned to him, and then he invoked Guhyeshvari Nairatma. He started the town Rajapattan in the country Manjupattan, placing Dharmakara of Mahacina as king. The early inhabitants are from Mahacina.

    Here, they do not mean west China, but north China, near Mongolia, so it is really not out of line with ten or thirty thousand years of Kirati history. They, of course, do not have Sanskrit names, so we cannot precisely say if Yalambara is Dharmakara. It seems like Dharmakara would be much older. It was Amitabha's Bodhisattva name for five eons.

    Newaris firmly believe they have ancient Buddhism from Manjushri and Mahacina.

    Near the end of the previous Dvarpa age, Prachanda--Shantikara came, and then covered Swayambhu with the stupa at the beginning of Kali Yuga. Gunakar was then a disciple of Manjushri.

    Sakyamuni Buddha came to Nepal valley and stayed in Svayambhugopuchagraparvat. He firstly granted Buddhist ordination to a lady named Cunda and narrated the account on origin of Adi-buddha (Svaymbujyotirupa) and on origin of Nepal. Buddhism was introduced in Ancient Nepal (Kathmandu valley) either by Buddha's direct disciple Bhiksu Ananda or Sakyas of Kapilavastu or merchants from Sravasti during the lifetime of its founder. Licchavi Kings of Nepal, Vrsadeva, Valarcandradeva, Sivadeva and Narendradeva were Buddhist Kings. King Amsuvarma, in spite of being Saiva, was inclined towards Buddhism. King Sivadeva was only one King who became a Vajracharya, the master of Vajrayana Buddhism.

    The ninth chapter comprises the prophecy of lord Bhagwan as to how the twelve-year-long drought would be put to an end, to Bandhu Datta, the pupil Shanti Karacharya, King Narendra Dev and Lalit, a farmer serving the king, by bringing lok Natha (the Lord of the world, i. e. Avalokiteshvara) from Kamaru Kamaksha [Assam]; it also provides the name of twenty one upa-Tirthas.

    The epic Mahabharata mentions the Kiratas among the inhabitants of Mongoliya. First Kirati king of Nepal, Yalambar, had the dubious honor of being slain in the battle of the Mahabharata, in which gods and mortals fought alongside each other. Legend credits him with meeting Indra, the lord of heaven, who ventured into the Valley in human guise. It is said that during the battle of Mahabharata, Yalamber went to witness the battle with a view to take the side of the losing party. Lord Krishna, knowing the intention of Yalamber and the strength and unity of the Kiratas, thought that the war would unnecessarily be prolonged if Yalamber sided with the Kauravas. So, by a clever stroke of diplomacy, Lord Krishna cut off Yalamber's head. So, in his honour indrajatra was begun and his head was worshipped as god Akash Bhairav.

    Historically, Yalambar appears around 1780 B. C., but, figuratively at least, he was at the end of the last age. This would mean Yalambar was killed and then Prachanda must have become king, if he built the stupa when Krishna was killed.

    West Nepal was more Indic (i. e., Gorkha) and apparently took over the country after the first dethronement of the Kirats. Related to the Kirats, the Nagas of Assam say they come from East Nepal.

    In Hindu terms:

    Of the Gopala dynasty, a Hindu sage named "Ne" established himself at the valley of Kathmandu during prehistoric times and that the word "Nepal" came into existence as the place protected ("pala" in Sanskrit) by the sage "Ne". He is said by legend to have selected a pious cowherd to be the first of the many kings of the Gopala Dynasty. These rulers are said to have ruled Nepal for over 500 years. He selected Bhuktaman to be the first king in the line of the Gopal (Cowherd) Dynasty. The Gopal dynasty ruled for 621 years. Yakshya Gupta was the last king of this dynasty. However, this mythology can be challenged as no such name as Ne exists in Nepali or other Sanskrit derived languages. Ne or Nemuni appears in Skanda and Pashupati Puranas.

    The Soma dynasty had established a principality in the west while the Kirati kings were ruling over the Nepal valley. The Soma dynasty kings attacked Nepal several times during the region of Patuka, but they could not defeat him. The last Kirati King Gasti was comparatively weak, so he was defeated by Nimisha of the Soma dynasty. Thus, Nimisha became the first Soma dynasty king of Nepal in about 205 A.D. He built his palace in Godavari. After Nimisha, Mitakshya, Kakaverma and Pashuprekshya Dev ruled over Nepal. Bhaskerverma was the fifth and last Soma dynasty king who ruled over Nepal during 280 to 305 A.D. It was he who led a military expedition and reached up to Rameswaram, the southern-most part of India. He gathered a vast treasure of wealth from this campaign. With this wealth he made a gold-plating roof on the temple of Pashupatinath and developed the economic condition of his kingdom. He filled Devapatan with his wealth and named it 'Swarnapuri'. He was childless, so he made Bhumi Verma, his heir, who was a Rajput Keshetriya of the Solar dynasty.

    "Forever Incomplete" however places Bhumi Verma in 1712 B. C., preceded by Soma, Kirat, Ahir, and Gopala dynasties, and also says Shantikara covered the flame by building the stupa at the beginning of Kali Yug. This references Padmagiri and Daniel Wright who compiled the kings' history in 1877.

    The Hindu Puranic version has given Manjushri's task of draining the lake to Ne. A similar list is in Essays of Indian Antiquities.

    Nepali Mahatmya is an actual Nepali contribution to Skanda Purana of 9th century. The Nepali Purana, or Swayambhu Purana, is much later than this, but is a "puranic expansion" of just the story of Swayambhu itself. All Puranas are "local ancient traditions", and none of them really agree in details. Swayambhu is the only Buddhist Purana.

    The stupa can objectively be traced to ca. 400 at the time of a Buddhist Kirat king. Taking it to 3102 B. C. would seem nearly impossible, unless it means a mud hut or some other thing besides an architectural stupa. Manjushri's prehistoric migration does, however, make sense as being ages ago, thousands of years prior to that. Prachanda, Gunakara, and Shantikara do not seem to match any kind of historical kings' list. The inner part of the teaching goes from Guhyeshvari Nairatma, to Manjushri, to them, to the Nepalese. This is the main thing we use anyway.

    We can say that Cunda is someone other than "a name similar to, but different from, Chandi". Not Vajrayana; the first historical disciple of Buddha from within Nepal. So that assists her dharani. For the group of dharanis posted above, this is, from an outside view, the fact that our knowledge base of Newari Buddhism is: Brian Hodgson's relatively unexplained catalog, ca. 1840; and then the publication of specifically Nepalese manuscripts starting in the late twentieth century. This is obscure and largely ignored by the academic community, while the Buddhism of every other country engulfs it. And so in this thread, we simply copied what is in NSP to get our dharanis. Now they are majority explained or at least available. This mandala is mainly unique to Nepal, although it has a statuette version in Forbidden City of China which they know nothing of. The vast array of, I believe, 219 entities is almost entirely made of standard configurations. Its arrangement of Paramitas with Dharanis is one of the few unique aspects. And so it is in parallel identical to the Buddhism of other countries due to containing the same Paramitas, but, is directly the product of whatever is going on in Nepal with Manjushri. Some of the Historical Buddhas were born here, and all of them came here.

    If there was a way to say this or that Purana was more correct, then we could make that case. All we can do is present what it says, and compare to what archaeology has found. Objectivity is not what we are ultimately after. We are going more for the Profound View of Manjushri and Nagarjuna. Manjushri has Yoga mandalas that are accepted as equal to non-dual Completion Stage. Vajra Tara is the same; she is a somewhat broken Nagarjuna deity he brought with Mahacina Tara, and may be shown to produce the Kurukulla (Samvara) and Nairatma (Hevajra) Completion Stages. Then we would have to ask, perhaps Mahacina means a Wu Tai Shan Tara, like Manjushri does.

    There was a fairly long time while the western extent of Buddhism decayed. Nearly four centuries passed between AD 711, when Sindh (S. Pakistan) was conquered, and the end of the twelfth century when the Buddha's Tree of Enlightenment was finally desecrated by Turkish soldiers. This is basically the same time frame as the known Eighty-four Mahasiddhas. Lack of funding by a Hindu king is nowhere near as bad as this crusade. During this time, Tibet had internal conflicts. Nepal received the influx from both areas.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Naga Kingdom

    It struck me as odd in the previous post that Nagarjuna is attached to one of the only Licchavis that anything is known about, Amshu Verma, pioneer of the "golden age". The Dharanis post further up now has something for each one. But Nagarjuna has shown up in so many places, in ways that seem impossible, like Manjushri.

    Before Amshu Verma was the only Vajracharya king, Sivadeva. Amshu Verma was really more like a prime minister in 595, and "reduced the king to a figurehead" by 604; he maintained this type of rule until 621. In the early 600s, Nagarjuna is supposed to have been at Shantipur. If Shivadeva was, so to speak, "the" Vajracharya king in Nepal's history, it may have been attractive to Nagarjuna, whose jewelled texts are supposed to reside there. If Narendra was a Buddhist king, he ruled 643-679.

    According to Ranjung Yeshe Wiki,

    "[Nagarjuna] was the life pillar for the Mahayana, but specifically he was a major exponent of the Unexcelled Vehicle of Vajrayana. Having attained realization of Hayagriva, he transmitted the lineage to Padmasambhava."

    In this view, he is one of the Eight Vidyadharas of Nyingma, contemporary with Vimalamitra, Manjushrimitra and Padmasambhava. Santaraksita entered Tibet with Padmasambhava. Samye' was built there and had the Great Debate in a range around 762-794. Santaraksita went to Tibet twice, including the last fifteen years of his life, ca. 773-788.

    Säntaraksita, who came in the 8th century is said to have been a disciple of Virupa.

    Approximately, Virupa would have lived in the 8th century as he was also a teacher of Sänataraksita (725-788). Santaraksita was effectively the founder of Yogacara Madhyamika, which united the Madhyamaka tradition of Nagarjuna, the Yogacara tradition of Asanga, and the logical and epistemological thought of Dharmakirti. It was the prevalent view in Tibet until supplanted by Tsonkhapa's Prasangika. Then Mipham revived it during Rime'. Shantaraksita's main disciples were Haribhadra and Kamalasila.

    In the later part of Nägärjuna's life his main disciple was Äryadeva, and Virupa is said to have been a disciple of Äryadeva. It is also said in numerous Lamdre historical texts that Virupa was a disciple of Asanga. This means either Virupa lived in the early Mahayana times, or, there were Aryadeva and Asanga at a later period, probably around the 700s.

    So when all twenty-nine Mathila kings were named Janaka, Zoroaster was fourteen generations using the same name, and things of this nature, some of the Buddhists are using names that get passed around and it may mean someone is a direct disciple, or it may mean they came later and found inspiration in their namesake.

    Sutra Nagarjuna and Aryadeva lived ca. 150-200. Asanga and Maitreya perhaps closer to 300. If we look at Seventeen Nalanda Masters, there is another Asanga contemporary with Vasubandhu in the 700s. Although the Nalanda area was always a Buddhist site, there was nothing like a university, only Shariputra's stupa, until a seal identifies a monarch named Shakraditya (Śakrāditya) as its founder. Both Xuanzang and a Korean pilgrim named Prajnyavarman (Prajñāvarman) attribute the foundation of a sangharama (monastery) at the site to him. Shakraditya is identified with the 5th-century CE Gupta emperor, Kumaragupta I (r. c. 415 – c. 455 CE– ). The monastery he started was expanded for many generations until it had ten thousand monks or more in the 700s. When the Palas took power, the "old Mahayana" of Nalanda was supplanted by four tantric Viharas such as Vikramashila, started by Dharmapala, who reigned around 770-810. This made five seats of learning in east India. Traditionally the last abbot of Nalanda was the Kashmiri Sakya Shri Bhadra, Sakya Pandita, or Sapan, who fled around 1204.

    The list of seventeen abbots starts with Sutra Nagarjuna and Aryadeva, although the place was built 200 years after them. Nagarjuna and Aryadeva are followed by Buddhapalita and Bhavaviveka (ca. 500-570), Chandrakirti (ca. 570-650) then Shantideva (ca. 685-763), followed by Santaraksita and his disciples. Asanga and Vasubandhu are after them, and could hardly be the Sutra ones from ca. 300. Nalanda University attributes its beginning to 427. So there is easily room for two abbots prior to those who can fairly accurately be placed in the 500s. Then in the 700s the list fairly closely lines up with what is known of Nalanda's international influence, plus the Vidyadharas, and Mahasiddhas. During that time, Nepal can be shown having major international influence with Bhrikuti.

    Nagarjuna's name or title through the centuries:

    200s: Sutra author, Prajnaparamita, Dharma Samgraha

    400s: first abbot of Nalanda

    600s: Shantipur, patronized by Amshu Werma

    700s: Vidyadhara, Hayagriva lineage

    800s: Disciple of Saraha, became abbot of Nalanda, Mahamudra, sadhanas such as Vajra Tara

    1000s: same as the previous

    I do not know if this is one person, a reincarnating tulku of that person, or a lineage of disciples. However if subjectively it means Dragon Tree or One Initiator, then we see how it intensifies from the first Mahayana, to the time when philosophy reached its most subtle level with Haribhadra and Kamalasila. From there is a "turning point" where the undercurrent of esoterics becomes a quite open fact in the system, or, Mahasiddhas usurp the image of a monk, compose tantric songs, and speak about things that Guhyasamaja and Namasangiti had kept sealed in silence.

    The fact that Nagarjuna could not possibly appear to be one person does nothing to the inner meaning.

    If we try to objectively comb through his (or others') biography, almost any source is a bit contradictory.

    Of Sutra Nagarjuna it is said "his parents sent Nagarjuna to Nalanda Monastic University in North India, where he met the Buddhist master Saraha." It would not make sense to send him to a place not built yet, where he will be first abbot. So this must be the later tantric Nagarjuna. "At Nalanda, Nagarjuna studied sutra and tantra with Ratnamati – an emanation of Manjushri – and, with Saraha, especially The Guhyasamaja Tantra (dPal gsang-ba ‘dus-pa’i rgyud). In addition, he learned alchemy from a brahmin, and gained the ability to transmute iron into gold...Eventually, Nagarjuna became the abbot of Nalanda. There, he expelled eight thousand monks who were not keeping the vinaya monastic rules of discipline properly. " (Berzhin Archives).

    The end of Berzhin's article does claim Nagarjuna lived 600 years. It does not say he was the first abbot, it says he became one.

    One of his other teachers was Ratnamati, who is considered to be an emanation of the Dharmakaya Buddha Vajradhara. Together with the Bodhisattva Sukhanatha, considered an emanation of Vajrapani, he is responsible for bringing the Mahamudra teachings into our human world [in another view, they are Manjughosha and Avalokiteshvara]. They transmitted the teachings of Mahamudra to the Indian Mahasiddha Saraha who passed them on to his human disciples. It passed from him to Nagarjuna, Shavaripa and then to Maitripa. This is one of the two Mahamudra lineages which Marpa the translator received in India.

    Keith Dowman says "On the eastern flank of the {Vindhya Mountain at Kathmandu} is Nagarjuna's meditation cave and the spring he brought forth. [SK] Nagarjuna ('Conqueror of the Nagas') may have been an epithet of Santikar Acarya, who is not mentioned in the Swayambhu Chronicles; or Santikar Acarya may have been a title of Nagarjuna when he was custodian. The Nagarjuna associated with Santipur may or may not be the same siddha who died in his cave on the hill named after him."

    The same name may be two people, and two names may be the same person. He does however provide one of the famous quotes. CN is someone whose conclusion he tends to refute. We do not think Tibetans corrupted a Newari word, because it is the scene where he grows Trees, i. e., more initiattes:

    "Then after 21,000 arhats from Vulture Peak had taken earth and piled it beneath the dome of the Stupa, Nagarjuna cut off his hair and scattered it about, praying, 'May all kinds of trees grow on this sublime Stupa!' And after many species of tree had grown tall around the Stupa, it became known as 'Sublime Trees' ('Phags-pa Shing-kun). [SK] But it is most likely that since the Stupa arose spontaneously at the time of the Buddha Sikhi (gTsug-gtor-can) and became known as Swayambhu (self-sprung), and that since the old Newar rendering was Sihmanggu, currently Singgu (i.e. in the 18th c.), the Tibetan Shing-kun is a corruption of the Newari name. [CN.]"

    That is the very passage and meaning of why Nagarjuna is called Dragon Tree, and, in cemetery symbolism, the Tree is the Avadhut. Saraha--Arrow and Nagarjuna--Tree are both ways of talking about the Avadhut.

    "Beneath the Stupa of Swayambhu is a place of the Nagas. About that is a live turtle, and upon the back of the turtle stands the Tree of Life axis (tshogs-shing) which is 7 fathoms (42') in circumference at its root and 42 fathoms (252') in height. In the western lattice of the axis are the self-manifest 5,408 gods. In the cardinal directions are one Magadha measure of the relics of the jina Sakyamuni. The skin of the King Suvarnavarman (gSer-gyi Go-cha), upon which is depicted the mandala of Samvara and the 62 gods, is to be found therein. It is said that the outer, inner and secret fields of synchronicity can be divined therefrom ..... [SK]"

    Turtle is Kasyapa or the manifested creation and lower kingdoms, the Avadhut rests upon that, surrounded by deities.

    "Adapting the metaphor of the Swayambhu Purana, Ngag-dbang rDo-rje mentions Buddha Vipaswi who threw the seed of the original thousand-petalled lotus into Lake Nag Hrad during the satya or kritya-yuga, and he mentions the jewel, the ruby (padmaraga), that was at the centre of the lotus, diffusing the great light that pervaded the world. The jina Vajradhara is the anthropomorphic representation of the dharmadhatu that is self-arisen and self-existent. He arises as the Stupa out of Akanistha ('Og-min), the pure-land of the dharmakaya, the dharmadhatu as paradise here and now. The Bodhi Tree, the Tree of life, the Stupa, these are all symbolic variations upon the same theme. The gandola is the form of the stupa and wisdom (jnana, ye-shes) is its nature."

    "The main stupa on Nagarjuna's hill is either Vispawsi's, or, more likely, Buddha's throne marker. "Nagarjunapad had made a cave on the Jat Matrochcha mountain (Jamacho), where he had placed an image of Akshobhya Budh, to worship Swayambhu. As the water filled the valley (during the Nagas' attempt to reclaim it from man), it rose up to the navel of this image, whereupon Nagarjun caught the Nag that was playing in the water and making it rise, and confined him in the cave. Whatever water is required this cave is supplied by this Nag to the present day, and for this reason the Nag is called Jalpurit ('Making Full of Water'). This Nagarjunapad Acharya made an earthen chaitya, and composed or compiled many tantra shastras, and discovered many gods. He died in the cave. The mountain then became known as Nagarjun, and it is considered very sacred."

    His hill is close to Sankhu Vajrayogini. There is no legend of his death or remains, aside from he died there, although Kasyapa's reliquary is nearby. As far as there fairly certainly was a "new" stupa built by Licchavis, it has to be restored every hundred years, since the place is terrible with earthquakes. There could have been something before that was destroyed, which this one replaces. But yes, it is Nagarjuna Hill, which has many caves.

    According to Oxford, Sutra Aryadeva was translated into Chinese by Kumārajīva (b. 344–d. 413), which accordingly was called the Sanlun (Jpn. Sanron), or “three-treatise” school. According to the biography that Kumārajīva translated into Chinese, Āryadeva was born into a South Indian Brahmin family, became Nāgārjuna’s disciple, was renowned for his skill in debate, and was murdered by a student of a defeated teacher. Candrakīrti (ca. 570– 650). Chandrakirti is the "effective founder of Prasangika". The translator has claimed that Aryadeva was killed by someone who lived centuries after them both.

    Saraha begins the [Chakrasamvara] lineage which descends through his disciple Savari to Luipada, to Dengri, Vajraghanta, Kambala, Jalandhara, Krsnacarya, Vijayapada, to Tilopa and Naropa, the teachers of Marpa of Lhotrak. An alternate lineage through Saraha's other disciple, Nagarjunapada, runs in succession through Savari to Maitripada to Marpa.

    So by using Maitri Dakini and Naro Dakini as co-current symbols, it is the two Mahamudra lines blended in Marpa.

    This Kagyu description has just called him Nagarjuna Words, as if it means he is "strongly associated" with the "known Nagarjuna".

    Laksminkara and Jalandhara were both gurus of Krshnacharya.

    Masters of Mahamudra states that Saraha was a student of Haribhadra (ca. 700-770) at Nalanda. Haribhadra championed the then-problematic "four kayas" or svabhavikakaya of Abhisamayalamkara chapter 8. I believe it would be accurate to say that Haribhadra remained at Nalanda while Santaraksita went to Tibet twice. Saraha is vaguely described as "8th century".

    Saraha as the first Mahasiddha is an example where he did a lot of practice and was said to be on the first Bhumi. Eventually he was said to be on the Sixth Bhumi. Others like Shavari repeat that same pattern. So if we train in six or maybe seven Bhumis, this is a replica of Saraha in a profound state of existence. This is the Sahaja or Chakrasamvara lineage. And so a Bhumi must be something more than "the trait of generosity", since it takes training if not catharsis to attain. And so to even look at one Paramita, perfection, what is that really. It would have to have meaning on outer, inner, and secret levels.

    Lamdre is Tibetan for Marga Pala or Path with Fruit and refers to operating the Six Doctrines of Naro or Niguma. For the most part, this is really Completion Stage, minus the explanatory preparation, which is Guhyasamaja Sadanga or Six Limb Yoga taught in the other tantras. This is what converted Kublai Khan in 1244 and advised the Ming and later empires until 1911. This is Hevajra lineage. This does not mean many of the Mahasiddhas did not use both Hevajra and Chakrasamvara. But they started differently and are a little bit different.

    Virupa is not counted in the Seventeen Abbots, but his story is of becoming one, and that he reached the Sixth Bhumi, and was initiated by Nairatma. Neither the Abbots or Mahasiddhas are "The" list, they do not really claim to be complete, only suggestive.

    "Virupa, the human originator of the Lamdre teachings of the Sakyapa school is however NOT the teacher of the awareness dakini Sukhasiddhi, whose teachings became important in the Shangpa Kagyu tradition. Sukhasiddhi's Virupa is known as the Eastern Virupa (shar phyogs bir ba pa) or Virupa the Younger (bir ba pa phyi ma), and was a master of various Vajrayogini tantras, particularly of the aspect known as "dbu bcad ma - severed head", which never became very popular in the Tibetan traditions. According to Taranatha's "bka’ babs bdun ldan gyi brgyud pa’i rnam thar ngo mtshar rmad du byung ba rin po che’i khungs lta bu’i gtam" this latter Virupa was a student of the older Virupa." (RY)

    He entered the university and received complete ordination vows from the Abbot Dharmamitri of the Mulasarvastivada School. He was given the ordination name Shri Dharmapala and received Chakrasamvara pith instructions from the Abbot. He perfected an ocean-like knowledge of both Buddhist and non-Buddhist schools. His Abbot passed into parinirvana and Virupa was enthroned as Great Abbot of all pandits at Nalanda University. [He happens to share a name with the Pala king who founded Vikramashila]

    The Path and Its Fruit teaching (Hevajra) originating from the Indian teachers Virupa, Avadhuti, Gayadhara and Shakyamitra, a follower of Arya Nagarjuna, were brought to Tibet by the Tibetan translator Drogmi and have been passed down through an unbroken lineage of masters until today.

    Virupa --> (Dombi Heruka, Kanha) --> Damarupa or Dharmapa --> Avadhutipa (900s), then Gayadhara (1000s).

    The method of Generation Stage is instead from the revealer of Hevajra, considered to be Padmavajra. It is said to be streamlined by Durjayachandra's method (Dombi Heruka lineage). Then Sahaja of Saraha and Nagarjuna follow, and then Virupa Hevajra really deals solely with the advanced aspects of Completion Stage.

    Chakrasamvara lineage is:

    Saraha, Acharya Nagarjuna, The Protector Shavari, Luipa, Darikapa, Vajra Ghantapa, Kumarapada, Jalandharapa, (Laksminkara) --> Krishnapa, Guhyapa, Nampar Gyalwai Shap, The Acharya Barmai Lobpon, Tilopa (988-1069), Naropa, (the two) Pamtingpa (Vagisvarakirti, etc.).

    In the Blue Annals, Shavari's disciple in sixfold yoga, Vibhutichandra, met him in Nepal, and was invited to Tibet by Kodrakpa Sonam Gyaltsen (1182-1261). Vibhutichandra wrote a Vajra Vilasini Strotam which is recorded in Guhyasamaja Sadhana Samgraha.

    Shavari transmitted Six Arm Mahakala, Varahi, etc., to Khedrub Khyungpo Naljor (ca. 1050-1127), the founder of the Shangpa Kagyu. Shavari also became a disciple of Saraha and Nagarjuna, and a teacher of Maitripa (ca. 1007-1078). Maitri's main gurus are Naro (1016-1100) and Shavari. So Shavari seems pretty firmly fixed in the 1000s. Buton maintains that Luipa was the disciple of Shavari, who was Saraha's disciple. This would stretch out Saraha for centuries. However the Vajrasana list states there were two Sarahas. Buton also reflects this. Shavari for example originally encountered Avalokiteshvara, who performed a mandala, the center of which showed him and his wife burning in hell; he was initiated by the master later.

    There is only one statement of Nagarjuna dying, in Nepal, around the 700s. For the Kagyu Chakrasamvara lineage to work, it would appear to require another Nagarjuna to be the disciple of the second Saraha.

    A 1992 paper at Nagarjuna Institute does not pursue specifically dating the same details about Nepal:

    "In attempting to account for the Buddhist notables who date from Nepal's Licchave Period, we are entering the realm of legend, myth and unsure historical reference. Famous teachers and adepts from India such as Vasubandhu (the Younger?), the tantric Nagarjuna, Padmasambhava, Santiraksita and Kamalasila are said to have come to Kathmandu Valley in the service of Buddhism but none of these seems to have stayed for very long. [This seems accurate as Padmasambhava did use a cave in Nepal but he did not stay]

    As would be expected with such colorful figures as Nagarjuna, Padmasambhava and Vasubahdhu, their activities are identified with miraculous events, which tend to support the notion that tantric forms of Buddhism were present in the Valley at a very early stage, The Licchave inscriptions and later chronicles mention that several kings of the time such as Vrsadeve, Manadeve, Dharmadeva, Amusvarma, Narendradeva and Sivadeve I had very strong Buddhist associations but details are scanty. One important event which seems to have occurred before 650 A.D. was the marriage of Bhirikuti, a Nepalese princess, to the king of Tibet. She is credited with having brought the dharma to Tibet and the translator Silamanju is said to have also been sent from Nepal to Tibet at this time in order to translate Buddhist texts. As we move into the last 200 years of our period (ca. 700-879 A.D.), such shadowy figures as Santikara Acaruya and a few other adepts in the early phase of Vajrayana Buddhism are met with in Nepal. All in all, it is not possible to isolate recognized Buddhist schools of thought by analyzing this listing of Buddhist luminaries of Licchave Nepal, but one does suspect from this that Buddhism enjoyed a high status and a continuous tradition during the Licchavi Period.

    Another interesting aspect deserving attention here concerns the matter of Buddhist texts in Licchavi Nepal...The Cabahil inscription of ca. 400 A.D. mentions the Kinnari Jataka and implies the currency of the Saddharmapundarika [Lotus] Sutra, but this is the solitary inscription of the period to mention Buddhist texts...The cart festival of Avalokitesvara/ Matsyendranath (Bunga kya was probably begun during the latter half of the seventh century A.D."

    To Tibet, Bhrikuti resulted in Jokhang Temple; her dowry included a statue or image of Akshobya. The king was seeking to forge ties with Nepal, it worked, and she was his first wife. The Chinese at first refused him, and he wound up attacking their frontiers to get a Chinese princess. Since Bhrikuti was related to Amshu Werma, she would have known something about Nagarjuna being in Shantipur. She is considered Green Tara, the Chinese one is White Tara. Goddess Bhrkuti was already known, so she is just sharing the name. The Akshobya was placed in Ramoche which is the temple on an island in a lake.

    Tibet was somewhat unsuccessful at propagating Buddhism during the interregnum until Padmasambhava came.

    Nepal appears to have had Buddhism since the beginning, and Vajrayana since very close to the beginning of that, and is the single catalyst for Tibet accepting it. Manjushri is important to Nepal, as an Adi Guru who perhaps came in with the Kirats, but is not really believed to have remained, as for example Vimalamitra rereated to Wu Tai Shan at the end of his life.

    The scriptural reference to Manjushri residing in China is as follows: In the Jewel Treasure Dharani, Buddha said to Vajrapani, “After I enter nirvana, Manjushri will teach in the northeastern part of the Southern Continent, where there is a country named Greater China. There is a mountain called Five Plateau. The Youthful Manjushri visits there, teaching many sentient beings. There are also many devas and nagas protecting and making offerings at that place.”

    It is said in the Great Avatamsaka Sutra: “In the northeast, at a mountain named Cool Mountain, bodhisattvas visit and stay. Currently, Manjushri frequently teaches among his entourage of 10,000 bodhisattvas.” (only in Chinese edition, these statements are not likely original)

    It is also called Cool Mountain, its haighest peak is 10,000 feet, and it is unusually cold. Rolpé Dorje (1340-1383), the fourth Karmapa while on pilgrimage to Wutai Shan met five Indian yogins who presented him with a buddharupa carved by Nagarjuna.

    It is in Shanxi, which is the area where the Han gained power around 400 B. C.; before that, it was the Jin state. But the Chinese cultures mostly refer to river valley settlements. It borders what is now called Inner Mongolia. Before the establishment of Jin, there were Beidi and Xirong tribes, some of whom are described as speaking Tibeto-Burman. So it was plausibly Mongolian for any period of time, until the growth of the Han, at which point it was near the center of China, until the country developed its "Gold Coast". If Nagarjuna obtained a Mahacina Tara practice, it perhaps is not unrelated to Vimalakirti's pilgrimage, Wu Tai Shan was already important.

    It is generally accepted that Mongolians emigrated across to the eastern Himalayas on a scale of ten to thirty thousand years ago. Tibetan is one branch of it.

    According to a Bhutanese Kirati:

    "This video was shot when a shaman or Dhami (also called Jhakri or Bijuwa), Shri Mangpa K.B. Rai was in trance and delivering an oracle (baknu or bakeyko in local terms). He is possessed by his 'Kul Deva' the God Kirateshwor and is narrating how the heavenly father Pramatma or Insuing Rumuhang (who was known as Rinpoche in ancient Tibetan term) came to the Earth and created the first male (Sawahang Paruhang) Sulu Swayambhu, who was named as Drukchhong in Tibet.
    The oracle reveals that from Tibet Drukchhong was brought to Kirat (Nepal) and met his other half the Sky Goddess in 'manju pokhari'(present Swayambhunath and meaning "Manjushri Lake"). He also tells the inanimate manju pokhari is a form or the emanation of God himself. The video tells us the Buddhist God 'Manjushri Buddha' is none other than Sulu Swayambhu or Drukchong the ancestor God of Kirat people. Through oracle the deity also wants us to understand that all God is but ONE- in different forms and manifestations."

    The video portion is less informative. Objectively, the Kirats cannot be tied to anything that definitely says they followed Manjushri to Nepal a thousand years or more before there was China as we know it. In ancient times, the entire Himalayan region was known as the Kimpurusha Desha (also, Kirata Pradesh), a phrase derived from a Sanskrit term used to identify people of Kirat origin. They, of course, entered "Nepal" from Tibet or Yunnan, eventually spreading westward across it. Their basic belief is in a male spiritual mind and mother Earth.

    Unlike perhaps some shamans, they have a scripture.

    The Yehang Mundhum contains the story of the first leader of mankind who made laws for the sake of improvement of human beings from the stage of animal life to the enlightened life and ways to control them by giving philosophy on spiritualism. In this book, the leader has made rules for marriage, arbitration, purification and religion. The story of destruction of human beings by a deluge and the cause of existence of many languages among the Kirat people, the social customs of seasonal worship to the worship of God, the rules of purification on child birth and death are mentioned in the Lepmuhang Mundhum. It is their own scripture, and they have an epic intended to be sung. Mundhum almost covers everything like the origin of earth, air, water, fire and life, medicine, god, all ritual birth, marriage, death.

    That is all we know, it cannot be dated or classified, it is not Bon, Buddhist, Hindu, or Confucian, but their own type of Siberian shamanism or perhaps Tengri. The Chinese did not know the name Tengri until around 300 B. C. in reference to the Xiognu people. Ancient China often came in contact with the Xianyun and the Xirong nomadic peoples. In later Chinese historiography, some groups of these peoples were believed to be the possible progenitors of the Xiongnu people. So, for instance, the Xirong were probably the "local remains" of the Kirats after migration, and, in these areas, there is nothing left that tells much about them; across the steppes are not found remains of major universities or ancient tomes.

    Kirat Philosophy sounds a bit like the Bible meets Buddhism. Kirat History and Culture contains more detail, which was first copied by Brian Hodgson. I am not sure if they attempted to simply lift the first sentence from Genesis on page 24, but, it is almost the same thing.

    They were widespread in the folds and valleys of Himalayas in Nepal and Bhutan, and also in Indian states of Himachal Pradesh, Uttarakhand, Uttar Pradesh, Bihar, West Bengal, Darjeeling (West Bengal), Sikkim Assam and Tripura including west mountain of Pakistan. They are taken quite seriously by Aryans who call them Mleccha or foreigners. Kamakhya temple at Guwahati is ascribed to them. Bhima defended Janaka Videha kingdom by defeating seven Kirat kings in Nepal. Valmiki who wrote Ramayana is said to be a Kirat from Uttar Pradesh.

    According to Tripura in India, almost in Bangladesh,

    In this Siri panchami day Hindu goddess Saraswati puja{worship} is done. She is the goddess of learning who was earliet Kiranti goddess. Pouranic Brahmin just tactfully brought her in the Hindu fold of goddess. In the Vedas Sarswati was goddess of wealth, fruits and well being not as goddess of learning and intelligence. Sarswati today is clothed with white colour which had derived from Khuluma of Tripuri people, a branch of Kiranti, according to whose mythology she is goddess of cotton and learning as she teaches us to weave and design the clothes. Khuluma is considered white colour as for the color of cotton. It clearly shows goddess of learning Saraswati is goddess Kiranti people. So value of Siri panchami or sukla panchami is something beyond our imagination for Kiranti people.

    The full moon has different place for all living being. This is the day of god, goddess, and legendary story of wolf. All living being are happy to see full moon. Kiranti people have myth and belief that this is the day for all the goddess like Sime, Bhume, Nag and Nagini {Goddess of earth, goddess of water and serpent king}. They all come out on Earth to breath and see the human activity and for blessing if they worship and appease them. People have belief that on this day naga king or serpent god change himself to human form and come in different houses in the disguise of yogi and bless people, that is why some people worship naga as well. Kiranti Sunuwar has belief that this new year day is very important and it's called Kharo Bar Or Kharo Din.

    There is a folk lore in Sunuwar that on this day Kirateswar Mahadeva and Kiratini Parbati take bath in high Himalayan holy lakes like Jhata Pokhari, Nirmal Pokhari, Bhut Pokhari, Panch Pokhari, Gosai Kunda, Tilicho Tal, Chyo Rolpa, Haleswari, Kailash Man Sarowar Tal and in many more. Ancient Indian civilization is civilization of Kirata. This great civilization was situated in north east Himalayan range of Mahavarata. According to S.K Chattarji north eastern Kiranti civilization was the key civilization of ancient India. They were the supreme power in that era. They are the Khmer, Lepcha from Sikkim, Drukpa from Bhutan, Hazra tribe from Afghanistan and Pakistan as well (Who had built giant tallest stone Buddha in Afghanistan but this was destroyed by Taliban hitting by missile during the Taliban regime). It was during the rule of Jitedasti, the 7th Kirata king, Lord Gautama Buddha visited the valley with his several disciples. He visited the holy places of Swayambhu, Suheswari, etc and preached his religious gospels. Kiratas in the valley refused to follow his doctrine, but welcomed Lord Buddha and his disciples. Hinduism was introduced to and imposed on the Kiratas only after the conquest of Gorkhali rulers whose root was in India. Kiratas were quite tolerant and liberal to other religions. That was why Buddhism flourished during the Kirata rule in Nepal. Buddhism had rekindled a new interest and attitude among the people. [Buddhism says that Cunda was ordained, not that Buddha found 10,000 bodhisattvas there]

    Naga Ananta was the first among all the Naga Kirata kings. The second Naga chief Vasuki had the kingdom near Kailasa (hence the connection of Vasuki with lord Siva). The third chief Takshaka, in Takshasila both not far from Anantnag. The kingdoms of other Nagas like Karkotaka and Airavata (near Iravati River (Ravi, one among the five rivers of Punjab) were also not far away. Nagas(Kirata) had kingdoms in Nagaland and Andhra Pradesh. Still the Chinese people claim they are descendant of dragon (another form of gigantic snake). Still Bhutan is called land of thunder dragon in ancient time Bhutan used to called Kirata deshe (land of Kirata) and their king is called Druk Gyalpo (Dragon King). Khmer people have mythology, according to which they came from Assam Nagaland and their ancestors were Kirata Naga and their main deity is nag (snake).

    In a broad sense, nagas refer to trans-Himalayan Mongolians that span from Pakistan to Cambodia.

    Lalit, the king of Katmandu, Nepal brought Rato Machindra Nath from Assam because at that time Katmandu suffered from severe form of drought.

    The understanding of Alchemist Nagarjuna is that he had to do with mercury trade on that branch of the Silk Road which went from Assam across the Himalayas. In early Indian literature China is invariably shown to be connected with India by a land-route across the country of the Kiratas in the mountainous regions of the north.

    The New Year they used was Magh (Maha) Sukla Panchami, which is when Yalambar defeated the Gopalas. The Kirata New Year is been already 5063 years old which is considered to had been started by the Kirata king Yalamber that is why new year is called Yele Sambat.

    Magh is a lunar mansion, the symbol for this nakshatra is royal throne, which signifies the power and authority to rule over its subjects. This gels well with the fact that this nakshatra initiates the fifth sign of the zodiac which represents power and authority and ruled by Leo, the Lion who is the king of the jungle. This is power; its devatta is the Pitris.

    In Vedic Time, Shukla Panchami is the name for the 5th Tithi (lunar day). It's the 5th Tithi of Shuklapaksha. It's nature is Lakshami Prada, which can be interpreted as "wealth giver" (as through this Prada Panchami is connected to Lakshmi Devi, who rules all wealth matters in human life). According to Muhurta Chintamani the Nāga (Deity who rules Serpents) rules Shukla Panchami, thus it is favorable for all actions that are related to what Nāgas are responsible for: gaining wisdom, secret knowledge. Nāgas also are related rebirth, administering medicine, the purging of poisons, and surgery, as well as waters (rivers, lakes, seas, and wells) and are generally regarded as guardians of treasure. Being Poorna (that can be translated as "full", "complete" or "perfect") and ruled by Guru (Jupiter).

    The way of worship (Bali puja bidhi) of Kamakhya Devi's temple in Assam is considered Kirata bidhi.

    So that tells us something more about the nagas and number five, althout it seemed to be governed by Venus. That, of course, is part of the esoteric friction, the tenet that Jupiter is deva guru, whereas Venus is human guru, symbolized in a general grind or undercurrent against orthodoxy.

    Nagarjuna "conquered the Nagas", i. e., realized the Paramitas, and as the Tree, is the Avadhut. This is how the nerve is described in, perhaps, the fist major, modern international collusion to gather this particular reference material:

    Dhih 01 from 1986 started a catalog of rare Sanskrit/Nepalese Buddhist texts, but the online archive is mostly obliterated. It says:

    In the process of integration the psychic nerves play a vital
    part. The Buddhist tantras assert that the Lalana (Prajna, AH)
    emanates from the neck and by the left course enters the navel
    (nabhi). The Rasana (upaya, Kali) starts from the navel and by the
    right course entertwines the other about the neck. The two nerves
    are united with the median nerve which has its centre in the heart-
    lotus from where flows the vital force, the “Avadhuti” as it is
    described the blissful Avadhuti, detached from objectification and
    predication, it is the “Mind of the Buddha” (Bodhi-citta), the
    effulgent Nairatma, Sahaja-Sundari.

    Lalana is prajna-oriented and Rasana is Upaya-oriented. The
    median nerve Avadhuti surpasses the subject-object duality. Simi-
    larly, lalana is the seminal- vessel and rasana is the blood-vessel.
    The nerves have also been interpreted as according to the Body, the
    speech and the Mind. Obviously, it is hardly possible
    to know the true nature of “Vayu” (Sound) and • Bindu (point)
    without the correct appraisal of the nervous system.

    So what is said about the Drukpa, combined with the fact they produced one of the most explanatory thangkas of Laughing Ekajata and Marici, which house a lot of the most esoteric Sadhanamala material, in some way that does not appear very famous in the schools or tantric literature, is rather telling, and forced itself to include snake goddess Janguli and Cunda.
    Last edited by shaberon; 17th October 2019 at 16:51.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Mongolian Diaspora

    Tantra is more and more seen as a twilight language that passed from Buddhism into Hinduism:

    Buddhist literary source Aryamanjusrimulakalpa throws the light that in Kamarupa [Kamakhya, Assam], Tara deity was associated with Buddhist group much earlier than Hinduism.

    Assam is not of Aryan origin, and is more Chinese.

    If Nagarjuna got an important Mahacina Tara, this is how Indian historians use the term:

    P.C. Bagchi observes that the heterodox school of tantra associated with some non –Aryan groups of people like Pulinda, Kirata, Abhira, Kuntala and accordingly some areas, outside India such as Balhika (Balkh), the hill of tribes Kirata (Himalayan zone), Bhota (Tibet), Cina (China), Mahacina (Mongolia) dominated by tantric culture.

    If Nagarjuna got the Prajnaparamita, this is how Mahacina relates to it:

    According to Bhattacharya, a Prajnaparamita manuscript bearing the date A.D. 1071, is there in the holding of the Asiatic Society, Calcutta. Interestingly, this manuscript contains the illustration of a male divinity with the accompanying inscribed label reading: Mahacine Manjughosah.

    In the famous iconographic set in a Nepalese Astasahasrika (Cambridge 1643)
    Mahācīne occurs three times once for *Mañjughoṣaḥ *[folio 202v], once for
    *Samantabhadraḥ* [folio 127r], and once for* Buddharūpaka Lokanāthaḥ*
    [folio 123v].

    Circularly, Manjushri carries a Prajnaparamita. He has many forms; Manjughosha is a type of Vagisvara, Lord of Speech. In Yoga, we find Manjuvajra, or, the blend of Manjushri to Vajrasattva, and Namasangiti is a series of expansions to this, which yields Dharmadhatu Vagisvara Manjughosha.

    Manjughosha can be found in Sadhanamala, Prajnaparamita Sutra, Manjushri Mula Kalpa, dAkArNava mahAyoginI tantra, kAlachakra tantra, Manjushri Namasangiti, etc. in various forms such as Manjushri, Manjughosha, Guhya Manjughosha, Manjuvajra, Manjuswara etc.

    Manjuvajra is in Guhyasamaja.

    One finds a fairly clear Mahacina marker that means something "other" than China or the main Chinese empires.

    Prajñāpāramitā refers to this perfected way of seeing the nature of reality, as well as to a particular body of sutras and to the personification of the concept in the Bodhisattva known as the "Great Mother" (Tibetan: Yum Chenmo).

    In 2012, Harry Falk and Seishi Karashima published a damaged and partial Kharoṣṭhī manuscript of the Aṣṭasāhasrikā Prajñāpāramitā. It is radiocarbon dated to ca. 75 CE, making it one of the oldest Buddhist texts in existence. As its transmitter, Nagarjuna's origin is older and more mystifying due to that; and yet he was still a student of Ratnamati. Ratnamati is Vajradhara and Manjushri and was the guru to Saraha and Nagarjuna.

    Treatise on the Treasure Vehicle of Buddhahood, The Ratnagotravibhaga-mahayanottaratantra-shastra; Chin Chiu-ching-i-ch’eng-pao-hsing-lun; A work by Saramati, a Mahayana scholar of India, translated into Chinese in the sixth century by Ratnamati. Ratnamati was an eminent monk who came from central India to China and arrived at Songshan Shaolin Temple in 508 A.D.

    Ratnamati’s interpretation leaned heavily toward a Buddhist ideology only beginning to receive attention in China, tathāgatagarbha thought.

    Traditionally it is said that there were three main positions held in China during the Sui-T'ang period concerning the status or nature of the alayavij~nana: Bodhiruci and Ratnamati held the view that it is pure, Paramartha proposed a theory of a mixed (true-and-false) aalayavij~naana, while Hsuan-tsang supported a theory of a "deluded" alayavij~nana.

    In any case, one could take that as Ratnamati leaving Nalanda in the early 500s to be replaced by Saraha and Nagarjuna before other abbots known in the 500s. So it still takes either a very old, or multiple Nagarjunas, if carbon dating makes the first one even older than anyone thought, well before Nalanda.

    The Buddha said to Mañjuśrī, “Are the teachings of the buddhas supreme?” Mañjuśrī replied, “I do not see such an appearance of supremacy amongst all dharmas.

    The Tathāgata has had self-realization of the emptiness of all dharmas, and this knowledge has been demonstrated.”

    The Buddha told Mañjuśrī, “Thusly, thusly!

    Maha Prajnaparamita Manjushri Parivarta Sutra

    He is not quite claiming supremacy, but the important thing is Tathagata has demonstrated knowledge. That is why we follow it, since it is known and it is complete.

    Valmiki who wrote the Ramayana was a Kirat, and they are a subject in his Yoga Vasista. He lived one or more centuries B. C. He is Adi Kavya, first epic writer or primeval poet. Ugra Tara "of Tibet" is perhaps a misunderstanding of Valmiki, since it would be Cina or Mahacina.

    Kirats are, so to speak, behind Naga and tantric symbolism, as well as the whole local legend of Nepal. Kamakhya is definitely a major Pitha in this scheme.

    At Sankhu, this place is also known as the Eighty Siddhas as there are four of five caves where the siddhas of India are said to have stayed. One of the caves is also said to have been the practice cave of Nagarjuna, and an image of the great master which was originally in the cave has been taken outside and placed some distance away.The present temple was built by Raja Prakas Malla in 1655. It enshrines the main sacred representations of this site, Ugra-tara manifesting as Ekazati, which are said to give very powerful blessings, particularly the image in the upper temple. The image in the lower temple is red in colour with one face and four arms, two of which hold a skull-cup (kapala) and knife at her heart, and the remaining two hold a sword and an utpala lotus [Guhya Jnana Dakini]. In the upper temple is an identical image of Ugra-tara in bell metal, in which her left leg is outstretched. In the upper temple is the loom of the Nepali Princess Brhikuti, spouse of the Tibetan king Songtsen Gampo. In both the upper and lower temples, Vajrayogini is flanked Baghini and Singhini, the Tiger and Lion-headed Yoginis.

    The primordial Indian Buddhists in Orissa are weavers, and, Assamese tantrists "joined" weaver caste. And there goes Bhrikuti's loom.

    Manjushri did not begin Kathmandu, he founded Patan, which is now called Lalitpur. There are many legends about its name. The most popular one is the legend of the god Rato Machhindranath, who was brought to the valley from Kamaru Kamachhya, located in Assam, India. Legend says that the great siddha Matsyendranath (Macchendranath) was born in Assam, and that he studied esoteric worship of the goddess Kamakhya at Kamarupa (the abode of Kamakhya) in the company of yoginis, female adepts, who initiated him. He then went on to Sanskritize and codify their rituals, incorporating Brahminical philosophy and subverting it at the same time in order to create a rapid method of reaching a liberated state. And thus Shaktism was born. A modern Indian view of Nepal calls it the birthplace of Sita and Buddha and has a pandit suggesting that Matsyendranath was Luipa ca. 900.

    What happened in 640 was that King Srongtsen of Tibet inherited Nepal. A Chinese mission in Kinnauj was attacked by the Indians. The Chinese ambassador replied by sending in Tibet-Nepal and the Kirat Bhaskar Verma or Kumara of Assam. The Indian usurper, Arjuna, was caught and taken to Peking. Then, Tibet-Bhutan then took over Limbuwan and invaded Mithila under Rong or Lepcha command. The Lepcha king was an avid Buddhist. Rong overall apparently claims Elamites and Aramites are blended into it, with Kham==China, and Burmese. King Maw Rong Hang took over Khombuwan (Kathmandu), Libuwan (East Nepal), Lapchan, and Mawrong. Part of Bihar is recorded as being Tibetan in the 600s, i. e. King Rong being a vassal of Tibet.

    The first king of Tibet was an Indian Sakya Licchavi about twenty-nine generations before Srongtsen. Bhrikuti is fully named Balzah-Lha-Ching-Khri-Tsun, or Dichu. The Kirat king Amshu Varma had no heir, so Nepal fell in the hands of her husband, Srongtsen, for a year. He did not withdraw his troops, who settled there.

    Suchuwang or that part of China near Kham was an empire since ca. 200 that a Queen expanded as west as Pamir. And it subjugated the Horpas, the Turkish Kirat descendants of Japeth, propagating the Chinese cult of Yuma Sam (Udhauli) onto them.

    Yumasam is a teaching spirit that likes flowers instead of blood, and appears to be the same as what Kirat Mundhum is talking about. Yashokyeni Maharani. She incarnated as the Queen of Shun-yin empire or Suchuwang.

    Yuma is still currently a unique Limbu tradition. The closest name to her in Tibetan is Gyuma Chenmo (Mahamaya, particularly in Dream Yoga, so by extension, Deep Sleep and Nidra). Yum is Tibetan for Mother. Ningwaphuma is part of the original name of the goddess. If the scripture reads identically to Genesis, it would have to be changed so that in the beginning, when all was void, the goddess started it. Another goddess spins a web, then there is creation of water, and creation of earth last. So it carries the concept of multiple planes and multiple classes of divinities and deities.

    Kirat has to be understood like European, Indian, or Chinese, it is a vehicle of multiple ethnicities, including Shan and Tai and itself having Mesopotamian or even Sasanid input, the Elamite, or Shemite migration is ca. 2nd-4th century.

    In Manipur, Assam, The Kokborok names of the fourteen deities are Lampra, Akhatra, Bikhatra, Burasa, Thumnairok, Bonirok, Sangroma, Mwtaikotor, Twima, Songram, Noksumwtai, Mailuma, Khuluma and Swkalmwtai. the fourteen deities in bengali /hindi are shiva, durga, ganesh, kartick, laxmi, saraswati, vishnu, brahmadev, gangamata, himadri, samudradev, agni, pradumnya(kamdev), prithvimata, and dharma.

    Mailuma is grain (Lakshmi) and Khuluma is cotton (Sarasvati), although the fourteen deity list is calling her Bonirok, and Khuluma is usually Pradumnya or Kamadeva. The Fourteen Deity temple could actually be called a capital of human sacrifice.

    The cotton is white, and she teaches weaving; the name tantra has warp and woof as its roots, and the weaver caste is the Buddhist tribal minority in northern Orissa. The Limbu women are expert in making carpet, and knitting colourful local cloth (dhaka) with intricate design for clothing. They are also expert in bamboo work.

    The timelessly ancient place in Assam is vagina pitha or Kamakhya herself, Kubjika, Mahamaya. In the shrine there is no goddess, only a vagina. It however is the center of the Mahavidya temple complex, and Ugra Tara is the navel pitha. For Ugra Tara, Vasistha was specifically sent by the goddess herself, in order to import her proper practice. But at least in Brahmayamala, it is actually Cina and also that "Vashishtha then went to Vishnu in the country Mahacina, which is by the side of the Himalaya (Himavatparshve), a country inhabited by great Sadhakas and thousands of beautiful and youthful women whose hearts were gladdened with wine, and whose minds were blissful with enjoyment (Vilasa). They were adorned with clothes which inspired love (Shringaravesha) and the movement of their hips made tinkle their girdles of little bells. Free of both fear and prudish shame they enchanted the world. They surround Ishvara and are devoted to the worship of Devi."

    Kamakhya is considered a major pitha in Hevajra of 4th century: Kamarupa was renowned to both Buddhists and Hindus as a powerful pilgrimage center, and in fact one of the earliest surviving references to Kamarupa as a shakti pith is in the Hevajra Tantra, a fourth century Buddhist text.

    In its own local view:

    "The first temple on the site of Yonipīțha was built by the divine architect Viśvakarmā. When Kāmadeva was reduced to ashes by the flame of Lord Śiva’s third eye, his wife Ratī came here and propitiated Devī Siddha Kubjikā for resurrection of her husband. When brought back to life, Kāma duly worshiped Pīțhaśakti of Yonipīțha, who then became renowned by the name “Kāmākhyā” while the region came to be known as “Kāmarūpa” country. The current temple was constructed by King Viśva Sińģha of Koch Behar (West Bengal).

    The most renowned festival celebrated in Kamakhya Temple is Ambuvācī, when a big fair is also organised and many Avadhūtas, Sādhus, Aghorīs and Sanyāsīs (who otherwise lead reclusive life) also come out in public. Astrologically in the month of Āşāďa (June-July) when Sūrya (Sun) enters Mithun Rāşī (Gemini) under 1/4th part or first quarter of Ārdrā Nakşatra, at that time Devī Vasundharā (Earth) undergoes menstrual cycle which is known as “Ambuvācī”."

    "Tara of Kamakhya, as pictured on the interior of the Bhairavi temple, is dark blue or black and pot-bellied, holding kartarī (a pair of scissors), khaḍga (a sword), muṇḍa (a severed head) or kapālā (a cup or bowl made from a skull cap), and a lotus blossom. When worshipped as Tārā, her face is beautiful and benevolent. When worshipped as Ekajaṭā (related closely to the Tantric Buddhist schools), her face becomes grotesque and terrifying. Each reveals different but related truths about the nature of practice and liberation."

    Here, her scissors are mixed up with the term kartri, or chopper. Scissors interpretation is thought to show influence from Rajasthan or Punjab. But as we see, the Kamakhya Tara is almost the same thing as Sankhu.

    The area was inhabited by matriarchal Khasis when the Aryans encountered them about 2,000 years ago. And so a Shiva culture was imposed where the original goddess still did not even waver. The Khasis are the main inhabitants of Meghalaya; in "geological time" Holocene is the period since the ice age when "australic" languages spread over southeast Asia; and Meghalayan is the name they give to the "recent" epoch from around 2,250 B. C. when a two hundred year drought is said to have hit most other civilizations.

    Nga meaning "I" is the same in Tibetan, Burmese, and Old Chinese as it is in Khasi. Meghalaya was a part of Burma much before India claimed it as a part of it after its independence from British rule. Traces of connections with the Kachin tribe of North Burma have been also been in the Khasis. The Khasi people also have their own word for the Himalayan mountains which is "Ki Lum Mankashang" which means that at one point in time, they did cross the mighty mountains.

    Another wave of political and cultural conflict between Khas and Kirat ideals surfaced in the Kirat region of present-day Nepal during the last quarter of the 18th century. A collection of manuscripts from the 18th and 19th centuries, till now unpublished and unstudied by historians, have made possible a new understanding of this conflict. These historical sources are among those collected by Brian Houghton Hodgson (a British diplomat and self-trained orientalist appointed to the Kathmandu court during the second quarter of the 19th century) and his principal research aide, the scholar Khardar Jitmohan.

    From around the 8th century, areas on the northern frontier of the Kirat region began to fall under the domination of migrant people of Tibetan origin. This flux of migration brought about the domination by Tibetan religious and cultural practices over ancient Kirat traditions. This influence first introduced shamanistic Bön practices, which in turn were later replaced by the oldest form of Tibetan Buddhism. The early influx of Bön culture to the peripheral Himalayan regions occurred only after the advent of Nyingma, the oldest Buddhist order in Lhasa and Central Tibet, which led followers of the older religion to flee to the Kirat areas for survival. The Tibetan cultural influx ultimately laid the foundation for a Tibetan politico-religious order in the Kirat regions, and this led to the emergence of two major Tibetan Buddhist dynasties, one in Sikkim and another in Bhutan.

    Maw Rong Hang as a Buddhist vassal of Tibet subjugated Limbu culture.

    The next king Uba Hang (ca.849-865) introduced a new faith to the Limbu. He is said to be descended from Muna Khamna or Suchuwang, also called Shin Yuk. Suyen-no-su-nu-Hangma was the queen who strengthened it. The bizarre geographical names are likely intended as Sichuan and Shu: In subsequent periods of Chinese history the Sichuan area continued to be referred to as Shu after this ancient state, and later states founded in the same region were also called Shu. Although its ancient culture is somewhat known, there is a silent period around 200 when there might have been such a queen. It is home of an ancient Sanxingdui civilization which challenges "China is Yellow River" origin theory.

    Shu Han ca. 221-263 after the collapse of Han power:

    During the Three Kingdoms, the territory of present-day Yunnan, western Guizhou and southern Sichuan was collectively called Nanzhong. The Book of Rites calls "four kinds of foreigners" Yi (East), Man (South), Rong (West), and Di (North), or Dōngyí 東夷 "Eastern Barbarians", Nánmán 南蠻 "Southern Barbarians", Xīróng 西戎 "Western Barbarians", and Běidí 北狄 "Northern Barbarians".

    Shanxi means "west of the mountains", and we see that Rong or Xirong territory is considered west. According to Nicola Di Cosmo, 'Rong' was a vague term for warlike foreigner. He places them from the upper Wei River valley and along the Fen River to the Taiyuan basin as far as the Taihang Mountains. This is northern Shanxi and Wu Tai Shan. They were known to be there as early as the Shang dynasty (1765-1122 B. C.). After 650 B. C. they are barely mentioned any more and are more known for being around Gansu further west.

    If there is Manjushri on a scale of thousands of years B. C. then he could hardly be shown as having other than a Xirong background, which, either as an area or a culture, is Mahacina.

    To the east of Yunnan were the Shanrong, so, Rong is relatively widespread, there and into the Lepcha. Yunnan also lacks much information around 200-400.

    The Limbu script was almost lost had it not been researched and re-established by an imminent Limbu scholar Iman Sing Chemgong. The script is known as Shrijunga. It is introduced by a Shrijunga Hang (880-915 A.D), a powerful Limbu chief who had his fort at Phedap and Chainpur; he is said to have brought the script from a cave in one of the Kanchanjung peak. Vamshavali or Vanisavali is their history book. This is sort of a term for "genealogy in the Puranas". So it is Gopal Vamshavali that describes Aryans around Nepal before Kirats came in. Again the text is medieval from 14th century, but purports to record local traditions.

    The Sunwars' Mudhun is unbroken oral tradition.

    Here is a replete Limbu to Newari to English glossary which uses Sristhikantha, same as we studied; it gives Ningwa/Ningwaphu (name of supreme goddess – source of wisdom, knowledge and power) as Chaitanya which has no English meaning but is something like animating consciousness or energetic drive of life itself. Thindolung Swyambhu Self-created god. Tomang Buddha Bhagwan Lord Buddha. Mang Ishwor, Bhagwan God.

    In that language, Mang is close to deva and ishvar. They do not seem to have a cotton goddess, but Khijora Menjora Mang = goddess of loom. So then Yuma is something like we would call a Nirmanakaya or incarnation of Ningwaphu.

    Ancient Tibet is usually seen as having no beliefs. There was no spiritual system. Even Bon arrived to it from the outside. Nepal, or, the valley at least, was settled by pilgrims. They accept it as the male half meeting the female half of divinity, even though the Sanskrit names are not their original terms. This legend would perhaps be as vague as others if it did not bear resemblance to what geology says happened. Similarly, other Kirats settled Assam and accepted Kamakhya Devi and eventually became Indicized.

    In the Swayambhu Purana, a monk named Dharmasri Mitra met Manjushri in Kathmandu Valley while he was on his way to Mahacina to learn the meaning of twelve vowels of Namasangiti Manjushri. So he received the teaching without making a trip.

    Dharmasri Mitra is translator of Sarva Tathagata Matani Tara Vishwa-Karma Bhava-Tantra; it is spoken by Buddha to Manjushri about Tara as Mother of all Tathagatas. Daniel Wright obtained a colorful version of the story.

    According to Surendra Man Bhajracharya,

    ..."the visit of Asoka to Kathmandu valley and the facts connected to it have
    not been historically proved. But what is established fact is that Asoka had sent
    missionaries to nine different territories in and outside the borders of India. And,
    one of the missionaries was led by Majjhima and his companion Kassapagotha who
    went to Himalayan territories of Hemavata region including Nepal. The fact is
    revealed by the discovery of their relics in a relic-urn at Sanchi with the inscription
    of the names on the lid describing ‘Hemvata cariya'. In the Nagarjunakonda
    inscription, there is reference to the attempt for spreading the religion in Cina-
    Cilate, of which Cilata is identified with the Kirantas living in the eastern
    Himalayan region, that is the frontier of Nepal. In Milindapcinha, there is
    mention of Cina-vilata of which “ Vilato ” seems to be a misreading for Cilata.
    Sylvian Levi writes that Cilata was a part of Mahachina which included Nepal.
    Dr. Regmi mentions that they were living in Balkh and Dardistan where
    Buddhism had already spread. So, they must have known of Buddhism and carried
    it into Nepal. Historically the oldest known existing Vihdra in Kathmandu valley
    is Gun Vihdra situated on the hillock in Sankhu. This Vihara is supposed to have
    been made to accommodate the members of Buddhist missionary sent by Emperor
    Asoka to Himvatkhanda under the leadership of Majjimtika Thera possibly in 236
    BC. The very word ‘ Gun ’ meaning a hill with forest itself refers to KirantT
    family. Therefore, the ancient Kirantas were the earliest people of Nepal in the
    north to receive the teachings of Buddha, evidently in its elementary form.

    Buddhist monasticism spread during the times of Asoka
    and later Kaniska. Finding of Brahmi scripted stones and Kusana
    coins from Carumati monastery during recent renovation also confirm the fact in
    Nepalese context. Besides Gun Vihara, other popular Viharas believed to be of
    KirantT period is Sinagu Vihara situated at Svayambhu. According to Korn, some
    of the oldest Viharas dating back to the first century A.D. are Vikramsila Vihara
    ( Tham-Vihara of Thamel), Visarukhya Vihara, Cakra Vihara, Hemvarna Vihara
    and Bhyu Bahai. Whether these ancient Vihara bear any resemblance to
    contemporary ancient Indian Viharas is the subject of further research. However, it
    can be said that Viharas like Gun Vihara and Sinagu Vihara are still serving as the
    emblem of monastic activities for a mass of Nepalese Buddhists."

    So from Levi there is at least some thought that Kiranta, during the emergence of Buddhism, was seen as a part of Mahacina. In that sense, everything from Assam to Wu Tai Shan could come under the phrase "Mahacina Krama" or method as used in Mahacina, as the overall culture, more than a specific place. Mahacina Tara is much closer to Ugra Tara and Ekajati of Assam, whereas Manjushri refers to "another part of it". However Manjushri incorporates the ancestral migration.

    It is hard to be more precise than apparently some of the non-Buddhist Kirats agree with it.

    In the oceans of sadhanas, Mahacina has little use or meaning other than Tara and Manjushri Manjugosha. This Tara is an auxilliary to Kamakhya or Kubjika or the main pitha in Assam. Despite the stone formation, Nepal calls this the uterus pitha and Guhyeshvari the vagina.

    The Hevajra Tantra, a Buddhist religious text, lists the Adi Pithas as “Jalandhara, Odiyana, Purnagiti and Kamarupa”.

    One of the oldest and most popular sites of goddess worship is Kamakhya temple, located at Guwahati, Assam. The legend of this site, as forwarded by the current temple management, tells of the king of Nepal approaching a sage known as Vatsayana. He was seeking advice on how to convert the popular ritual of human sacrifice to a more socially accepted rite of worship. Vatsayana suggested the worship of a Tantric goddess named Tara in place of sacrificial rituals. The worship of Tara spread reaching to the Garo Hills where local tribes worshipped a fertility goddess named Kameke. As time went on the Tantric goddess Tara, and the fertility goddess Kameke were linked with the legend of the Sakta Pithas and began to be worshipped as Devi.

    In that case, Vatsayana is the author of Kama Sutra who is semi-legendary. Overall, the book is a minor thing he did, compared to the propagation of Tara versus sacrifice. Whether he or Manjushri Mulakalpa is more primary, I am not sure.

    It is probably more correct to say that all tantra arises from some classification and method based on the pithas. Most of the Indian states, Bengal, and so forth, have lost most traces of the medieval exchange with Nepal, so it is mainly within itself that this collection takes place. In the current Kirat calendar called Yele Samvat, it is 5079, or, Yalamber started a kingdom over the Indic Gopals in 1780 B. C. Samvat is a time cycle usually changed with certain kings. And if we see the alternate spellings of Yalamber on that page, then there is perhaps something to the suggestion his name is a form of Elam. The new year fixed around Jan. 14-15 is Makara sign.

    Limbu of Nepal seems to be a separation from Kathmandu:

    King Jitedasti became the seventh Kiranti king in central Nepal around 580 BC. Kirant chiefs under King Jitedasti in the present-day Limbuwan area revolted against him and ceased to see him as their overlord. During that period all the Kirant chiefs used to pay monetary tribute and rendered military service to the Kirant kings of the Kathmandu valley. The system was similar to the feudal system in medieval Europe. After the revolts, the Kirant chiefs of eastern Nepal elected Bhauiputahang as their new king. King Bhauiputahang built his capital in Phedap and ruled eastern Nepal which comprised present-day Limbuwan. Here they currently honor Yuma and Theba.

    It was during the rule of Jitedasti, the 7th Kirat king; Lord Gautam Buddha had visited the valley with his several disciples. He visited holy places of Swayambhu, guheswari etc and preached his religious gospels. Kirats of the valley refused to follow his doctrine but welcomed Lord Buddha and his disciples. It is also said that King Jitedasti had helped the Pandavas in the battle of Mahabharata. It shows, of course, a historical anachronism because according to another legend, the battle Mahabharata had taken place during the resigm of King Yalambar.

    Here is a recognition that Yalamber is known by other names around India. But it does not make sense that these same Kirati kings would be in Mahabharata since it is supposed to be much older.

    The most objective part seems to hold that during the lifetime of Buddha, he entered but had little success in the Kathmandu valley, except perhaps for one disciple, Cunda, in Swayambhupurana, while at the same time, the eastern region broke away and was less influenced by the rise of Buddhism and was mainly independent until the 1770s.

    The Lepcha or Rong have no tradition of migration and are mostly Buddhist. There is still a male based shamanic system. According to Mun mythology, the ancestors of the Lepcha were created by Itbu Rum, who molded them from the pure snows of mount Kangchenjunga. The chief goddess of the Lepcha religion is Nozyongnyu. The mother-creator is a female earth deity. Buddhism was evidently not present until the 700s.

    The Khasi of Assam say Khasi mythology traces the tribe's original abode to 'Ki Hynñiewtrep ("The Seven Huts"). According to the Khasi mythology, "U Blei Trai Kynrad" (God, the Lord Master) had originally distributed the human race into 16 heavenly families (Khadhynriew Trep). However, seven out of these 16 families are stuck on earth while the other 9 are stuck in Heaven. According to the myth, a heavenly ladder resting on the sacred Lum Sohpetbneng Peak (located in the present-day Ri-Bhoi district)enabled people to go freely and frequently to heaven whenever they pleased until one day they were tricked into cutting a divine tree which was situated at Lum Diengiei Peak (also in present-day Ri-Bhoi district), a grave error which prevented them access to the heavens forever.

    A work on "The Gurkha" claims Manjushri means "venerable one of Manchuria". Dharmakara made his kingdom according to the Chinese model. He was succeded by Sudhanwa, who was defeated by Janaka coming to get Sita, then Kushdwhaj, the end of their dynasty. Others from places like Bengal, Kasyapa of Benares, Prachanda of Assam, and Madras, such as Dharma Datta of Conjevedram, who conquered it and established Pashupati, driving out Kirats. Some of this is from a statement that Newari is not a tribe or ethnicity, because it is a complete mix.

    The point with most of the older shamanical practices is that they are amalgamous or syncretic; or they would be open to incorporate Buddhism, and this is more or less the same that Buddhism does not claim to have originated many of its practices and does not forbid using something external to itself. In most cases, we have beings that were "converted" to Dharma. It is unlikely that an objective historical chronicle will ever make any more sense than it does in the current state.

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    Quote Posted by shaberon (here)
    Nagarjuna was custodian and King Amsuvarman was patron… Santapuri was Nagarjuna’s place of meditation. In each of the four cardinal directions of Swayambhu is a treasure trove. These treasure troves were hidden by Nagarjuna for the future restoration of the Stupa. …."
    What would these treasure troves consist of?

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    Quote Posted by Peter UK (here)

    What would these treasure troves consist of?
    That is a tough question. At face value, it suggests gold. Although now there are about 100,000 displaced people, and others living in damaged houses getting mired in bank loans. So we can be pretty sure it's not an instant fix for a demolished country. If it was money, it could have been used in many previous repairs.

    The statement comes from local folklore, so it could be mixed up with the story of leaving a jewelled Prajnaparamita.

    One aspect is that the Indian subcontinent has no source of Mercury. It has been imported from Yunnan since ancient times. Alchemist Nagarjuna who lived around the same time as Nepalese Nagarjuna was involved with the Mercury trade. And one of the main things it is used for is gold plating. So he probably had access to gold resources.

    Also, he was wealthy to begin with, received royal patronage, and/or numerous fees from disciples. Mastery of the Naga kingdom would enable one to find gold. Perhaps Alchemy can transform it from other material. And so there is no doubt that in some cases, we are talking about a considerable amount of money.

    This "possible" money is like a shadow mystery of something readily observable. When we look into the heritage of Yellow family, back in India, there is a form of Vishnu imprisoned for a dowry and still paying it. I believe this is called Venkateswara and has worldwide Durga temples. It gets payments every day by the hundreds of thousands and there is actually a legal action to find out when or if he will ever be finished.

    But Yellow has a different meaning completely.

    It has everything to do with Nagarjuna and the Noumenal Path.

    Nagarjuna was a processor of physical as well as mental Mercury. So what we have done is taken Yellow to mean Earth Element which is mentally governed by Mercury Budha planet, which translates into Hermes-Thoth or One Initiator, Sirius-Anubis. Since we do not have 36,000 works of Hermes any more, we have Nagarjuna. Mercury is Yellow, and Earth Element is Yellow.

    We have changed Earth Element from its "form" meaning which is "the most dense" that "you can touch". Instead, this Noumenal Yellow is the color of sunlight "transmitted through blood", i. e., seeing the real light, as opposed to red, sunlight "reflected off blood", seeing the outer mayavic object. And so Yellow Earth is Nirmana Chakra or solar plexus, where we try to generate Nirmanakaya, and it is reflected in social order.

    Golden Ground or Vajra Bhumi is not an "inherent" part of the human constitution, but is made in practice. And we have not used a chakra yet, the first stage, is mostly just Purification, White, related to Water, Moon, and Violet. Nirmana Chakra is the first one used.

    At first in mandalas, Sense of Touch is governed by Amoghasiddhi and Air Element which means "entire surface".

    But the mandala is changed by obtaining Purified Earth Element. Touch Object is dissolved in Space and replaced by Mental Object. And so Sense of Touch is no longer "at the surface" because it has reversed inwardly. Touching Purified Earth is both the Sparsha Bhumi gesture in general, and the witness of Final Enlightenment. From what I can tell of Guhyasamaja, it seems that exalting a changed relationship between Sense of Touch from the limbs and surfaces into a purified mental state is how it begins.

    Then what happens is you go to Fire Chakra which is the throat, and this is in conjunction with drawing physical heat into the solar plexus. So Earth is swept by Fire and Dakini appears.

    If this does not go right, you will only get problems, and this is why I try to make a point about Yoga as applied to Generation Stage.

    Sita is an eminent guide here, because, she is daughter of Earth, is immune to Agni or Fire, and merges back into Earth. And so we use Yoga to fan a furnace, so to speak, and there is interplay between Hot and Cool forces. One needs a type of safety valve in order to not fry the brain, and so if we look, we find Cool Grove Forest with a peaceful cemetery where many of the lineages were transmitted. Its deity Sitabani also shows a relationship change that as far as I can tell, appears to be heat ventilation. She moves from Fire to Air. At this point, whatever Amoghasiddhi was "sensing all over" has been replaced, and he Accomplishes handling Fire. So he must have a power that is very Sita-like.

    If we are immune to the fire on our Yellow Earth or Nirmana, then, in the same way that Touch is withdrawn out of form, the color Green will melt or peel into Blue, Yellow, and White. If we are not eaten alive by Dakini energy, we will reach the Unknown Yellow Earth Kingdom of Yakshas. And so when we get to this kind of Yellow we can really call it Gold. This Gold resource or Mahendra Fire enables the Completion of Wisdom, is Kamala or Higher Tantric Lakshmi.

    Upon Enlightenment, Buddha is said to have gained a golden tone.

    If Nagarjuna was interested in "restoring the stupa" by increasing awareness of Adi Buddha, the meaning of spiritual Gold should help. Nothing works without Nirmana Chakra.

    I can probably put something together that shows how original Nagarjuna does not contain his own explanation but is still relevant across the spectrum.

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    All Sadhanas

    We have a roundabout way of talking about the Absolute, not quite "what it is", but mostly in terms of "what one does". So although there are perhaps thousands of ways to do sadhanas or practices, it comes from a core, and so we want to learn a good bit about the core instead of just doing random things. In the world as a whole, this was not just given out, first, it took Nagarjuna to obtain Prajnaparamita.

    Emptiness is Prajnaparamita at Sutra and Tantra levels. She is Mother of All Buddhas.

    Prajnaparamita is not from the original Pali recordings of Buddha's words, but from a later Turning of the Wheel of Dharma, considered more difficult.

    With Emptiness, the major beginning of Mahayana is based around non-Aristotelian logic called Four Corners or Catuskoti:

    It is

    It isn't

    It Is and Isn't

    It neither Is nor Isn't

    Nagarjuna called these the Four Extremes to Be Avoided and defines Madhyamika as the center between them. Shentong says this center has no natures other than its own.

    Aeon shows Catuskoti compared to the development of western logic. It finds a "fifth element", which allows expression of the ineffable. And it reflects the intent of Noumenal Path.

    So there is a type of gate here which, to this point, is not much different than "Body-less" as done by Sita, Janaka, Yajnawalkya, or other devotees of Agni Vaisvanara. There are White deities such as Prajnaparamita, and Sita Vajra Tara who uses Emptiness Mantra, wherein something about mundane life is replaced by No Ego. This is "the Void", but, again more of the gate to it or them or the voids.

    There has to be this type of sunyata established to proceed. Prajna is wisdom of emptiness. Vajrasattva is Prajna-Upaya, so, if there is no prajna, he is still in a basic purifying mode and hasn't really started to tick. If we pick up the meditation, it generally begins with Prajnaparamita Heart Sutra and Vajrasattva. And so the sunyata rinses the mind and produces a change in being that is considered essential. This came out in written form at least as early as ca. year 75 and for most purposes was the most advanced teaching for centuries.

    The Final Turning of the Wheel of Dharma is Womb of Compassion, Garbhadhatu, or Tathagatagarbha. This states that Buddha Nature is inherently potential in all beings. And this is chiefly compiled into Ratna Gotra Vibhaga, or RGV, ca. 300-400, also called Uttaratantra.

    Ratnamati was said to be a major proponent of this doctrine ca. 500, and became a teacher to Nagarjuna.

    So now we are saying everyone can do spiritual accomplishment, regardless of caste, background, and so forth; a possible Buddha lives in all. If we are able to enter Emptiness from the sutras and philosophy, then we can interact with the Dhatu or Tathagatagarbha, increasing one's Buddha Nature.

    RGV's subject is Seven Vajra Words or Mysteries:


    And we can convey that through time from the beginning of Buddha Nature doctrine to Mipham Rinpoche from the 19th century Rime' or non-sectarian movement:

    "The prayer in seven lines is root of all these sadhanas.

    Within the Ground, these lines denote
    The seven kinds of consciousness;

    Upon the Path, they represent
    The seven branches of enlightenment;

    And when the Fruit is won, they are perfected
    As the seven sacred riches of the ultimate."

    Firstly he is saying this with respect to a simple Nyingma verse that has no Buddha names or mantric content, which to me makes it difficult to learn an additional verse to represent the meaning he describes. If I just use RGV as the seven lines, then the Grounds, Path, and Fruit follow easily.

    Note what the sevenfold pattern is the root of: all sadhanas.

    And so we notice he has said the Grounds are "seven kinds of consciousness", which would seem to contradict Asta Vijnana or Eight Consciousnesses, however in this case, our argument is that the eighth or Alaya consciousness is not really in man.

    Seven means five senses, plus the Mano-vijnana which is more or less the same collator or observer as Vijnana Skandha, plus Klista-manas which is Defiled Mind. This is from Lankavatara Sutra, and those two minds will be found the same as two of the Four Noble Truths.

    By "Path", he does not just mean the stages or degrees of the Path, but, just as the senses and minds are simultaneously present and continuous, the Seven Jewels are simultaneously present and continuous. Here, we might say the same for Seven Paramitas, even if Mipham does not explicitly state this, the meaning is intended to be adjunct.

    The Path or Seven Jewels are not Enlightenment, they are what makes it possible. Their deified form is from Seven Syllable Vajradaka:

    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 similar to Varuni's Armor Deities with a change we will examine below.

    As Fruit, the motivation is to make Complete Manifest Buddha. This means to perform Samadhi at par with the Tathagatas which means equal to All Buddhas. It manifests the Absolute:

    enlightened body
    enlightened speech
    enlightened mind
    enlightened qualities
    enlightened activity
    primordial wisdom

    This is the same as the RGV words, just in a slightly different order, which is the main way the practice runs. And so as outer devotees from a Yoga perspective, we are really just working on a little bit of body and speech while learning about the whole pattern. And so this is Five Buddhas and Vajrasattva and Vajradhara.

    Yoga is aimed at those to whom Dharmadhatu means something or who "get" Emptiness or Gnosis. Empty is a non-dual, no ego state, half of an Androgyne which is like a fuel used to manifest a Sevenfold Absolute. By Absolute here means Final Enlightenment, whereas the Path is those things that produce Enlightenment, Seven Jewels. The Grounds for continuity on this path are body and mind as-they-are.

    If there is a skandha, then there is a Kaya or Buddha body formed from it, and Six Syllable Sadaksari goddess gives the first iteration of these:

    Applied to the Six bodies, om is the dharmakaya, ma sambhogakaya, ni nirmanakaya, pad svabhavikakaya, me abhisambodhikaya, hum unchanging vajrakaya; to spontaneously obtain the six bodies [rely on] the six syllables.

    Padmavajra explained them all by calling the abhisambodhikaya, the Jnana Kaya, and the seventh is Dharmadhatu Kaya.

    This makes the normal "Three Kayas" plus:

    Svabhavikakaya, the Androgyne or Vajrasattva, Prajna-Upaya

    Jnana Kaya, or Vajrasattva as Gnosis

    Vajra Kaya, unchanging Hum of the Heart, Deathlessness

    Dharmadhatu Kaya, or, a Fruit from within the Dhatu that Manifests Perfect Wisdom.

    And so the Deathless aspect is a vehicle, so to speak, used to penetrate the Dharmadhatu and remove vajra ignorance in the subtle sphere. Gnosis is applied towards Amrita or Nectar of Immortality, and yet it does more.

    As the closest thing to skandhas for the "new" Kayas, they are the second part of the Four Noble Truths. The obscuration of Jnana is Sakkaya-ditthi or identity with the skandhas, meaning the path does not apply to me. The obscuration of Dharmadhatu is Atta Drsti or grasping at any self view, meaning the path is wrong. So the additional esoteric skandhas/kayas appear to be from the Four Noble Truths.

    Half of Vajrasattva is Prajna or Emptiness, and his other half or "skill" grows from Upaya or means, to Karuna or compassionate means, to Sukha or Blissful means. That is because he is not just Voidness, but has acquired Womb of Compassion, the Dhatu.

    As Gnosis or Jnana, he interfaces with the Mental Object or Dharmadhatu Ishvari goddess, and she becomes something like an increase of the central, original, or first Prajnaparamita into:

    Dharmadhatu Ishvari (Guhya Jnana Dakini)

    Akasha Dhatu Ishvari

    Vajra Dhatu Ishvari

    Kama Dhatu Ishvari

    Vajra Kaya is related to immortality; Vajradhatvishvari is the central life wind from the heart upwards.

    Kalachakra uses "Prajnaparamita fused with Vajradhatvishvari", whereas we have found "Prajnaparamita becomes Vajradhatvishvari by appropriating Marici and radiating light". And so if we are not doing Kalachakra, then we find that the true form of Marici is the universal light at the time a Complete Buddha Manifests.

    Kama Dhatvishvari is Lakshmi in Vajra Panjara or Canopy, the Mahakala rite preliminary to Hevajra, and is something like the Dharmadhatu in the Kama Loka or Desire Realm, heavens or astral plane.

    So when we think of these last two, it is something quite close to Marici and Ekajata, the Khadira Tara companions, i. e. Nagarjuna's Acacia Grove Tara.

    Again here as outsiders, we are mainly trying to "get to the Dharmadhatu" or to have Dharmadhatu Ishvari on a Six Family conceptual basis. We would then attempt to infuse her with Prajnaparamita and if we can get a living response, going into Atma Vidya or a Gnostic experience from the concept, then we would have Guhya Jnana Dakini on a personal basis.

    At that point those other Ishvaris come from Sixfold Yoga.

    As for the Naga Kings, terrestrially, they seem to be Kirats, and metaphorically, they "held" the Prajnaparamita until Nagarjuna retrieved it, and their main meaning is they represent cultivation of Paramitas, which again should be "simultaneous", so this is what Naga Hood would seem to be.

    HPB used a Pali mix to make Prajna the seventh paramita. But if we use Namasangiti, it will be seventh anyway:

    Om Ah Hum Hoh [Ham Ksha Ma La Va Ryam] Hum Phat

    Om Ratna Paramita Hum Hum Phat
    Om Dana Paramita Hum Hum Phat
    Om Shila Paramita Hum Hum Phat
    Om Kshanti Paramita Hum Hum Phat
    Om Virya Paramita Hum Hum Phat
    Om Dhyana Paramita Hum Hum Phat
    Om Prajna Paramita Hum Hum Phat

    Those are all at once, as the Jewels of the Path are all at once. But instead of going through the set of Jewel "factors", here are two of them in a deified form.

    On the Path, in Vajradaka's Jewels, there is a Wrathful Matrika called Candi.

    This is Adi Shakti; her name is used twenty-nine times, more common than Durga. Or, it is really that Devi Candi is peaceful, and her wrathful shakti, Candika, is the only one not of a male god. If black or red Candika may be called Chamunda, and there is red Charchika at Bhuvaneshwar town in Orissa.

    When she does appear in Markandeya Purana, in the section known as Chandi or The Devi Mahatmya, she proclaims her preeminence, in a somewhat contradictory manner similar to Catuskoti:

    “I resemble in form Brahman

    From me emanates the world

    Which has the Spirit of Prakriti and Purusha

    I am empty and not empty

    I am delight and non-delight

    I am knowledge and ignorance

    I am Brahman and not Brahman”

    This traces its lineage to Devi Sukta of Rg Veda, where her words, perhaps, remain the boldest, uncompromising proclamations of the realisation of Advaitic (non-dualistic) Truth by any seer in the entire realm of the Vedas.

    To compare the similar sets of Varuni Armor Deities to the Seven Jewels of the Path, we could generally say that Armor protects and the Jewel is the thing protected.

    In Armor, Phat is yellow-brown, smoky, or grey Chandika (Amoghasiddhi, limbs and anywhere not covered, Irsya or Jealousy)

    But for the similar Path Jewel:

    Smoky Vajraraudri and her Activity, Green Vajrashrnkala, are Samadhi.

    In Hevajra, there is a ring that could be called "Vajraraudris", because Vajraraudri is the first/established goddess. So while we are learning, the samadhi is like a goal or accomplishment in the position of Amoghasiddhi, last or sixth. Hevajra does not explain it and requires you to provide it. Here it is within a Dhumavati-type Vajraraudri and Green Vajra Chain, and that Chain goes right to Hevajra, that is how it is an Activity.

    Raudri is more generally called Parvati and Maheshvari, understood as the consort of Shiva; Amoghasiddhi is Shiva.

    Samadhi is the Sixth Yoga, and so if we were really on the Path, it would be spontaneously present as one of the seven jewels or factors of enlightenment, not meaning we are doing the Yoga all the time, but that the experience is a main factor in our being.

    So if we start forming the picture, there is an Amoghasiddhi Smoke Goddess who in one aspect of Armor, protects the "Air as Sense of Touch" surface of the body, particularly by engaging mental issues related to difference with others. If our preliminaries are good, we can train in Yoga and in a slightly different form, she is the Samadhi. It works with Varuni, Hevajra, and Vajradaka.

    Candika is Chamunda, who has a dark form and a red one. If smoky is dark, then, if we look at red as Armor:

    Mom is Mohini or Mohani (Lotus, throat/mouth, Raga or Attachment)

    But the similar Path Jewel is:

    Red Ghoracandi is Priti or Joy, Pramudita

    So that is Red Candi as she is known on the Path, and she has returned us to the value of basic Vajrasattva but intensified with fondness and affection. A Wiccan take on her describes her as pain.

    This again is another wrathful aspect, but, a slightly different name, Ghora or Terrifier Candi. And so she is something like a necessary condition for enlightenment is backfeeding pain into one's system and coming through with a boost to Vajrasattva--Joy, which is mainly operative through the throat center. On the body, she can protect us from saying harmful things largely related to mental issues with attachment, or, on the Path of simultaneously-present factors, she is a type of happiness.

    From the Aryan sources, she is already considered a wrathful projection of peaceful Devi, but in Buddhism, she appears to be reflected from peaceful Cunda from the Cunda Dharani in Karanavyuha Sutra or same as Avalokiteshvara.

    Bhattacharya maintains that Cunda is Candra in Manjushri Mulakalpa. Miriam Shaw doubts the word, at least, is the same, and says often the Tibetans do not translate it and write Tsun-da. As a human name, it is Sanskrit origin for Learn, Understand, Perceptor.

    But there is a view that holds that Cunda is the Garbhadhatu. This would make her the main subject of RGV, or Final Dharma.

    Nagarjuna taught that the Cunda Dharma includes all twenty-five groups into one single unified practice. The sutra states, "Chant this mantra once is equivalent to chanting all and every dharani once." [However it does not remark what sutra]

    kunda kali cundi svaha
    kunda canda cundi svaha
    kali kule kundi svaha
    candi kunti cundi ahm ah om chruhm brum svaha

    Give Praise to the Hundred Named One! Universally Enlightened!
    Who is called Excellent! The Terrible One! AUM!
    The Moving and Destroying Cundi! Hail!

    kunda kali cundi svaha
    kunda canda cundi svaha
    kali kule kundi svaha
    candi kunti cundi ahm ah om chruhm brum svaha

    She is the seven serpent hood, she is the ground and result of the 7 factors of enlightenment and guard of the non dual tantras specifically her Vidya is achieved through the realisation of the 7 mandalas of manjusri the manjusri nama sangiti. Cunda is the spiritual daughter of Vairocana and sister to Vajrasattva.

    This is under the same title with her as Candi--Durga and again referring to her as perhaps the original Dharani practice. Without knowing where it came from, it is mostly the same arrangement of the same information we have tied together otherwise.

    In Vajrakilaya, Cunda is with Mahabala at the base of the spine or Amoghasiddhi location. We also found that serpent goddess Janguli seems to develop into Sumbha which is the equivalent Nadir or lower or south pole. And since we are not doing Vajra Kilaya, that is how Vajra Tara works, with Sumbha. For Vajra Tara, Tibetan sources record that Nagarjuna was born in a Brahmana family and received the “siddhi” from the Tara during his stay at Kahora, a part of Kanchi. Nagarjuna proceeded over the Sitavana [Cool Grove cemetery] to Nalendra (Nalanda) where he became a monk and attained the zenith of his knowledge in the five sciences.

    Kahora is slightly down the Brahmaputra River from Guwahati in Assam. And again from what we have found in Yoga, if one is able to learn equivalent components that would be used in Samvara or Hevajra Completion Stages, you can really bind them into Vajra Tara. And so by using her we are going to Nagarjuna's direct experience as closely as possible. He got the rest of the system from Nalanda later. So this mainly refers to Amoghasiddhi Tara and Vajra Tara.

    As just the name Cunda, she is many peaceful white forms, or, becomes red to enter the retinue of Kurukulla. It seems fully intended to be used as Peaceful Cunda--Wrathful Candi, and Cunda still is usually Chandra or moonlight because she is Sukla colored.

    In Nagarjuna's Dharma Samgraha, Candika is Yogini Six. And she is Varuni Armor Deity Six. And then behind this, as Peaceful Cunda, she reflects Nagarjuna again and the emphasis on seven in the same way as has been proposed, she is the subject of RGV as Grounds, Path Jewels, and Namasangiti Wisdoms.

    Red Varuni and White Cunda are the primary deities that are not specifically the Red and White Dakinis, as much as they appear to explain the entire Yoga process and symbolism of the sevenfold scale, Samayoga Dakini Jala, the Net or Web of Families. It is with the same Voidness as initially described plus potency across this scale that makes Completion Stage possible, or samadhi as intended by Hevajra.

    Cunda's arms or items represent upaya, or the normally male "means". She has Jewel attributes such as picula fruit and a lemon.

    She is debatably not the mother of seven koti "thousands or millions" of Buddhas, but seven families of Buddhas that have millions of members.

    The Kāraṇḍavyūha Sūtra features the first appearance of the Cundī Dhāraṇī, which occurs at the end of the sūtra text. After the bodhisattva finally attains samādhi with the mantra “oṃ maṇi padme hūṃ“, he is then able to observe 77 koṭīs of fully enlightened buddhas replying in one voice with the Cundī Dhāraṇī:

    namaḥ saptānāṃ samyaksaṃbuddha koṭīnāṃ tadyathā
    oṃ cale cule cundī svāhā

    So she is White Female affecting the normally male moon or white seed of Bodhicitta, she has normally male upaya, and is generally thought of as a female Avalokiteshvara.

    And then how Namasangiti works is: she is just there in the Dharanis. So Cunda is very accessible, a transitional deity from outer items and philosophical ideas to inner meaning. She says Cale, which is to move or impel, so the invocation is more or less for the Womb of Compassion to become active, and perhaps how Seven Families use it. Generally it is against karmic seeds.

    Probably 108 mantras:

    The artist has many mantras, but mostly mixed with Chinese. And, mantras do not all lend themselves to sounding so new agey, for example semi-wrathful Parasol with a drum and chime:

    It may be Chinese or Tibetan with just a couple of accents that change the Sanskrit:

    Om Sarva Tathagata
    Ushnisha Sitatapatra
    Hum Phat [Pe] Hum
    Mama Hum Ni Svaha [Soha]
    Last edited by shaberon; 30th October 2019 at 08:24.

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    From the above, the Cundi Dharani sounds nice, but isn't quite it for a few reasons.

    According to Rigpa Wiki, all dharanis are mantras, but not all mantras are dharanis. Often dharanis consists of a homage or invocation of the deity, followed by a request to act. Therefore, a dharani is usually longer than a mantra. Dharanis usually contain imperatives such as bandha, bandha, bind, bind: these words express the request to act. Mantras on the other hand just consist of mantric syllables and possibly the name of the deity, without words of homage or a request to act.

    The fairly frequent word Tadyatha is really a kind of divider, meaning something like "this way". So in the middle of a prose explanation, it would mean you think or do it this way.

    It mostly appears in mantras that come from sutras rather than tantras. And in this case, it ends the prior subject, and means the mantra is done the following way.

    Tadhyata indicates the main mantra. What is written before teyata is the homage and what follows teyata is the main mantra or dharani. Traditionally in India, the homage was recited only once and the main mantra or dharani would be repeated many times. However, in Tibet this was neglected and the whole is considered as a mantra or dharani and recited repeatedly.

    So, Imee shouldn't really be repeating both lines, but she is a musician.

    If we just look at the sutra, then millions of Buddhas were observed saying Cunda Dharani. And so you wouldn't think they would be sitting there telling themselves, hail millions of Buddhas, over and over. All they were saying was:

    Om Cale Cule Cundi Svaha

    And as Cunda, her name should rhyme with Ananda, the soft sound in "under" for example, they sound like und. Although that is the sutra name, in the mantra, it is with an i, so this may change the pronunciation.

    This is Chinese chanting of just the mantra for over twenty minutes, using "soha", but it sounds more accurate with chah-lay chu-lay, those should not end in "ee" sound. So it is more like sadhana practice than Imee's song is.

    That is how you would do it if you were to Mutter her. Perhaps slower.

    And so if we look back at Parasol's dharani above, we see that one is only using half her mantra. Although there are thousands of these mantra clips, it is very difficult to find the most authentic Sanskrit versions. In some cases, smaller portions are an acceptable use of a mantra, so it is authentic, but not telling us the whole thing.

    Markus Tan is a channel of just spoken recitations of some of the dharanis and Pancha Raksa. Useful for learning how to say it, but not as good to listen to.

    This, for Usnisa Dharani, is more correct. Lyrics are in the source. And so, at first, there are a bunch of "Namos" that they haven't written down, i. e., a setting that is not really part of the spell. Afterwards, only the dharani as written is repeated. It is pretty easy to follow, and it is close to "reading voice", in other words just reciting Heart Sutra in English has a similar cadence.

    Actually it does repeat Tadyatha and the stuff before it.

    If we do not really understand it, at least we can recognize Amrita and Vajra Kaya and be pretty sure we have the main exoteric article of Deathlessness or Bardo Cleansing. It must be among the best examples of a dharani. There probably aren't many more besides the spoken ones. This works with Namasangiti, or on her own, or with Sarvadurgati.

    I have not experienced any mantra that was plainly spoken as if you were just reading it.

    Or reading that was plainly spoken.

    This is what we do to anyone who comes in the door. It is the "speaking voice" doing English Prajnaparamita Heart Sutra. It is supposed to be the same Nalanda version, but unfortunately it fades in and does not exactly match the linked text which makes it a bit difficult to follow. And so even if we weren't training in Vajrasattva or anything particularly esoteric, this is normally given before any simple, quiet meditation.

    Although the host did not write what they are saying properly, it is identical to Nalanda Heart Sutra that we use.

    My way is a bit slower but pretty much the same. Something like Sitatapatra makes sense recited faster, to me at least. So this sutra is equivalent to first Nagarjuna or Emptiness or Mahayana generally.

    Sanskrit Prajnaparamita Heart Sutra in song form:

    Last edited by shaberon; 31st October 2019 at 03:17.

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    Quote Posted by shaberon (here)

    I do not see HPB as a prophet, but as "the best we could do".

    Her Masters have nothing to do with the Ascended Masters of later fame. Occult Masters are normal people, who can make mistakes; it might just be a spelling error, but it could also be a plan that doesn't work out--what they will never do, is betray the underlying philosophy of the Lodge. They are, actually, only Masters, or "perfect", while they are performing occult siddhis.

    Some of what they can do is telepathy. They also have the power of maya (illusion). This is mostly used to make "safe houses" where they can hang out near cities; around the house, a distortion makes it undetectable, unless you are invited. They can also do mayavirupa, which is more or less an astral projection that others can see, but it can also interact with the physical world.
    This is an interesting area for exposition.

    There was a shift of emphasis from the original theosophy of HPB which may have been inevitable given the personages involved. Alice Bailey would have been one of those individuals, however the masters known to theosophy were also well documented at least by name in her writings.

    They consisted of; Kuthumi, Morya, St. Germaine, Serapis, Hilarion and others.

    Also some of them were referenced as to living near shigatse in the himalayas so that would have been consistent.

    Another thing of interest is that in the writings of AB there is reference as to how HPB painted a picture of the masters as having an infallible authority, which wasn't either true or particularly helpful, so that idea of not being normal people may have been started within orthodox theosophy itself.
    Last edited by Peter UK; 3rd November 2019 at 18:11.

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    Tara and Avalokiteshvara mantras

    There are some useful mantra recordings in the posts above, along with something about the Wrathful Amoghasiddhi Tara.

    We will review this a bit and look at Peaceful Amoghasiddhi Tara.

    We found that the first is Chandika, or Wrathful Chandi, and that Peaceful Candi appears to be called Cunda in Buddhism, which is perhaps confusing because she isn't Green or related to Amoghasiddhi. But this is something like "not by default in the ordinary human". If you pursue Vajrasattva to his Extremely Wrathful Amoghasiddhi form, Vajra Kilaya, then Cunda arises in the base of the spine, or Amoghasiddhi location.

    However her major form is in Manjuvajra's mandala, crowned by Manjugosha. The only one known to consort with her is Takkiraja, in, at least, Jewel location or south. She is usually considered Lotus Family because related to Avalokiteshvara, but she is more closely akin to Vairocana and Vajrasattva. But then she becomes an input to Kurukulla.

    Because Manjushri is a method of merging Vajrasattva to Vairocana, it may be that Vajrasattva's sister Cunda does something similar or merges into Akasha Dhatvishvari. I cannot quite figure out how Cunda is Candi, but the Peaceful Amoghasiddhi Tara is just Tara. Chronologically, Cunda is from an early presentation of Womb of Compassion, and Tara is the same thing more intensely elaborated, so it is really the same subject. But I cannot understand why Candi appears to resolve into two different peaceful deities.

    Nagarjuna at first is famous for Vajra Tara. This is sometimes confused for Taras "in Vajra Family", although it is correct to say that Ekajata and Mahacina Tara are part of the milieu used here. The main Vajra Tara is Yellow in Jewel Family but holds Vajra as her primary item. She is still current in Sakya being considered a non-dual Completion Stage at par with Kalachakra and so forth.

    But Vajra Tara also has a preliminary White Form, which relies on Emptiness or Prajnaparamita. The change here is that she is no more struggle with Emptiness or Prajna, but its actual arising, where one begins to identify with voidness or sunyata rather than the skandhas. So the Purity mantra is to "Purify to Emptiness", so it is first, and then Vajra Tara is Emptiness mantra itself, is the "desired mental condition" for entering the Dhatu or RGV.

    The next simple White form was at one time Nagarjuna's Mrtyuvacana, Deathlessness, but is now overwritten by Usnisa. Or, it is more correct that Usnisa is really a compound, of immortality, Bhrim, and Hum, and becomes the real esoteric syllable associated with thunder at the end of the mind. She ultimately is like the crowning live wire spark that will make the mandala components work with Sambhogakaya. So even if a person was good at visualization, without this spiritual force, it wouldn't work. On the other hand, if you find some of its inner meaning, Mrtyuvacana would still be beneficial.

    If we keep going into who or what Tara is, then we get at least three systems from Tibet, another in Ladakh, and there are more. However if we look at Nagarjuna's Taras, it brings us to a cluster found in Sadhanamala which in some cases are not even used any more, but actually is found to be what was used during the major practice of Indian Buddhism at Ratnagiri and the rest in the Pala era.

    So if Usnisa is one of the best surviving examples of a dharani, we have been able to find both a rare medieval Kagyu image of her as she would be in Namasangiti, plus a recording of it done in the Indian way, which doesn't really have anything to do with Long Life Trinity, because it is about Sarvadurgati Parishodana, one of the most important Yoga tantras, especially in terms of death and rebirth and purifying it. It simultaneously hauls in all the Hindu deities and appears to result in Peaceful Durga--Candi in a Four Arm Green form. I do not know of another one of those in the world besides Durgottarini Tara.

    This would of course say Peaceful Candi is not Cunda, but Green Durga.

    Usnisa's own Sutra appears to be large and there are only quotes from it, but the recording is its Dharani. The Usnisa Vijaya Dharani is associated with Mount Wutai, which in the Chinese Buddhist tradition is considered the bodhimaṇḍa of Mañjuśrī Bodhisattva. So this one is quite valuable. Buddha recommends Usnisa on the Full Moon.

    Prajnaparamita is a similar good example, and she combines something like the beginning of Mahayana meditation plus the culmination of the full cycle of manifesting multiple Paramitas and so forth. That version really is from the Ngondro or it is how I learned to begin Kagyu meditation, except I would do the Sutra once and maybe repeat the mantra a few times. And so as far as I know, this is the way it was translated and sent to the west from Kagyu back from the Vajradhatu times 1970s.

    Without the sound effects and fade-in, the Prajnaparamita recital is on Vajra Sound. Using an add on, I can download it as a 53 MB .wav or it is otherwise available. The only difference from Nalanda Heart Sutra is that the very beginning is "Thus have I heard at one time" and a few more words maybe Jetvana grove, before "Once the Blessed One". The top version of the recordings is the original, and there is a new one, but I would tend to stick to the first. It is pretty talented, I can't do it that good.

    Then if Nagarjuna is responsible for the English recording just mentioned, along with the Assamese or Mahacina kinds of Tara, he has something else.

    Nagarjuna is also famous for that Green Tara who is with Ekajata and Marici. This is the Peaceful Amoghasiddhi Tara, named for her grove. Most of the legends just say she is from "South India".

    The Khadira tree, or also Khair, is the Acacia Catechu, which is widely found in Uttar Pradesh, Jammu, Punjab, Himachal Pradesh, Madhya Pradesh, Bihar, Orissa and Andhra Pradesh. It is a semi-parasite related to Mistletoe and currently considered a pest. Most of us would not say that is in the south.

    Khadiravani is defined as one of seven forests on the west bank of the Yamuna River.

    This is in Middle Country from Allahabad to New Delhi:

    With these special satellite forests, it appears the Middle Country dissipates at Allahabad in terms of forests:

    It goes about as far south as...it doesn't go very far south.

    Nagarjuna started in Assam and made it to Bihar. If from Nalanda in Bihar one went west, you would get to Benares, then Allahabad, and then the Yamuna forests. So apparently he migrated somewhere in there, already had Tara siddhi and was mantricizing her, and then the Khadira form appeared.

    This one is considered "22nd Tara" or source of the Twenty-one Taras. And so the first Taras were things that he trained in, practiced, and succeeded, but then Khadira comes as a new level, the Tara response to Nagarjuna, from Amoghasiddhi or final accomplishment.

    So that is why we want to give it a very different meaning, a Sambhoga Kaya deity. I am going to start with Prajnaparamita, and then it is going to make me wonder what Tara is and why there would be different kinds of her. The answer is mainly Bodhisattva. On Mount Potalaka, in the inner or mental way at least, there is Bhrkuti who is preaching in the middle and so she is a Nirmana Kaya. The Forest Maidens guide us through the woods and if we find the mountain, then if the Nirmana Chakra is working in us, we will climb the slopes and Bhrkuti will appear. And then as long as the answer is Bodhisattva, then the process is Womb of Compassion and Bliss, and when this is accomplished in the Families, then there is an Amoghasiddhi Sambhoga Kaya Tara, such as Mahasri or Khadira higher up.

    On a Buddha this is Rupa Kaya or Absolute Manifestation, Nirmana and Sambhoga are the two form kayas, and so if the main aspect of Buddha's Enlightenment is because he manifested Absolute Sambhogakaya, this could only have been in conjunction with all the rest of the Absolute Kayas happening. So to us, the perception of a Sambhogakaya deity at all is a supreme accomplishment.

    So if we see how Amoghasiddhi Tara is really set up, then, in Namasangiti, the Dharanis are his daughters, and then the first Dharani is Mahasri Sutra which we have to replace the Sanskrit names, for instance Karmo is Gauri, she is just white, it is not White Tara of other sadhanas which would be Drolma Karmo. It seems it would likely begin with Namah Samanta Buddhanam like Vairocana Abhisambodhi.

    Mahalakshmi is Dharani, wife of Parashurama, who will be Maitreya's guru in Amoghasiddhi's cycle.

    I have tried to reverse her names: She Who is Endowed with Splendor [Sri Devi]/ She Who is Auspiciously Resplendent [Mangala]/ Possessor of a Garland of Lotuses [Padmamaladhara or Sragdhara]/ Lady-Lord of Riches [Vasudhara]/She Who is White [Gauri]/ She Who is Greatly Renowned [Surabhi or Kamadhenu]/ Lotus Eye [Kamala Locana or Maha Padma]/ She Who Makes Things Happen or is Efficacious [Cunda]/ She of Great Light [Bhaskari or Marici]/ She Who Gives Food [Annapurna or Dhanada Dhanyaki] / She Who Wholeheartedly Gives Precious Gems [Cintamani or Rinpoche Rabjinma]/ She Who is Greatly Resplendent [Mahasri].

    Marici is in the south of Mahasri's Five Deities; Bhaskari is usually Jewel Family in the south.

    "Makes things happen" is Jey Pamo. The Tibetan title Jetsun is Jey Tsun. In this, Jey means noble, Tsun has one meaning of those who combine the three characteristics of being learned, noble, and good, which is more or less the Sanskrit meaning of Cunda, or, in Tibetan, Tsun-da. Her "root word" meaning, if any, is to impel or move, Cala, possibly short for Calati or vibration, and the opposite of Acala or immobile. So Jey Pamo just means Noble Warrior, and why it is translated as a cause or effectiveness I am not sure, but from what little can be said of Cunda's name, it pertains to both Jetsun, and to "move into action" because of her mantra.

    Surabhi means famous, but is also the chief of the Gomata or wealth-giving cows, which form would be closest to Gopali Vasudhara; the actual Tibetan name Dragpa or Drakpa is found for instance with Tsonkhapa Lozang Drakpa.

    We mainly have this sutra because of Chinese preservation from Tibet. One could just use the Tibetan names, but they are supposed to be Lakshmis.

    But then the sutra is similar in size to Prajnaparamita Heart Sutra and would be used similarly, it says to read it out loud all the time. It is not the same as anything that appears to be recorded musically. It takes place in Sukhavati where Buddha gazes at Mahalakshmi and tells Avalokitesvara about her.

    So, Mahasri, the first Dharani that Namasangiti gives, is the exoteric presentation of a deity that is ultimately intended as something quite different, similar to Kolhapur Mahalakshmi. And getting to know her will spawn Ekajata, who is not in the Dharanis, here or almost any kind. The rest of her companions are, Janguli, Mayuri, and Marici. Janguli is a Namasangiti Dharani; Mayuri is not, but, since she is included in this retinue, she is still involved.

    Marici Dharani Sutra is similarly medium in size, and also only recorded in the spoken instructions. And so with Marici Sutra there is an Essence Mantra which is larger than and includes the Heart Mantra Om Maritsye Svaha. And then to use the sutra you would cut out certain parts, like you would not read the mantra and then its translation, or something like "thus ends the sutra". But otherwise it would work like Mahasri and Prajnaparamita. And the components are intended to be adjustable, one can repeat the sutra, the dharani, or take the Heart Mantra and go do sadhana or Mutter her, and although she usually just looks like a tiny Tara sidekick, this is still the sun as a whole, and particularly its virginal or akashic energy or formlessness. Her time is dawn or daytime, or the ninth day of the ninth lunar month. In Tibetan she is Ozer Chenma, which is Od Chenma in the twelve Lakshmi names.

    She is possibly relevant to Mayajala mahatantra. And in the sutra she would be associated with "four pig chariot" and she is summoning corpses and pig face. Sarasvati becomes the corpse, and Dakini becomes animal-headed Tramen. So even on a common exoteric Mahayana level, she is already a bit extreme.

    In Longchen Nyintik secret level Guru, or guru as Yidam, practice, Marici is in the south. While the south is usually associated as enriching, here She "enriches" with the brilliance taken from subdued obstructors. She is mainly "against" robbers/bandits.

    Marici is one of five deities in the Five deity mandala of Khadiravani Tara, or Tara of the Acacia Forest, which is one of five "Heart Practices" of First Karmapa Dusum Khyenpa. But we know from Sadhanamala that the Five Deity group is really Mahasri, and so in this instance, Tibetans think they are the same, which seems to be the case except Khadira is simpler.

    Khadira is an Accomplishment-level practice of Nagarjuna, resulting from knowing other Taras. And so we might know of her, but really she pertains to Samadhi, both as Warthful Candi and Peaceful Mahasri, which are large processes.

    In the Nepali Dharanis, Usnisa is Wednesday, Marici is Thursday, and Prajnaparamita can be used on Friday. Vasudhara is Sunday, and she can be anything from a samaya being to Mahasri Dharani. So with just these four deities, it already seizes half of the week in Nepal, or one third of Prajnaparamita as explained by Manjushri Namasangiti.

    Or Prajnaparamita plus Vajrasattva Hundred Syllable is half the preliminary to almost any kind of Guru Yoga.

    According to Taranatha, Cunda is the Yidam of Gopala or first king of the Pala dynasty, and that it was his mission to propagate her. He portrays the Palas as highly involved with Vajrayana. The Ramacharitam attests that Varendra (North Bengal) was the fatherland (Janakabhu) of the Palas, ca. 750. And so for the mysterious Mahattari to be called Varendra Vanna Icchi implies her knowledge and practice being equal to that background. In Sadhanamala, Cunda uses the short mantra as known, or includes it in what seems to be a fairly standard sadhana, but it does not have a more complex dharani. Her invocative form is spelled "Cunde". She distinctly lacks a Parasol in her forms; as a Dharani, she has a rosary suspending a water pitcher (initiation).

    Why we would listen to the same words for twenty minutes is not musical entertainment, it is not intended to have the variety, it is the sound equivalent of "that consciousness which can rest on the tip of a needle indefinitely", or on the bindu of Sri Yantra. It is to find meditative equipoise within the mantra, and to curb the mental urge for another word or different tune.

    Nagarjuna does not explain Khadira, which is why we have Mahasri, Dhanada, Vasudhara, and so forth, and since Tara's Sutra has no names, we can re-read Twenty-one Taras and make it become very consistent with the Sadhanamala material. Instead of Atisha saying something completely brand new and different in another language, it reinforces itself.

    The amount of Taras may be limitless, but I lack an animistic assembly of guardian spirits for her to interact with. If most modern people are not shamans, that is why we are looking more for "inner meaning" Tara who is non-local in aspect.

    There is a Kirat branch called Chakma who say they originated in Bihar and were part of Buddha's Sakya clan. They mostly inhabit Bangladesh and Assam. They have never really been a part of India, always independent, until fighting the East India Company four times and still coming out mostly autonomous.

    Chakma is written in an alphabet which allowing for its cursive form, is almost identical with the Khmer and the Lanna (Chiangmai) characters, which was formerly in use in Cambodia, Laos, Thailand and southern parts of Burma. They mostly follow Theravada or the Buddhism of Sri Lanka.

    Genesis of Indigenous Chamka Buddhists shows them referencing at least twenty-nine Taras of mostly their own language such as:

    Phura Tara, which is like Bura or Bhura Tara of Burma, which is Buddha with Tara, the origin of the name Burma, and part of the Burmese claim to also be descended from Sakyas.

    Agar Tara
    Malem Tara
    Buddha Ful Tara (many use this name "Ful")
    Raja Hara Tara
    Sakya Tara
    Fakiri Tara
    Angara Tara
    Arya Tara, considered likely related if not directly linked to the same of Vikramashila university.

    And so here the "Tara class of Bodhisattvas" is extremely important.

    It is also syncretic to Hinduism, of which Mahalakshmi is the most significant.

    There is such a thing as Tantric Theravada although the written form is fairly modern and there is not much explanation of the lineages.

    We can not say there are not these Taras or they don't work. And we can say there are persons who may do a Theravada liturgy but they actually have a Mahayana intent. It may work fine even if it is not directly part of the explanation of Namasangiti or Nalanda.

    The Amoghasiddhi Tara is really not like a preliminary Green Tara who is likely more related to Amitabha, like Peaceful Green Day--Wrathful White Night Tara, who appears to relate to Mahamayavijayavahini, who is part of Mahakarunika, or Womb of Compassion. So if we do not start with a personal connection to Lotus Family, it will eventually define itself to us in terms of Speech, Mantra, and Sambhogakaya. And so we have to increase Bliss but it has to be Vimala or stainless, in other words can confront the cemeteries and survive in a Chamunda or Dhumavati-like condition. Tara chiefly emerges and grows in Lotus Family as Womb of Compassion, which greatly magnifies whatever Amoghasiddhi is yet to do.

    Overall the Namasangiti Dharanis do not reflect Lotus hardly at all, and really it is more of a Vairocana practice, and so for example Usnisa has all of her Lotus attributes removed, but she is still white, with moonstones. These Dharanis are more Vairocana or removal of ignorance or introduce us to what they are. Lotus has its own particular group of practices. These Dharanis have imported Vajra Family deities, however, they arguably have nothing from Lotus, if Usnisa can already be a Vairocana emanation as well. And so the Tara is really a different system of Lotus and Avalokiteshvara. So these are like two limbs of Prajna and Upaya, Manjushri and Tara.

    Namasangiti lacks Vajravidarani, Ganapati Hrdaya, and Grahamatrika as used in Nepal. Those are not basics, they are extensions of Vasudhara, Ganesh, and white deities generally. So it is perhaps better to start with Usnisa, Marici, Prajnaparamita, and Vasudhara or Mahasri, which are in Namasangiti. The Nepali tradition is a relatively recent exoteric format, whereas Namasangiti works with all the Paramitas and so forth by definition.

    Usnisa is a class of mind-born deities starting with Vijaya purifying the halls of the dead, working up to Parasol who is doing something like the Queen's March which is why her mantra has a different tone.

    Cunda is much more sensitive. So they are intended to take on their characters.

    Here are others not from Namasangiti but used in Lotus Family.

    This is 108 Tara mantras, a mala or rosary, Om Tare Tuttare Ture Svaha, from Vietnam with music:

    I cannot read Vietnamese, but the first...English...in the source is Vajra Tara Bodhisattva. This language has a lot of "h" in Svaha, kind of like sho-ha.

    H. H. Gyalwang Drukpa chants it for an extended period:

    I wasn't sure if it would work, but, it works. Mahakarunika Dharani with dance music. She does it twice, two times, with some fluff in between. This one has the weird non-words, and continues the use of Chale from Cunda:

    She's pretty serious.

    Great Compassion Mantra
    (Maha Karuna Dharani):

    Namo Ratna Trayaya,
    Namo Arya Jnana
    Sagara, Vairochana,
    Byuhara Jara Tathagataya,
    Arahate, Samyaksam Buddhaya,
    Namo Sarwa Tathagate Bhyay,
    Arhata Bhyah,
    Samyaksam Buddhe Bhyah,
    Namo Arya Avalokite
    Shoraya Bodhisattvaya,
    Maha Sattvaya,
    Maha Karunikaya,
    Tadyata, Om Dara Dara,
    Diri Diri, Duru Duru
    Itte We, Itte Chale Chale,
    Purachale Purachale,
    Kusume Kusuma Wa Re,
    Ili Milli, Chiti Jvalam, Apanaye Shoha

    The sound quality is better on the first part, so it is better to obtain the material and cut out the excess. And, well, that is their spelling, Shoha.

    This is really the dharani for Eleven Face Avalokiteshvara. It probably does sound better with the "setting" repeated, whereas in something large like Usnisa, you would not miss the part before "Tadhyata". She didn't change it, most of the traditional versions are like this but less energetic. You couldn't Mutter this, but, for an exoteric version of something related to meditation, she really nails it.
    Last edited by shaberon; 19th November 2019 at 09:01.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Quote Posted by Peter UK (here)
    Another thing of interest is that in the writings of AB there is reference as to how HPB painted a picture of the masters has having an infallible authority, which wasn't either true or particularly helpful, so that idea of not being normal people may have been started within orthodox theosophy itself.
    HPB really said that Master was infallible only when in his "Master" condition, or i. e. let's say as if speaking while in trance like an oracle.

    The rest of the time, they were just highly trained intelligent persons, who might still might make a spelling error, but would not have betrayed the philosophy.

    HPB said that herself was not infallible.

    Alice Bailey was temporarily interested in the "Back to Blavatsky" movement, but did not know much about it, nevertheless harped on her as an authority, quoting many passages which are found not to be there or do not support her point.

    So if there is an attempt to discern"what is authoritative" and brush away the debris, we can say, this is part of the life cycle of Tibet. Every hundred years or so, there is a wave of "street sorcery", and Buddhist deities being sold as luck charms, and the spreading of false beliefs, and the Lamaistic community does what it can to clean it up. And so during HPB's lifetime, one of these internal cleansings was taking place. And it is not much different now, the traditional Kagyu body was not particularly impressed by the type of "crazy wisdom" that has become known in the west since the first mission seems to have gotten a bit watered down.

    If we do not have new teachings from HPB's Theosophical lodge whether Eastern or European, we are left with the ability to find any errors on our own. And so the goal of her teaching was Raja Yoga, which has a dual meaning, Hindu or Buddhist. HPB was much more well versed in Hinduism, but, if we look at the ancient Nalanda, a Buddhist education included this.

    Unfortunately, she died at a fairly early age, and all she was able to give to her students was "Om" and some details which appear to be from the advanced Completion Stages of Highest Tantra. That's like having a can of gas and a destination and no car.

    So with closer review, we find more specifically Buddhist references from Koothoomi. Back then, there was no way of writing Tibetan into English, so he was pretty mysterious. But now we can tell he referred to Lankavatara Sutra, to the Chiliocosm, and to the seven kayas of Padmavajra. As an Adept, he had full Mayavi Rupa or Rainbow Body of the Nyingma, as well as full Guhyasamaja or the ability to withdraw into suspended animation for three months. So he was well into what we learn as Completion Stage. But he was normal enough to be recognized physically by entire villages in multiple countries from Ladakh to southeast Asia. They of course would consider an Adept to be normal, not a shocking, bizarre new phenomenon. It was Majji, the Yogini of Benares, who said they were 300 years old.

    The "Theosophical shift of emphasis" is largely attributed to Jesuitical replies from Orthodox Hinduism. Ledbeater and Besant lost half of the original teaching and all of the personnel, and switched to what they considered new authorities.

    There may be small, private western branches, if we take someone like Serapis as having reached a point of development in Raja Yoga, but we cannot say much about what he was doing, let alone give the system of it. And Asia remained "headquarters" to these Europeans. They didn't start a "new thing". They say the Terror of the French Revolution made them go completely underground.

    If, like Subba Row, I came from a Raja Yoga background, I probably would not change anything. As an outsider, I take it as a largely useful premise, into which Buddhism is a more complete and effective system. It is easy to get into at a Sutra level and continues to expand globally.

    The recurring theme seems to be how to bring the West to Raja Yoga. "Any change for convenience results in disaster". But I think most of the populace is like Dion Fortune, who found it "foreign, perhaps hostile". The intent is unchanged, traditional methods, not an astral display of masters like Bailey's "Occult Hierarchy", or whatever innovation may come to someone's mind. It is really a time of "they can come to us", instead of a mass proselytization.

    Yes, I would have to say the "Theosophical Society" name was stolen and replaced with a shill, almost immediately, and that the original form is only carried forward by the United Lodge of Theosophy. The dance version of Avalokiteshvara Dharani posted above is much closer to the "original" than Bailey or Guy Ballard or others who said they "advanced the Masters' cause". A tantric Ganachakra is supposed to include dancing, so, this is just a different application of mantra, since mantra is supposed to be used in meditation, but also applies to other activities. So for example if Gopali is the first Vasudhara, as her samaya being, she is universal like Avalokiteshvara, but then if you were into gardening or farming, you would be prone to go further into her agricultural mantras than the ordinary person. However, in the Raja Yoga sense, we are interested in the inner meaning of mind expansion for anyone, and she changes into a Hook. That is why we have to call her semi-esoteric and stop and say the teaching goes this way. Her first appearance is Yellow Earth and we see this has to do with creating Nirmana Chakra, which includes mantra practice.

    She is an important aspect of Vasumati Mahalakshmi, the first Namasangiti Dharani, and in the Sutra and because Buddhism uses its own "syntax" of Sankrit generally, this is Mahasri. And the Avalokiteshvara Dharani as recorded owes to the Nun Lakshmi. Vasudhara is a Lakshmi but she is also a Tara, so, the goddess will take in whatever we have of Raja Yoga generally, and the Buddhist Prajnaparamita, and merge it with Tara, or Compassion and Wisdom of Accomplishment, the inspiration and success of Avalokiteshvara.

    The Masters mainly attempted to portray Avalokiteshvara as Bodhisattva Mahasattva. He is imminent to us because it is the Lotus Cycle of Amitabha. And so if we recite Prajnaparamita and Mahasri, he is a subject, and has other spells besides Om Manipadme Hum, such as Mahakarunika Dharani.

    It meant enough to them that they presented a different translation, "Lordliness which is seen" (Prabhasvara or Clear Light) instead of "Lord looking down from above". They have replaced that dualistic religious concept with the object of Yoga by changing the verb and object flow. And so even if it is also correct that his older Pali name was Avalokitasvara, meaning sound, then the interpretation would still be Lordliness which is heard, i. e. primal Om.

    In Voice of the Silence, HPB indicates the breakdown of primal sound and the shedding of layers of the mind into the No Ego or Nairatma condition as if you just do it. So again it is as if the car is missing, but this also is a legitimate representation of the original sources.

    By two types of Completion Stages, I mean Marici and Ekajata, one having to do with radiation of light, the other darkness and silence. The first is more related to a large series of Samvara-Varahi tantras such as Jnana Dakini, Mahamaya, and Buddha Kapala, and the other is mostly in Panjara and Nairatma-Hevajra.

    So if Khadira's companions are Marici and Ekajata, this is not just visually, but Om Tare Tuttare Ture Svaha is with Om Maritsye Svaha and Om Ekajatayai Svaha, and so it is working with the mental and verbal components of everything from Heart Mantras to songs.

    It is in that way we would eventually make the "car" of Dakini's Net, or Sarvabuddha Samayoga, which is, so to speak, the Sanskrit Yoga presentation which, like RGV, is the "source of all sadhanas", of All Families. If I had to turn on one Theosophical statement to explain it, "we would say seven skandhas", it only works one way.
    Last edited by shaberon; 3rd November 2019 at 19:50.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Cunda and Guhyasamaja Manjuvajra, Lakshmi and Prajnaparamita Dharanis

    There is enough material compiled into a main Dharanis post, with a few ways of looking at them in terms of Paramitas and so forth, but it is probably too large to add the recordings into it, so for the time being, there are a few further down the page.

    Cunda can not really be Tibetan, for some reason this deity is hardly known in Tibet.

    She is widely known across all the Mahayana countries.

    In some cases, her relics are mistaken for Prajnaparamita. It is correct to say her primary hands are doing a mudra, palms together, index fingers pressed into the middle knuckle, thumbs against forefingers. Or, she may have a lotus and text. She is not Four Arm Sita since her normal attribute is an Amitabha-type begging bowl. This is the Bhutanese detail of her from the large Ekajata:

    The main reason she is there is because this set is specifically about Sadhanamala, and for some reason they put a single Cunda and Janguli with multiple Ekajatas and Maricis. We have found that Janguli helps with the Serpent Hood of Sarvadurgati as well as Krishna Yamari Tantra, and, there is a possibly Hindu or Shakti-based view that places Cunda with the Serpent Hood and corresponding symbolism, in a way that is like both Vairocana and Lotus Families.

    She is an input to Kurukulla, who is born from Tara and Lakshmi.

    She is also an accessory to Manjuvajra. And so the "first" Manjuvajra means Yoga Manjushri in Vajrasattva's role, this is how it is set up in the first Namasangiti post. In Namasangiti, he is teaching Vajradhatu practice in such a way that Manjushri becomes Mahavairocana in the Mahavajradhatu mandala. So this is a fairly specific Yoga, related to Jnanapada's lineage, and closely related to Vairocana Abhisambodhi, Sarvadurgati Parishodana, and Dakini Jala Sarvabuddha Samayoga.

    The "second" Manjuvajra is from Guhyasamaja and so it is a tantric procedure of using the full Varuni Generation Stage to do the Six Yogas. And this is where Cunda has her Maha form.

    And so if Yoga is what makes Higher Tantra possible, then what makes second Manjuvajra related, is his lineage:

    The Guhyasamaja Lineage of Jnanapada: Vajradhara, Arya Manjushri, Acharya Buddha Jnana, Marmedze Zangpo, Shri Deva, Vimalagupta, Ratnavajra, Ratnakirti, Lama Pendapa, Lama Nyen Lotsawa, Lama Nang Kaupa, The Lord of Dharma Sakyapa (Sachen Kunga Nyingpo 1092-1158).

    Then the next thing to remark is we understand who Nyen or Nyan is, since we have found his special Lion Face called Ziro Bhusana to be more or less the ultimate container deity if we were able to use Yoga to raise the Dharmadhatu and gain any of the type of reversal done in Guhyasamaja. So this is the main thing we are actually doing, because it is in terms of Awakening Mind for the lay person, and is a smooth continuum of Namasangiti Manjuvajra in a Yoga version to Guhyasamaja Manjuvajra in a Highest Tantra version using tantric Cunda. In the higher form, Manjushri is:

    Om A Mam Hum

    He radiates sunlight and his shakti radiates moonlight.

    If we look at how Cunda is sort of stashed and slightly forgotten, it will show something ethereal about how the Families change or interact.

    From the starting point, it has been difficult to say whether Vairocana "Dawn" or Amitabha "Life" is the "origin of all", they are mixed. The oldest Amitabha in Nepal is placed in the east. Avalokiteshvara's Dharani calls him the King of Vairocana's Display. Some deities such as Usnisa Vijaya seem to cross the families. In terms of color, it is said that White Pandara takes on a reddish hue by coming close to Amitabha or Desire. So there is something pretty intricate between Red and White and those are the colors of the two main tantric seeds, or Sun and Moon.

    So on a Sutra level Cunda is widely known in a white form, and she is quite close to Activity of Durga, if by this we mean Peaceful Durga whose Activity is accessing Sambhogakaya. And this is because Durga is Candi, who is Cunda, whose main action is Cale, to move or begin, and as a Namasangiti Dharani, she would have a rosary with a water pitcher for initiation. So this is a slightly different intent for the same Dharani than as Lotus Mother, which turns out to be closer to Tara.

    Cunda's origin is Avalokiteshvara watching Tathagatas praising her. So she is often considered Mother of Lotus deities at first. And there is at least a record of her like this, in a simple Two Arm form that works with Tara mantra. In Tibetan Deities, there is Amoghasiddhi Venerable Kapali Tara or Jetsunma Kapali Tara, a basic solo Blue-Green Tara, followed by Cunda 152, who likewise accepts "meditation transmission". She is called Arya Cunda Tara, or Pama Tsunda Tara:

    A Khadira tree grows from a Lotus and Moon, on which is Tam. This becomes shining Red Tara with red rays flowing from every pore. She has loose hair with strands of red pearls braided in. Holding above her knee a picula fruit yellow inside, blue on the surface, the left hand at the heart with the stem of a red utpala lotus on which rests a book. She is not Tara-posed but has Vajra Feet, is adorned with silks and jewels, especially pearls. At her heart is a lotus and moon on which is Tam and the mantra; recite the Ten Syllable mantra.

    A difference with her from the previous Green Tara is that the fruit has been opened. There is no Amitabha or overt Lotus motif other than red, but this takes place at one of the only specific mentions of a Khadira tree. And so it provides a relationship between Red and Green; and this has also happened for Red and White; and then the White and Green are essentially opposites, since White is Formless and Green is the most materially compounded. So there is a type of spectrum of Red or Desire and what it is doing from form to formless.

    Sadhanamala only uses Cunda's Heart Mantra in Four Armed form like this Chinese:

    She is able to summon Aparajita and Hariti. And so this is not simply just Lotus, and the main way we find her actually involved with that family is by entering Kurukulla's mandala.

    There is an 11th century Prajnaparamita manuscript giving her Sixteen Arms, and there is an Eighteen Armed Indian Nalanda:

    None of the Guhyasamaja mandalas show her, but her Twenty-six Arm form is in the Mongolian Rinjung Lhantab:

    Sakya Raksita explains her solo practice from the speech of Pandita Purna Vajra. On a lotus and moon disc is a white Cum syllable from which White Twenty-six Arm Cunda arises, crowned by Five Buddhas, surrounded by red light. Her faces are white, blue, and yellow. She is semi-wrathful with hair in a top knot. Millions of Buddhas reside in her pores. On a moon disc in her heart is her syllable, with her mantra on the eight petals of a white lotus. She has Om Ah Hum in her three places. And she uses the seed syllable, Heart Mantra, and then the mantra with the previous line the way Imee sings it. Even when recited wrongly by an old woman with faith, it nevertheless enabled her to make food by cooking stones.

    It starts "Namah samanta Buddhanam" instead of "Namah saptanam", but otherwise has no more complex dharani, from Taranatha 163. If anything, this change makes it resemble Vairocana Abhisambodhi mantras.

    And this form is how she works with Manjushri in Guhyasamaja. This is the most arms on a deity, besides the universal or hundred style.

    If we look at how it works, it shows a relationship change to the families.

    Firstly, Guhyasamaja Manjuvajra is like Namasangiti. Manjuvajra replaces Vairocana.

    It comes from Shri Vajra Hridaya Lamkara Tantra-nama or a further explanation of Guhyasamaja.

    His retinue is mostly a standard set of Buddhas and Prajnas, Bodhisattvas, and Wrathfuls. However, his second ring contains standard Vajri Boddhisattvas in the cardinal directions, but then a peculiar selection in the corners. Guhyasamaja Akshobyavajra utterly lacks these; its lineage is more through Aryadeva and Chandrakirti. Manjuvajra's bonus is:

    Cunda NE
    Ratnolka SE
    Bhrkuti SW
    Vajrashrnkala NW

    So he places Locana and Cunda in the northeast, so they would normally be associated with the eastern deity, Akshobya. Mamaki has gone southeast and would presumably relate to the southern deity, Ratnasambhava, like Ratnolka.

    There is no Vairocana or Buddha Family in this. Manjuvajra is Vajrasattva, and so it begins with:

    Vajrasattva Family: Manjuvajra [and his unwritten consort, Sparshavajra as Vajradhatvishvari]

    He then emanates his own family, from the position of, or in the role of, Vairocana.

    Manjuvajra Family: Four Dhyani Buddhas, Locana, Cunda

    Then Akshobya emanates Mamaki. Ratnasambhava emanates no Prajna. Amitabha and Amoghasiddhi emanate their own, Pandara and Tara.

    Manjuvajra Vairocana has "sent" Locana and Cunda to Akshobya, who has "sent" Mamaki to Ratnasambhava. His Bodhisattva is Ratnolka. Pandara's Bodhisattva is Bhrkuti, Tara's is Vajrashrnkala. And so Manjuvajra is showing that Cunda is also related to Locana, who is able to move between Vairocana and Akshobya.

    What "sent" them is something about Purified Sense of Touch or Earth Element entering the usual sphere of Dharmadhatu at the center. Dharmadhatu--Locana then moves to Akshobya, who takes over sense of touch, i. e. shows Sparsha Bhumi, or Mirror Wisdom begins to appear on Earth.

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

    It cannot hotlink, but there is the single Manjuvajra mandala on this page which will allow to zoom with a slider to high detail and you can plainly make out her massive arms.

    At this point, it would be hard to have less to do with Lotus Family. The first two Guhyasamaja forms, Akshobhya and Manjuvajra, come down primarily through the three lineages of Acharya Abhayakaragupta, Nyen Lotsawa and Marpa Lotsawa. Guhyasamaja Lokeshvara was popularized by Atisha and is much harder to trace, although it comes from the root text.

    So Manjushri is a slightly more advanced presentation of the same Guhyasamaja system than the other two, and without even having the text, we see he is using some additional explanatory goddesses. And here, Vajrashrnkala or Samadhi is in the Final Accomplishment spot with Tara. And if this is any kind of clue, then we find a type of Four Activities which starts with Cunda which makes sense because she is Cale, moves to Ratnolka or Banner Dharani which is an attribute Cunda possesses, and passes to Bhrkuti or Nirmanakaya or a Yellow Lotus goddess. So there is a Samadhi produced by this, which would also serve as a Chain to Hevajra, which can only start with Locana in this Purified Earth state.

    If Cunda was to start something like that, then she is in league with Locana, and this would return us to Vairocana Abhisambodhi. At the beginning, one recites Prajnaparamita eight times and starts as Action Vajrasattva Va, and then draws the Mandala which Arises from Great Compassion. For that, the specifications of the inner mandala are as follows: In the centre there is the Bhagavat Maha-Vairocana...(Am syllable in east)...In the north-east, he should draw the Mother of all the Buddhas, the Blessed Lady Gagana-locana, or else her syllable GA. So at her unmodified Prajna level, she may have an epithet such as Buddha or Gagana Locana.

    Locana returns forty verses later on a Gold Square mandala and is flaming Yellow and the Mother of Bodhisattvas.

    This is salient because Bodhisattvas are how Tathagatas communicate with us.

    So Locana is the first goddess, Prajnaparamita, Buddha Mother. In the Panchakara of Advayavajra [Maitri] Samgraha, Lochana is said to be originated from the seed syllable Lom, white in complexion. Her images are very rare. A magnificent image of Lochana can be found in the Swayambhu Stupa. The special characteristic of this deity is that those devotees engrossed in delusion acquire all pervasive wisdom through the Sadhana of Buddha Vairochana and Lochana. It is said that the essence of delusion is also Dharmakaya which is free from thought constructs. So through the practice, delusion is transmuted into wisdom of all pervasive awareness. (Sanskrit: Suvisuddha Dharmadhatu Janana).

    Then she repeats the process as Bodhisattva Mother in Yellow Earth mode. Vajrapani is able to consort with her. In Hevajra Tantra and its commentary it is said that Lochana, Mamaki, Pandara and Tara represent the four elements i.e. earth, water, fire and air. Lochana has many forms, some peaceful and some wrathful.

    This tells us something like Prajnaparamita Locana branches out as a Yellow Celestial Bodhisattva who could be said to be within that Bhrkuti who has accepted our Nirmana Chakra. If we look at Yellow in mandalas, then usually it associates to Water, and this may be so by default, at first, in form, but then on the Noumenal Path, we begin to harness Yellow a little differently as Earth until it is Nirmana Chakra. Something like the pure Dharmadhatu invoked for one purpose on earth.

    Vajra Tara is that Yellow Tara who makes red light like White Cunda.

    Animesha Lochana Chaitya, situated on the north east of the Mahabodhi Temple, this is the place where the Buddha spent the second week in meditation in standing posture gazing at the Bodhi Tree with motionless eyes for one whole week. Locana or Eye is Buddha's supreme perceptive faculty.

    According to Circle of Bliss, Locana is only Akshobya's consort in Guhyasamaja, otherwise it is Mamaki. When Guhyasamaja centers on Akshobyavajra, he is with Sparshavajra, and Locana is beside Vairocana. So the inner devi is the same either way, Pure Touch; in this version, Akshobya and Vairocana trade places, and in the other one, Vairocana is replaced by Manjuvajra and Akshobya does not move.

    Karma Chakme even refers to Locana going to Ratnasambhava. This occurs on a style of mandalas where east is water and south is earth.

    This post fully explains the ten Dharanis that are the basis for Imee's album. And now we can distinguish two things.

    There is a Hindu Twelve Names of Lakshmi, which is not the same as Mahasri Sutra. And the Mahasri Dharani as in the Chinese basket is really from Sutra of Golden Light; regarding this,

    "Reciting with the auspicious clarity of Sri Devi Deity and the compassion of Maha Cunda Bodhisattva the Dharani represents luminosity and brings good fortune to sentient beings". If one recites this mantra before mantra recitation or repentance, one will not be distracted outside conditions. One can also attain the Golden Light samadhi.

    Golden Light is gigantic, something like twenty-nine chapters. And basically it is aimed at rulers with respect to the Four Kings. So this is using only the lowest class of Kama Loka being. Whereas with Mayuri Sutra, which is large but could probably be done in an hour or so, it brings Golden Peacock and has the Kings, Naga Kings, Rivers, Mountains, many classes of beings and several dharanis.

    One can find long recitals of Shurangama (ca. 30 mins.) or Namasangiti (~1 hour). The Mahasri Dharani is read on a "spoken" channel, but he only uses the dharani, not the whole sutra, and so dodged the issue of what the twelve Sanskrit names should be. Mahasri is supposed to be equivalent to Mahalakshmi. In other words, the Sambhogakaya deity with retinue in her sadhana is called Mahasri, which is more or less Buddhist Sanskrit for Mahalakshmi, especially Kolhapur Mahalakshmi as in her tantra.

    And so if China uses a Golden Light Mahalakshmi daily, they came up with this dharani song, and we can learn some Chinese:

    nā mó fó tuó。nā mó dá mó,nā mó sēng qié。 nā mó shì lì。mó hē tí bí yě。dá nǐ yě tuō。 bō lì fù lóu nuó。zhē lì sān màn tuó。dá shě ní。 mó hē pí hē luó qié dì。sān màn tuó。pí ní qié dì。 mó hē jiā lì yě。bō nǐ。bō là。bō nǐ。 sà lì wā lì tuō。sān màn tuó。 xiū bō lí dì。fù lì nuó。ē lì nuó。dá mó dì。 mó hē pí gǔ bì dì。mó hē mí lè dì。 lóu bǒ sēng qí dì。xī dì xǐ。sēng qí xī dì。 sān màn tuó。ē tuō ē nóu。pó luó ní

    namo fotuo = namo buddha
    namo damo = namo dharma
    namo sengqie = namo sangha
    namo shili = namo sri
    mohe tibiye = maha devi
    daniyetuo = tadhyata

    And we can get it because there is a sort of, not quite calypso, but maybe a lounge lizard version in Sanskrit with English:

    The Dharani of Sri Devi Lyrics (Samskrt):

    Namo Buddhaya.
    Namo Dharmaya.
    Namo Sanghaya.
    Namo Sri Maha-Deviye.
    Tadyatha, Om, Pari-purana Care Samanta Darsane.
    Maha Vihara-gate Samata Vi-dam Mane.
    Maha-karya Prati-sthapane.
    Sarvartha Sadhane Su Prati-puri A-yatna Dharmata.
    Maha Vi-kurvite Maha-maitri Upa-samhite.
    Maha-klese Su Sam-grhite.
    Samantartha Anu-palane Svaha.

    The Mantra of the Virtuous Goddess:

    Adoration to the Buddha,
    adoration to the Buddhist teaching,
    adoration to the Buddhist community,
    adoration to the great auspicious goddess!
    Like this: Oṃ (She) completes (pūrṇa) the deed (ka're, kama) successively (pari), all good to be seen, abides in great position, understands (mana) all good kowledge
    tays peaceably in great practice (caryā), in procuring (sādhane) all truths perfectly, and approaching great indestructible nature
    benefits (all) with great compassion, manages the great defilements, supports the welfare (of all), All Hail!

    Since we can see two languages at the same time, this is perhaps a better Prajnaparamita from Imee where you can mostly see the words. It fades in with the mantra with no Om and in many versions it is published without Om.

    It lacks the end after the mantra. But it seems to me after being used to the English version, the Sanskrit needs less and less translation.

    I do not have the words, but, in Tibetan, Ven. Khenpo Rinpoche Pema Chophel ( Pema Rinpoche ) of Palyul does Heart Sutra for half an hour, which someone mixed into multiple videos of Nepal:

    Very different, closer to Muttering. It was originally brought to Tibet by Vimalamitra.

    We are looking at dharanis and sutras as useful to enter the mandala:

    Before the meditating person arrives at the mandala gates, she must, however, pass the four outer circles: the purifying fire of wisdom, the vajra circle, the circle with the eight tombs, the lotus circle. These are the circular borders of mandalas:

    fire of wisdom: the outermost circle consists of the purifying fire
    vajra circle: the diamond circle expresses strength and fearlessness
    tombs: there are eight tombs, which symbolises the eight states of consciousness, which the person must go beyond
    lotus circle: expresses the open state of devotion, that is necessary to enter the palace

    So the cemeteries and Lotus, or speech and mantra, etc., are somewhat of a barrier.

    As a stray remark, Akshobya's Abhirati Pure Land is said to be attainable on the Eighth Bhumi.
    Last edited by shaberon; 5th November 2019 at 16:25.

  28. Link to Post #439
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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Usnisas, Marici

    Common dharanis are all somewhat like text goddesses:

    Prajnaparamita -- self-titled

    Parasol -- Shurangama Sutra

    Cunda -- Avatamsaka/Karanavyuha Sutra

    Usnisa Vijaya -- self-titled and Sarvadurgati Parishodana

    Like Cunda, Parasol has been called or considered a female Avalokiteshvara. However, her importance as an Usnisa means she was mind-born from Buddha and so her dharani was heard without him vocalizing it. A Parasol sadhana likewise shows her usnisa as emanating a parasol.

    And so we already have a semi-wrathful Parasol chant, she is Pratyangira, able to remove evil forces, but she is both semi-wrathful and peaceful. So we will add a peaceful version.

    This mantra only has two regular words, Mama Ni. Mama is my or mine.

    In The Kiratarjuniya of Bharavi, Yudhisthira draws attention to Vinaya and Naya which both derive from Ni, to lead or guide. Duryodhana will fail to keep his false pose of humility, while the Pandavas' friends tolerate him with an equally false courtesy. At any rate, Ni can extend to govern, like a queen, to direct, or to carry or cross over like Tara. Formed into naya, plus "apa-", away, is Apanaya, as in Avalokiteshvara Dharani, Citi Jvalanam Apanaye, Blazing Wisdom lead me away.

    This mantra is being done by Khenpo Karsang Tenzin who is with FPMT or Promienie from where we have obtained many valuable things. They describe it this way:

    Mantra of Sitatapatra is extremely magical, capable of eliminating tribulation. Those who want to harm you also can not harm. All devil fear when hear to this mantra.

    When you chanting mantra the mind despite the scattered mind, the TATHAGATA still don't give up you. For those who have bodhicitta then the Buddhas and Bodhisattvas will advance to enlighten your consciousness, you will never to be born into the low realm of samsara.

    He is not actually going to say Parasol or Sitatapatra. It has these two mantras many times each. then changes to an apparently Tibetan probably Sutra reading, I think it has her name Dukkar, and then starts over.



    She has a Thousand Faces and a Million Eyes. This is asking to be in her cosmic queendom or something like that, nearly inconceivable. Be my "root word" of anything having to do with leadership or guidance, spoken to someone who was not always in the world until spawned from Buddha's mind.

    Shurangama Sutra was already translated into Chinese ca. 180. It makes use of Buddhist logic with its methods of syllogism and the catuṣkoṭi "fourfold negation" first popularized by Nāgārjuna, but it is also a Buddha-nature sutra, and uses Five Families and explains the necessity of Shurangama Samadhi, which is also called Prajnaparamita, Vajra or Simhanada Samadhi, or Buddha Nature. This is such a core of Chan that some have proclaimed it a Chinese forgery, but a Sanskrit original has been found. We have found that Ti-lun or Southern Chan which dissolved was more of a match with Shentong, so there may be a few doctrinal details we would see differently than may be taught, but the major basis is the same. The opening of Sadhanamala appears to be drawn from Shurangama.

    Dharanis pre-date Mahayana, which is not really a separate institution, but that reaction to Buddha Nature that decides one wants to emulate the Bodhisattva and that Samadhi is an integral part of the experience. Shurangama is definitely what you would call Esoteric Mahayana, it refers to a great deal of the entities of tantra, and itself is the main beginning of mantra with the Five Assemblies which takes about twenty minutes. This is a Sutra and so anyone may use it and its subjects are almost purely mystical.

    Shurangama Heart Mantra is:

    Tadyathā oṃ anale viśade vīra-vajra-dhare bandha bandhani vajra-pāniḥ phaṭ hūṃ trūṃ phaṭ svāhā.

    This bonds with Vajradhara and Vajrapani, which would not seem to match Parasol's Family, but there they are. However even this is only a tiny piece of the full mantra of Five Assemblies. It was spoken by Buddha to Manjushri for Ananda's protection. The Sutra is much larger.

    If we crack its oyster, it refers to Seven Families by adding Kumara Kulaya and Naga Kulaya. Quickly glossed as Son and Dragon divisions, we would usually interpret these as Kumara Formless and Naga Mystery, which comes quite close to the meaning we intend for the families. This part may have different versions, but one of them is like this.

    Parasol is a Kriya deity; Tathagata Family has an Usnisa, who may be Vijaya, Sitatapatra, Vimala, or Jvala. Jvala Usnisa uses Cinta Mani Chakra Dharani:

    namaḥ samanta-buddhānām apratihata-śāsanānāṃ tadyathā oṃ kha kha khā hi khā hi hūṃ hūṃ jvala jvala prajvala prajvala tiṣṭhā tiṣṭhā ṣṭriṣṭri sphaṭ sphaṭ śāntika śrīye svāhā

    Then Cunda is its Wrathful deity (or Krodha Vijaya Kalpa). That is odd because Wrathful Cunda is Candi who is in Amoghasiddhi Family, but there is some kind of weird irony in this. The basic formula I get is that Om or white is primordial matter, and here in earthly existence we are in the fully-compounded green, but when we use form in the right action which results in the Accomplishment of Samadhi, then the thread to the Absolute begins and green disperses to white. In some of the advanced Chakrasamvara commentaries, they speak of the multiple colors in a whirl or dance due to a flash between green and white or wrathful and peaceful. This mainly makes sense as White Vajrasattva becoming Extremely Wrathful in Amoghasiddhi Family and Wrathful Cunda enters the base of the spine with Maha Bala. Day-Night Tara is similar.

    Parasol, Cunda, and Usnisa are like that, we can look at their pictures and listen to their sounds and get something from it on a Sutra level, but they have arisen forms, which are mental and physiological energies, which only work if you train them well.

    In thangkas, Parasol is often over Usnisa Vijaya or Long Life Trinity. In a Six Arm form, she is practiced in Drukpa, and with Eight Arms, in Mitra's sadhanas. The Six Arm is the one that loses the Parasol and would have a Vajra or Wheel as main item.

    In 217 in Tibetan Deities, Bari Lineage aand Ngor, she is crowned with Vairocana in Thousand Arm form, Aparajita, which states the equivalent medium form is Six Arm 424, and condensed form is Two Arm with Parasol. In the dharani, Khasame is "equal to sky", Some is Soma Lady. It also uses her short mantras like in the song. So really, this version is for her Maha form, with Anale Khasame and so forth. In the short mantra, they do not attempt to translate "Ni". But this is also the third Dakini, Ha Ri Ni Sa.

    424 in Tibetan Deities, as the Usnisa of Tahagata Family, uses Parasol's Six Arm form to make a Heart Gnosis being. Instead of the short mantra, it has the dharani with Anale Anale Visade Visade (fire, fire, bright, bright) where she is Vajradhari:

    Om Anale Anale Visade Visade Vajra Vajra Vajradhari Bandhani Bandhani Hum Hum Phat Phat Svaha

    If her personal mantras were a bit emotional, this is a more samadhi-esque version of Bari mantra for her Maha form:


    Adishtite may be called "consecration".

    In a translated mantra, she appropriates Bhrum syllable. So as we can see, she is a structured build of increasing mantras onto increasingly complex forms. The instructions pretty plainly state the basic view of her is similar to a normal two armed lady. And next with Six Arms, she has Om Ah Hum in her three places, she works like a female Vajradhara with a pledge being, which really also has Concentration Hero Om.

    Right after her, 425 is Eight Arm Stupa Usnisa Vijaya also with a gnosis being; she is holding Amitabha as usual, but is crowned with Vairocana. She has six deities, two yellow devas crowned with Ratnasambhava pour nectar on her, and she has unusual body syllables. 183 is similar but uses her short mantras, from Maitreya and Asanga through Bari. So her retinue lacks an Amoghadisshi representative. She is, so to speak, Bhrum, the life-imbued syllable at the top of the mandala that opens Sambhogakaya or Akanistha, and the Amoghasiddhi representative is that Tara such as Mahasri who is found there.

    After the first Accomplishment, then, there are other realms and samadhis. At some point, Parasol simply receives Bhrum and is samadhi. Both these Usnisas are more or less the gate or vehicle of Marici.

    Usnisa Vijaya was brought by Buddhapala to China ca. 680 and clenched by the emperor like it was about to fly away; he had brought it from India where apparently it was no problem to obtain. Otherwise, its background is unknown. This would seem to present her as a specific explanation of Parasol, or samadhi as applied to life dissipating death. Not really in physical terms, but the continuity of mind transcending the regular difficulties of the bardo.

    Her two small mantras are a little different from Parasol because it is Give To, Da De, but this one is the one used with animal care. And so we are giving to the animal, some material food, while requesting Usnisa to give it Amrita and Ayur, Nectar and Life, except Usnisa is not another agency out there taking calls, she is within us to the extent we obtain her.

    Om Bhrum Svaha

    Om Amrita Ayur Da De Svaha

    In the Sutra, she is spoken by Buddha to Sakra or Indra as Lord of Trayastrimsa Heaven, the second plane of Kama Loka, and the last part having anything to do with the earth plane. So it is for long lifespan, avoidance of Hell rebirth, and actually delivers one to any of the Buddhas' Pure Lands instead of a specific one like Sukhavati, it means the whole Akanistha.

    Inner Vairocana replaces the worldly deity Indra, in order to become Maha Vairocana on the higher plane, Akanistha or Sambhogakaya. The Usnisas, operatively, seem to be an arm of his power, and not very much Amitabha's.

    Usnisa Vijaya's long dharani makes us aware she is the beginning of Vajra Kaya, which appears to be finished by other deities such as Amaravajra. So at first her short mantras work with the physical act of giving, and then in Yoga, outer practices shift to inner meaning, which becomes Sarvadurgati and her large dharani. This begins using Vajradhatvishvari.

    In Sarvadurgati Tantra, there is a type of border held by Trailokyavijaya at the fourth plane of Kama Loka. And he interfaces with the groups of eight or nine elements, like worldly guardians, planets, and bhairavas. So the lower planes of Four Kings and the Trayastrimsa are passed by other means, which ties to the types of Yoga sadhanas we are working on. If we "get" some of these deities on a sutra and mantra basis, we can probably start to purify and transcend this part.

    When the Usnisas are thought of this way, Marici is the Mother in Kriya.

    Marici is as popular but nothing seems satisfactory for her specifically. This is actually from a type of benefit for Nepal, and calls the three principal Bodhisattvas and then Marici.

    Om Manipadme Hum

    Om Vagishvari Mum

    Om Vajrapani Hum

    Om Maritsye Mam Svaha

    What is happening there is brilliant. It is the Sangha; an object of Refuge, Celestial Bodhisattvas. The way it parses Three Families means that if you let it, your body will uncontrollably Mutter Marici, and she is looking for Vajradhatvishvari, for the central life in the heart to magnetize to a pin point in the head.

    I think there will be diminishing returns on what's currently available towards mainly Sanskrit, relevant to the pith, recordings with inspiring sound, in the way that shows us mantras and sutras. But we have at least something in terms of Lotus Family and Namasangiti or Nepal, so this is quite fortunate. If something shows up, we will use it.

    Majushri Vagishvari, i. e. the meditator, is Lord of Speech, and if Speech per se can be said to be Lotus Family, who is first here in this mantra, what are they really, Dharma. Does that mean they rattle off every objective fact constantly, no, it means they unerringly follow the law of love. We need all this if we are to get anywhere near Vajrapani, who, in Sarvadurgati, is Mind Mandala, Bodhicitta, the Heart, is the Dharmakaya. He is like a knight to walk one through death and hell, Marici is not there, she is on the other side. Not just the sun but Mother of the Great Bear.

    Tara is Arundhati. Marici is Tara Bodhisattva. She is the flash of light when a Buddha becomes Enlightened. Tara is the Adi Prajna of that Buddha.

    Dhyani Buddhas and Prajnas barely do anything in the conventional way. So we are talking about everything up to that moment when the true Marici happens.

    Prajnaparamita is the main one used in most of the Ngondros or Preliminaries, so that is worth having the English instance of. With Prajnaparamita Heart Sutra, there are a few Sanskrit with lyrics posted; but if we kind of know them, this one is remarkable in its sound and sadhana-like nature. In the Tibetan one, I think I hear "Shariputra", and that's about all I can get.

    It lacks the words, but is sung Sanskrit for six minutes of Prajnaparamita invocation:

    Oṃ Namo Bhagavatyai Ārya-prajnāpāramitāyai

    Om sarvajñāya

    then the sutra, then six minutes of Maha Mantra, Gate Gate Paragate Parasamgate Bodhi Svaha, sort of like cabaret:

    Prajnaparamita, she "illimunates the skandhas" near the beginning; Enlightenment translates Anuttara Samyak Sambodhi, or the Absolute. The more the outer repetition like this, the greater the familiarity with the meaning.
    Last edited by shaberon; 18th November 2019 at 21:28.

  29. Link to Post #440
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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Sound Wave

    This is getting almost purely indulgent and to an extent it should be.

    We have a gigantic pile of information, and from it, we are more or less telling these songs what they are about. In return, they help us learn words and pronunciation. Eventually, we want to internalize some of it so we can start using it. Not much else supports research into Sanskrit Buddhism, but the research opens us to Lakshmi and Durga, so there will be some of them.

    As a poem or song, we can use any Sutra or Hindu deity. An actual sadhana is structured. If I walk around the yard doing Usnisa mantra, it is not a sadhana, it may be a devotional act of some kind and part of Upaya, and I perceive it from something other than mundane consciousness, but it is just an example of using a mantra for a specific purpose with animals.

    Different styles are used from very emotional to very lucid, so there is really a range of options.

    This is from a different Yoko than the Beatles and she makes an album that is mostly Tibetan starting like Guru Yoga and then a few deities. There are still pieces of Sanskrit. This one is In Praise of Five Elemental Dakinis:

    Very Venerable Zasep Tulku does Prajnaparamita Sutra behind the mantra:

    Om Buddha Dakini Hum Hum Phat Svaha

    Om Vajra Dakini Hum Hum Phat Svaha

    Om Ratna Dakini Hum Hum Phat Svaha

    Om Padma Dakini Hum Hum Phat Svaha

    Om Karma Dakini Hum Hum Phat Svaha

    The Five Dakinis abbreviates to Guhyajnana Dakini or Om Ha Ri Ni Sa. And so we find that Cunda has to do with Cale or "start moving", and then Parasol has to do with Ni or "lead". Afterwards, Ni is not much seen until it is here in the place of Padma Dakini, Khandaroha, or Generation Stage.

    Either Dakinis or Taras are capable of playing musical instruments, so this basic Pancha Dakini "is a band". Quintessence will come from the different colors coupled with sound. Music is the "secret" missing or absent physical offering from an altar, since it uses a person, and when "found", it becomes this Quintessence.

    We found that strictly by definition, "Tadyatha" is not really part of a mantra, but is almost always included. However if we look at some Hindu things, these performances also seem to include extra syntax like "the song" and "the end". So perhaps it is more accurate to say that when reciting something personally, you may omit extraneous parts.

    There is not much good available for Vasudhara. It is almost all about money. As this type of Yellow Lakshmi is still grain and abundance and so forth, originally, this must be intended in terms of survival. Providing well-being is certainly a main social aspect of Nirmana Chakra. So this is where we hope the inner or Noumenal Yellow Earth meets and overtakes the common interpretation about wealth and the objective plane. Material things for the manifestation of nirmana. This is the main reason. That is why Gopala is like a Lakshmi samaya being.

    If you have it, you can give it.

    Vasudhara is a Lakshmi. There is a vast corpus of Hindu Lakshmi material. This is Sri Suktam, from a three hour liturgy at Venkateswara, which is Vaisnava.

    A chariot is one of the first things invoked, like Mahamaya Vijayavahini; and one of her main names used in this is Narayani.

    Agni, invoke her into me, is a refrain. There is always some kind of animating fire or energy, or we wouldn't be here, but whether that has anything to do with Lakshmi's grace is up to us. Sri Suktam is about Lakshmi as consort, at Vishnu's heart at Venkateswara, the motion of love and kundalini, Parama Prakriti, the only thing that really is Good Fortune. On his chest, she may be called Vyuha Lakshmi or Bhoga Srinivasa. This is really the supreme Vishnu temple, and it is believed that being angered by the incident here, Lakshmi went to Kolhapur. There is also a story about the mysterious Padmavati and Maya Sita.

    So if Kolhapur Mahalakshmi is close to Green Mahasri of Buddhism, Venkateswara Lakshmi has many aspects of Yellow Vasudhara.

    Roughly, we could say Yellow Samaya Vasudhara is the basis for this experience of something like anger and peacemaking and debt about Lakshmi arising as a consort or completer. If one follows the Generation Stage, then, the Yellow Earth Square that we are talking about as the first or Nirmana Chakra is going to flip and be at the top of the Inverted Stupa. Here, it loses definition and identity, because it is supposed to merge with the square base of a real stupa which belongs to a deity. If we just did Yoga techniques without the Nirmana, then there would not be much of a square to merge. We make something on earth and calmly place it inside the mirror. We would still reason the Inverted Stupa can be read in western astrology as the Orb of Kings:


    Which is the Earth glyph and so the material plane. Venus--Ankh, which is also a Mirror, is the Formless condition:


    And so much as with deity practice we would blend two stupas, the Earth and Venus alchemically merge to a single glyph:


    Siddha Lakshmi was the tutelary deity of the Mallas. And here, from an Upanashadic Vaisnava song, we find familiar syllables like Hum and Phat and she acquires aspects of Vetala, Ghora, and Smasane or cemetery dweller. It won't play here but is worth a listen, has the words:

    They do not hesitate to use the Shakti syllables, Hrim, Srim, and so on.

    Similar Siddha Lakshmi from Uma Mohan without lyrics:

    Uma has an entire Lakshmi album including the song related to tantric Mahalakshmi and so that one is back in the post where we first heard of it. I am not a fan of some of the shrill sounding Indian singers; Uma is husky and mellow and has a special thing going.

    This one mixes a few Lakshmi Gayatris and Root Mantras:

    Usnisa Vijaya and Parasol are fairly developed, but there are two other Usnisas called Vimala and Jvala.

    Vimala is the second Bhumi and is invoked in Ananta Mukhi Dharani and other places. Vimala is generally understood to be Katyayani:

    She is also a Mahamaya:


    It is not apparent in these mantras, but Katyayani is Bhuvaneshvari, who has Maya syllable Hrim. So Vimala equates to Katyayani of Durga--Puranas, and to Bhuvaneshvari of Mahavidyas--Shaktis, and is from Orissa.

    In other words, this is a major Pitha goddess, and so in almost any Hindu or Buddhist tantra, you are going to merge this murti or divine form into the mind and body at a very substantial level.

    Uma Katyayani Gauri with most of the words:

    Khadgamala Stotram, related to Sri Yantra and possibly Sword Dakini, i. e. Guhyajnana:

    The presiding deity of Sri Chakra is Tripura Sundari. Tripura Sundari is also known by names as Ṣoḍaśī, Lalitā, Kāmeśvarī, Śrīvidyā and Raj Rajeshwari (in Karnataka, southwest India). Her most important temple is Kanchi Kamakshi. Khadga Mala or Sword Garland points to the central divinity, giving the other yoginis and their roles or locations. Matangi is primarily considered Sri Rajarajeshwari in Carnatic or hymns from Karnataka. Usually in most other sources, she is only a high minister or acolyte of Sri, like Varahi. There is a discussion that Rajeshwari is Adi Kamakshi (Gauri), not Shiva or Shakti but both, and that the Kanchi goddess which Adi Shankara pacified is different.

    Often, as in Kanaka Dhara Stotram, Adi Sankara does not distinguish between the three Goddesses of Hinduism. For him Lakshmi, Parvati and Saraswati are the same. Kanaka Dhara is against poverty and uses a rain of golden gooseberries. So this is a bit unclear, like that type of Buddhism which is spoken from Completion Stage; in local traditions, deities like Matangi or Kanchi Kamakshi may be pushed or elevated to the status of that Sri or Adi Kamakshi who is beyond the Gunas. This one would not directly give us berries, if she is formless, we have to resort to samadhi.

    Kanaka Dhara in some ways is the opposite of wealth generation, since it is more like the end of destitution. To help end suffering of other beings, one still needs to end one's own. The hymn has something to do with the relatively poor giving to the utterly poor. In other words, once I can take care of myself a little bit, rather than accumulation of wealth, they suggest to start helping with very little.

    Adi Shankara is presumed to be heavily influenced by Nagarjuna and the doctrines of Emptiness and Catuskoti. And so I think the basis is the same, we are looking at the same Bindu or Sunya, which has the same five sins, klesha, or obscurations, the same Worldly Deities and so forth. However I cannot do the fully detailed Sri Yantra practice. That is where instead we do Generation Stage, or the second Gauri, or Varuni, becoming fully internal, mainly using Nirmana Chakra and adding mantra. One could pursue the Yantra as its own thing, but, the details become so different it is doubly difficult. Here, we are moreso working on dynamics from Bhakti, music and dancing, down to recitals, mantras, and Muttering, where it crosses back to the zero or silence or potential speech and Primordial Om. This is why Matangi, herself, can get us further than the whole Yantra, she is like a Tara, direct and quick, and is the whole sound spectrum, and therefor is closer to what we call Akshobya or Vajra tantra, which is normally to place sound at the center of the mandala.

    Normal Sarasvati is closer to Manjushri and Vairocana tantra, Matangi is a more powerful tantric form, quite similar to how the standard Pancha Jina retinue becomes Six Families centered on Akshobya or Sound. This eventually returns the upgraded Maha Vairocana. And so again we are shaping Noumenal processes and stages, which is why we want to make a close relationship with particular deities and Families in a stable and consistent manner.

    Compared to Hinduism, we would really start on Vasudhara Lakshmi. But then we would find she is a Tara. And so the former is like a substratum or the fact and existence of energy and its real nature; and then Tara is one who has attained complete Prajna or full realization and unlimited capability of Adi Shakti and remains in pure love to guide us that same way. Subsequently, our goal is Manifestation. We are going to use Nirvikalpa or Nirakara or that Emptiness meditation which, on its own, would remove one from activity and existence, but we are going to add Emerging in Reverse Order, and take samadhi as a necessary element in a life of Compassionate Methods. Usually it would be sixth.

    Since Buddhism was mostly crowded out of south India, it is likely to be more related to the Kamakshi explanation of Assam than Kanchi.

    Siddha Kunjika Stotram is a "must" before reciting Durga Saptashati, also called Devi Mahatmya and Chandi Path. The song may be used on its own, but the text is considered less effective without the song. It is full of seed syllables and Chamunda mantra; Devi is also called Parvati and Khecari and it ends with something like Gauri Tantra. Lyrics are on screen or in full form from the source:

    It turns out that Kunjika is Gauri Tantra from Rudra Mala Tantra and is based on nine syllables for all nine Durgas.

    I would expect this is what Buddha calls "the first Gauri", and not to the Generation Stage goddess. This is also probably replicated in Nine Moods Marici, since Buddhism has similar information but does not use all the details of Hindu rites and practices. Kunjika means key, this means that Kunjika Stotram is a key to unlock all locked powers (Locked by Shiva) of Durga Saptashati. The song unlocks the Durga and then locks it again after the text to close.

    If there was a tantric music goddess, it would be Matangi. She runs through all kinds of classics into pop culture and lives up to the reputation.

    Matangi root mantra:

    om hrīṁ klīṁ huṁ mātaṅgyai phat svāhā

    Alternate version with drums:

    She is frequently called Shyamala, dark blue or green, tantric Sarasvati. Also she is ucchista chandali or low caste, drunk elephant mode. She is well used in classical music. This next one is Mangala Rupini, a traditional Tamil piece. Full lyrics are in the source, but it clearly associates her with Kamakshi, i. e. Kamakhya goddess of Assam:

    That is musically immaculate, Mangala Rupini is fantastic. And another major Pitha in almost any system. Most of her form and meaning is Janguli in Buddhism, although Janguli is not by name a Pitha goddess. She is still a type of tantric Sarasvati. Matangi comes out as Hrim Klim, Solar Maya syllable and Magnetic syllable. The first is Sarasvati and then Janguli is Jah or Hook syllable, a type of extrapolation of Klim to use it first in Four Activities.

    This is her translation and this is her temple which is actually in Kanchi or Chennai, south of Orissa, where Adi Sankara mostly was. Ka Kali plus Ma Matangi plus Akshi Eyes is one way of understanding her name. She is Kamakhya/Kubjika and Tripura Sundari.

    Mangala is her Fortunate or Auspicious form, and all of the verses wind up dedicated to Sri. The translation is a bit unclear because the refrain is:

    Jaya jaya Sankari gouri krupakari, dukha nivarani Kamakshi.

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

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

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

    At Guhawati, Tripurasundari, Matangi and Kamala reside inside the main temple whereas the other seven Mahavidyas, Ugra Tara, etc., reside in individual temples. Either there or at Kanchi is a fairly clear rendering of Sarasvati and Lakshmi into tantric forms, Matangi and Kali or Kamala. So although this song didn't mention Matangi, she is quite closely attached.

    Kalidas is considered one of the greatest Sanskrit poets; he created Shyamala Dandakam, a massive, intricate epic poem to her.

    The Rajas are the Eight Worldly Kings, Indra and the rest; the Rajeshwars are Brahma, Vishnu, and Shiva over them; and Sri rules these as Raja Rajeshwari. This is a title of Tripura Sundari in Karnataka or southwest India; her epithets include Katyayani, Savitri, Jvala Mukhi, Bagala, Chamunda, and Varahi.

    Rajeshwari was written by Adi Shankara in the eighth century and here done by the Priya sisters In more of a 1950s style:

    More enchanting version by Uma:

    Although these songs and hymns are great, Hindus strongly believe in Manasa Puja or ritual in the mind.

    Manasa Devi has not much other translation than Luminous Mind. Her form is hardly other than Janguli. The article for Manasa Mangal Kavya maintains she is Janguli and the mysterious Padmavati. In Bengal, Janguli is likely to be her older name; Manasa and Padmavati are Puranic. Rather than the consort, she is mind-born, i. e. daughter of Shiva. In Bengal, she is also a close companion to Chandi. Janguli is important to Mahasri and to Yamari tantra; she is "against poison", or is the work of transforming skandhas, and thus is a sort of middle agent not considered a Prajna or used in Completion Stage.

    The Adbhuta Padmavati Kalpa apparently gives Padmavati a white form but the same as Durgottarini with her items, and having a three snake crown. According to Jain research, this Padmavati is also called Tare, i. e. Tara.

    There is no Janguli music unless we accept that Buddhism holds an older tribal name for a common Hindu deity.

    Amma Manasa Devi:

    This has a minute of narration, then the song is Chandi Devi Mansa Devi, since their temples are together at Haridwar:

    Or start at 1.14.

    She is Vasuki's sister usually, or else Virupaksha's, who is either a Naga King, or one of the Four Kings.

    Manasa Bhajare:

    This is a brand new take, I think it is Bengali, on Jaya Jaya Maa Manasa, which is a common mantra. I am not sure what we can learn from it, the mantra only comes at the end, we don't know what the rest of the song is, other than it is creative and devoted to Manasa:

    Manasa Root mantra with additional verses:

    The pace makes the mantra a bit strange, but the verses have something to say. They turn out to be her Maha Mantra, which is appropriate facing East on the fifth day. It obviously blends her with Nageshwari who still pertains to east and the fifth day. And so this fifth day is appropriate for Snake Goddess, Sarasvati, and/or Manjushri.

    The Buddhist Janguli of Bengal appears to absorb Matangi, Manasa, and Sarasvati. The chandali Matangi is a sort of raw power which the Janguli uses and manifests as poisons switching to Paramitas. And since the icon above has five main serpents and two more, then they work to the extent one can interiorize the Paramitas, and/or the Families, or skandhas, or cemeteries, she is Manasa or luminous mind fusing all this, and she is still a musician.

    Prajnaparamita is hidden with the Nagas, Adi Shankara was influenced by Nagarjuna even if he refuted schools he personally met, and this Hindu snake goddess will either directly translate to the one used in Buddhism according to the Hindus themselves, or, this Manasa murti will allow me to use my understanding on it anyway. In fact it is more precise because with a five snake crown, it is the ordinary bundle of senses at the khecari point or shan pa or entrance to nirvana in the soft palate, the Form or Rupa Skandha, similar to a Pancha Jina crown. Then the two additional elements or snakes are not necessarily present in man. But they will allow the web or net of dakinis to be built.

    One uses the nagas to cultivate Paramitas and ripen the Families, and this is Manasa--Janguli. Here is an unsourced Buddhist Eight Naginis mantra, which somewhat resembles Sarvadurgati. They say the serpent syllable Phuh "transmits the experiences of". Hinduism uses Nine Nagas as Anantam Vasukim Shesham Padmanabham (Cha) Kabalam Shankhapalam Dhritarashtram (Cha) Takshakam Kaliyam

    These are all somewhat similar, but if possible, we should probably stick to a Janguli patterned after Sarvadurgati, as we did for the Cemeteries. Half the meaning of that tantra seems to be to harness Hinduism and convert it to Buddhism. So it is like getting a lot of the basic ideas from something common and re-casting it into a custom form given by Vajrapani.

    Traditional Devi Mantra to Vach Ishvari with lyrics:

    Just as Vishnu and Buddha connote expanding to fullness, Lakshmi also becomes Purna when ripened. Uma on Annapurna:

    It is another by Adi Shankara. Annapurna is a dominant massif in Nepal, and also the deity of Kashi, or at Kashi, she becomes Shiva's consort. She is also known as Viswamata. In the song, she is Matanapurneshvari, Mata (Mother) Anna Purna Ishvari.

    In other words, Shiva and Parvati are only where Visnu and Lakshmi have re-united and grown complete. This is the Shakta attitude generally; Shiva, the masculine aspect of divinity, is considered solely transcendent, and Shiva's worship is generally relegated to an auxiliary role. The doctrines are quite similar to Shiva's, but almost all the attention is to Amma or Ambha Bai or Mata, Mother.

    Where it is needed, she is a "give me food" goddess, and then when hunger can be eliminated, she is "full of food" we give to her; Pratyahara or sensory withdrawal is "control of food", and when mastered, Annapurna is in the Greater Void or a special series of gates and chakras above the head. The same Nath tradtition that explains this also says in the future, which perhaps is our Amoghasiddhi cycle, this currently supreme chakra will be taught how to interface with the chakra that is the core of the earth. If we have usually associated this with hell and the syllable Hum, and how it is the liberation of Varahi, that is why it cannot currently be used or considered by us as a chakra. So although Annapurna is completely exoteric, in the most subtle Suksma Yoga we can conceive of, she is like a purest or highest Gauri, a sublime state of practice which has mixed the Form or Nirmana with Bliss, Sukha, or Sambhoga.

    When this happens, Usnisa is no longer the crown itself, but a protrusion, Ketu or Sikhi. So Buddha's Usnisa deities are like a more detailed explanation and practice about climbing Annapurna, who returns water or rain, or the circulation of Bodhicitta as trained in the Cemeteries. That is why blending all these exoteric Lakshmis and Usnisas is the way to go. They shape the entire Path and in all cases it is goddess who is a change to the subtle body and an initiation or seal that is supposed to maintain it. The songs may help us perceive it, but it all concatenates to inner practices, and the adjustment of kundalini in inner to outer relations.

    Here is his catalog. Adi Shankara's complete teaching is in Saundarya Lahiri which takes over half an hour to recite:

    More Buddhist ones:

    There is a chief Usnisa deity, if not an outright Queen.

    Shurangama or Samadhi Sutra is the basis of Parasol, but they do not much know it in Tibet. In the comments, an Indian thanks those outside of his country for preserving it. This is not the whole sutra, just the Five Assemblies mantra. It is not musical, but educational for Buddhist Sanskrit:

    It is at least not totally plain like some of the spoken ones. This next version sounds better. Tibetan monks chant Shurangama in Sanskrit, although the words are not as easy to see:

    The Tibetan version does not say Lakshmi after Narayana. Neither one mentions Kumara or Naga or additional families. The first has Kamalakshi, the second has Kamala Aksa.

    This page has a complete Sanskrit copy, although it uses Lakshmi and Kamalaksha and so it is neither or both of the above. It causes confusion, some practitioners are even looking for it in Tibetan. It does seem to have common ground with Bari's Parasol sadhana.

    As is said in Shurangama Sutra:

    The principle now being explained will lead to an explanation of the seven elements - earth, water, fire, wind, emptiness, perception, and consciousness - as pervading the dharma-realm. The five skandhas, the six entrances, the twelve places, the eighteen realms discussed before explained the wonderful true suchness nature of the treasury of the Thus Come One, but it was not said that they pervaded the dharma-realm.

    Hsuan Hua explains Shurangama as necessary for the balance of good and evil, there have to be beings that memorize the mantra, i. e. Five Assemblies. Its recital will give you some Medicine Buddha protection. He says it should be combined with Prajnaparamita, Vispasi, Simhanada, and Mahakaruna. He says there is the Shurangama Mantra section containing references to Tara: Namo Vipashina Shurangama Dharani Mantra Sutra Great Compassion. He recommends it again in a lecture, and has a version of the whole Sutra.

    There must be at least something of it in Tibet, even if not popular. One person on Stack Exchange states "... when I was practicing Tibetan Buddhism, several practicing Buddhist inform me that what I was experiencing while meditation are well described under Chapter VIII of the Surangama Sutra when one is near Samadhi If any scholars say this Sutra is not from Sakyamuni but from a group of Chinese monks that created the Sutras are mistaken."

    According to Alex Wayman, "the Shurangama Mantra contains all of the major 32 Tantric deities of the Nagarjuna introduced practice of the Guhyasamaja Highest Yoga Tantra Sadhana contained in the Geluk tradition". According to an expanded study, section one of the mantra should include:

    H. Sages of the Seven Elements Section
    Perfect Penetration Sages reveal 7 elements, 7 cognitive organs, 7 sense objects

    around line 137, shortly before e li ye dwo la or White Tara.

    This is Shurangama heart mantra chant which is correct on two accounts. It does not repeat Tadyatha. Also, most of the oriental versions use Bhrum, but this appears more correct because it uses Trum with a certain sound as in the Five Assemblies. Trum is Tra which is the protection syllable, same as in man-tra, or as the syllable of Ratna Family particularly protecting the crown center:

    Tadyathā: Oṃ anale anale viśade viśade vīra vajra-dhare, bandha bandhani, vajra-pāṇi phaṭ! hūṃ trūṃ phaṭ! svāhā. Namaḥ stathāgatāya sugatāya arhate samyak-saṃbuddhāya, siddhyantu mantra-pada svāhā.

    It seems to me this mantra is for Vira Vajradhara and Vajrapani rather than Parasol, who has a variation, her own mantra, and/or is the whole Five Assemblies.

    Musical version of one line of Shurangama Heart Mantra:

    I am not sure how listenable it is, but Namasangiti in Patan takes about an hour. That one may be in Newari but what we see is that the skirts all display hexagrams and it appears that they have the thing completely memorized. Gretil Sanskrit text used in another recital shows that it is basically reading the book as we know it. It does have a shorter mantra or dharani, but the recital is something like a spontaneous social function. A short Holy Cross documentary suggests that few extract the doctrinal significance, most benefit just from the sound. So just because it is a Buddhist practice whose 160 verses may contain the kernel of all Buddha's wisdom, that does not mean everyone really gets it.

    And so from having memorized none we have expounded it all, which is the opposite of just going through the motions because you were brought up in the environment.

    Because it is Namasangiti, it probably does contain all of tantra in a compressed format. At a minimum, it give us Maya Jala, Abhisambodhi, and the Buddha Wisdoms. We have found its abbreviated form from Dharma Ayurveda or Buddhist Ayurveda. This lineage is through Hsuan Hua and H. H. D. L. and Nalanda Monastery in France, which perhaps was related to Kethumpas or herb gatherers thought to have been disciples of Koothoomi. This is who they claim to follow:

    Venerable Monk Ayurvedic Doctor Arya Nagarjuna Bodhisattva of ancient Nalanda Monastery and Nalanda University. Namo Arya Monk Buddhist Nagarjuna Bodhisattva (200 A.D. abbot of Nalanda Monastery - the largest
    University in the world for 1000 years, Chan - Zen Meditation Patriarch, greatly renowned Ayurvedic Doctor and alchemy researcher and author of Ayurvedic classic Sushruta Samhita, responsible for bringing us
    the Avatamsaka Sutra and Shurangama Sutra and Mantra from the Naga realm)

    They do Lama Chopa and Shurangama.

    If we bypass the major requirements for their Ayurvedic Program, we get to a multitude of Buddhist invocations such as:

    Om Padma Ushnisha Vimalé Hum Phat

    And so this is who gave us Namasangiti Mantra with Chandrabhadrakirti's commentary in the middle of post 248. If Manjughosha is understood as an additional member who has or employs the six, then it is Seven Families.

    So they are really mainly doing Medicine Buddha, and even though their notes are in a tumult like mine, they largely bear out the same teachings. The additional mantra suggests to us that Katyayani (Vimala) is intended as the mesh of Usnisa or Tathagatha Family to Lotus or Padma.

    One more Usnisa deity has a dharani. Again, these are not the retinue of Usnisa Vijaya, but a full procession of deities from the mind of Buddha.

    Imee's Jvala Usnisa Dharani:

    namaḥ samanta-buddhānām apratihata-śāsanānāṃ tadyathā oṃ kha kha khā hi khā hi hūṃ hūṃ jvala jvala prajvala prajvala tiṣṭhā tiṣṭhā ṣṭriṣṭri sphaṭ sphaṭ śāntika śrīye svāhā

    Avant garde Marici root mantra:

    She can also remove obstacles, especially robbers, those who steal opportunities for enlightenment.

    Industrial version:

    Mahakarunika with less fluff than the first version:

    The words and translation are near the end of the Dharanis post above.

    She didn't make anything up, but cranked the mellow traditional way. This one shows the words, where we can see a space would change the meaning, i. e. Vyuhara Rajaya <---> Byuhara Jaya are two different senses. Well, this invokes Vairocana first, who must be seen as king of the magical display. Avalokiteshvara is Karuna. So again it is a close bind of Tathagata to Lotus Family:

    Eleven Face Avalokiteshvara has the rare if not unique property of causing Vairocana to enter the West.

    This is not the best recording, but a good job at chanting Twenty-one Taras in Sanskrit:

    We would probably have to copy the verses out of the Tibetan commentary since they are not together in one place. This is what we used to look back and consider what it might have meant in India, since none of the Tibetan or other systems are the one from Ratnagiri.

    We cannot really prove which Tara was which, but we can say it was from a group that is somewhat exclusive of the known group. It seemed to me that in some cases, Sanskrit fairly directly referred to a certain one. Similarly to Namasangiti, the Twenty-one Taras at least serves as a meaningful index to the Tara system, in a way that can not actually be disproved, because the scripture does not give her form. But it does intend for her to be the unlacing of pairs of knots in the subtle body or Avadhut. That is how we get more and more Life Wind into more special places.

    I do not know Tibetan but you cannot miss this calling for Wind Horse, Lungta:

    Wind Horse is the most powerful and it is found around Everest and Nepal and Bhutan, and is the driving force behind Tseringma, etc., and we are still more or less with Rider on the Winds from Brihadaranyaka Upanishad. The mantra on these flags is usually the long Parasol mantra, Anale Anale Khasame Khasame and so on. The whole Dhvajagrakeyura Dharani is usually on a fixed surface like a sign.

    Wind Horse redeems the karma with those kingdoms of elementals that circulate in the human body and aura. And so if our Vajradhatvishvari is this very wind with everything working right, we need Lungta or Wind Horse.

    Parasol has gotten lost from Shurangama and found in Wind Horse. But these practices are more or less Samadhi and Vajradhatvishvari. Parasol is a final victory item of a mandala along with Banner. Because she is an Usnisa, she is a specifically Buddhist goddess. She has a lot of first and foremostness to her.

    Nepal is a cross and its music is very weird. There is an odd Hariti Temple right at Swayambhu. She is understood as subdued by Buddha and her name is often pronounced Harati. Here, they are invoking Yo Maa Harati Jagata Janani:

    There seems to be a preference using the term Nepal Bhasha instead of Newari. We find mainly Hindu-looking people doing Buddhist songs. The songs are called Bhajan and most of them still are Hindu, if not, it is Buddha or Gyan Mala Bhajan. These seem to be original compositions which may include pieces of mantra.

    Refuge Vow is in some of them:

    Buddha saranam gacchami
    Dharma saranam gacchami
    Sangha saranam gacchami

    Otherwise there is not much to learn from these, we have no idea about Nepali language, and so these are just to promote the birthplace of Sita and Buddha. This is something like a "Nepal song":

    Na Ho Timro Na Mero:

    Daa Daa Sakle:

    Chhaina Koi:

    In Nepal, they readily take Harati as Jagata Janani or wisdom of the world. A black bag of diseases from Iran, cannibalism, hunger, has been converted to Dharma. And since it is Nepal, and who was there first, and what is one of her first epithets, Sita, Jagat Janani.

    Dulari is "dear to", and it is a step away from Priya, which is a bit more beloved, as with a husband. Usually Sita is just paired with Rama. Without looking into it, you would probably just take them as the soap opera aspect of life. Janaka was her father, so she is less soap opera in this view, Janaka Dulari.


    This is more along the lines of inviting her into the house:

    This is something just "to" her and is invocative, sounds more like Site or Sitayai:

    Last edited by shaberon; 22nd November 2019 at 06:05.

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