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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

    Vajravidarana and Sarvadurgati Parishodana

    Part of the motivation behind clarifying the Mahayana pantheon of deities has been that it is relatively easy to get information about Completion Stage deities and be tempted to use it. This doesn't work, it's forbidden. Instead, the rationale has been to obtain the full Generation Stage. And so this uses outer practices and Yoga deities. The real or initiated mandala is "you", who would be the center, but without the empowerment we are not supposed to self-generate this way. That means the view must always be external from ourselves.

    This is very complex and yet very simple. It is not a contrivance or sport. Recently, when one of the Lamas was asked about, well, I made this Yidam named Tiffany, she has four arms, and she carries a credit card, a pack of valium, a makeup compact, and an uzi. The answer was no, the Sambhogakaya won't let you.

    Sambhogakaya is, for the most part, what we are aiming at with exercises and meditations. It is a close synonym for Akanistha Pure Lands and Dharmadhatu Treasure Tower:

    Dharmadhatu (chos kyi dbyings). The ‘realm of phenomena;’ the suchness in which emptiness and dependent origination are inseparable. The nature of mind and phenomena which lies beyond arising, dwelling and ceasing.

    Dharmadhatu Palace of Akanishtha (‘og min chos kyi dbyings kyi pho brang). Figurative expression for the abode of Vajradhara or Samantabhadra, the dharmakaya buddha. Akanishtha means ‘highest’ or ‘unsurpassed.’

    It is said that in Sambhogakaya, voidness or sunyata produces certain forms on its own, and these forms are what the teaching is based from. If we try to project our own thing into it, it will just get spit back out. The exercises make us stop doing that and start to perceive the meaning.

    Prajnaparamita is the main Mahayana text goddess and deity roster, and Namasangiti Manjushri is the male companion and text to her. This uses Sarasvati of the wider Aryan realm. So it makes the major basis of what we are compiling.

    The full physiological Generation Stage is shown by Varuni. She is a Yoga goddess, and, in order to get her to work, it takes a gazillion elements they don't give you if you read a practice that is too advanced. What we are focusing on is getting her to work. If successful, then, she would instantly release any Completion Stage deities, in a certain way. Almost all her powers and symbolism would transfer into Seven Syllable Avalokiteshvara, which is Anuttara Yoga or in a sexual union, except that one would have to add Vajrabhairavi.

    This refers to another tantra, Manjushri Vajrabhairava with Sarasvati. These things are inter-connected, so here, we can see Namasangiti Manjushri in the top left, and Red Vajrasarasvati top right:





    The center is Red Rakta Yamari Manjushri with Vajra Vetali Sarasvati; according to Taranatha, he is crowned with Vajrasattva. The lower figures are forms of Blue Krsna Yamari Manjushri. This usually suggests how a deity interacts with the world. So then if we "step down" to Krsna Yamari, we find that Janguli and Parnasabari work for him. And so now we have outer deities that are not drawn from a hat, but extremely relevant to the whole scheme. Janguli and Parnasabari. Like Pratisara, these may be addressed.

    All of this is originally explained by, and guided through the meditation of, Vajrasattva. As one aspect, he has increasing stages of wrath, named Vajravidarana, Vajradaka, Vajrapani, Vajrakilaya. He is also grouped in:

    The Five Cleansing Deities:
    1. Bhurkumkuta
    2. Green Vajravidarana
    3. Blue Vajravidarana
    4. Ushnishavijaya
    5. Vajrasattva

    Bhurkumkuta is a sex changing deity concealed by Taranatha under Tibetan names. He has a smoky Akshobya form, a green Amoghasiddhi form, and a female wrathful coal black Akshobya form. She holds a nectar vase at her heart, moves over your head, pours it in, then dissolves into you. This is just a short practice with one mantra that describes her as, or includes, Ucchusma. She is a simple Heruka or two arm form, long loose hair and flowing black silks, three eyes, who just stands there with feet together.





    Parnasabari is more for general, public, shared diseases, while Bhurkumkuta removes them from an individual. Neither one is really a replacement for sanitation, since it is not a huge difficulty to conceive this as including mental and emotional diseases. This kind of purification is similar to Agni Fire Offering of black sesame seeds to Vajradaka, one's sins, misdeeds, perhaps more karmic in nature, whereas Black Bhurkumkuta is striking at the root of the disease that led to them. These are both slight additions to Wrathful Vajrasattva and Purifying Vajrasattva.

    Vidarana starts almost identical to White Vajrasattva, except he holds a Crossed Vajra instead of single. And we see he turns blue and green. This is the same thing Vajradaka will do, and, ultimately, Vajradaka reveals the entire practice of the complete magic circle that goes with the Seven Syllable mantra of Completion Stage. Vajradaka has an outer form related to Agni, as is Varuni and Tinuma. Vidarana is also a preliminary practice:





    At the top left is Nageshvara Buddha, Prajnaparamita and Amitayus. On the right are Indian and Tibetan teachers. At the middle left is Parnashavari and on the right side is Marichi. At the bottom center is Simhanada (Lion) Lokeshvara. To the left is Vajravidarana and on the right is Bhurkumkuta.

    According to Taranatha, the White form is Vajra Family, and blue-green is Vajrasattva Family, semi-wrathful, and still dubbed "totally destroying". Sometimes phrases like "blue-green" mean a lighter color, usually Haritam, and sometimes it means the form itself is divided in two colors.

    Here is a Green Vidarana that is unidentified, but unmistakably has Parnasabari in the upper right, in which case it is almost certainly Janguli with her. What is a bit strange is they are around Amoghasiddhi:




    The lower left has a stupa with what is likely Marici. The stupa may indicate her "story-telling" mode, but also it symbolizes reaching her in her Abode, or Akanistha, meaning she functions as a Completion Stage deity. In his large Seventy-five deity mandala, Vidarana is considered an Anuttara level deity, and a branch initiation into Sakya Margapala or Path and Result, or Path With Fruit. So he definitely intensifies by degrees.

    So there is a primarily male blue-green axis, and, correspondingly, a more female blue-yellow one. It is difficult to understand what Red Varuni might have to do with this, but, her outer form is Pratisara and her inner form is Mamaki. And here we have found a stream of offering from Yellow Jewel Family to Blue Vajra Family, based around Mamaki. To close scrutiny, Varuni masters what is called the Lunar nerve, and becomes one of the Cinnamasta attendants. As it turns out, Cinnamasta originally has her head and is a Yellow Vajrayogini. Her more commonly seen decapitated form is at the bottom of Dhutaguna Samvara:





    The lower left Sow Face (Arthasiddhi) is the Solar Nerve, Varahi or Vairocaniye, the other Cinnamasta attendant, and the consort to the Seven Syllable male who is the key to Completion Stage at the Anuttara level.

    In the progression, Vajrapani is Guhyapati or Master of Secrets, he is a portal for the blue-green male and yellow-blue Mamaki, these very elaborate stages are shown by him.

    Female term for Guhyapati is Guhyeshvari, who has two aspects, Varuni and Jnanadakini. Now the second is equivalent to Vajravarahi. She does have Yoga forms, but, the difference of her is that she is not an outer deity. She is a fruit, a light, a degree of realization that has successfully been evoked by Vajrasattva (Jnanadaka).

    So instead of trying to use Vajravarahi, Prajnaparamita is basic starting point, and on the goddess side, Vasudhara is the one doing all the explaining. But Vasudhara is really how we employ Lakshmi. Now for the mandala above, the website painstakingly translated the peripheral explanatory figures, but said nothing about the mandala other than it has thirty-three deities. These in fact are all Hindu deities, the inner ring is male, the second ring is female, and Sri Laksmi is the first one, meaning in the East, which is the facing direction, or shown as down in a painting. So this Vajra deity has set Lakshmi directly in the normal Vajra quadrant.

    The actual Prajnaparamita meditations are relatively few in number, and beyond this, she is a graft of Vajravarahi and Marici, who gains sows and Sow Face. Ekajata begins to function as the protector of the Jewel Family or Vajramrita teachings along the blue-yellow axis. If anything, she is the night or Central Sun of Marici's Visible Sun. Before and after Clear Light is Black Light, which is unconscious. This, itself, is a technique ultimately to be perfected crossing the third subtle mind or void.

    Vajrapani at one point gains Mamaki (Varuni) as his consort. Here, the male-based Seven Syllable thread is merging with the female Seven Ray thread. In practical usage, the Rays are Armor Deities, which Varuni displays. Or, one could say the Akshobya--Amoghasiddhi blue-green complex meets the Akshobya--Jewel blue-yellow one. Vajrapani--Mamaki union, of course, is above the level we can really practice it. We don't need to, without having the building blocks.

    We are ok to study and learn about the types of Completion Stage. As outsiders, we should practice only in as close to the order and meaning as we can of the teachings. So for instance one should turn to Pratisara before Varuni. Her syllable is Pra, which then of course is the same for Prajnaparamita, who can introduce us to Vajra Muttering and a few other things as attempted in post 350. This is indispensible; none of the "motions" will begin without it. If not in that exact way, then, very close. Having the actual Sadhanamala now, we could perhaps tie in some specific things about Prajnaparamita from there.

    We have studied a water-damaged manuscript that gives her a unique retinue which, for instance, uses Janguli at an outer level, who is then replaced. Its male counterpart is Vajrasattva Manjoghosha. These folios are poised as if they are about to enter union, similarly how we can use Yoga practices to get Vajravarahi "about" to enter union with Seven Syllable Vajradaka. It is sort of like Prajnaparamita's final moment before being replaced herself.

    Namasangiti has Six Mantra Kings, which is the male or mental equivalent of Varuni with Six Armor Deities, which is the subtle body. Varuni in this sense is an emanation of Vajradhara, or, seventh Dhyani. Male deities are more complex, there is sort of a revolving door through Akshobya which would result in concepts like "My grandfather is really my son", when there is a hypostasis that could make seven families. Metaphysically, either deity is a "Three-in-One" surrounded by six elements. That is what we are trying to call a seventh family, not really a new group of entities, but an extremely subtle state at the center of six more accessible ones. The Jewel teaching or Vajramrita states the purpose to be use of all six equally.

    We have seen this before, a Vajravali composition, with Bhutadamaru Vajrapani, lower left in this format, beside Marici in her stupa. The upper right is Navoshnisha Sakya Simha Lion Buddha, in what looks like the inmost part of the full Sarvadurgati mandala. And the upper left is Vajradhatu:





    If so, the "missing" part from Sarvadurgati is where they have taken Hindu planetary gods and placed them in Buddha's domain. The Hindu Sun, Aditya, became Vajrakundali with Vajramrita as Shakti.

    This is Sarvadurgati with all its ancilliary mandalas:




    1. Sarvavid Vairochana with 37 principal deities
    2. Body-Shakyamuni (8 deities)
    3. Mind-Vajrapani with 4 deities
    4. Speech-Amitayus with 4 deities
    5. Qualities-Chakravartin (numerous deities)
    6. Activity-Jvalanala with 12 deities
    7. Vajrapani and the 4 Direction Kings
    8. Vajrapani and the 8 Dikpala (bottom right)
    9. Trailokyavijaya and the 8 Planets
    10. Vajrapani and the 8 Great Nagas
    11. Trailokyavijaya and the 9 Bhairavas
    12. Trailokyavijaya and the 8 Mahadevas


    Vajrapani grabbed the Aryan deities in his own large mandala, and here they come under Buddhist influence. Trailokya vijaya is perhaps a state or condition that may be achieved by Vajrapani, Acala, or perhaps others. Further, Chakravartin can be seen as equivalent to Amritaguna or Jewel Family method of using all six families equally. This is while making the Sun (Marici) into a pair of names further involved with a blend of Jewel to Vajra Family. Momentarily, at least, Vajramrita is a Sun Goddess, until in Vajramrita tantra, Amritaguna, or Qualities--Chakravartin here, the use of six families equally is accomplished. Sarvadurgati is a Vairocana tantra, which is Solar; and compared to Vajradhatu above, another Vairocana tantra, it carries the same Vajrapani and Lion Buddha Sakya Simha and adds Marici in stupa.

    Vajradhatu itself is all six families completely populated and functional. So this is a male-oriented version of what we see with Vajra Tara and intermediate deities like Grahamatrika who build components based on ever more intricate numbers from Five Families to Nine Planets and so forth. Vajradhatu is the sixth Namasangiti mandala before the final major one which shows its secrets, which hint at Mamaki's role as well as the elusive properties of Jewel Family.

    None of that would be possible if not for the use of Vajrasattva to provide a sixth family, since this is the difference from a person who defaults to Five Families based mostly on the senses and inability to control rebirth. Sarvadurgati is an attempt to improve conditions of rebirth.

    This is why Namasangiti in most respects is like an index. It says something about Vajradhatu, but the explanation is elsewhere. If it can be said to teach a seventh family, skandha, wisdom, etc., this amounts to three sentences. We say there is and it is more like a seed that holds the six others in potential; then, the more potently those are used, the more the central reveals itself.

    Sarvavid without the other mandalas:





    Here is a Typewritten Sarvadurgati which put all the mantras in English. It involves Vajrasattva and Sattvavajri, and places Vajradhatvishvari at the center of Vajravajrini and the rest. It is a bit too English, but seems to refer to Gagana-ganja-samadhi to produce the mandala. Its mantra washes corpses. Vajrapani's first mandala with the Dhyanis, etc., is a Long Life version. The Four Kings arise to offer their good spells; Virupaksa, king of Nagas, goes last, and uses Ksha (or Ksau).

    In the actual Naga mandala, it states that Vajrapani is immediately surrounded by Maharoga, apparently in the center or as a parasol. He summons the Hooded Ones by means of a hood. He uses Four Activites and syllable Phum and their spells are all variations of Phat. You have to do a lakh of Phums concentrating on Vajradhara with a hood. Everyone involved has a seven serpent hood (or the kings have five in one variation, where a seven snake hood directly attaches to Vajrapani).

    At the end, it classifies Seven Jewels of Enlightenment, the Dhyanas, and describes the Pratisamvits as absolute. In the footnotes there is mention of Vajrapani "appearing as Trailokyavijaya". This perhaps means he is just doing the gesture. It says Offering Goddess mantras are eight Paramitas. In Ten Directions, he sends Aditya to zenith and Indra to Nadir, and Varuna is King of the Nagas. Most of the detail is in the footnotes, which are 1/3 of the book, but there are for instance, Lunar Mansion deities. This is a very thorough practice manual, even though it leaves many original mantras hard to find, and is overall a bit smudgy.
    Last edited by shaberon; 17th July 2019 at 06:22.

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  3. Link to Post #382
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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Mahakala and Dharmodaya--Hexagram

    Sadhanamala begins with two major explanations of sarvabuddhabodhisattvebhyaḥ. I am not familiar with this, other than Bhyah resembles Bhyoh, a special syllable of Ekajata. However, the phrase originates from Shurungama Mantra, the overall source of Buddhist mantra. The mantra is for 1,000 Arm White Parasol, Sitatapatra, Aparajita, Pratyangira, Maha Vajrosnisa, emanated from the usnisa of Buddha. It refers to Seven Families by adding Kumara Kulaya and Naga Kulaya. Quickly glossed there 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. The much larger Shurungama Sutra involves Buddha and Matangi, who is not used directly by her name in Buddhism, although it is correct to say she is in mantras of other deities.

    Naga Kulaya already has its own Naga Gayatri which gives the name Sarpa. Janguli also uses the name Sarpa in place of Naga. She emits multiple Phat syllables, like Shurungama Mantra does. Matangi and Kubjika tantra can be found as close equivalents of Six Families, but Janguli starts saying seven a lot. She is an outer deity for Vajrabhairava and others. Like Matangi, she carries Sarasvati's musical instrument. She opens a large bag of tricks and passes them along to others and vanishes.

    Already in the first paragraph of Sadhanamala, Samvara is a type of samaya being: taduktasamayasamvarasthaḥ. Paragraph two is a Varahi Dharani which mentions vajrapadāḥ, by which we understand Seven Vajra Mysteries or Ratna Gotra Vibhaga. In paragraph ten, it uses dharmodyamudrā, which is also called jvala mudra. This specific gesture is done for example in Mikyo Dorje Guru Yoga. This is not a ritualistic behavior on his part, or a mental meditation like the rest of us might do. He is directly using akash to produce Completion Stage deities by its inherent character. This is considered effective primarily due to mantra, or, certain combinations of sounds evoke the particular forms from sunya or void.

    Sadhanamala is written to an adept of this kind of Yoga but the rest of us require instruction.

    A Hexagram is relatively easy to find but it usually has two problems. One is that it is difficult to perceive a Seven Family explanation because Varahi is repeated in the retinue and when we look into it, we get six. Also, we can get a lot of Samvara--Varahi practice methods, but for the most part we cannot really use them since it is an initiated tradition. We need the meaning, the gears that make it work, and some other way to train. As long as we apply ourselves to get the best meaning of a teaching about a deity, we could generally use them at a Yoga level, which is external or facing us like a conversation. The better you are at Vajra Muttering, the better any of them will work.

    Varuni is a Yoga deity emanated by Vajradhara showing six powers distinct from herself. She is able to show Seven Families because she has added Vajrabhairavi to the usual Armor Deities, and we do not need to be initiated into a sexual union mandala in order to contemplate her. She gives the entire Generation Stage by using Inverted Stupa. This would open the door to Guhyeshvari Nairatma--Hevajra tantra and is the yoga of the Lunar nerve of Kundalini.

    Samvara masks Seven Syllable Avalokiteshvara who clearly employs seven powers, one per syllable. This produces the White Completion Stage deities. This is the yoga of the Solar nerve using Guhyeshvari's aspect as Jnana Dakini, the inner driver of Varahi, without which Samvara is inert.

    So when we see the commonly-used upper level deities Samvara and Hevajra, it is accurate to say that both use a System of Seven in a somewhat different manner. The seventh power is Upeksha, cannot be disturbed, which still relies on Amrita Guna or Six Families Equally as done by Jewel Family. Jewel is not the Sixth Family, but this is its intended ability. This is Samvara and Hevajra over Varahi Hexagram, which does not have a central bottom deity, but points between Mahakala and Sri Lakshmi. It also has three sets of six dakinis, or, a central deity plus six powers, rather than a central deity that is six powers:






    Nairatma--Hevajra requires Tent Mahakala as an explanatory basis. Tent or Pavilion, or Canopy, Panjarnata Mahakala's whole tantra uses eight forms basically by adding arms. The important thing is Vajra Tent is at the apex of Generation Stage. He marks "the end" of the large number of components to a full mandala. Panjarnata Mahakala has a very unusual hexagram-style Eight Deity mandala:





    What happens is that in the first, East, or lower petal, there is Sri on her mule; over her, but within the same flame aura, is Ekajata. Sri Remati is generated from Ekajata's fat belly. The rest are Mahakala's personal set of Five Activity Protectors: Father-Mother Nagpo-Nagmo Kala Rakshasha and Kali Rakshashi, with Son, Brother, and Sister. This sister is Ekajata. The mandala has four animal-headed Gatekeepers, who take over the Four Activities, as consistent with Hevajra. Ekajata is mother of all Mahakalas. She is presenting herself as if in the role of Urmila or Deep Sleep Lakshmi.

    Panjarnata may be called Twelve Deity if counting the Gatekeepers; Eight is the term used by Sakya and Ngor. He can still be found in his personal group even if they are in larger displays, which always have Vajradhara as topmost deity, usually include Vajrapani, other forms of himself, Samvara and Hevajra and others such as Tseringma. This is a fairly clean view where the Activity Goddesses are obvious, and above Sri is Ekajata who holds a Gold Vase, or in other words a continuation from Varuni, who tosses her identity into the fold by becoming vases:





    There is a strange fat woman with a kila whose head appears to be replaced with a vajra item.

    Lakshmi has been prowling around the pantheon in various ways, aside from the fact that in Tibet she is mostly portrayed in wrathful mode, Remati or Palden Lhamo. There are plenty of protectors to have used without needing this one. She's going to assert her presence. Here is Remati's initiation painted on mica; after the beginning, most of the figures are her retinue::





    It ends around an unusual kila and Seven Offering Bowls under Three Vases of Varuni.

    Swayambhu Rajni or Sri Remati Lakshmi does something drastic by becoming the consort of Black Cloak Bernagchen Mahakala. He is a close parallel to Chemchok or Mahottara Heruka. This form is the personal protector of the Karmapas and of Karma Kagyu generally. It is Black Cloak Vajra Mahakala who is actually in the first picture above. Their mandala is rare if not outright unique by being triangular with three gates. This is a symbolic version where they have four Weapon Wheels or rings of deities represented by colored circles. At the very center of the mandala is a curved knife above a skullcup representing Bernagchen, and a 'kila' peg, mirror, spear, and a snake lasso, representing the consort Shri Devi.






    During their union, Remati reverses Bernagchen on a donkey, again representing Inverted Stupa or mandala collapsing into a chakra:






    Mahakala has many forms, including Raven Head and Eunuch, but if we mostly bypass the fact he could be a protector or used for something else, he literally interferes as mandatory for Hevajra. However, Four Arm Chaturbhuja Mahakala is related to Samvara. This tradition will generally use Samvara or others as topmost deity and usually lacks Hevajra, Vajrapani and the Rakshashas. So it's meant to operate differently. Samvara should purify him and release Two Arm White Mahakala. As these things start happening, we found that White Hayagriva's consort is Ekajata. When performing as Black Cloak Mahakala's consort, Lakshmi may likewise be called Mahakali, the name for the source of Aryan Mahavidyas.

    But first, Four Arm Chaturbhuja Mahakala is going to take Amoghasiddhi's Shakti. Mahakala with Chandika and Nagarjuna in the upper right:





    Mahakala is in the back half of Sadhanamala, so we lack the original. According to Bhattacharya, at least for the Sixteen Arm form, Mahakala should be surrounded by seven goddesses, three in the three cardinal points, (the fourth being occupied by his own bakti) and the other four in the four corners. To the East is Mahamaya, consort of Mahesvara, who stands in the Alidha attitude and rides a lion. She has four arms, of which the two left hands carry the Kapala and the Damaru, and the two right the Kartri and the Mudgara. She is blue in complexion, has dishevelled hair, three eyes and protruding teeth. To the South is Yamaduti, who is of blue complexion and has four arms. She carries in her two right hands the staff of lotus stalk and the Kartri. and in her two left the bowl of blood and the fly-whisk. She stands in the Alidha attitude on a buffalo and has dishevelled hair. To the West is Kaladuti, who carries in her two left hands the Kapala and the Cow's head and in the two right the Mudgara and the Trisula. She stands in the Alidha attitude on a horse, has red complexion and dishevelled hair. All these deities are terrible in appearance, with protruding teeth and ornaments of serpents.

    We have to interpret that as he failed to mention North, so the "bakti" or perhaps shakti he means, would be found there. He also gave the instance of female Mahamaya, as consort of Maheshvara, who is Paramashva or Amoghasiddhi. He has the northern quarter, so, it appears he has received a substitute for his usual goddess Candika, apparently given to Mahakala. Nothing says they are "with" a consort, just that they are the consort, and then, incubus-succubus-like, Mahamaya becomes male in the advanced part of Completion Stage.

    The four corners are occupied by the following goddesses. Kalika in the SE corner is blue in complexion, has two arms carrying the Kapala and the Kartri, and stands on a corpse in the Alidha attitude. Carcika in the SW corner has red complexion, carries the Kartri and the Kapala in her two hands and resembles Kalika in all other respects. Candesvan in the NW corner has yellow complexion, carries in her two hands the grass and the deer, and stands in the Alidha attitude on a corpse. Kulisesvarl in the NE corner has white complexion, carries the Vajra and the staff, stands in the Alidha attitude on a corpse.

    Bhattacarya mostly explains forms, Mahakala is krsna, dark blue, but his translation lacks mantras or explanations of why one goddess is not counted and there are seven. This large form of Panjara is also found with a white consort, armor deities, and what appears to be two Ekajatas:





    Fifty Chapter Mahakala forms have six of the eight, including this. Tent Mahakala is the original, and, his other forms (Black Cloak, Four Arm, Raven Head, etc.) arise from a stick, across his forearms. However with his earlier picture, this looks more three-dimensional, as if he is collared by the triangle. This image from Fifty Chapter is not his final growth in this particular tantra, which suggests that accomplishing armor deities is followed by something else, which it is.

    Mahakala has a hexagram yantra, and is somewhat frequently shown with this and/or the upright or male triangle, which is almost the same thing as Dharmodaya mudra. Or it may resemble an eye in a triangle. His Four Faced form was considered so secret we are not even supposed to know about it, and is usually disguised as a human form. This relates to Guhyasamaja or the Root Tantra. So there is no kind of Anuttara Yoga you can do where Mahakala does not participate, he covers this, Samvara, and Hevajra. In a certain sense, he is considered to harass the disciple or insure they are making right efforts. Completion Stage is not like a brand new thing starting all over, it always includes Generation Stage and extends it.

    Although Varahi is most frequently found with a hexagram, in Sadhanamala, only two goddesses specifically mention it. Vajra Tara #95 uses a Blue Hum syllable that becomes a White (Sukla) Dharmodaya. #97 has pañjaramadhye ākāśasvabhāvāṃ dharmodayām, inside the Tent, Akasha has the self-nature of a Dharmodaya. #110 has ākāśamahābhūtasvabhāvaṃ dharmodayākhyaṃ mahāvajradharasvabhāvaṃ, Akasha, Dharmodaya, and Vajradhara share the same nature, or something close to that. And Ekajata #123 uses it; this is her massive form.

    In a philosophical way, we have gone beyond Armor Deities simply by realizing the central or seventh unit is Upeksha, the highest trait of Seven Jewels of Enlightenment, Four Roaming Brahman Virtues, and the Pali iteration of Bodhisattva Perfections. Although this does have six kinds of protection done by wrathful deities, these are also powers of enlightenment and the Six Kalachakra Yogas, because the same Prajnas have Peaceful and Semi-peaceful natures, or, any skandha may be purified and converted to wisdom.

    Varahi #226 names and locates the Prajnas as Armor Heroes:

    Oṃ vaṃ vajravārāhī nābhau, hāṃ yāṃ yāminī hṛdi, hrīṃ moṃ mohanī vaktre, hre[m] hrīṃ sañcālanī śirasi, huṃ huṃ santrāsanī śikhāyām, phaṭ phaṭ caṇḍikā sarvvāṅgeṣvastram

    Candika has absorbed Janguli's Phat syllables. Santrasani has taken Hum from Akshobya and gone to the crown, here described as a form of Sikhi, which is a flame-swept tuft of hair, a peacock, Buddha Sikhin, Mayuri, Wrathful Nirmanakaya Kumari, and possibly an aspect of Pandara, see Lakshmi above. Santrasani is the Prajna of Ratna Family, which, in Namasangiti, is Crown Protuberance, or Coronal Dome. The Ratna couple's esoteric names are Light Maker and Sun, Bhaskari and Surya. So they are not really the sixth or seventh family, but have everything to do with man's only potential "thread to the absolute", the crown center is really a short, narrow aperture, a sort of chute from the brain to the above-the-body center, which causes a thousand lights.

    Circle of Bliss uses that same mantra and explains that Armor Deities run twice. Both times they are non-dual couples. The first one is "male first" and protects the body. Then they are purified to emptiness. Then the Prajnas or "female first" protect the subtle body and chakras. Wrathful Ratna couple protect the crown which makes sense with Kagye giving them parenthood of wrathful deities, which are the mind or head--brain.

    Armor Heroes begins in the heart with white Om Ha, which becomes White Samvara Vajrasattva (Wrathful Akshobya) with Varahi. Between the head and forehead, yellow Nama Hi becomes Vairocana with Yamini. At the crown, red Svaha Hu becomes Padmanartesvara with Mohani. At the shoulders, blue Vausat He becomes Heruka (Wrathful Vajrasattva--Vajradhara) with Sanchalini. At the eyes, orange Hum Hum Ho becomes Vajrasurya with Samtrasani. At the forehead, green Phat Ham becomes Paramashva with Chandika.

    At the navel, red Om Vam becomes Varahi (Prajna of Akshobya) with Vajrasattva. At the heart, blue Ham Yam becomes Yamini Locana with Vairocana. At the throat, white Hrim Mom becomes Mohani with Padmanartesvara. On the head, yeloow Hrem Hrim becomes Sanchalani (Vajradhatvishvari) with Heruka. On the crown, green Hum Hum becomes Samtrasani Mamaki with Vajrasurya. On the forehead, smoky Phat Phat becomes Candika with Paramashva.

    These become the samaya beings, and Dharmodaya mudra with syllable Phaim is used to attract Wisdom Beings and cause them to melt into the samayas (the purified drops and channels). It goes on to other things; and the preliminary used the body as Inverted Stupa, although not mentioning it, with the legs as the crescent and so forth. It makes any Guru or Deity Yoga that was used to get here "of one taste". In Generation Stage, Samvara is described as Vajrasattva Family and Varahi is of Akshobya. The true Completion Stage is not necessarily uniting the Wisdom Beings, but, from there, reversing the winds and binding them in the center, melting the Drops and experiencing the Four Joys and so on.

    #226 finishes around the point of giving something almost identical to Cinnamasta mantra:

    oṃ vajravairocanīye huṃ phaṭ svāhā - hṛdayamantraṃ daśākṣaram /
    oṃ sarvvabuddhaḍākinīye vajravarṇanīye huṃ huṃ phaṭ phaṭ svāhā /
    upahṛdayam ekaviṃśatyakṣaram /
    oṃ sarvvavajrakāmini sarvvabhakṣyaṃ śodhaya guhyavajriṇi huṃ svāhā - sarvvabhakṣyaśodhanamantraḥ

    However it introduces a third goddess Kamini, which would generally be loving affectionate woman or Devi. In usage, Dikkamini is a region of the sky considered as a virgin. The combined word Dis has many meanings, including space, and ten, and is actually a Buddhist term for the Ten Directions. Phyong in Tibetan or Fang in Chinese.

    Kha Kamini is Durga. Kha is the void, the empty space of the heart, suṣumṇā-nāḍī, or cranial vault, is also termed kha—hole, cavity, empty space—whence statements in hathayogic sources concerning the free-floating state of the meditative mind, intellect, or consciousness in the ether: this is khecara, “moving in the ether”. Suffering, called Dukkha, is its lack or absence.

    If there was a question if Varahi intended this meaning, she just spoke it a few lines earlier:

    oṃ kha kha khāhi khāhi sarvvayakṣarākṣasabhūtapretapiśāconmādāpasmāraḍāka ḍākinyādaya

    Using kha, she has compressed all those kingdoms of beings from Yaksha to Dakini into daya.

    Kha is not dormant, and has two possible products, Dukkha or Khecara. So the khecara or feminized khecari pre-dates its famous use with the tantric dakinis by being applied to Avalokiteshvara, and used in a pre-Buddhist sense by Yajnawalkya, Janaka, and Sita. This all took place right around Nepal, and has a lot to do with why we might give any credence to the Nepalese Varuni who is not used this way anywhere else. She is not a protector or another local guardian deity because she is the gnosis of something powerful going back through Vedas.

    In Kubjika tantra, the khecari cakra is associated with the element Ether and is located on or just above the head. The Khecarīcakra consists of four maṇḍalas (the khecarī goddesses are seated in the first three): the sūryamaṇḍala (which contains twenty-four khecarīs), the somamaṇḍala (which contains thirty-two khecarīs), the vahnimaṇḍala (fire mandala which contains eight khecarīs), and the ādimaṇḍala (which contains the ādiyoni, the primeval source of creation).

    This is quite close to the same as Higher Yoni Triangle. That is something like Pure Land with access to Void. An energetic Staff moves into a threefold zone and in order to work it has to stay balanced and be powerful. Lakshmi explains using Three Dual Divine Gunas, which are no longer the same as gunas in the world of form. Their names are strangely close to the highest parts of the Sarma Bodhisattva Perfections.

    With Kubjika, Duti cakra is at or above the navel. In Mahakala art, two monkeys, Duta and Duti, may sometimes be found walking around on their hands, with their feet up holding offering bowls. The name means "Messenger". Yama Duti is Death's Messenger and so forth. So that school uses nine male deities each having nine female dutis in this center. Aside from the monkeys, other animals are generally considered the dutis or messengers of Buddhist deities. If "Angel" originally means "messenger", then, this has only limited and specific usages in Sanskrit. If someone wanted "angel" to be "deva", these are not really messengers, but just powers of nature. So for example Indra Deva is just an aspect of mind that can be learned, transcended, and controlled. Most devas are not considered wisdom beings and are less apt to have any interest in doing so than hell beings or ghosts or sinners on earth; usually, the greater the suffering, the more likely a being is to renounce their ways and accept Dharma. Most devas are considered to sit there for a universe cycle going "oh, this is nice", unable to even gain a new realm of rebirth until the next cosmos. In India, since the Buddhist diaspora, the vast majority of new converts are six or eight millions dalits, the untouchables or out-castes. Modernized people "with all this nice stuff" frequently remain miserable; around places like Tibet and Bhutan, the poor primitive people show a resilient joyfulness despite recurring problems of invasion, famine, disease, earthquake, and so forth.

    Black Varahi is called Krodha Kali. This is a Dharmadhatu goddess. Krodha is a general term for wrathful deities. The word kala or kali does mean time, and, it can also mean inky black, much moreso than krsna, which is usually dark blue. Here, she appears in a hypostasis of herself as Peaceful, Semi-wrathful, and Wrathful:





    According to Taranatha, Black Varahi is a Hrih-arising deity, whose retinue as a whole is called Vajra Dakini. This name is used for the first or eastern one, followed by standard family dakinis. The corners are a little different. Southeast is Samaya Dakini who is white on the right side, yellow on the left. Southwest is Vishva (universe) Dakini, yellow on the right side, red on the left. Northwest is Sarva (wholesome) Dakini, red on the right side and green on the left. Northeast is Loka Dakini, green on the right side and white on the left. Her personal mantra calls her Krodha Kali, so this is the same. The retinue uses what looks like a variant of Visvha Mata of Kalachakra, and separates Samaya Dakini from the Green Karma Dakini in Amoghasiddhi's quarter; Samaya Tara is not supposed to be the same as Amoghasiddhi's Prajna.

    When you study mandalas and find the strange relationship of Akshobya, Vajrasattva, and Vajradhara, it's pretty easy to ascertain their different functions, but if you look at "who" they are, you get back to "my grandfather is actually my son". Then if we look at Ekajata related to Kali and Mahakali and Guhyakali, something similar is happening. Ekajata is the mother of Sri and Mahakala so those two are brother and sister, as well as consorts, and when you install that into Panjarnata's personally-emanated retinue, it ceases making any linear sense and starts disposing of the conceptual mind, much like dissolving the "earth is earth" and similar concepts as these mandalas begin to break form. This is why most teachings are "provisional" or temporary, because the real ones are given direct to the Bodhisattvas, who can all use Completion Stage "of one taste", that the rest of us have to get as a concept and work towards.
    Last edited by shaberon; 30th May 2019 at 04:48.

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

    Serpent Source and Return

    In Nepal, there is a 1,000 Arm Red Guhyeshvari, as well as a 1,000 Arm Red Avalokiteshvara. There are a few kinds of a basic Red Avalokiteshvara, but the one to emerge in the massive form is Sristhikantha Avalokiteshvara. This one is from Karanavyuha Sutra, the end of Avatamsaka Sutra, as are others. In this particular form, what he does is to emit several Hindu deities. In pictures, this is represented by a type of tendril from the other deities to him.

    We have found a Naga Hood or what we might call a Hydra used by Nagaraja Bodhisattva, Nagarjuna, Dombi Heruka, Janguli, and Amoghasiddhi. And so when the minor Red Avalokiteshvara emits his deities, it is hard to miss Varuna on a Makara with the hood, closely followed by Ananta, who is similar (Varuni is his embodied radiance):





    This was made for a family in Kathmandu, who would be the people across the bottom. In Buddhism, fairly direct use is made of some Hindu deities, such as Sarasvati, Ganesh, who is here but does not look too uncomfortable, planetary deities, and especially Hayagriva. This is a "minor" incarnation of Vishnu but, has everything to do with the esoteric Horse Head rite, also involving Ganesh. Hayagriva and Ganesh have been kept for apparently ancient purposes, like Sarasvati.

    So this shows a White Varuna who is the husband and father of Varuni. Here is a Varuna Ritual preserved in Japanese Buddhism. He is king of the dragons, rain, and Mercury. His "consort" is Flesh or Reddish-Yellow, has a necklace of a nine-headed serpent, and her emblem is Noose, as is Varuna's, or really a Dragon Noose. They have him riding a Tortoise instead of Makara. His retinue seems to just be Varuni and dragons. He is described similarly in White Mayuri mandala. Her inner circle is Seven Historical Buddhas plus Maitreya. This ritual uses Aparajita Vidyaraja mudra--which sounds male, raja instead of rajni--but it gives the mantra om huru huru candali matangi svaha. Again, Matangi is contained, but not the principal name. This is Sutra-based; Sadhanamala does not use White Mayuri, although it is aware of Maha Mayuri Vidyarajni. However, in its Panca Raksa formula, it does equate the Raksas with Wrathful Prajnas:

    cakṣuṣormohavajrī mahāpratisarā, śrotrayor dveṣavajrī mahāsāhasrapramarddanī, ghrāṇe mātsaryyavajrī mahāmāyūrī, vaktre rāgavajrī mahāmantrānusāriṇī, spharśe īrṣyāvajrī mahāsitvatī

    Cool Forest or Sitavati is Irsya Vajra or Amoghasiddhi consort. Moha (first one, at the eyes, caksus) or nescience is Locana, Vairocana Family, in Guhyasamaja. However the Guhyagarbha version is Mum Dhatvishvari (White Tara), Lam Dvesarati (Locana), Mam Moharati (Mamaki), Pam Ragarati (Pandara), Tam Vajrarati (Samaya Tara). Buddha said that Pratisara is Mamaki, so this version fits better (Moha is Pratisara--Mamaki). Although we would again find the main change is between Locana and Mamaki, and Guhyasamaja has Irsya with Ratna. Again this seems to represent that Guhyasamaja is the older, basic, five families that "are" things, but as this expands and moves, associations shift. These are not external, but psychological, and it seems to be saying something like Locana and Mamaki switch offices between Dvesa (aggression, anger) and Moha (delusion), as their positions change in mandalas.

    Varuna has an odd yantra from Benares, which is Varanasi, which is where rivers Varuna and Asi meet. What is strange here is that the inner core is just blank:





    It perhaps is blank since he is not in the cosmos of form, but in the waters of the deep, Chaos, Tiamat, or Absu. Rg Veda names distinctly Mitra-Varuna, Indra-Varuna, and Indra. In astrology, terms like Indra Mandala mean retinues of stars, or asterisms, and in Sadhanamala, they toss in Varuna mandala and so forth and appear to expect you to learn it somewhere else. In this case, Varuna does not seem to require anything but Naga Kings or Varuni. The common retinue of Nagas is with Vajrapani.

    The Karanavyuha Sutra refers to nine deities emerging from Sristhikantha Avalokiteshvara: "From the eyes are the sun [Surya] and moon [Chandra], from the forehead Maheshvara [Shiva], from the shoulder Brahma, from the heart the Great Powerful One [Vishnu], from the two teeth the Goddess Sarasvati, from the mouth all of the wind is born [Vayu], from the feet earth [Bhudevi], and from the belly arises the Water God [Varuna]." In the relatively recent Hetu-udaya Bhagavata, a Hindu Radha-Krishna text, they equate the body (pinda) with the universe (brahmanda), and list five centers like armor deities, Sunya Mandala head to throat, Hrdaya Mandala Throat to Heart, Agni Mandala heart to navel, Varuna Mandala navel to knee, Prithvi Mandala knee to feet. Prithvi is Bhu and, although this is a different system, it keeps Bhu and Varuna basically the same as Karanavyuha.

    Here is a death effigy variation where the deceased is the person at the bottom, and the top is 100 Family Vajrasattva:





    At the left is Shakyamuni buddha, with the right hand in the earth touching mudra and the left holding a black bowl. To the left corner is the future buddha, Maitreya, with the right hand at the heart in the mudra of blessing and the left in the lap holding a gold water flask. The front of the topknot on the crown of the head is marked with a small stupa. At the right side is Amitabha buddha, red, with the hands in the mudra of meditation supporting a black begging bowl. At the right corner is Manjushri Namasangiti, orange, with one face and four hands holding a sword, book, bow and arrow. Surrounding the central figure are 13 worldly deities seated on lotus flowers arising from thin tethers of gold emanating from various parts of the body of Lokeshvara. At the top is Shiva holding a hand drum and trident. Descending at the right is yellow Brahma with four faces and four hands and orange Surya holding an orb of the sun on a lotus blossom. Below is white Varuna with a hood of seven snakes and holding a snake; riding a makara sea creature. Below that is a blue deity holding a banner, riding a brown goat, and below that is the white naga Ananta holding a flower. Descending from the upper left is Indra (Shakra), blue, holding a lute. To the left of that is Chandra holding an orb of the moon. Below is green Vishnu with four hands, riding on a garuda and below is red Agni holding a stick and a red triangle of flame; riding a goat. Below that is the king of the Four Guardians of the Directions, Vaishravana, yellow, holding a banner in the right hand and a mongoose in the left. Below that is an orange deity holding a gold vase and riding a green sea creature.

    Agni does not seem to come from the Sutra, but he is regularly used, in a mostly traditional way, represented by holding a piece of Dharmodaya which is burning:





    The Sutra does however mention Bhu Devi who has a disproportionately minor representation. She should be Yellow, holding a Vase, mounted on a Boar.

    With only a Vase, she is hard to distinguish from simple Taras or even Ekajata:






    However here is Buddha himself over planetary deities, and Bhu is easy to find, last from the end lower right:





    She does seem under-represented if skipped sometimes where she is supposed to be. Mostly, Agni is in the east or southeast and Bhu is west or southwest, such as in Medicine Buddha. She rarely stands out, but here is a black background, a type of work mostly reserved for Mahakala. This is his Eunuch form, which, even weirder, he is really a type of medusa because his hair is black snakes. This example also does not centralize a lower deity, but falls between Indra--covered with eyes--and Bhu on her sow:





    Descending on the left are Varuna, Raksha, Yama, Agni and Indra at the bottom with the body covered with eyes. Descending on the right side are Brahma, Vayu Deva, Kubera (?), Yaksha and Bhu Devi. Mahakala is not easily accessible. The question recently came in from a teacher who had a student interested in Buddhism, but not committed enough to take Refuge Vow. The teacher asked if a Mahakala empowerment might be a sort of blessing that would inspire the student. The answer is no, this is making a lifetime commitment for a daily practice.

    The reason behind including Hindu deities especially as worldly or direction protectors is because of the Cemeteries. A general scheme for them is that the Eight Direction Gods of the Cemeteries are: 1. east Shakra [Indra] on an elephant, 2. south Yama on a buffalo, 3. west Varuna on a makara, 4. north Yaksha on a horse, 5. north-east Ishana [Shiva] on a bull [Nandi], 6. south-east Agni on a goat, 7. south-west Rakshasa on a zombie, 8. north-west Vayu on a deer. The Cemeteries are in order around Seven-Syllable Avalokiteshvara, who has an inner retinue of Four-Armed goddesses; his lower register is thought to include Vasudhara, with the rest unidentified. Mitra is a central lineage holder with many of these traditions, and he also has a Gyatsa or Maitri's Ocean of Sadhanas. In that list, the only deity linked is Seven Syllable. They felt it was worth pointing out this is associated with Maitri, and, the whole thing is 108 mandalas, an auspicious number for rosary (3 x 36), although it would be difficult to imagine that means he did them all every day. Five was considered a large number for one of the Karmapas, and, the "Mandala of seventeen mandalas" is probably the largest known daily routine. This rosary is interesting for carrying Mahakarunika Jinasagara and Hayagriva Padmanartesvara, Samvara Chakravarti Vajrasattva, uses Vajra Tara as a Mother tantra and also Suryagupta's twenty-one Taras as a single mandala.

    They are based from actual places in India such as Cemetery of Laughter, Cool Grove, and so forth. Hevajra mentions zombies making the sound, "phaim" (phyam, pam), but it, and Samvara, appear to rename Cool Grove (East) as Gruesome. The phrase Cool Grove seems to work with Maha Sita Sitavani, as well as what takes place in Agni Homa. In the universal sense of the word, these of course are not the physical places but are the subtle body in attempts to stop the ego and to stop life winds from flowing out the limbs and senses. The use or not of Cool Grove is really because there are Peaceful and Wrathful Cemeteries. Their symbolism is pretty straightforward; each has a certain Tree, which is the Avadhut or Central Channel, and each has a Naga, which are the cultivation of the Ten Paramitas. This is why Dragon Tree is the One Initiator, shown with Sabari Forest Maidens as the escorts or guides. It doesn't quite say thata nagas "are" paramitas, but are the cultivation, which is the same kind of term applied to skandhas purified into kayas. This is the same thing as Janguli or her Hood does. Crossing all cemeteries is expected to be a lengthy process, and, Wrathfuls are a necessary experience to reach the higher or truer parts of the Peacefuls. If Cool Grove is specifically peaceful, and, the same concept is carried to Agni Homa, this makes of it a peaceful rite.

    In these cemeteries, meaning the skandhas of the meditator, from Sadhanamala we found one rare form of Six Arm White Tara whose job is to cast Vajra Fence and cross all these cemeteries. Her sadhana is very brief, which suggests her as a tutelary deity for a phase of meditation that may employ many subsidiary deities. So far, this particular form seems to have vanished from practice and imagery. There are other kinds of Six Arm White Tara that are usually seen. But this one should be easy to spot. She has bow and arrow, one of her left hands holds the stem of a lotus near her heart, and another left hand holds another kind of lotus. One of her right hands holds a rosary. Her left face is blue and her right face is yellow. She should be semi-wrathful with three eyes and matted hair, but, perhaps a little more peacefully, I am not aware of another Six Arm Sita, iconographically, that could be at shoulder level here. The goddess opposite her is also not Usnisa, but has Eight Arms, perhaps Marici. This is very different from any normal Long Life configuration. It is a Gelug view of White Samvara according to Tson Khapa, which is Umapa's tradition, which traces to Sakya Sri:





    The central White Samvara holds two vases and Red Vajrayogini holds two skullcups. Two hands having the same two items is not common. The union also represents two Dhyanis, Akshobya and Ratna. This also appears to show White Amitayus and has White Jambhala at the bottom center. Jambhala's Red form eventually consorts to Red Bharati or Bowl Goddess, in which union "both desire increasing great bliss", and the way this seems to happen is that Bharati gets taken by Takkiraja. So this piece is very unusual, Amitayus or Long Life with no Amitabha and no Usnisa, and where two Dhyanis are involved, these are unusual or specific emanations valid for a certain time or purpose, which, here, appears to have grabbed Cemetery Sita or Vajra Fence, making it the first place I'm pretty sure she is found. There is a chance that Smashana Adhipati or two skeletons "Lord of the Cemetery" is a standard Tibetan replacement for this rare Sita Tara, as they sometimes appear with this same Samvara and are quite common. The format above does not necessarily depict a single mandala or retinue, but, is more likely an association of multiple related deities and sadhanas. This uses White Jambhala which, on the male side, is the first guy to force a tantric appearance and pursue union. The central couple, arguably, are embracing since they have clothes on. The top or a redundant Samvara--Varahi have no clothes and would be hard to dispute are in union. So it does represent a degree scaling of the white male force, using Dhyanis and goddesses not generally shown working together. The white and two dark Mahakalas are just about the only ordinary feature here, although they completely bypass his Four Arm form which is used with Samvara. This carefully avoids using anything normally related to Samvara or Long Life. At least to me, this suggests Cemetery Sita is more meaningful if we work around some of the common Tibetan retinues and start thinking in terms of two Dhyanis working on one project, which appears to mean increase of a white power, from a "produced" kind to a "non-produced" one.

    The Upward Triangle is a rare symbol shown by Mahakala, used by certain Taras in the rite of Tinuma, and is the gesture of Dharmodaya Mudra itself as shown by Nagaraja and Mikyo Dorje. This is not much of an outer purification, but lucidity or concentration developed by purifying, entering transcendental existence. Vajrasattva or Sixth Family or Gnosis, not, exactly, an integral part of the average human being, who may not even have a soul, has been matured from a seed thought into a living presence. Taranatha's version of Armor Deities actually uses Samputa Vajrasattva instead of Samvara. So this Triangle is scarcely mentioned without a considerable commitment. At a very high power, white seed would be visible as the well-known 1,000 Arm White Avalokiteshvara and Sitatapatra Vajrosnisa.

    Nepal has for a long time held lesser-known 1,000 Arm Red deities, still including Avalokiteshvara. The other is Guhyeshvari who is both important Completion Stage Goddesses Varahi and Nairatma. She may be approached by Varuni rites. As there is a Serpent Hood that occurs one way or another in these practices, we see that its white form rests with her father and husband, Varuna. This is the Formless plane. So the circuit of deities is, so to speak, polishing a crown of clarity there. Formless is "mental only", but, at this point, looking up to Buddhi, rather than down or out into the lower planes. Varuni is a special kind of element, like Daiviprakriti, which is a thread to the absolute accessible by consciousness. This is essentially giving you Varuna Shakti; you use his power; you obtain his headgear without involving him. You have forced his wife to suffuse your aura. You have "Conquered the Formless" in the way the Jinas "Conquer the World". Naga Kings of Cemeteries become the support of Paramitas or Perfections. If we have to say he only shows seven, this is still the same as Seven Syllable deity, and higher Paramitas are in a certain sense irrelevant or just didactics, as they only apply to the Irreversible Bodhisattva Path, so it is generally Seven Paramitas that would apply in practice.

    The female triangle is the form and especially at this point the subtle body. It refers to Three Gunas or modes of motion. Black Kali is ultimately Tamas or darkness or resistance which rules the pralayas and so perforce would be identical with Deep Sleep Lakshmi. This is the Maha Maya she helps us break, and, what she does not do, is break Deva Maya, which would be things like how we could live inside the sun, or what the ultimate origin of multiple universes is. Jupiter is the Deva Guru. The two brightest luminaries are Jupiter and Venus. Venus is the Human Guru. Venus teaches Formlessness. The Jupiter realm is something we can harmonize with but not personally accomplish. That is Solar Fire which if anything is Ganesh and the Aswins. In other words, it most certainly is a purifying energy we ought to handle properly, but those kind of mega cosmic questions are seen as a path to insanity. Jupiter has a crucial purpose (Rta) but not the apparent one (dead letter ritual or extreme paths about form).

    Instead we think of the form or subtle body as a Net awakened by Prajna.

    The male seed or mind of the meditator has philosophical stages, but at this point, it is in a different state or Sambhogakaya, which directly reveals the link, so to speak, of mind-matter or the two triangles illumined in full awareness. This is seen as multiple Families because there are multiple states of matter, tattvas or elements of reality, certain ways that energy reacts to mind.

    Red Varahi symbolized by downward triangle, which otherwise is sometimes a base for deities to stand on:






    The hexagram or combination of two triangles is both a learning device, as well as reality on the other side of the Cemeteries, when it is activated, or has ripened or bloomed like a flower in a person. It has no need on attempting to visualize a samaya being such as Vajrasattva or Green Tara, but is what they will help us find and unlock. Varuna's syllable is Va which if chanted would be Vam, same as for Varahi. This is never used for Varuni; if you try, she is returned as Mam, Mamaki, who is also Pra, Pratisara, very close to Pra, Prajnaparamita, text goddess of the Naga Kingdom. Although Pratisara is a Protector, she is by no means a quick command or a luck charm. She is a Bodhisattva and what this is meaning is not a human one, but a perceivable, or Sambhogakaya form of a Prajna or Female Dhyani. It means her mantra protects the mind and Akash has a certain response to it. This generally is along the lines of White Akashadhatvishvari or akash in the head. Varuni is essential for this, but, further, she goes through the whole organism. There is a distinct and limited view of relation to Nagas leading to actual use of Dharmodaya. At the same time, while there are many kinds of Avalokiteshvara, we are prompted towards certain White forms such as Khasarpana and Amoghapasha, and then this particular Red form from Nepal which gives Buddhist Deity Yoga a scriptural tie to Hinduism.

    The Hindu deities are used in a straightforward manner in several tantras such as Sarvadurgati, but, eventually things change. Not necessarily every ritual, but, the inner esoteric meaning of Varuni, is what is relied upon, to gain a thread of her at all, and become able to distribute her equally in fullness. Varuna then being a stable existence "on the other side", in void, Tara has ferried across. The Inverted Stupa causes the individual to merge into this condition, rather than the regular or perhaps orthodox Jupiterian way which would be to hammer out slogans about Varuna. To an extent, "he's just there". The Shakti or Goddess aspect actually is all the stages of initiation.
    Last edited by shaberon; 7th June 2019 at 16:16.

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

    Paramadya

    The collection of Maitri or Mitra's 108 Sadhanas highlights or brings attention to the obscure Seven Syllable deity and its large mandala with the cemeteries. It also has a series of blockprints, and then a strand of unidentified mandalas. These are in a basic or core format without major assemblies. It would be hard to figure out what several of them are, but, if we were wondering if it includes Seven Syllable deity, it does, although it is unidentified:






    This would be the same thing as the 1100s version from Nepal. Although it has never been a part of Samvara understanding for outsiders, we have found it to be a full key to wield Completion Stage in manifesting the purified white deities. It fuses the major explanations of Bodhisattva Paramitas and esoteric Kalachakra Yogas. It takes the common Six Syllable Avalokiteshvara and adds a magic touch. The work appears relatively recent (undated) but is kept in the vast exposition at Tibet House in New Delhi. H. H. Dalai Lamai specifically saw fit to present Mitra Gyatsa using these mandalas. The collection, of course, includes Raised Leg Flyer, or a dakini form realized by Mitra and kept with the rest. This Gyatsa is compressed or a more elegant and presentable version than if he had used the 400+ sadhanas from the major "ocean" catalogs. Compared to what we have on this site, it is already almost completely explained. What the Mitra sadhanas include that the Himalayan website has no clue about is:

    38. Paramadya (?)

    In "The Buddhist Tantras", Alex Wayman states that the clearest light he has found on esoterics is an Anandagarbha commentary on a tantra portion entitled Sri Paramadya Mantrakalpakhandanama. He was trying to explain why tantric sexual symbolism isn't about sex. The conclusion he got from the commentary is that Vajrasattva is androgynous and that is why men and women can both use the Path. So far, we have attributed Vajrasattva with Jnana Kaya, and it has been explained that Svabhavika Kaya is the Androgyne, specifically as the union of Wisdom and Skillful Means. Since all this is transitional and goes by stages, it may be that Vajrasattva reveals Svabhavika Kaya simply as a step on his progress. The exercise in question places him with four goddesses, which itself would never be interpreted as androgyny, except that it is explicitly stated here. This is a Yoga level teaching so it does not use union. And so it would be preliminary for Anuttara Yoga which does. Because the secret meanings are not exactly sexual, the higher teachings are kept secret except from those who delight in inner samadhi. So this Yoga explanation is a proving ground for that.

    This is "the Reality of the hand symbol of Sri Paramadya":

    "The great weapon of the great lord [Mahavajradhara] who has the supreme success [siddhi of Vajrasattva] that is great, is said to be the five-pronged thunderbolt [vajra] which is the great reality of the five secrets."

    The great reality of five secrets are five goddesses who are seals--mudra arising from the Body, Speech, and Mind of Mahavajradhara.

    The first secret is Bodhichitta itself, which is Vajrasattva, who has both the great pleasure [female] and the unwasted vajra [male]. So by having both properties, he has been rendered androgynous, or Svabhavika Kaya, or non-dual union of both. At least this is what Wayman states he gets from poring over Anadagarbha's Paramadya commentary.

    The second secret is Understanding Bodhicitta, which is Ragavajra, who pleases Vajrasattva's mind so he will not swerve from the thought of enlightenment.

    The third secret is Realization of Bodhicitta, which is Vajra Kili Kila, the pledge to arouse attachment to the great pleasure and unwasted vajra.

    The fourth secret is Non-abandonment of Bodhicitta, which is Vajrasmrti, indestructible memory because unshattered, holding victory over lust, etc.

    The fifth secret is Gnosis or knowledge characterized by attainment, Vajra Kamesvari, sensory objects materialized by Vajrasattva (or perhaps Offerings)

    Anandagarbha states the four goddesses bestow the Diadem Initiation of the Families: Ragavajra--Akshobya, Kilikila--Ratna, Vajrasmrti--Amitabha, and Kamesvari--Amoghasiddhi. The body of Vajrasattva is the four goddesses, which means Bodhicitta exists in understanding, realization, non-abandonment, and gnostic attainment. Again this makes a close parallel to Four Activities. So if we have heard of Bodhicitta, but do not really understand it, we lack the second secret no matter how many words we throw at it. If we do not understand, then Vajrasattva's mind, our inner bond with harmony, will waver. Therefor, this ring is a definite stage on the Path which lasts as long as it needs to. Its attainment is a stable ability of Bodhi Mind to be seated in the physical brain and begin to affect the environment and outer objects.

    One can see the hand symbol is Vajra which is held by Mahavajradhara, who apparently is named Paramadya for this. The volume of information available about the Vajra now is enormous, but, it is made of a central spoke with four curved prongs around it, so generally is the same as Pancha Jina or Quintessence. From what little I can find, Paramadya is Supreme Original tantra and describes bliss with deities gazing, holding hands, embracing. It defines the androgyne as Prajna Paramita plus Upaya (Means). The second half generally is Avalokiteshvara as Karuna, usually called compassion. The idea is that it is love but not stangnant, wistful, ineffective love lacking skillful means, but because of compassion it is that kind which has the means of accomplishment. Dharma is the law of it.

    "On that side is Mahavajra, holding an arrow upright. His proud embracing hand raises a banner of victory [adorned] with monsters of the sea."

    or:

    "To the side is the Great Vajra, who endeavors to brandish an arrow while proudly clasping hands and raising the crocodile banner."

    Those are some of the only translations of it, and in either attempt there appears to be a version of Makara Banner.

    Himalayan Art catches a Seventy-Seven Deity Paramadya mandala, and there is a Three-hundred Nineteen Deity Paramadya Samkshiptakula (Compression or Summary) Mandala (blockprints). They also found this second mandala houses a few of the rare multi-colored deities, Namka Dzo, Amoghasiddhi, Le Kyi Khutsurma. Namka Dzo is a Sage of one of the Six Realms, and the other Tibetan one is indecipherable. So this tantra hones in on a perhaps unique multi-colored Amoghasiddhi, which is perhaps continued by the multi-colored or Shabala Garuda, his creature.

    Paramadya specifically uses the name Prajna Paramita united with Upaya or Skillful Compassionate Methods.

    Wayman then presents Tson Khapa's list from Sbas-don of seven secret topics, taken from a Samvara commentary by Lvapa, almost identical to the same in Samputottara. He doesn't explain how it works or why he included it. This is the Anuttara Yoga explanation of secrets, probably the same as RGV:

    1. The Secret Domain of Reality (the domain of the Prajna which is reality)
    2. The Secret Circle of the Victor (the circle of deities)
    3. The Secret Pregnant Truth (as in Samputottara, the illustrious pregnant things, guru to disciple initiation))
    4. The Secret Lotus (the lotus in mula chakra and in the mudra)
    5. The Secret Delight by the Seed (the dripping of Bodhicitta from Ham syllable in the crown)
    6. The Secret from Combining (combining the secrets of Vajra and Lotus and so forth)
    7. The Secret Uninterrupted Bliss (entering the one taste of non-duality)

    So he was defending tantra by introducing female element by saying female sex is inner, which is in that way secret, and even if you have that, it's still mystery, since the body does its thing and mostly we can just try to operate it well. And this is from the 1960s when there was hardly anyone in the English language who would have understood it. At this point, it is not too hard to see that the Vajrasattva retinue describes Bodhicitta in a way that is ordinary from the view of living it, but, in terms of teaching and new disciples and so forth, Vajrasattva and Bodhicitta have to be explained and trained. The second, Tson Khapa explanation, has no existence aside from being contained within the former. It is self-secret in a way that is partly evident, partly explainable, partly pregnant, and ultimately draped in our inner or vajra ignorance. Having a stable manifestation of Bodhi mind as per the first exercise is nothing like secret number five here. That does not change the fact that it is a physiological reality that Tson Khapa is trying to find a way to guide us to or know for ourselves.

    The meaning of the tantric deities is the same as the Sutras. They are just incredibly more powerful than philosophy alone.

    Some of their images show Reversals which are the Formless state. Vajrayogini, Varahi, and Green Tara do this, however so far either White Sita Tara or Black Sri Lakshmi only have union in reversed form. This second Lakshmi is Tamas or darkness which is Maha Maya; as a Buddhist deity, Maha Maya was a woman that became male for the purpose of entering union with Buddhadakini (Varahi). Because this is Deep Sleep Lakshmi (Urmila), she is in the Ramayana, as well as is Sita. What does this union represent, if not the Maha Maya of Deep Sleep in Darkness or Tamas joined to the increasing radiance of Marici which grows by shedding Varahi's vajra ignorance. HPB called this state (dreamless sleep) the opening of the third eye and said that if we had clarity to this, we would remember all our past lives. The "candelabra" of Gnostic Lights is White, Red, Black, Clear, Black, Red, White, they run in that sequence. So Black as designated as Maha Maya or Deep Sleep is like a set of parentheses around Prabhasvara or Clear Light. The "Flying Dakini" energy of Red and White Women is something like a launcher which throws the person through blackness. Without the power you slither and slouch and basically have zero recollection of Clear Light or domain of Prajna. Essentially the same thing happens in sleep or death, or by meditation; Clear Light never flickers, you do.

    Green and White Tara together are some kind of Amoghasiddhi-based alchemy with other families. From Nagarjuna we find a slightly different (and original) White Tara as Mrtyuvacana (Cheating or Explaining Death) and Vajra Tara (Emptiness mantra). Four Arm Sita Tara (Hum-arising, having Five Buddha Families, with Yellow Marici and Green Mayuri) continues in Ngor, and then the original Six Arm Cemetery White Tara is an Amoghasiddhi emanation. He also seems able to produce Green Sitavati, (usually Red in Lotus Family), as well as Green Mayuri, Dhanada, Mahasri, and Vajrashrinkhala.

    Mayuri and Green Janguli are with Mahasri Tara, along with Fig Twig Marici and Fat Ekajata, in Sadhanamala. So in order to achieve the name Sri, equivalent to Lakshmi, it has sort of reluctantly or obscurely been admitted that Ramayana Sita is a form of Vasudhara, Nagarjuna composed Sita Vajra Tara which is not exactly the same as the Long Life White Tara version, and Vasudhara is something like incremental stages of Lakshmi with the assistance of Sarasvati. This is equivalent to the whole Generation Stage culminated by Dhanada and Cemetery Sita. The whole sphere ports to Yellow Ratna Vajra Tara, if you study her, she employs all of this, and is a Yoga Deity. Sri is mainly represented by Quintessence, and Vajra Tara is the esoteric doubling of this by reversing the winds. Varuni becomes involved, by name or not, but we can see she is same Ratna Family and causes the devotee to perform Inverted Stupa which will do the doubling. As an example of how it might not be by name, around page 59 of Guide to Dakini Land, "Generation" is the same thing or a minor variation, without the full explanation, as it describes aspects of Inverted Stupa without naming it either. It proceeds to suggest self-generation of Vajrayogini, but, our view would be towards an outer Varuni. This is also bearing in mind that once having a working version, it works with anything.

    Although Janguli seems quite similar in symbolism to Amoghasiddhi, she is an act of Akshobya, or multi-faceted, also related to Hrih, Jah, Hoh, Matangi, and a large Dharani also used in Dharmadhatu Vagisvara mandala. She introduces some syllables of the Four Activities, as well as Hrih, important for Hayagriva--Padmanartesvara. Hayagriva is already a form of Vishnu, Lakshmi's regular consort. Padmanartesvara is a Lotus Family Avalokiteshvara, and, it is considered a Red Lakshmi (Vilasini) having explicit union with him. If we look at our time cycles, the ruler is Amitabha, who is involved both in Long Life and in this. So his Bodhisattva or mental way of interacting with beings is in this series, and while he has another Bodhisattva called Vajradharma, it is not the same as Vira Vajradharma, which is Vajradhara's Bodhisattva in Drum mode. Amoghasiddhi is Dundubisvara or Drum Buddha from a prior cosmos, future and final ruler here. Sukhavati or Amitabha's Pure Land is the easiest to enter, so we see in many ways he is the "main thing", ruler, emanates Avalokiteshvara, is behind sexual yoga and long life, similar to most beings' wishes.

    Janguli is an outer deity of Vajrabhairava. That Sarasvati who has accomplished his rite, Vajrabhairavi, is in Varuni's Armor deities. White Janguli is almost the same as Sarasvati, holding a snake. Her theme is usually Water, and so perhaps not very different from Vari Yogini. In any case, she is pretty closely interwoven to Deity Yoga progress, in terms of Generation Stage. She is Manasa Devi and Nag Kanya. Her serpents, Phat syllables, and flowers are there to attack hindrances and transmute each skandha. Each crossing is a cemetery which has a Naga King, and this cultivates Paramitas. Varuni is not quite an outer deity, but arises within meditation itself. However, Pratisara is an equivalent who may be used as a Protector or as a preliminary deity, both are aspects of Mamaki, not the Prajna on her own plane, but as she is connected in Nirmana and Sambhoga Kayas to the world of form. So again the concept is that Cintamani is a very basic Yellow Ratna form that would give meaning and feeling to "Ratna Family" and the rest would unroll from there. Because this does use Bhrim or Jupiter syllable, we would take it as a way of making real or inner Rta, without the Jupiterian weakness of enforced rites or an "outer shell" imitating the same.

    Dhanada is the Four Arm Green Tara (Vasudhara) right after Janguli in Sadhanamala who uses Vajra Ground, Fence, Tent, etc., all the way to Bhrum syllable, surrounded by Taras of other families, Offering Goddesses, and Four Activities ending on White or Sukla Bell. Normally this is Amoghasiddhi's activity but since he is centered here, Vairocana has his place. The core retinue is: pūrve vajratārāṃ kṛṣṇāṃ vajrahastām, dakṣiṇe ratnatārāṃ pītāṃ ratnahastām, paścime padmatārāṃ raktakamalahastām, uttare buddhatārāṃ puṣpadāmadharām, which in one way is simple. Blue Vajra Tara is in Vajra Family holding a Vajra, but then Ratna Tara is simultaneously understood as Yellow Vajra Tara. These are basic, i. e. Two Arm Heruka forms, is not a dakini, would seem to represent the Prajna in Peaceful mode. Because of the names being the same as the Families, "Vajra Tara" most likely means Locana and so forth. In 21 Taras, Ratna Tara would mean the jewel emerges from her, or from an attached lotus:






    According to Receptacle of the Sacred, Prajnaparamita starts out with two attendants, Janguli with snake and Mayuri with plume, both green. Then are added Khadira, Durgottarini, and Vajra Tara. So this is Prajnaparamita with five emanations or Paramitas. Then, Janguli and Mayuri are replaced by Eight Arm Tara likely Marici, and Two Arm White Tara, and in this format, Vajra Tara has Eight Arms. This is shown right after page 159. There are no precise details since it's not a picture and the manuscript is really in Boston, composed around 1136, probably in Bengal, or, in Varendra, where again, Mahattari is "Varendra vanna icchi". So although we can't see much, the point is, with careful research, the author concludes that the art is telling the exact same story about these "missing" Taras in a format where technical care was taken to present Krsna Yamari, Hevajra, and Samvara closely according to NSP and so forth. They describe it as a Yoga exercise or that the female retinue is "about" to enter union with the males. It does not use a union mandala. So this material is fully preparatory. As non-initiates we should focus on this style.

    In previous manuscripts, Prajnaparamita was shown with Seven Past/One Future Buddhas; Six Arm Arch Marici was facing Vajrasattva. And then they suggest this facing creates Vajradhatvishvari, or, when Prajnaparamita is the actual Clear Light, then Marici arises as Vajradhatvishvari. Then the outer Janguli and Mayuri would be replaced with Marici and Sita. Both forms of the retinue are Six Paramitas, the first conceptually produced, the second spontaneously arising. Or, balanced use of Six Families Equally with Armor allows the Clear Light or Prabhasvara to be perceived. That is why there is always a Peaceful White goddess, such as Sita and Prajnaparamita being major text goddesses, Heruka Vajra Tara, Vairocaniye, mother of all Buddhas, which uses Seven Syllable deity to emanate purified divine forms. It is an extremely methodical handling of the same natural "candelabra of lights" which otherwise has a spring-like resistance against a person.

    Mayuri is more related to Fire and Gold, Yellow, related to Indra and Completion of Wisdom, something like a hidden self-secret within the Earth or Sita's mother. However she seems to require a lot of experience as a Green Amoghasiddhi deity in order to do this. He is the finale or Accomplishment of any cycle or process, except when he goes to the middle. So these retinues centered on him are already a bit backwards and they are something like resonance from a prior cosmos. If Vairocana moves to the end at North this is also a bit backwards since his customary move is first in the East.

    The obscure connection to Mahattari links Varendra to Ratnagiri where she is of a similar exalted stature. Due to his method of arrangement, Bhattacharya collects for instance many of them simply under the list of Green Tara, and there makes a relation (items) from Dhanada to Durgottarini. He misses Maha Sri. And, it kind of makes the designation "Green Tara" obsolete, since you quickly see that green can be of different families, and it also comes in different shades.

    However if we look at Green Tara as a samaya being who is not the same as other Green Taras, but, Tara overall is the main Amoghasiddhi rite, then it is seen that he emanates explanatory White Taras and specific Green Taras. Durgottarini is like a Green Pandara, or, she is robed in white. Dhanada is called Green Vasudhara by Taranatha, and so compared to other aspects of Vasudhara, she is growth or cultivation or an advanced stage.

    Durgottarini describes Ten Directions as saṃmadhye khaṃ tāṃ vāmāvartena vuṃ āṃ jīṃ huṃ / vāmāvartena loṃ māṃ pāṃ tāṃ. The first phrase is center and so all likelihood is Kham (Amoghasiddhi) at Zenith and some kind of Tam, Tara, at Nadir. In the majority of these writings, some form of "madhye" means in the middle of, or at the center or between. Then the directions lists presumably Buddha syllables, then Prajna syllables, more recognizable as Locana, Mamaki, Pandara, Tara. So Durgottarini has taken whatever it means for Amoghasiddhi to be in the middle and made a toroidal vortex. So if he is indicating something about the far end of Generation Stage, he has Four Arm All Buddhas Sita, Six Arm Cemetery Sita (burning all skandhas into Paramitas), Dhanada (mandala components), Durgottarini (Ten Directions), and Mahasri (whose mantra is almost identical to Dhanada's). And then the explanatory form of Seven Syllable deity is half green.

    This line of deities is very consistent with Prajnaparamita as the main source text and eventually as a highly-charged esoteric deity as shown in the manuscript, MSD4, and by the appearance of White Prajnaparamita in Mahakala tantra or Vajra Tent. In other words it is Prajnaparamita through and through, beginning to end, but we are seeing it in the original way of India.

    Ratnasambhava uses Pratisara, Varuni, and Vajra Tara, until something strange happens to Mamaki, which appears to be just before, and then as a result of, Vajradhatvishvari. So we mostly saw Green Mayuri in meditations, but there is a Two Arm Yellow Mayuri with Varada Tara, and then when we get to Pancha Raksa which is really a Pratisara ritual, she casts goddesses in the following manner:

    Pam-arising Eight Arm Pratisara who is caityālaṅkṛtamūrddhā, or, a caitya or stupa adorns her head.
    Hum-arising Blue Pramardani, who among other things is bhrūbhṛkuṭidaṃṣṭrākarālavadanā, or appears to be doing something with Bhrum and Bhrkuti (White in NSP).
    Mam-arising Yellow Eight Arm Mayuri who is also ratnamukuṭinī, or, crowned by Ratna (NSP calls her Green and puts her in the North).
    Mam-arising White Twelve Arm Mantranusarini who is also ratnamukuṭinīṃ (NSP calls her Blue).
    Tram-arising Green Six Arm Sitavati who is tathāgatamukuṭinī (NSP puts her in the West)

    If we turn to NSP we will get a more standard format which only describes the picture; Sadhanamala has a lot of detail, each of these goddesses is an advanced form packed with meaning. In this format, Ratna has overwritten Lotus Family almost entirely (except for vimale or "stainless" in the mantra), and since Tram is usually a Ratna syllable, this Sitavati is very weird, since her crown would place her in Vairocana Family (recall a few other deities have a syllable to crown change). Even though this whole thing is a bit slanted towards Ratna, Mayuri is in the normal Ratna location and using their color. In the process of naming five skandhas (psychological) as the Dhatu or element of ayatanas (mechanical senses), it corresponds Pratisara to Eyes and Moha Ignorance, Pramardani to Ears and Dvesa Aggression, Mayuri to Nose and Matsarya Miserliness, Mantranusarini to Mouth and Raga Lust, and Sitavati to Touch and Irsya Jealousy. Although "vati" could have many meanings, here, it is perhaps most akin to wind, air, or to blow; in many formats, Touch = Air. Only in this format is she in the North/Touch/Air quadrant.

    Generally this would appear as a Vairocana-style mandala since Sound has been kicked out of the center, Moha is his vice, and "most" caitya deities are Vairocana emanations. This Pratisara is not the normal Yellow, Pita, one of her faces is. Her color is Gaura, splendorous, fair, reddish, yellowish, white, turmeric, saffron. Elsewhere in the book, there is a Red Gaura and a Gold Gaura tone, so Gaura is possibly orange, but it is clearly not the same yellow.

    In the prior solo presentations in Sadhanamala, Green Mayuri is also Mam-arising but is of Amoghasiddhi, Sitavati has Amitabha crown and Mantramanusarini is related to Akshobya, Pramardani to Vairocana. Pratisara consistently arises from Pram and is Manidhari or Jewel Holder. NSP is most likely putting together these basic forms where they would normally go, which is probably why it allows you to put any one in the middle. However the Sadhanamala Panca Raksa version is Pratisara's Stupa moment, which is always considered an advanced stage, and, since Pratisara is Mamaki who already does weird relationships in her own name, something very similar seems to be happening here. She is not necessarily Pam-arising, it seems to say that Pam becomes five wisdoms which attract all Tathagatas and Pratisara follows that. In most instances, we have seen little of Mayuri that would get her anywhere close to Gold Peacock King as Buddha indicates, until we get here.

    The outer deities of Vajrapanjara are Bhutadamara Vajrapani, White Prajnaparamita and White Pratisara (Two Armed squatting form). Generally, with outer deities or protectors, they are intended as external visualizatoins, or even with one like Mahasri, she is not a mandala, she has two deities on either side of her, just making a row. If anyone ever visualized Green Tara this way, well, they just ripped the core out of a large mandala. Pratisara is the same way. It's not so much that she is torn out and dumbed down for us to grasp her, but, she has preliminary or introductory "conversational" forms before one would ever attempt the internal kind. Ekajata in particular shows up as just kind of a nobody who "blows up" in Vajrapanjara, and then, as we see in her massive laughing form, she slings out every kind of Marici there is, or has combined all the elaborations of all stages at maximum throughput.

    I cannot find a Panca Raksa picture that does not have a red western goddess, so none of them are the advanced Sadhanamala format. However, in this Vajravali view, there is something strange. The mandalas are Pancha Raksha, Vasudhara, unidentified, and Usnisa:





    The two top mandalas are presumably Jewel-centered and so there is an inner square which is yellow. And it has managed to shove blue to the south. In almost every other case, such as the lower two, east is blue or white. The Jewel mandalas are not reversed or rotated, but put blue somewhere it is never seen, suggestibly this means Akshobya has moved south. This is the Mamaki place, and then she goes off coupling with Akshobya deities. Her name is understood to have two phases, "make all mine", and then, "owns or identifies with all selves". The type of miserliness which is the obscuration of Mamaki, is a tendency to hoard without getting satisfaction or happiness from it, while not sharing or caring towards other beings. So we hunt this poison in our psyche and damage or destroy it by wrathful means. We attempt to display its opposite as a Paramita, Dana, or the same root for archer (Dhanu), Dhanada and Mahasri's mantra, and Varada mudra as used by most Taras and Ratnasambhava. Jewel family is in the south, which is the right hand, a shield against evil emanations from the south pole. And what they primarily protect is the crown chakra, particularly by using all wisdoms equally. The crown immediately attaches to Mayuri or Peacock symbol, flame, or Sikhi or tantric flameswept hair.

    So if you take the top left, or NSP Pancha Raksa, and esoterify it with the Sadhanamala Stupa version, a fairly vivid thing happens. The first goddess Pramardani does not move, she just changes to Vajra Family and represents the final samadhi before full enlightenment. The other goddesses, if they were a triangle, rotate clockwise. What this means is, Fiery Red Sitavati fulfills her name by turning green and going north to a cool forest, a process highly akin to Agni Yoga. Mayuri turns yellow and goes south into Jewel Family and displays a form very like something related to Agni Yoga. Mantranusarini also joins Jewel Family and goes west, or upwards, in a staggering twelve-arm white form, appearing somehow like Pandara or white clad but still apparently being Mamaki. Not much can be said about her, other than she was a Four Arm Vajra deity with an axe. She seems to lose that and is doing Dharmachakra mudra in her large form. All of their mantras use Hum Hum Phat Phat like Janguli. This last goddess is still rather nebulous compared to the others. However, here is Upholding the Great Secret Mantra which is about her, and they have also translated Pramardani, Kurukulla, and Mahamaya.

    Mantranusarini means Mantra Follower and here is a study which translates the different forms, informing us that her large form comes with a tree. According to Alice Getty, in a Nepali tradition, Mayuri is considered the chief. However the Nepalese also say, as if following the Stupa version and taking Pratisara as a Vairocana deity, "The first chapter deals with Pratisara Devi, white in colour and also known as Vairaocani Tara who is the Sakti of the Vairocani Buddha. The second chapter deals with Mamaki Tara - blue - the Sakti of Aksobhaya Buddha. The third chapter deals with Pandala Tara - yellow - Sakti of Ratnasambhava Buddha. The fourth chapter deals with Arya Tara - red - Sakti of Avitabha Buddha. The fifth chapter deals with Amala Tara - green - Sakti of Amoghasiddhi Buddha." From a study of Homage. However, in the original Nagarjuna Dharmasamgraha, there is no such thing as Mayuri, and she is in fact Marici. All of these are commonly called Taras. As a spell, Mantranusarini's Dharani unfortunately is not included, but she has a red form that rides twin peacocks.

    We understand Mamaki is somehow destined for Akshobya, but placing Pandara with Ratna is unheard of. Marici appears to also be in the Ratna slot in the Nagarjuna format that otherwise is the same as Sadhanamala, which is not too far off from suggesting the elevated Mayuri is Marici.

    This is Mahasiddha Avadhutipa surrounded by 'Tip of the Flame' Perfection Stage Lineage, a Padmavajra transmission used in Sakya as part of Margapala or Path and Fruit. He shows this in some of the upper deities--"Cause" Hevajra and "Result" Hevajra, although the first or white is Samputa Vajrasattva. Under Avadhutipa are seven deities: Green and Yellow Tara, then Avalokiteshvara as Padmanartesvara, Hari Hari Hari, and Wrathful, then Sita and Sita. The first Sita is of course the Four Armed Ngor version and the next is Atisha's Seven Eyed Tara:






    So there you have "original" Sita beside "well known" Sita. Also, Padmavajra was one of the first authorities we found to consent to a possibility of seven skandhas or kayas, which is easy to replicate in an outer format using Varuni as a lead-in to Hevajra. In order to get there, Varuni, Namasangiti, Janguli, and Sarasvati all seem to insist on Vajrabhairava. In Theosophical terms, this defeats the fourth sub-plane of the fourth plane, which, in a system of seven, is the exact middle, and, because we are talking about death, it does come across as a balancing point or re-alignment, change of momentum. One could say that mundane, greedy Matsarya Mamaki has been through a revolution once it affects the crown center as described.

    I am unable to find anything in Sadhanamala that shows Prajnaparamita with a retinue any different than normal Dhyanis and Offering Goddesses. The only place "Ten Paramitas" are mentioned is with Vajra Tara. They are considered the ten syllables of normal Tara mantra, and twice uses "devatyo" near this, suggesting is is "as one's deities". This Tara is Gold Eight Arm and "pañcabuddhamahāmakuṭīṃ vajrasūryābhiṣekajām", which is a Great Five Buddha Crown, followed by Vajra Surya (Wrathful Ratnasambhava) which is another coronation or an initiation, or Tara "is born of the water of consecration of the Vajra and the sun". The Paramitas come after raising her Activity Goddesses, who end on White or Sveta Vajraghanta bearing a serpent, then Usnisa Vijaya is raised above, and Sumbha below has a serpent noose, and it is with her appearance that the Tara mantra is used, followed by a clear statement that the ten syllables are ten devas of ten paramitas. In the next, similar exercise, Usnisa is Yellow or Pita. Oppositely, Sumbha is usually an underworld term from a Titan who entered Patala, who with his brother had the boon they could only be killed by a female, but "They lost their head over the boon and appointed Śukra as their preceptor. Śukra was so pleased at this that he made Śumbha sit on a golden throne and crowned him King of Daityas." And so here, Usnisa is followed by a Blue Garbha mandala and then:

    sumbhāṃ bhāsvarasadrūpāṃ nāgapāśalasatarām //
    dvibhujā ekavadanāḥ sarvā jñeyā manoharāḥ

    Bhasvara is radiance or light; sad rupam would generally be six forms. Then there is Naga Pasa Lasa Taram which would seem to be Serpent Noose Playful Tara, who has two arms, one face, and is all over manoharah or beautiful. NSP tells us that Usnisa Vijaya is above in Ratna Family, and Sumbha is below in Vajra Family. This is likely feminized since she appears to be a kind of Tara. A following exercise has "sumbhatārāṃ kṛṣṇāṃ nāgapāśakarām". So this is a specific goddess. She has no other appearance than this time when Usnisa is in Jewel Family. Usnisa may be white; her item is chakra. According to Bhattacharya, all these are radiant like the sun god, surrounded by flames (Vajra Tara by red light), having ornaments of snakes. The mantra is aimed at Four Offering Goddesses and Four Activities, then Below-Above. Om Puspa, Ta Dhupa, Re Dipa, Tu Gandha, Ta Ankusi, Re Pasi, Tu Sphota, Re Ghanta, Sva Sumbha, Ha Usnisa is how that would work. In this style, Vairocana Family is in the East and Vajra Family is South.

    Sumbha is scarcely referred to in any other way, except in Janguli #120 at Jetavana Grove: āśīviṣasumbhalikā dṛṣṭiviṣāvataṃsikā // khādantī viṣapuṣpāṇi where visa is a term for poison. This is after her serpent belt: [venomous snake] sumbhalika [poisoning by merely looking] vatamsika, then kha is empty, so, hollow teeth and poison flower. The second word probably uses a combined form of avatamsa, which could be earrings, a crest, or a garland. It is hard to tell whether Janguli or the belt is Sumbha. The full description starts after the standard introduction after a multitude of bhikshus and bodhisattvas:

    himavantasyottarapārśve parvate gandhamādane tasya parvatarājasya prāgbhāre kumārīśatapuṇyalakṣaṇāeṇeyacarmavasanā sarpamaṇḍitamekhalā /
    āśīviṣasumbhalikā dṛṣṭiviṣāvataṃsikā // khādantī viṣapuṣpāṇi pibantī mālutālatām

    The first parts are saying the highest Himalayas are near or beside Parvati either "delighting in scents" or in "a forest on mount gandhamadana", a mountain of rajas holding or pushing in front a Kumari...adorned with a serpent belt. Sumbha poisons by merely looking at her garland. Parvati is most likely intended as a proper name here, instead of parvata or mountain, because the only other place it is found is as a proper name, kurukullaparvate. I cannot do much better on the exact meaning, but, this is bizarre since a blatantly Dravidian goddess has been whipped around to the mountains and related to Parvati (which is the same as Janguli's mantra calling her Mahayogeshvari), and even to Kashmir. In the next line, it makes more sense, to me, that it is calling Janguli, Sumbha, who poisons merely by looking at her garland. That makes a little more sense than saying the belt poisons by looking at something, and since it is a different phrase in a new sentence, then the subject probably is Janguli. Because Sumbha is another Akshobya goddess holding a snake noose, who has no other existence, it may well be fair to say she is Blue Janguli; her name just seems to mean "to purify". The snake is combined into the normal Ratna item, Noose. It would be possible to suppose Janguli's belt comes to life and replaces her, but it would seem more likely that Janguli herself resolves into the Nadir goddess Sumbha. The belt is almost always just a symbol of binding the downward winds.

    Again this makes a type of case where Mayuri and Janguli, who seem hugely important and then disappear, don't. The frequently-Amoghasiddhi Mayuri finally becomes related to Ratna and Crown in Pratisara's Stupa rite, whereas Janguli seems to be taking the opposite pole below. They meld in to something new.

    I am not sure why Janguli gets the name of Amoghasiddhi's consort Parvati or Mahayogeshvari; her consort if any would be Sumbharaja/Vajrapatala. The only other Mahayogeshvari in Sadhanamala is Durgottarini, which makes sense, because Durga is also Parvati. Durgottarini uses Amoghasiddhi-centered Ten Directions. Dhanada lacks upper and lower directions and instead has Eight Offerings and Four Activities. The Directions are more for obstacle clearing, so those two deities are somewhat in wrathful and peaceful branches.

    Vajra Tara's Ten Directions:

    pūrvadale puṣpatārāṃ śvetāṃ oṃkārajāṃ dvibhujāṃ puṣpamālādhāriṇīṃ sarvālaṅkārabhūṣitām, tākāreṇa dakṣiṇe dhūpatārāṃ kṛṣṇāṃ dhūpaśālākarām, rekāreṇa paścime dīpatārāṃ pautāṃ dīpayaṣṭikarām, tukāreṇa uttare gandhatārāṃ raktāṃ gandhaśaṅkarāṃ dhyāyāt, garbhamaṇḍale tākāreṇa aṅkuśatārāṃ aṅkuśahastām, dakṣiṇe rekāreṇa pāśatārāṃ kṛṣṇavajrapāśahastāṃ, paścime tukāreṇa sphoṭatārāṃ pītavarṇāṃ nigaḍahastāṃ, uttare rekāreṇāveśatārāṃ raktāṃ ghaṇṭākarām, adhasi svākāreṇa sumbhatārāṃ kṛṣṇāṃ nāgapāśakarām, ūrdhve hākāreṇa uṣṇīṣavijayatārāṃ pītāṃ cakradharāṃ dhyāyāt

    Her mantra is split in the phrases Omkarajam, takarena, rekarena and so on. No deities are in corners, just in straight directions, such as pascime "west". In this version, the North Gatekeeper is Red Avesa Tara, who has ghanta or bell in her hand, and Avesa is trance possession. And so if we know south or Daksine has become Akshobya's quadrant, he governs Dhupa and Pasa as well as Sumbha. Akshobya is using the normally-Ratna noose twice. Usnisa has been borrowed from Amitabha. If that suggests one already has some basic Usnisa experience, as well as all the other standard goddesses, it would follow that one should have Sumbha experience, which there is no such thing, unless she was Janguli. The Offerings are Puspa Flowers, Dhupa Perfume, Dipa Lamp, Gandha Incense; these and the Activities are widely available. Nothing is especially arcane except where Sumbha comes from, which can't be too far from Varuni, who is the next thing to Ananta--Sesha's Shakti, an underworld serpent light. In her description, Janguli could be said to be an offspring of Paravati, as Varuni is considered the offspring of Varuni, or samjna is the daughter of samjna, terrestrial perception is the by-product of spiritual perception. Both goddesses are like a fine, delicate thread connecting the outer to the transcendent. Vajra Tara certainly contains an interaction from Vajra to Jewel Family. If the main or only Jewel Family tantra is Vajramrita, this appears to be less so, since Vajra Tara as a Yoga deity is still considered Mother tantra. This is a Gold Ratna Tara who has pulled Usnisa into Ratna Family and moved her to sort of the ultimate Coronal Dome position, all the way up. Sumbha is pointing up. If we go back to the Vajravali mandalas above, Blue South indicates something similar, if they are different deities but still Ratna-centered like this.

    Nagarjuna's White Vajra Tara has no apparent family information, although he calls her form Bhattarika. #115 is an explanation of Arya Tara Bhattarika Kaya, and the first thing this does is to emit Kurukulla syllable by syllable. This would seem to agree that White Vajra Tara is a type of torch to light other White deities, if, like Vajrasattva, she is initially a "production"--I concentrate on trying to mentally view a white form--versus the fruit or result, a "non-production", which will be a naturally-arising White Kurukulla.

    Tara really has few mandalas. The common ones are Suryagupta or Atisha, but, what we are delving into is almost exactly the Vajravali, which is kind enough to rank a Vajra Tara mandala as Non-dual tantra. So far, she does not seem to turn up in any of the four mandala thangkas, and, I am not sure why the text describes her as thirteen deities. If a student were going by the instructions, it would make this with eleven:





    It closely conforms to not having anybody in the corners, and adding Usnisa and Sumbha. They should be standing on sun orbs with flames and serpent ornaments, although Sumbha I think is the only Ghora or terrible. But the only possible meaning of Vajravali Tara is just Vajra Tara. It simply does not mean she is in Vajra Family such as names like Vajra Dakini mean.

    Unidentified Tara intended to go with Vajravali has Eight Arms and the reason for her name is that her primary attribute is vajra:





    Her last attribute is tarjani or pointing up, same as Sumbha. She is the only one in Sadhanamala who refers to Vajra Surya, or, apparently, the centering of Ratnasambhava. This single Tara deity is at par with Kalachakra. She is the same process of Six Yogas. So if we follow the development from White Vajra Tara through the many Vasudharas and so forth, that is its own internally-related package intended to make this major Ratna Vajra Tara operable.

    This is a rare or unidentified Vajravali style out of another set. It has a Yellow Tara on the bottom, and the lower right mandala appears to be Vajra Tara:





    For her, blue went south, and beside her, an Amitabha goddess such as perhaps Kurukulla, blue went west. The upper ones are already Akshobya deities probably Nairatmya. Vajra Tara emits red light, Vajra Tara is Bhattarika which means she emits Kurukulla bit by bit, and it would be difficult to see the lower portion as anything else.

    In the composite at the beginning of post 375, Vajra Tara mandala is at the bottom, just right of center. Straight above is fifteen-deity Kurukulla, just right of top center. That one really deserves a better quality image, we have to go from what Circle of Bliss states, and they mistakenly call Vajra Tara an eight deity scheme. But they kind of correct it by saying there are eight symbols and eleven deities. Kurukulla's scheme is an inner ring of four, then a ring of eight, and then upper and lower deities, a red copy of Nairatmya. The Alchemical Body also tells us that Sadhanamala states that Nagarjuna not only brought Mahacina--Ekajata to India, he also brought Vajra Tara. Is that Ekajata and Marici, well, kind of, if we look at how Mayuri functions in the place Nagarjuna gave to Marici, and are these at least fairly close to Ratna Tara, yes they are. And Ekajata remains the special protector of Ratna tantra.

    As to how close Vajra Tara really is to what we have already, independently derived, her first major explanation very soon gives Refuge or Three Jewels in the same formula, i. e. (Buddha, Dharma, Sangha) Saranam Gacchami, followed by Anuttara Samyak Sambodhi Abhisambuddha, and the Marga or Path of it. She puts together Lokottara (transcendent, or an early philosophy of Mahayana) with Sunyata Jnana and Nisprapancha Nirvikalpa. A few lines later, she combines Vajra Tara Emptiness mantra with her meaning:

    oṃ śūnyatājñānavajrasvabhāvātmako 'ham / saiva bhagavatī prajñāpāramitā saiva paramā rakṣā

    She then casts Fence and Tent and equates Akasa--Dharmodaya--Maha Vajradhara. Because she meant a five-way nirvikalps, she casts the normal syllables Yam, involving wind, a bow, and smoky color, Ram and red, Vam related to a white Varuna ring, Lam and yellow Mahendra, and then Bhrum does something with Lokottara Jnana and Crossed Vajra, and the purifications and liberations result in Vairocana Svabhava. More things happen before a Cihna bija takes the form of Tara Devi, Gold with Eight Arms. She then casts her retinue as Ten Paramitas and Directions and goes on from there. She also appears to have Noose as main item.

    Vajra Tara replaces "you" with purified akash, and on her own, Prajnaparamita is explained as Tara Who Arises from Void.

    I cannot find fifteen-deity Kurukulla in the sources, who is related to Hevajra, which is why it resembles Nairatmya. In Sadhanamala, she does have a retinue with Aparajita in the South in Ratna Family, she uses a white hexagram (misspelled as dharmmodaya), and she also uses all mandala components including Seven Syllable mantra and Bhrum. This syllable is also the sound of thunder, and if we look in Voice of the Silence and stopping the mind, we see why that fits as something like a finial on a mandala. At one point she says "bhrūmadhye sthitvā avadhūtīmārgena", something close to Bhrum in the middle of Avadhut or central channel. White Kurukulla is one of the last ones, still Amitabha-centered, her Prajnas are Lom-Mam-Pam-Tam as usual, but the Dhyanis are listed as Akshobya-Vairocana-Ratnasambhava-Amoghasiddhi which is a unique order. Kurukulla seems to have no existence other than being born from Tara, so, the reds are most likely the solar plexus petals as each learns to turn to the central, and when all of them fall in and rise, you produce a White Kurukulla (wearing all Naga Kings) or distribution of nectar. Red Kurukulla causes the appearance of Aparajita, or, her retinue is Prasanna, Nispanna, Jaya, and Karna, Cunda, Aparajita, Pradipa, and Gauri Tara. All eight inner goddesses are red copies of Four Arm Archer Kurukulla. Vetali, Aparajita, Ekajata, and Vajragandhari, all being fat, except Aparajita, are gatekeepers for this Eight Arm form composed by Indrabhuti.

    How there is a Red Aparajita and a Yellow one at the same time is unknown.

    Six Arm White Parasol in Sadhanamala has no parasol, her main item is Chakra. Vajragandhari appears to be a Twelve Arm transformation of Ten Arm Pratisara. Pratisara may also pick up an umbrella.

    The only place Prajnaparamita comes up again is with Vajra Sarasvati, around one of the only mentions of Laksmi. Vajra Sarasvati also repeats the "picu picu" mantra. So we will comb through the already posted material. This type of relationship was found previously, but now, after working over Sadhanamala a bit, everything can be tightened up. Bhattacharya's translation is very useful, but omits things and perhaps has a few errors.

    We are not going to do Kalachakra tantra, but, if we take a glance at its peculiar deities, it also gives the Paramitas in a strange way. They start around Phraim-arising Viswamata.

    Southeast: Ha-arising Dhuma is Dana Paramita
    Southwest: Hah-arising Marici is Sila
    Northeast: Ham-arising Khagamata is Ksanti
    Northwest: Ha-arising Pradipa is Virya
    Center: Visvamata's mantra transforms into Om Prajna Paramita Hum Hum Phat
    South: Ah-arising Raktadipta is Upaya
    North: Am-arising Svetadipta is Pranidhana

    The preview of "Transcending Time" cuts off there but we see Viswamata is equivalent to Prajnaparamita. Receptacle of the Sacred also goes on to MSD7 where they found a "facing folio" arrangement which would make Vajra Tara with three attendants fold into another yellow deity whom they take to be Prajnaparamita, and these are all placed in some kind of identical architectural frame.

    Disciples are categorized as four kinds of flowers who get "public teachings", whereas the ideal candidate is called Ratna and receives private teachings, or, this is more esoteric and fit for Completion Stage, according to Mahamudra and Related Instructions.

    Maitri or Advayavajra is quite interesting in person. He was Nepalese from near Kapilavastu or Buddha's place and went to Vikramashila and they confirm that the trend he studied was Nirakara Vijnana Vada. He also wrote music including ragas and talas and his third song is Twelve Paramitas, although it is not a list. He must have accepted that classification and also tells Marpa about the Thirteenth Bhumi. His seventh song to Vajradhara is almost just a mandala description, and he comes with four goddesses, Ratna, Aro (Lotus Family), Dharma, and Karma. In this case, Dharma Vajri is Red and mayurasanasthita, or, Mayuri Asana Sthita. This last term is from Bhagavad Gita where Krishna tells Arjuna to attain the state of Sthita Prajna, or prajna that is stable, resolute, standing, on the right path, etc. But it looks like he has kept Mayuri with Vajradhara as an aspect of Dharma Vajri's form.
    Last edited by shaberon; 21st June 2019 at 01:21.

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

    Sadhanamala does not have many lambodara or fat goddesses: Mahacina, Ekajata, Vetali, Vajra Gandhari, and Marici Vajradhatvishvari. Kurukulla has three of these. With her, Vajra Gandhari is a Dark Gold Amoghasiddhi deity. However, she has her own sadhana. It comes like a punctuation mark; there is the ordinary NSP Pancha Raksa, then Vajra Gandhari, and then the Stupa Pancha Raksha. In Vajra Gandhari's rite, Pratisara immediately appears, but the piece is broken in such a way that it goes from Pratisara's five right arms to Vajra Gandhari's six left arms. So it misses the transition or whatever their relationship is.

    Vajra Gandhari's own form is Blue Twelve Arm and comes with or is associated with Canda Vajrapani Maha Yaksha Sena Pati, who is subsequently also called Siddha Canda Vajrapani Rajna Payati, the last phrase meaning lord of night or rajanipati. Canda is wrathful or ferocious and this goddess is horrifying. One of the terms used to describe her is Bhima who, in Mahabarata, killed all ninety-nine of Gandhari's sons. We have studied Gandhari previously and she is the blindfolded sister of Shakuni. Bhattacharya believes her to be Vajrapani's consort. She could be called Triple Hum goddess from her mantra Om Hum Hum Hum Svaheti, and here, we see a change to "svaha" that starts being used frequently.

    So if we start provisionally associating Ramayana Sita with the strand of Vajra Tara goddesses, they lead to the final Activity or Gatekeeper of Kurukulla being Mahabarata Gandhari. Almost the Alpha and Omega of Generation Stage, the two main Indian epics. Once this happens, a hole is punched in the familiar Pancha Raksa or any five elements view, where next the Stupa is found, which is Vairocana's empty niche moment, Body-less condition as explained by Sita and visualized by disciples results in Emptiness, Void, or Akasa to be perceived in the head. This is the "real" or realized Prajnaparamita, Akasha Dhatvishvari, or Buddha Dakini, which if anything is Clear which has to be portrayed as White.

    Something is perceived and something is imperceptible related to Dharmadhatu as described in a short male version of Ten Directions which tells you to learn about the Lady Tramen elsewhere.

    Vajra Gandhari "hits", this White Stupa moment starts, and normal five-fold form is rearranged in a magical way which is the only point when Sitavati and Mayuri perform their special roles. Generation and Completion are the beginning and end of the Six Yogas, and so when Vajra Tara uses the term Nisprapancha, this seems to mean not expanded, or in other words the five senses, skandhas, etc., are bound and centered within. Vairocana Abhisambodhi Tantra is partly spoken by Nisprapanca Viharin Vajradhara, which Wayman translates as "dweller in non-elaboration". Its three mandalas are for Sky, Antariksa or Space, and Prithvi or Earth, and he also sensed that Sarasvati with Ila and Bhu or Bharati had been kept from the Vedic rite. Abhisambodhi Vairocana is unusual for not having any Pancha Jina format:





    Maha Vairocana is for the yellow fire of Mahendra or Jnanagni, so he becomes Gold, or seizes Indra's powers. This is the Body Mandala, or Mahakarunagarbhodbava; the assembly includes, in the East, Prajnaparamita or Gold Gagana-Locana dressed in white beside the whitish green triangle or Dharmakaya or mudra of all the Buddhas. In the Speech Mandala, she is Ga, so her main name is pretty specifically Gagana.This is something like the first person of the trinity--Jewel Family merges with Tathagata Family to form Kaya Vajra, with the Speech and Mind mandalas used for the next two aspects. Himalayan Art does not mention those, but states this one has a hundred and twenty-two deities.

    South has Vajrapani (the Accomplishing Wisdom here) with Vajra Suci (Needle, Vajra Suci is not a name in Sadhanamala, but an item held by Marici and one of her attendants; Immediate Path of the Mother Perfection of Insight in Nature, who pierces through to reality), Blue Mamaki (destroys demons with a fury illusion, Vajrapani's consort, the Perfection of Insight endowed with Awareness Accomplishing Activities in nature), Shrinkala (Priyangu greenish-yellow who threatens, gazes, then smiles, and pulls beings on the Path with her Chain), and four kinds of Vajradhara starting with Nisprapancha, Gaganamala (Pure Sky), Vimalanetra (Stainless Eye), ending with Citravasadhrk (wears multi-colored clothes). So Vajradhara starts with Nirakara meditation and centers the heat and winds, or is related to multi-colored deities such as Dombini or Citrasena who function as yoginis of the same thing.

    West is for Acala, considered the inner gatekeeper. Acala squints one eye and is Awareness of Sameness, or Ratna Equality Wisdom. Wayman also stumbled with whether Trailokyavijaya is Acala or a specific deity, or a mission that could be handled by a few. The three wolrds conquered are earth, ether, heaven, or the tiers of this mandala. Trailokyavijaya is murky black, color of the end of time.

    North has White Amitabha-crowned Avalokiteshvara with White Bhrkuti (bhru, "brow", kuti "wrinkles" with three eyes and plaited hair, emitting white, yellow, and red rays), Yellow Vidya Yasodhara with priyangu flowers (Glory Bearer or Bimba Devi, Buddha's wife), Light Green (white, blue, yellow mixed) Tara dressed in white, Pandara dressed in white. Below Pandara is Hayagriva. Pandara is the utterly pure continuum, Hayagriva is the burning path to her; Tara is similarly described as a method of Pandara who herself is the continuum of reality. The main Vajradhara is south with Vajrapani and is yellow-green priyangu, or emerald colored.

    Second rank in the East is Buddha (under the triangle) with Buddha Locana (his "mother" or yum) and Vidya Urna (Tilaka), Sitatapatra and Usnisa deities, and undrawn but imagined Pure Abode and Worldly deities, including the Lord of Mantras Aparajita with Aparajita goddess with a Parasol (the Immediate Path in Nature of Sakyamuni). All of the second rank is his. To his east are Varuna and Surya--Aditya with his consorts Jaya and Vijaya. The directions, path of the moon, etc., are in Antariksha, or, this is in Sambhogakaya, explaining the Dharma.

    Third rank, or Earth plane, in the East is Manjushri with Jaliniprabha, Ratnamukuta and Vimalaprabha, with five Duti or Messengers including Citra. South is Sarvaranaviskkhambin, West is Akashagarbha, North Is Ksitigarbha or Earth Womb who includes Ratna deities.

    After this, the Speech Mandala uses seed syllables, and then the Mind or Secret Mandala avoids space and time, takes places in the lower earth, one should abide in the samadhi of a yellow Buddha with hair tied up in a jewel crown, called the ground of earth mandala. This system also uses the name Ratnaketu for the Buddha of Jewel Familiy. This rite is Vairocana providing inexhaustible Dharmadhatu to beings by the means of samadhi in this mandala. It is commented that sentient beings crave "realms" (dhatu), and dhatu is a coloring element to the white blankness or White Void Dharmadhatu, or, in weaving, void is white vertical threads, and dhatu is the variety of colored threads crossing it. It is taught not to think of the void only as enlightenment and ignore the realms, so again, prajna + compassionate means is emphasized. This is considered the top of Charya Tantra.

    The actual casting starts by saluting Prithvi:

    "“O Goddess [Devi]! You are a witness
    to the Levels [Bhumi] and Perfections [Paramitas],
    the special methods of practice
    of all the Protector Buddhas.
    Just as the Protector Sakyasimha
    overcame the armies of Mara,
    Likewise I shall be victorious over Mara
    and draw a mandala hereby!”

    It mentions that mantras with Hum and Phat accomplish what is in the province of Usnisa deities. Ones with namah and svaha are for samadhi-comprehension. Pure letters of quiescence and "fulfilling all hopes and wishes" are of all Buddhas and protective Bodhisattvas.

    Almost all the advanced sadhanas after this are going to start with some way of coalescing the five nectars and running them through the shapes and skulls, however, it is much more direct to understand this entire method is Varuni, who explains all the details. For example, this Brief Dharmapalas Offering and this Torma Offering to Oath Bound Guardians begin immediately with "pieces" of Varuni. She can be used for outer rites but mainly is for Nisprapancha Nirakara, or, in other words, the Six Yogas of Pratyahara or withdrawal leading to Samadhi.

    Kurukulla and Nairatma are not preliminary deities, and they alter the upper and lower poles of Usnisa and Sumbha to Khecari and Bhucari. From the Crown or Usnisa, Buddha emanated Usnisa Sitatapatra, the main figure of Shurungama Mantra, and her sound is Anahata or Unstruck, heard without being spoken. So this is related to Matangi who appears in the larger Shurungama Sutra. And so the Sadhanamala begins apparently dedicated to Shurungama. So with these Usnisa deities involving unmanifest to manifest sound affecting light or akash in the head, then you have Khecari, in the sense meant by Sita as an adept of Agni Vaisvanara, and that we use with Stupa and Dharmadhatu.

    Green Tara Fire Offering is a Chinese version of Tibetanized Sanskrit, however, the interesting thing here is that the first act is getting permission from Yellow Earth Goddess, who then just goes back in the ground. It's not explained why it suddenly is used here, but, at this point, it makes sense. A brief permission from Bhu, intended to be the ultimate witness of full enlightenment along with Aparajita.

    Bari Gyatsa contains brief translations of deity forms such as Vajra Gandhari as well as Six Arm Sukla "Holy White Tara Showing Virtuous Action". Here, a basic Sitatapatra has no Parasol, however, with Aparajita are "various deities holding umbrellas". Although the name is sometimes combined as Sitatapatra Aparajita, we can see that they are more like upper and lower poles, one being Usnisa related to Khecari and the other related to Bhucari. However this Bhucari is a little less "earth of earth" and more sense of touch related to air. We have studied her "grouping", and it is not a normal fivefold pattern with earth where it normally goes. The meditations cease dealing with normal, mundane physiology, and more with the fact they have magnetized the aura.

    Khecari is fairly plainly related to Kha syllable, which, in Vajra Tara's terminology, is also used for Amoghasiddhi (Akashagarbha is also Kha Garbha). Ratna's syllable is based from Tra which is protection, defense, i. e. mind or manas + tra = mantra, element of reality or tattva + mantra = tantra. Mamaki uses an earth mandala which is explained as a yellow square, or, a stupa base. Our personal stupa is inverted, so the square is at the top, which joins to the base of a deity's stupa. "Varuni daughter of Varuni" has rejoined herself and they should become equal.

    Their two families were considered extensions or unfolded from the basic three, and later everything is shown going back to the three. This may seem like gymnastics, but Om Ah Hum or Body, Speech, and Mind of return are intended as Buddha Body, Buddha Speech, and Buddha mind. Here, mind may not be the best translation, since wrathful deities are the head--brain--mind. Hum is the heart syllable and refers to heart mind or Bodhi Mind or Bodhi Citta, again this Citta being the thing sensed as a seed or possibility and developed through meditation and trials. So again there is no trinity, a human being is divine, presto. It only happens if done carefully.

    In questioning the how and why of additional Families, with respect to Ratna, the author of Visible Mantra states: "The word agni is cognate with ignite, and he was associated with the sacrificial fire, but also anything which burned including digestion, and the sun! So Agni is synonymous with the sun. The largest and most elaborate sacrifice in the Vedic calendar was the horse sacrifice - which is described in the first book in the Rigveda. Finally it was through possession by Agni that the Vedic sages were able to give voice to the ecstatic inspired hymns which make up the Rigveda."

    Agni is not really the sun, but anything. And so with Yajnawalkya Yogacara, we are saying the sacrifice is symbolic and not literal, and then largely the same Rider on the Winds and almost the same Yogas are carried into Namasangiti and Six Kalachakra Yogas, and we still focus on Agni although now he has been related to Yellow Earth Square, mother of Sita. It seems weird because we quit looking at Form, and enter the Noumenal Path, which the major part of symbolism is trying to show is a complete mirrored reversal of many yogas or religions, since the physical is not a replica of the divine, only the noumenal is.

    According to Tantra, Its Mystic and Scientific Basis, "Sahaja means straight. Here it signifies the straight path of Heruka (Kundalini) which brings the Infinite Bliss (Mahasukha). The perfection is possible only by the help of Vajra Tara (another Buddhist name of the Kundalini) whose path is Avadhutika." It is not twisted like the solar and lunar nerves. The expression Avadhut goes back agelessly to Dattatreya, and then appears as Arrow Dakini, Saraha's mentor. As the first Mahasiddha, he contributed little but Buddha Kapala. Nagarjuna was his disciple, and through him we have Vajra Tara and Ekajata. So if we take Vajra Tara as a main or fundamental esoteric teaching which has Buddha Kapala as one of its highest goals, this is neatly accurate with the first Mahasiddhas, who did not create tantra per se, but who started a way for the public to train.

    The straight shot as fired by Varuni means starting from the "inverted point", the Crescent is the bow, and the stupa "base" or far end is Mamaki. And so this square base is the joining point, the centering of five winds, and Vajra Tara is the whole Avadhut or will proceed into the upright stupa of a deity by reversing and doubling these five. Varuni, Inverted Stupa, and Vajra Tara can hardly be considered historically much different or separate from Buddha Kapala which illustrates exactly the same thing. As far as I can tell, this is the only thing HPB really taught as Practical Occultism, although she was clairvoyant and called it Inverted Divine Prism, but her meaning and philosophy seems to be the same. Man does not partake in the Absolute, other than at this moment in consciousness, and it would have been done the same way, or Six Yogas starting with Pratyahara. Again her statement is that public practice of Yogacara begins with Yajnawalkya and grows to "this", or, Noumenal State of Inverted Stupa or Reversed Mandala.

    HPB and Subba Row said Prajna takes seven aspects for seven kinds of matter. She gave seven Paramitas in Voice of the Silence:

    “Yea, Lord; I see the PATH; its foot in mire, its summits lost in glorious light Nirvanic. And now I see the ever narrowing Portals on the hard and thorny way to Jnana.”*

    Thou seest well, Lanoo. These Portals lead the aspirant across the waters on “to the other shore”. Each Portal hath a golden key that openeth its gate; and these keys are:

    1. DANA, the key of charity and love immortal.

    2. SHILA, the key of Harmony in word and act, the key that counterbalances the cause and the effect, and leaves no further room for Karmic action.

    3. KSHANTI, patience sweet, that nought can ruffle.

    4. VIRAGA, indifference to pleasure and to pain, illusion conquered, truth alone perceived.

    5. VIRYA, the dauntless energy that fights its way to the supernal TRUTH, out of the mire of lies terrestrial.

    6. DHYANA, whose golden gate once opened leads the Narjol* toward the realm of Sat eternal and its ceaseless contemplation.

    7. PRAJNA, the key to which makes of a man a god, creating him a Bodhisattva, son of the Dhyanis.

    Such to the Portals are the golden keys.

    She used the term Ah-hi as synonymous to Naga. So the Paramitas are really keys 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. To the six she added Vi Raga or detachment, dispassion, which is not in any standard Paramita list. It is closer to Pali usage and they do use "Nekkhama" or renunciation with about the same meaning. However, Dhyana is from the Mahayana list, and also the Six Yogas. HPB appears to mix Pali and Sanskrit with Tibetan Narjol and her pet term Lanoo, so, it definitely would not be "found in the schools" that I know of. Philosophically, though, these Paramitas are not exactly separate, and you try to do them all at once. Since we are a bundle of Skandhas on any and all planes of matter, and each Skandha has a Prajna, it is perhaps accurate to say that each skandha uses all these paramita keys to unlock the Prajna, which then the Prajna is mother or progenitor of All Buddhas, of Clear Light, and so forth. This makes one a vessel of the Dhyanis, or Ah-hi in the highest sense, which are mental forces with no free will of their own because they are not a compound entity like a human being. They do not "work" in the world, but can only use a Celestial Bodhisattva as a bridge, if people will turn to Bodhi.

    Tantra: Its Mystic and Scientific Basis states that, by Vajradhara or any other name, Adi Buddha has for Shakti, Prajna Paramita.

    HPB said her Yogacara lodge was "Neither northern (Mahayana) nor southern (Pali) but absolutely esoteric", and using Paramitas from both lists reflects this.

    An example of a current "not any kind but the esoteric" is Kulavadhuta Satpurananda, a lineage holder in Tantric Buddhism, Nath, and Baul, according to whom,

    "The last of Matrikas is known as Avadhuti. When the One awakens the Avadhuti and passes through the crown back to the forehead, that One is known as a Kula Avadhuta (Khentsye. Tib). In the Dohas [songs] of the eighty- four Siddhas, Avadhuti has other names like Dombi, Shabari, Chandali. She is said to be the real consort of the Maha Siddhas.

    Kulavdhuta in reality is the primordial Buddha, the holder of the Essence of Essencelessness known as Adibuddha Vajradhara. From Avaduthi there are neuro-connections in direct link to each of the seven chakras in descent for further perfections for The Great Celebration of Life (leela).

    When the yogic perfectionist enters Sahasrara from Avadhutika, he/she becomes the embodiment of Vajrasattva the Buddha in intercourse with his Self-Same nature-yogini Vajrasattvatmika.
    Now the One has to come down to the Ajna Padma, between the eyebrows as the Amithava Buddha of Compassion and enjoys passion with his Self-Same consort Pandhara, The Red Tara. The passion of life is valued as Compassion for all beings.

    When the Kula Avadhuta comes down to the Vishuddha Padma as Vairochana, the Buddha of perfection of expression, the One is in Yab-Yum with Vajravairochani, the White Tara, embodiment of
    differentiation. Indifferences in all differences are achieved and such a One becomes the embodiment of perfect teachings and is call Kaula Avadhuta Acharaya.

    If such a One can come down to the heart center as Akshova, the Buddha of Nothingness, the One will be in Yab-Yum with Mamaki, the Blue Tara, the embodiment of Fullness of Voidness This is where the Chidambaram Siddhi is attained the Heart-Sky neither 'is' nor 'is not'. Hence, the One is called the great lunatic or The Mad in the state of Samyak Sambuddha.

    And then such a One is the greatest revealer. If He can come down till the naval as Ratnaketu, the Buddha of Perfect Discipline, He will be in the Yab-Yum with his Self-Same consort Ratnadhateshwari, the Yellow Tara, embodiment of Enjoyment Divine. The competitive mind will turn to the Atisiddha mind or absolute independent mind. In this state, He is called a Prabuddha.

    If such a One can come down to Swadhisthana Kamala as Amoghasiddhi, the Buddha of Perfect Spontaneity, He would meet an embodied lover as His consort (Shakti/Khandro). In the Khandro the Great Master will evoke His own Avadhuti spirit and She will become His Green Tara, Matangi. He will gain the merit to teach one and all in the universe; even the lower animals.

    Guru Padmasambhava, well known in Tibet as Guru Rinpoche, Swayambhunatha in Nepal, Kuleshwara Sadashiva in Kulanarva tantra of Bengal, Uddanda Pandita or Uddisha Padacharya in the Nityatsava and Shreekulatantra (falsely claimed by Hindus as their original), is the only One, who could give the secret instructions and teachings to come down to this chakra of Sahajananda or the Ecstasy of Spontaneity to attain the Sahajakaya or the fourth body beyond the three Kayas of the Buddha in Muladhara. One has to
    come down to this point to balance perfectly the outer and inner equipoise.

    Nobody has yet been known to have given the procedure to join the core of the earth as the ultimate descending chakra beyond Muladhara known as Jadatkundalini. It is said that Maitreya, the coming Buddha will give the teaching and instruction.

    Those who practice music may attain the same perfection if they can meditate the sargams in the chakras. S at the Muladhara, R at the Swadhisthana, G at the Manipura, M at the Anahata, P at the Vishuddha, D at Ajna, N at Sahasrara, S beyond the head, in Chitvimarshakala known as Mahakundalini. In this going up, if every note of perfect octave of the sadhaka can be sung, he will attain Nirvana at S in the ascending order. While with the same perfection in the descending order he will be a Sahajakaya. An authentic Baul
    (Yogi Doha Singers of Bengal) in his secret practice goes into sexual union with his consort (Prakriti/Manjari) and together sing this seven notes up and down, and if they can reach each others octave
    in equipoise they attain the Fullness of Voidness and Voidness of Fullness. In the sexual union, when the R at Swadhistana is awakened, it stimulates a special nerve called the Kuhu, which joins the D at Ajna. The Vaishanavas also practice this in the Nityananda school of yoga. When R meets D it is called Radha and the Kuhu is the flute of Krishna. Krishna the Eternal Darkness of Voidness resides beyond Sahasrara.

    There is the most secret practice of Sahaja which is never expressed. In this practice, making the heart plexus as the center one will join the thoracic plexus with that of the naval, in a clockwise move, the third eye with the sexual plexus and the head plexus with the anal plexus in the same way. But joining the Chitvimarshakala with the ground is yet to be taught by Maitreya the Buddha. He will be able to join Jadatkundalini, the core of the Earth with Chitvimarshakala, the core of the Sky. That would explain the
    significance of the creation, the Fullness of Voidness, between the Big-Bang and the Big-Crunch, how the zero-energy state of plasma took the form of mass and energy. The Tantrikas believe that Maitreya Buddha is the ultimate Buddha of the tantras yet to reveal Himself. The Buddhist kulacharis (ningmapas) believe according to the prophesies of Guru Padmasambhava that He himself is coming as the Maitreya after the completion of twelve-hundred years of His Declaration."

    In many views, Adi Buddha is Jagganath of the pan-Sahaja cult, who, originally, was Maha Vairocana or that Buddhism based on Vajradhatu mandala which spread across Japan and Indonesia and is incorporated within Namasangiti.

    Aro explains Prajna Paramita as Tibetan Sherab, and the highest Mahayana Paramita is Jnana, which Tibetans call Yeshe. So a real Sherab or Wisdom-giving deity is a result of Prajnaparamita and this shows us the primordial or ultimate enlightenment or Yeshe, or entering the plane or abode of Prajna itself.

    Seven Syllable Avalokiteshvara is defined as Seven Jewels of Enlightenment. Here, if the seventh is taken as Upeksa, then powers six and five are found to be the same as the higher Kalachakra Yogas, Smrti and Samadhi. The Seven Jewels are from Sutra Nagarjuna, and, rather oddly, at 119 in his lists of lists, there are eight practices for abandoning conditions or samsara:

    119. Eight Practices for the Abandoning of Conditions

    Tatra pratipatty-āṣṭau prahāṇa-saṁskārāḥ, tad-yathā:

    Herein, there are eight practices for the abandoning of conditions, they are:

    {1} Śraddhā,
    {1} Faith,

    {2} buddho,
    {2} intelligence,

    {3} vyāyāmaḥ,
    {3} endeavour,

    {4} prasrabdhiḥ,
    {4} calm,

    {5} smrtiḥ,
    {5} mindfulness,

    {6} samprajanyaṁ,
    {6} full knowledge,

    {7-8} cetanopekṣā,
    {7-8} intention and equanimity.

    Did they forget how to count to eight? It is almost the same thing as Seven Jewels, except the expression for Upeksa is counted twice. If we crunch all "thirty-seven factors for awakening", we find that there are not really that many, some of the terms are repeated. Four of these "Eight" Practices are identical to the Seven Jewels. Vyayamah is not much different from Virya, and the other two expressions are Love and Joy (Priti), and Inquisitiveness (Dharma vicaya). So the first two terms are not very different. Therefor, the Jewels, which produce Enlightenment, are about the same as the means of abandoning Samsara Skandha.

    The term combined to Upeksa, Cetana, means "volition" and is normally taken as Samsara Skandha. It is highly important, since it coordinates mind and objective forms. It is the agent of karma.

    From Pali, volition, will, is one of the seven mental factors (cetasika) inseparably bound up with all consciousness, namely sensorial or mental impression (phassa), feeling (vedanā), perception (saññā), volition (cetanā), concentration (samādhi), vitality (jīvita), advertence (manasikāra).

    Even there they enumerate seven skandhas, Manasikara as the same as Vijnana Skandha, if Samadhi and Life are indicated for the higher two, that is not bad. But, this Cetana, volition, or wish to make samsaras, is seen as the main coordinator between "data", sense impressions, etc., with the memories, tastes, or instincts of the mind. The "Sixth Sense" does not do much unless it can slip in between the cracks. The repetitive impressions done by Cetana or Samsara are one of the main things we try to undermine.

    There is some reason not to put 7. Cetana, 8. Upeksha, but to combine them. I suppose you could not put Cetana as a way to abandon samsara, if it is usually understood to be the same thing. It has been joined to something like its opposite, which seems to mean it stops arranging form with ordinary desire, but does it in a way with no craving or aversion. Upeksha is like a magical upgrade to apathy, it is not "no will to do anything" but "no will to repeat samsara patterns". It is a quality of a Bhagavan or one who possesses Paramitas and virtues which continue to be expressed.

    The first Yoga is Prathyahara, and we could easily say this is the occult explanation of Prasrabdhi or Tranquility. Dhyana, meditation on the nature of Tathagatas, is the upwards arc of Dharma Pravicaya or Inquisitiveness. The third Yoga, Pranayama, could be said to demand Virya, or energy. The fourth yoga, Dharana, requires self-blessing, which would be an outflow of love and joy.

    The philosophical concepts are not exactly the Yogas, but are something like the base on which they grow. Nagarjuna recorded two lists, Seven Jewels that produce enlightenment, and then Eight Practices which are really seven which are close to the same. Both resemble the Yogas, so, on one hand, are useful for study, and secondly, are necessary to do it.

    Upeksha is regarded as the paramount, and so it is perhaps unusual that in the Seven Syllable sadhana, the male Heruka is Smrti; Vajra Raudri is Samadhi, and Vajra Dakini is Upeksha.

    Dharma Samgraha, superficially, is an almost useless set of lists, and, as with most things, the explanation is elsewhere. So far, further investigation tells us that the set of Six Yoginis goes with the Seven Jewels, which goes with Eight Practices of Abandoning Samsara. This is portrayed at a Yoga level by Varuni, and at an Anuttara level by Seven Syllable Vajradaka. It trains us in the entire "reversible" Bodhisattva path and therefor pertains to all Hearers, Disciples, and Arhats. Mastery and stability of this is the basis for the full or ultimate "irreversible" path. It is the same as Sutras and philosophy, which takes 300 eons; Yoga reduces this to a few lifetimes.
    Last edited by shaberon; 4th July 2019 at 20:11.

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

    We have seen that Jupiter is a power of order and harmony, but the Human Guru is Venus. Jupiter and Venus are the two brightest luminaries at night other than the Moon. However, one of the most important images in meditation is Dawn, mentioned in Rg Veda as Ushas (Greek: Eos), and otherwise as Marici, and also an aspect of Vasudhara. The preceding twilight or pre-Dawn is also important. And so who is mainly hanging around in the pre-Dawn, well, that is Venus. So the esoterics stem from a readily-observable daily situation. Venus can easily be seen to govern the transition from darkness to light.

    There are more or less two rival interpretations of Nagarjuna, one being highly literal and attached to discipline and rules; the other is styled of the Awakening Mind, and it is mostly in this latter camp we must place Nirakara Vijnana Vada or Shentong philosophy. So we are trying to relate to Nagarjuna's deities from an Awakening Mind view, where his meaning begins an inner agreement within us. And so if we do this, firstly, we cannot innovate. It can't be changed around or mixed with something else. One may participate in other things, but it would be best to keep them separate practices. Deity Yoga is a continuation of Guru Yoga. It is correct there are different ways to do Guru. Ideally it would mean a living human guru. Most of us don't have that kind of karma. If not, you have to follow the one you can make the best connection to, so here, we have been relying on Vajradhara.

    If one trains in meditation, it generally always begins about the same way, but the whole thing does not have to stay the same forever. That is the point of these deities. In all of the schools, whether with a human guru or any kind of rite, Vajrasattva is used. He will always be the purifier and the main basic explanation from which the rest emerge. Samputa or
    Equal to the End of the Sky being among those. Vajradhara is something like the infinite potential of what he can show, is the root of Armor Deities, and one's future Fruit or success in mastering whatever is shown.

    In between those two is a vast realm, and upon inquiry, we are given that the outer explanatory deities are Manjushri and Vasudhara. Manjushri is the current Swayambhu Adi Buddha of Nepal who was the Wu Tai Shan master back during the Ice Age. If we meet him, he soon requires Sarasvati. Vasudhara is accepted as Sita from the Ramayana, as well as Tara, who includes southern deities such as Janguli and Parnasabari, as well as western Chinese such as Vajra Tara and Ekajata and of course Indian Sri. Ultimately she, at least as Guhyeshvari and other Pitha goddesses, is non-different from Sati, in other words, her cosmic aspect was blasted to pieces forming the sacred Pitha sites in the earth, and her next earth form was Parvati, also included, along with Durga. That is why most of the Buddhist deities make far less sense without knowing something about the background lore.

    So there is a way we can grow in Yoga but, it is clearly not advisable just to take any deity and do anything. There is already a lot of information out there that would enable you to attempt Chakrasamvara or self-generate as Vajrayogini. Instead, we are using the "intermediate ranks" which would prepare you for Completion Stage or make you a good candidate for some kind of initiation like those. We simply have a more direct and concentrated view by relying on Seven Syllable Avalokiteshvara as the pattern, apex, or totality of all preliminaries. In a simple explanation of Deity Yoga, Lama Yeshe states that the goal is non-dual union of Vajradhara Father-Mother as enlightenment with seven qualities. This is the same theme that works with Namasangiti Manjushri. It is the same with Varuni. It is not apparent, or rather is concealed by, general information.

    This gives us material we can work with, for example, one could modify Guru Yoga with "Pra" deities: Prajnaparamita and Pratisara. The first could be said to absorb Sarasvati and interact with Manjushri. The second could be called highly related to Varuni and would remain useful up to Completion Stage, or, she literally does something drastic to form, in other words, progress in Raja Yoga. To perform the method is to endow one's body with Rays and to balance and center Inner Heat. While this does make an occult change to a human being, in our school, we will always carefully emerge in reverse order with the intent of Mahayana commitment and to manifest Perfection or Paramitas. One could just look at Dana or Generosity Paramita, and think, well, I'm generous, no big deal. But it is actually a never-ending stream of giving, all that one has in mundane and supra-mundane forms is constantly offered to others. That is a main motivation, to freely give away something good, whenever possible. Usnisa Vijaya is the same way, Usnisa's short mantra is about Dana or giving Amrita, or life, the same term the Masters wished to use for the Greek or Western monad or irreducible spiritual unit. She can be readily used as a mantric dispenser of Amrita, which, so to speak, begins charging up her syllable, which itself becomes something like the pole star or summit of Mt. Meru which completes the mandala and will bring the end of time to the user's mind. If done properly, the ego is blasted into darkness. That is where the real Dawn is to be found.

    Usnisa Deities are a highly important class, usually associated with Parasol. The hydra-like hood displayed by Janguli and others is also a type of umbrella, the same as naga king sheltering Buddha during enlightenment. The parasol implement is notably shared with Aparajita, the ultimate witness to enlightenment along with Bhu. Consequently we have found it accepted to begin major sadhanas of Agni and Tara by asking permission of Bhu.

    The chief protector of the Usnisa region is Jewel Family and therefor is related to Pratisara. So that is why if you develop from a basic Usnisa and Protector Pratisara, it is preparation for the use of Armor Deities, which are the rays. It is not the deity's bodily form that resides in a chakra, it is the syllable. The full Armor set is Varuni, and she is able to boil all nectars and transmute them in the Cup and perform Inverted Stupa. Armor is wrathful, and in Guhyagarbha or "Book of the Dead" tantra, Jewel Family is the source of Wrathful Deities. If the crown center is unprotected, chances are, after death, this is going to make monsters that chase you into hell or a ghost realm. So we are doing the opposite transformation of that.

    We sometimes find strange associated material such as a foundation calling itself Sanctus Germanus which is based from theosophy which comprehends the Mahatma Letters teaching "there is no god" by a person who has at least met H. H. Karmapa. The belief is that Morya is sitting in the etheric plane near Darjeeling and HPB is there and she agrees that what is needed is a "modern English version of The Secret Doctrine". Despite the non-theist position, the splinters such as Ledbeater and Bailey have been included as if part of the same. So it seems to be partially more accurate than some, but, here again, we are asked to trust one person's vision about coming destruction which will rid the planet of those who cannot successfully operate the crown center.

    Instead, we are looking closer at "original versions" of the practice that accomplishes the same purpose. If I delve into what it is to work with Usnisa deities, or Armor deities, it only resembles itself, it is not re-packaged with someone else's trademark. We do however lack a complete English Sadhanamala. We are simply trying to move in that direction, along with a format of presentation that arranges it with philosophical commentary, instead of a large, disordered list. It would not be fruitful to copy/paste over two hundred untranslated things, but, we can link as much of the meaning and practice to the areas where they fit. After working for more than a year, there are so many supporting posts, I can't remember or track where things are. I will keep trying to groom this and so after the basic seven Namasangiti posts, I put a contents list, next, here. I think most of the Tara material is somewhat inter-linked, but we would like everything easy to find. None of the sources are like that. We are just trying to arrange it with a better "finder" than unsearchable typewritten pages and the various other ways it is still kind of "under a rock".

    We have dealt little with Namasangiti, itself, and more to the fact that if the passages are intended to represent seven degrees, then it attaches the system of seven with all explanations. So for instance if I look at the Seven Dhyanas, now knowing that Buddha said I might make it to the second and then crash, if I were to take an honest approach to his system, then the next ingredient for the Third Dhyana is Upeksha. This is not some arbitrary command, but what I recently had a vivid and powerful experience with, and then it was shown to be the paramount quality in Seven Jewels, Brahman Virtues, and Pali Paramitas. We can now say it means a little more than "equanimity" and that it is central to wrathful armor or peaceful enlightenment, and so entrance to only the Third Dhyana is with Upeksha living as the chief of "multiple concepts" simultaneously. The main meaning of Jewel Family, or Enlightened Use of Six Families Equally, as found in the practices, is clearly of extreme use to this transcendent seventh element. If the Armor and protection are successful, Upeksha is steady. Polar opposite of an uncontrollable nightmare.

    I have not attempted another ability which is to conjoin sound with practice. Again here of course we would find that the majority of mantras are Tibetanized. They are pretty close, but if you are good with languages, you can find the accent. Vajrasattva Purification is done with 100 Syllable mantra, and here are some, I believe, Russian chicks, Wonderband, with a version where you can pretty clearly pick out the Tibetan. There are lots of versions and most of them are pretty snappy, this one is easy to learn:




    OM BENZA SATO SAMAYA MANU PALAYA BENZA SATO TENOPA TISHTA DRI DO ME BHAWA SUTO KAYO ME BHAWA SUPO KAYO ME BHAWA ANU RAKTO ME BHAWA SARVA SIDDHI MEMTRA YATSA SARVA KARMA SUTSA ME CITTAM SHRI YAH KURU HUNG HA HA HA HA HOH BHAGAVAN SARVA TATHAGATA BENZA MĀ ME MUNTSA BENZI BHAWA MAHA SAMAYA SATO AH



    Dirty raw live version:






    However the same mantra is much closer to original form by one of the Lamas. Sanskrit and calmer.




    oṃ vajrasattva samaya manupālaya vajrasattva tvenopatiṣṭha dṛḍho me bhava sutoṣyo me bhava supoṣyo me bhava anurakto me bhava sarva siddhiṃ me prayaccha sarva karma su ca me cittaṃ śreyaḥ kuru hūṃ ha ha ha ha hoḥ bhagavan sarva tathāgatavajra mā me muñca vajrī bhava mahā samaya sattva aḥ


    He transcends the word bhagavan almost entirely, and the last syllable has some of the echo we studied. The editor put Tibetan text in the beginning of the clip. This same thing can be found in Japanese, Vietnamese, etc., not really in those languages but in those accents. This is really the most important one since it is the gate to any Guru Yoga whatsoever. Everything else we are talking about exists in this Samaya. It is the initial bond with what will be a Gnosis Being.

    It is used by Sadakshari #6, Marici #142, Pratisara #195, Varahi #218, in terms of Sadhanamala goddesses with the same Sanskrit version.
    Last edited by shaberon; 5th July 2019 at 17:25.

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

    Dharmadhatu Vajra and Manjuvajra

    I linked the videos above to Guru Yoga and added a recording of Shanti Mantra to Sita.

    The first Namasangit mandala was awkward because most information was based on the Guhyasamaja Manjuvajra. This has been changed to Namasangiti Manjuvajra. And, agreeably, it is also the first mandala in Nispanna Yogavali or NSP; the second, called Akshobya, is really Guhyasamaja Akshobyavajra.

    Namasangiti Manjuvajra is a transition, having the Pancha Jina Mark, and then showing six sense goddesses. The sixth goddess is named Dharmadhatu Vajra. She is the sixth sense of mind, which "is like space", in that it depends on nothing. She is not common, but is also used in Kalachakra Tantra. According to Wisdom Library, Padmajvalini is another name for her, which is almost entirely unused, but appears to be in the center of a Vilasini retinue.

    Dharmadhatu is generally explained as mental objects, including the skandhas. Our definition already made the sixth a "skandha of skandhas". Dharmadhatu Vajra's Root Element, Mother, or Prajna, in Kalachakra, is Viswamata (central energy from the heart down) whose higher aspect is Vajradhatvishvari (centered life energy from the heart up). So first Manjuvajra mandala features Sister or Bodhisattva-class deities who make Offerings. Manjuvajra is really Vajrasattva who resembles Vairocana. Guhyasamaja's Arya lineage mostly uses Akshobyavajra, but Jnanapada lineage only uses Manjuvajra.

    Here is Damarupa, fifth teacher of Margapala, surrounded by the sense goddesses, with Dharmadhatu Vajra bottom center holding a "triangular receptacle":





    Hers is white and points down. We have seen this two posts above, with Vairocana Abhisambodhi, where it is with Gagana Locana [Buddha Eye] or Prajnaparamita--from his perspective, this triangle also points down. Also, here, Rasa is holding a skull filled with the three nectars (medicine, deathlessness, wisdom). So these are preliminary seed images of what Generation Stage, or Varuni, will accomplish: a working Dharmodaya Mudra and the brewing of nectar.

    Offerings may be used in Guru Yoga; the first round of Outer Offerings would be with water, lamp, incense, etc., and the second round would be these sense goddesses. They are from Guhyasamaja and are used in a Peaceful Body Mandala. In "Union of Bliss and Emptiness", H. H. Dalai Lama gives an example of this in Guru Yoga, and mentions that in the ordinary version, Manjushri, behind Akshobya in the heart, is without a consort. But in Kachem Lung Kurma, he is with White Six Arm Vajra Ishvari [Dharmadhatu Vajra] holding a "reality source". The subsequent Inner Offerings may be performed by "red offering goddess", which we know to be Varuni.

    His method, of course, uses a normal human guru, appearing like Tson Khapa, with Shakyamuni (thumb size) in his heart, who has Vajradhara (tall as one finger width) in his heart, whose heart then contains "contemplation hero" multi-colored Hum syllable. So if we simply use Vajradhara as Guru, we can start from that area, and Namasangiti Manjuvajra is mostly a Yoga version of Guhyasamaja Manjuvajra, and it is Vajrasattva with whom we already bonded. This makes or does Outer Offerings. The rest is Varuni, Inner Offerings and Armor. This is to use Nagarjuna's Profound View to go with inner meaning for Awakening Mind, in conjunction with the Jnanapada approach as seen in tantras starting around a white triangle.

    Kalachakra's Seven Chela initiations, which enable the attainment of Seven Bhumis, are in a similar pattern, ending with Offerings, Six Wrathfuls similar to Armor, and then Blue Vajrasattva unites with Blue Prajnaparamita because they are of Dharmakaya nature.

    Sparsha Vajra is the regular consort of Akshobyavajra and Manjuvajra. Even in a Guhyasamaja relationship set, Manjuvajra is upper left, Lokeshvara beside him, Akshobyavajra is under him, and we can still tell Green Sparsha and White Dharmadhatu are in unusual areas:







    According to "Sacred Visions", this is an NSP Manjuvajra, surrounded by stupas, arranged like in Sat Chakravartin; the middle one is above him:





    His gesture is prajnalinganabhinaya, embracing an invisible (or: self-luminous) consort. Circle of Bliss #60 studies a crown based on NSP Manjuvajra mandala, from which Dharmadhatu Vajra is conspicuously absent and there is an empty spot. This is fairly close to MSD4 which shows similar deities "about to embrace", or a missing or implied consort.

    There is also a Twelve Arm Manjuvajra who consorts with Varahi in Abhidanottara, the pairs of arms indicating Six Families.

    Manjuvajra mandala has Sparsha and Dharmadhatu Vajra starting in unusual places, as if they need to settle somewhere. When Sparsha is centered on Akshobya, this is the Dhyani who famously does Bhumi Sparsha, and perhaps she descends as Bhucari in Nairatma's mandala.

    According to Tsem Rinpoche, "The consort is dissolved into emptiness, and through ‘three stages’ she is generated into Sparsha Vajra. On her body are visualised, emerging from their seed syllables, twenty-nine deities as described in the sadhana." That would be a real person, you would convert her into Sparsha. Also, "Sparsha Vajra invites Akshobhya and the two wrathful deities — the one above and the other below [Ushnishacakravartin and Sumbaraja]." Sparsha winds up in the genitals; Dharmadhatu Vajra in the heart. Sparsha will dissolve into any Prajna who needs to go to the middle.

    In Sadhanamala, Manjuvajra is a Guhyasamaja version which includes four Prajnas' songs after Vajradhara has been with the sense goddesses and they ask for his love. These again indicate Four Brahman Virtues. It does not appear to have anything that matches the Namasangiti Manjuvajra mandala.

    In the third NSP mandala, Vajrasattva Samputa, in his Family, Akshobya manages to gather Shabda, Sparsha, and Dharmadhatu Vajra. These sense goddesses are not used afterwards, until appearing in Dharmadhatu Vagisvara, where Sparsha is back to normal in Amoghasiddhi Family. She is still his emanation while consorting Manjuvajra or Akshobya. Vajrasattva Samputa changes this. It again leaves Ratna with no Prajna in his Family, although Mamaki is physically beside him. Samputa places Dharmadhatu Vajra in the final, or Northern, quadrant, Sparsha having preceded her in the West. He lacks Gandha unless this is meant by Prithvi Vajra.

    Sparsha goes "up" to be with Dhyanis, whereas Mamaki goes "down" to be with Bodhisattvas. In one instance in Kalachakra, Viswamata goes "down" to replace Sparsha: "The purified sources of sound, smell, taste, form, touch, and phenomena are Sabdavajra, Gandhavajra, Rasavajra, Rupavajra, Vis'vamata, and Dharmadhatuvajra respectively." Since Visvamata may be understood more broadly as Prajnaparamita, then, there is a meeting ground where Purified Tactile Objects goes in, is replaced by body-less-ness, which continues as Varahi, Vajradhatvishvari, etc.

    Circle of Bliss #50 studies 1,000 Arm Red Sristhikantha Avalokiteshvara. Flanking the Dhyanis are Dharmadhatu Vagisvara Manjughosha (Vairocana Atman) and Namasangiti (both red), and the bottom center is Manjuvajra or Manjughosha (Adi Guru, especially for Samvara--Varahi)). So here is an unusual red male, showing a teaching that begins with an unusual white female, again backwards from red female blood/white male semen. It would be correct to say Jnanapada uses Vairocana Abhisambodhi and Namasangiti Manjuvajra, both starting with this white triangle.

    The basic Namasangiti Manjuvajra has Four Arms, with his regular items, but lacking the extra arms that embrace nothing or Sparsha:






    Vajrasattva is the first Bhumi, Joy, and tantra could be said to begin when this is no longer a mood, but the indestructible bliss from the union of Wisdom and Means, Svabhavikakaya or Divine Androgyne. He is no longer just a purifier, but recognizes the existence of Dharmadhatu Vajra and gets her working.

    In "Transcending Time", a very thorough Kalachakra resource, in tantra, the Ten Paramitas are understood as:

    1. Freedom from conceptual elaborations is known as generosity. 2. Not losing one’s regenerative fluids even when in union with a consort is known as ethical discipline. 3. The non-craving for the ordinary and the non-craving for true existence are called patience. 4. The gathering of the ten vital energies in the central channel is called zeal. 5. The mind that single-pointedly abides in immutable bliss is known as meditative stabilization. 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. 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. 8. Prayer is bringing oneself and others to fulfillment. 9. Power refers to the power of immutable bliss in which one gains liberation from the three states of existence. 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.

    Vajrasattva is sometimes said to consort with Sattva Vajri, a Vairocana deity from the STTS terminology. According to Sakyamitra, the Symbol-consorts refer to the four Paramitas, i.e. Sattvavajri symbolising ‘perfection of knowledge (jnana)’, Ratnavajri ‘perfection of generosity {dana)', Dharmavajri symbolising ‘perfection of wisdom (prajna)', and Karmavajri symbolising ‘perfection of exertion (virya).

    Varuni's Inverted Stupa shows the lower centers simply as bow-shaped energy, also having banners that flutter when heat turns inward. When this hits her triangle, the skulls are the three voids, and the main skullcup uses Clear Light or Prabhasvara obtained thereby. So almost all our training is below the triangle, and if it works, her implied square attaches to the base of the stupa of a Yidam, such as Vasudhara, Usnisa, Marici, etc. Since the triangle happens in the solar plexus, it is much as if we have replaced the two lowest centers of Hatha Yoga with Vajrasattva preliminaries.

    Circle of Bliss uses explanations from Sublime Path to Khecara Paradise, as well as by Geshe Kelsang Gyatso (Guide to Dakini Land, Essence of Vajrayana, Tantric Grounds and Paths). Those encourage self-generation with Vajrayogini and so forth, and instead we intend to slowly grow it along with outer explanatory deities. If the important answer or result is Seven Syllable deity, then we are starting with an understanding of Six Families and that our best bet is seeing the "whole system" as based around Seven Bhumis and Paramitas, Seven Jewels of Enlightenment, or Seven Dhyanis, since Vajradhara is the source of Varuni at the center of Armor Deities, to whom the addition of Vajrabhairavi finalizes the set for Seven Syllable Deity, which is the master Samvara--Varahi.

    This version is a better diagram of Varuni; magnified, it should be clear (open link in new tab):


    Click image for larger version

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    Last edited by shaberon; 9th July 2019 at 17:18.

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

    Tantric Bodhisattvas

    Kagye' and Kalachakra are both massive systems, which have a similar underlying core. This is mainly the fact that the ranks of deities have the meaning of a living map of psychology and the aura and subtle body. This pattern comes up in Namasangiti Three, based around Hundred Deity Mandala. Instead of "Book of the Dead" style, in the Indian sources, this tends to be called something more like "Illusion's Net". And so for example we have found that effectively, in practice, the Wrathful Dhyanis and Prajnas are Armor Deities, which works with Varuni. They have outer abilities to remove obstructions, but, when we want Clear Light or Prabhasvara to dawn, the wrathfuls have to settle on the body as protection.

    When we look at Bodhisattvas, we notice that in tantra, the Six Sense Objects have a cirsply defined appearance in sadhanas. And if we focus on what they are, then we see that Kalachakra, Manjushri, and Guhyasamaja involve almost identical functions, similar to Armor, but also a Peaceful Body Mandala. The Eight Outer Offering Bodhisattvas with Incense, Turquoise Lamp, and so forth, are always apparent, but the "second" set specifically means the senses; tantra does an operation to these prior to Varuni's Inner Offering.

    Because this is Yoga, it does little to postulate the existence of a sixth element, but it is critical to evoke it as the experience of Gnosis. And so I think there is not really confusion between the tantras, because what they do is grow from a basic, conceptual Vajradhatvishvari, to sort of misusing and obscuring her name as there appear to be so many kinds of tantras, before returning her as Marici Vajradhatvishvari. Most of us have no conceptual difficulty with "sense of mind", but we do have practical difficulty with what tantra would define as a state of Gnosis.

    Bodhisattvas are the intermediate rank who establish Sambhogakaya. And we can see how the teaching intercepts anyone who may comprehend fivefold form from any system, and uses Vajrasattva to purify and make Sambhogakaya function, and the system of six senses is used almost universally in practice.

    In STTS Chapter Two, we can see this is a Vairocana-centered system. However, the central deity is Vajradhatvishvari, who emanates the deities from samadhi. In setting up the mandala, she uses a caitya. The circle uses the syllables Hoh Jah Hum Ham.

    I do not think we are much changing the basic fact of Vajradhatvishvari being the center and source. We just move her name a little further down the road, since STTS pins her to Vairocana and Space element, because it does not have six elements to talk about. The better name seems to be Akasha Dhatu Ishvari, Space Element Meditation Queen, Akashadhatvishvari.

    Guhyasamaja does have a sixth element, and it is Akshobya-centered. Now he is really doing a lot of showing and explaining. He takes over and the basic mandalas warp and twist to suit his purposes, but the reality or the thing being explained is still Vairocana. This is why the Namasangiti series rises to Mahavairocana and finally to Vairocana Atman. It adds the sixth element at the beginning, and, if there is a seventh, it is in that consciousness called Klista Manas. When Klista believes in a fixed self, then it sees an object as separate or outside of that self, and becomes dualized. So this is the most subtle mind. Many schools attempt to add the Eighth Consciousness, Alaya Vijnana, but we would not say this is part of man. I am not trying to become the Alaya, and I don't need to do anything to contact it. The intent is to change our relationship, to stop, especially, what Klista and Vijnana Manas are doing, the seventh and sixth sins.

    "Moving" to a system of Six is done with Vajrasattva.

    In Namasangiti verse 144, there is a commentary that expresses the difference from five to six elements. It is Tibetan, and so we would render it as Vam Vajrasattva, who is Pancha Jina or five skandhas, and five mantras or syllables, the White Male seed. Then, 100 syllables, which suggests Vajrasattva or Heruka mantras, is the addition of sixth element, and uses Six Directions, which, when unified, is E Dharmadhatu, the Red Female seed. The two syllables together are Evam or first word in the common "Thus have I heard..."

    “Great bindu devoid of syllables” Padma Karpo comments that nirvana, the jñana element is

    inexpressible; “five syllables and greatly void” the throat and so forth, pronounce the mantras of

    the space element and so forth [going with the five personal aggregates], namely, 1) perception

    (vijñāna) (the space element), ‘A’ like a gri gug (short, crooked sword) is in the middle; 2) above

    it is the motivations (samskāra), the wind element, ‘A’ like a dbyug gu (wand, stick); 3) at the

    right, feelings (vedanā), the fire element, ‘A’ like a tsheg drag (visarga, aspiration sound); 4) at

    the left, ideas (samjñā), the water element [‘A’] like a thigle (bindu, drop); 5) below, form, the

    earth element, ‘A’ like a thon gśol (crooked beam); thus the five symbolize Vajrasattva as the

    BAM syllable; “voidness in the bindu with one hundred syllables” the jñana element is added

    to the five elements and the six, in six directions, are associated with the consonants in six

    classes; when the six are ‘unified’ they are the E syllable Dharmadhatu; “five syllables and

    greatly void” is called semen and moon; “voidness in the bindu with one hundred syllables” is

    called blood and sun.

    Hundred Syllable mantra reveals the sixth element and the Dharmadhatu, which we may call the Sixth Sense Object goddess, Dharmadhatu Vajra. Seed syllables that purify the normal five skandhas go first, then later, a hundred in the bindu add a functional Gnosis element which unifies with the five to obtain Dharmadhatu, Purity of Mental Objects. Or, this Bodhisattva goddess is the Object related to a Mother goddess being the Root Element. We already have mental objects, Vajrasattva purifies, and so the hundred syllables done properly adds the sixth in practical terms, or as experience. Six Directions is used by Vajra Tara, so, she unifies this to the Dharmadhatu.

    Guhyasamaja is the Akshobya-centered system which also involves a change of consorts, which even Nagarjuna had difficulty with. The Six Yogas do not originate from Kalachakra, but from here. Kalachakra is too unique and different to be comprehensible with the rest of the system. However, we can find that it has core components from Guhyasamaja, or particularly the Body Mandala. If we pry the parts out of the NSP Kalachakra description, we can see what it uses for Peaceful and Wrathful Bodhisattvas and other components. This is like its skeleton, which is readily comprehensible to the rest of the system.

    By using duplicates, rather than eight, it gives six senses. The ostensibly doubled powers are Sabda and Dharmadhatu.

    In the third circle, there are four gates, and the two sides of each gate are occupied by Bodhisattvas with their Saktis.

    East

    1. Samantabhadra-Dharmavajra Left
    2, Khagarbha-Gandhavajra Right

    South

    1. Vajrapani-Sabdavajra Left
    2. Ksitigarbha-Rupavajra Right

    West

    1. Dharmadhatuvajra-Samantabhadra Left
    2. Sarvanivaranaviskambhi-Sparsavajra Right

    North

    i. Vajrapani-Sabdavajra Left
    2. Lokesvara-Rasavajra Right

    More are repeated, nothing is new but female first:

    In the four corners, there are four goddesses accompanied by their male
    counterparts, as below :

    i. Agni Corner

    Sparsavajra Sarvanivaranaviskambhi

    2. Nairrta Corner

    Rasavajra Lokesvara

    3. Vayu Corner

    Gandhavajra Khagarbha

    4, lsana Corner

    Rupavajra Ksitigarbha

    The doors of this circle are occupied by Krodhas Vighnlntaka ( i ), Prajnantaka ( 2 ), Yamantaka ( 3 ), and Padmlntaka ( 4 ), with Stambhaki, Mamaki, Atibala, Jambhaki. Followed by Incense, Perfume, Song, etc.


    Of a massive Hindu Worldly gods circle, it confines them with a set of Six Directions similar to Vajra Tara.

    The gates are occupied by the Krodha deities each accompanied by his
    appropriate counterpart in the six quarters as under:

    1. East
    Niladanda with Marie! Pig chariot

    2. South
    Takkiraja with Cunda Horse chariot

    3. West
    Mahabala with Vajrashrinkala Elephant chariot

    4, North
    Acala with BhhrkutI Lion chariot

    5, Above
    UsnIsacakravartI with Atinlla Garuda chariot

    6, Below
    Sumbharaja with Raudraksi Tiger chariot

    Between the pillars of the altar arches, there are the Snake-gods along
    with their femate counterparts.

    Kalachakra's colors are different, Amoghasiddhi is Black, Akshobya Green, Gnosis Family is Blue for Dharmakaya. Amitabha is White, Ratna is Red, Vairocana is Yellow. But NSP does not mention any of the retinue's colors and gives that as the only definition for Families.

    In the Ornament of Stainless Light (Kalachakra commentary):

    Now the generation of the Aksobhya class is taught. "From the
    emptiness of the pure crown" means that from the pure aggre-
    gate of consciousness and the pure element of space within the
    crown cakra arises the great Vajradhara Aksobhya sealed by gno-
    sis and green in color. Similarly Vajradhatvisvari, Usnisa,
    Vajrahumkara, Raudraksi, Khrodini, Vajrapani, Dharmadhatu-
    vajra, Visnu, Yama, and the naga Jaya, emanate from the upper
    face. They are of many qualities, granting siddhis of every activ-
    ity, marked by the sign of the vajra, sealed by Aksobhya, arising
    as green from the color of space.

    Therefore because Visnu and Yama are of the major element of space, their
    color is "the color of space," or green. The passage continues:

    From the purified aggregate of gnosis and the purified element
    of gnosis within the secret cakra arises a blue Vajrasattva marked
    by a three-pointed vajra sealed by consciousness. Similarly
    Prajnaparamita, Sumbha, Vajravega, Atinila, KhrodinI, Isvari, Rudra,
    Jambhala, Samantabhadra, Sabdavajra, and the naga Vijaya, all
    of the gnosis element, these benefactors, causes of the liberation
    of sentient beings, emanate from the phenomena of gnosis in
    the lower foundation, arising in the color blue from the dhar-
    madhatu gnosis and sealed by Vajrasattva in the form of a blue
    Aksobhya in order to accomplish every activity.

    The cessation of the twelve links of dependent origination is Visvamata.

    The Great Commentary states:

    Similarly the cessation of the twelve links is the pure Prajna.

    The purified forms of the eight channels at the heart, which are the sup-
    ports for the equalizing wind and so on, are the eight sakti, Dhuma and so
    forth. The purified forms of the two parts of the central channel, avadhuti
    above and s'ankhinl below, are the two other sakti, Jnanaparamita of the
    gnosis element, symbolized by the visarga, and Prajnaparamita of the space
    element, symbolized by the drop.

    Along with the normal Family symbols, the ending of obstructions to Gnosis is the wish-fulfilling tree.

    Dhyanis and Prajnas:

    The purification and freedom from obscuration of the aggregates of
    compositional factors, feelings, recognition, form, and consciousness are
    Amoghasiddhi, Ratnasambhava, Amitabha, Vairocana, and Aksobhya
    respectively. The purified and obscuration-free elements of gnosis, space,
    air, fire, water, and earth are Vis'vamata, Vajradhatvisvari, Tara, Pandara,
    Mamaki, and Locana respectively.

    Bodhisattvas:

    The purification and freedom from obscuration of the ear, nose, eyes,
    tongue, body, and mind are Vajrapani, Khagarbha, Ksitigarbha,
    Lokesvara, Viskambhi, and Samantabhadra respectively.

    The purified sources of sound, smell, taste, form, touch, and phenom-
    ena are Sabdavajra, Gandhavajra, Rasavajra, Rupavajra, Vis'vamata, and
    Dharmadhatuvajra respectively.

    [Bodhisattva Visvamata has pre-empted Sparsha. However, Dharmadhatu is the direct descent of Prajna Visvamata as Gnosis Element to Mental Object. Space Element is Vajradhatvishvari, where we would probably say Akashadhatvishvari, and if her descent is Sound Object, it is Sabda].

    The purified forms of the powers of faith, effort, memory, concentra-
    tion, and wisdom are the wrathful protectors Usnisa, Vighnantaka, Prajna-
    taka, Padmantaka, and Yamantaka respectively. The purified forms of the
    organs of the female organ, speech, arms, legs, and anus are Sumbha, Nila-
    danda, Takkiraja, Acala, and Mahabala respectively. The purified forms of
    the organ faculties are the wrathful goddesses, Raudraksi and so forth. The
    purified forms of the eight periods are the eight main goddesses of the
    speech mandala, Camundi and so forth.

    Compared to Incense, Flowers, etc., Sense Objects are called six "additional" offerings. The male is the sense, the female is the object. The female Bodhisattvas simply make offerings. Sometimes they use Adarshe for form and Wini for sound. The mantras are just Om Ah [name] Hum, while a goddess with multiple reflections offers pretty sounds, pleasing scents, etc. Manjushri's Innermost Secret is a new commentary on Lama Chopa that H. H. also described. In the preview, there is an isolated page explaining the goddesses themselves are then directly offered to the bodhisattvas, and that in "this tantra" it specifically places Vajradhatu with Manjushri, but we cannot tell the source. Lama Chopa is the Ganden Hearing lineage from first Panchen and Tson Khapa, which is like a Tibetan "application" of Vajrasana Buddha.

    "Esoteric Buddhism in Mediaeval Maritime Asia" finds the origins of Six Senses in Nagarjuna's Pindikrama, Manjushrimulakalpa, and Guhyasamaja. By extension, they found it carried in Sadhanamala, which is in an article for Vajrasana Bhattaraka (Sakyamuni Buddha):

    020|14 paścāt ṣaḍaṅganyāsaṃ kuryāt / bhagavato cakṣuṣorubhayoś
    020|15 candramaṇḍlaṃ tadupari kṣiṃkāraṃ śuklavarṇaṃ, śrotrayoś
    candramaṇḍaropari
    020|16 jaṃkāraṃ nīlavarṇaṃ, nāsāpuṭayoś candramaṇḍalopari
    020|17 khaṃkāraṃ pītavarṇaṃ, jihvāyāṃ candramaṇḍalopari gaṃkāraṃ
    020|18 raktavarṇaṃ, lalāṭacandramaṇḍalopari skaṃkāraṃ śyāmavarṇaṃ,
    stanadvaye
    020|19 candramaṇḍalopari saṃkāraṃ śuklavarṇam iti ṣaḍaṅganyāsaṃ

    That is about Six Anganyasa, which means Installation of Ancilliary Mantras and a Body Mandala. The extraction is Ksim Ksitigarbha, eye; Jam Vajrapani, ear; Kham Khagarbha, nose; Gam Lokeshvara, tongue; Skam Sarvanivaranavishkambin, surface; Sam Manjushri, manas (Samantabhadra is used in Kalachakra). So on the last one, Samantabhadra is Vajradhara or his associated Bodhisattva; Manjushri is a Bodhisattva who in tantra becomes Adi Buddha; neither being much different from thinking of Vajrasattva as the heart son of Vajradhara. In Kalachakra, Vajrasattva is standardly Blue, since he is no longer in purifying mode, but the Dharmakaya. Nagarjuna's version uses Om for every seed syllable, except Thlim for Ksitigarbha, and manas has Hum, and Manjughosha; otherwise, the Bodhisattvas are the same. So this formula works on Vajrabhairava, Samvara, and Kalachakra, which makes it fundamental. Frequently, Ja or Jam becomes Jrim for Vajrapani; Ga or Gam is still Ganesh.

    Sam is not a common mantra. In Mantra Shastra, which groups syllables by the Mothers, we see it there for Camunda. Compare how close that is to a major Samvara mantra, used twice in a sadhana, once for deity and once for retinue:

    OM HUM BAM RIM RIM LIM LIM / KAM KHAM GAM GHAM NGAM, / CHAM
    CHHAM JAM JHAM NYAM / TSAM TSHAM DZAM DZHAM NYAM / TAM THAM DAM
    DHAM NAM / PAM PHAM BAM BHAM / YAM RAM LAM VAM / SHAM KSHAM SAM
    HAM / HUM HUM PHAT OM AH HUM.

    This is Samvara Body mandala, in which the meditator's body becomes the inverted stupa. All it has done is moved the "Pam Pham" line a few spaces up. This is just a standard grammatical way of understanding the alphabet. The main Chakra syllables are Indrani.

    In the Kalachakra explanation, sa deities are Blue and ka deities are green. This position is, however, a refutation of Abhayakara, who instead used a Black Vishnu. If we are not doing Kalachakra, in Sadhanamala Varasana, sa is white and kha is yellow. Sa is used by Jnanadakini, and also in a clairvoyance mantra, A AA HA SHA SA MA, or also in So'ham Hamsa or Hamsa So'ham. In Hamsa, sa is power, and likely the seed for Shakti, as in "Ham bijam sah shaktih krom kilakam" from Shiva Guru Gita. Their opening remark is, "Ham is its seed, Sa is its power and Krom is the anchor that holds the syllables of the mantras together", pretty much the meaning of that line, culminating in Kila.

    Sa could be interpreted as Manjughosha or Samantabhadra Bodhisattva, but, that is also a fairly strong suggestion he has a Shakti. This syllable is also "stacked" to make Ksha. Unless I am mistaken, Camunda is also used in a Speech mandala. So far, any version that refers to the bodhisattva gaining the consort is Manjushri.

    Hum is a shield, Phat is the weapon.

    The Sadhanamala Vajrasana version has no male Bodhisattva names at all. It has five Dhyanis, four Prajnas, and Offering goddesses. It uses a dharmadhatu mantra, and mentions skandhas-kleshas as something like a multi-colored son of death deva. An orange or gaura Buddha figure is then generated, to whom the six syllables are applied. So this is similar to Gelug Guru Yoga or Lama Chopa.

    Vajrasana overall has Six Dharmas or Six Tutelary deities, using Needle Marici, Kneeling Blue Acala (Canda Maha Roshana), and Locana. This shows the Six Deities and it should say Three and a Half Syllable Avalokiteshvara. It has Locana for health, or disease removal, Marici for Outer Obstacle Clearing, Acala for Inner Obstacles. Vajrasana is a common term which among other things can just be an abbot, such as Abhayakara.

    This group is in "Deities of Tibetan Buddhism" by Wilson & Brauen. This unassuming title actually translates most, if not all, of Taranatha's Rinjung Gyatsa. This version is an upgrade; the older one just runs through Marici, etc., without saying anything about a Vajrasana group. It also attempts to translate mantras and has some additional praises. This Acala is the first in the Acala group, followed by long life deities, followed by sherab deities, and then Vajrasana deities. The book heavily relies on Lokesh Chandra's "Sadhanamala" and opens with Tson Khapa Guru Yoga (Seven Eyes Tara). It also has Narthang Gyatsa and Vajravali.

    It does not really explain how Vajrasana deities are a group, but, this Marici uses Vairocana to cast a stupa first. Her slightly wrathful dharani is given seven times. However her cart has four pigs, as she has four retinue goddesses. She has multiple Dhutis--messengers. Here she is under Tson Khapa in what could perhaps be called twenty-one Maricis:







    Her chariot is supported by peacocks, and one of the offering goddesses's banners is a peacock-plumed mirror reflecting a house. The website says there are seven pigs, but I can only see six. Her pants indicate Sambhogakaya nature. The "m" we use is a "chanting" mode, but, with a normal m, Sam is its own word, sam full or ultimate, bhoga enjoyment. This kaya is most strongly associated with Bodhisattva activity and increasing bliss, leading to "dancing" dakini energy and what I believe may be Puranically called "activity of Durga" in the sense of her switching from destroyer forms to Lion or peaceful Durga. Sim is also the syllable for Simha or Lion, as seen with Durga, Manjushri, and Buddha himself.

    The Tibetan Deities book gives several more things. Bhrkuti 445 does conjoin Bhrim and Hum to make Bhrum. Varahi and Jnana Dakini are other names for Dharmadhatu Ishvari. The Sanskrit names of Taranatha's Armor Deities are Blue Heruki, Yellow Bhima, Red Rudrani or Lasya, Green Vasavartini, Smoky Vyavalokita, and White Vajradakini. Samputa Vajrasattva is Vajramrita, and it explains Vajramrita's series a bit, which employs Mamaki. Black Candika or Mahakali is crowned by Gnosis Four Arm Mahakala; he has other consorts, such as Camunda (probably the same) and Rudrani. He is an "emanation of Gnosis".

    Red Charchika or Camunda should be the same deity as Candika, the unproduced direct emanation of Devi Chandi. In Black she is Mahakali (Lakshmi). Mahakala is extremely arcane and won't work without considerable experience of operating Gnosis Element.

    It also clarifies what is needed for practice permission. Most deities call for empowerments or more elaborate rites. Several just ask for mantra transmission. There are just a few who say it is ok to do a meditation or concentration transmission: Cowherd Vasudhara 328, Manohara 329, Black Manjughosha 232, Yellow Prajnaparamita 191, Mahalakshmi 325, Nirmanakaya Amitayus 179, Dream Tara 144, Kapali Tara 151, Cunda Tara 152, and Guhyajnana 210, are like this. The Tibetan for this permission, tin ne dzin gyi dban, is in the Blue Annals as "Initiation into Samadhi". It is in a group with Lam Rim of Dreams, Sherab, Jang Chub or Blessings of Bodhisattvas, Self-blessing (or svadisthana), Initiation into Samadhi, then Yeshe.

    That Tibetan phrase occurs in Samputa (possibly "he has obtained the samadhi") and in Vasubandhu's Yogachara Bhumi but I cannot precisely say what it means. It is true a guru could induce samadhi to someone, but, it is an experience, a state of being, not the property of Buddhism, so theoretically anyone can self-initiate into samadhi.

    Red Vajrayogini 209 says "Initiation into Samadhi", but apparently coupled with body speech and mind permissions, and the main practice books tell us to go ahead and do it. I would think the slected sadhanas say we can do the whole thing if we understand it. The only thing I have transmission from is Heart Sutra, so that is Prajnaparamita 191. But, if perhaps I was an Aryan being who was able to self-initiate into samadhi by mostly Hatha Yoga, then all I am doing is turning around and asking to do it "this" way, particularly as based in Bodhi Mind. I agree that I should not pick up some Complete Stage rite and "run through it". Guhyajnana 210 is Secret Gnosis Yeshe. She has "no need for empowerments and the like". Samadhi derives from successful use of Dharmadhatu Ishvari, who is also Jnana Dakini and Varahi. At some point, yes, those are deeper and more involved, so, just because one "knows" Dharmadhatu or Guhyajnana, you shouldn't necessarily move on to the others. They "are the same", but only after treatment.

    Guhyajnana also uses "Ha Ri Ni Sa". Vam, which she does not have, would be the center, then those syllables are the Four Dakinis, giving us another "sa" as the last dakini. Vam Vajrasattva became the red female seed, now, this syllable is being passed along while awareness of gnosis element gathers Inner Heat. So the Bodhisattva-level operations move a "notch" on Varuni and enter the Red Triangle. Jnana Dakini's mantra adds "Vam", which is Varahi, which is a change which makes it sound like empowerment is needed. Around the petals of the triangle or solar plexus are the Gauri, Kye Rim or Generation Stage outcast Candalis. Their highest one is usually a multi-colored Dombini or someone similar, sometimes called "the real consort of the Mahasiddhas". So this takes crossing the cemeteries or burning out the senses and skandhas from impurities and delusions.

    Guhyajnana's mantra calls her Dhuma Gaye. In Dharma Samgraha, Dhuma is "clouded", the opposite of clear. Usually it is smoke. Gaye seems to mean "in the body". This goddess is attached to Jinasagara, he is in her heart; in his sadhanas, she is in his. She is the Sambhogakaya of Samantabhadri; her Nirmanakaya is Gomadevi or Mandarava. Circle of Bliss calls her Khadga (Sword) Yogini, and says in Nepal, she may have two to eight arms. The sword is obviously more massive than Varahi's "chopper" and basically the same as Manjushri's. Also, she is a Lotus deity, not Vairocana like Varahi. Instead of Body, she is becoming Speech, or third and fourth stages of Yoga. In other words, there is a type of samadfhi experienced now which is not yet Abhisambodhi, which is past the Gauris and moving beyond Varuni's triangle.

    According to Atisha, "The Brahmacari cannot receive guhyajnana-abhiseka, for it is strongly prohibited in the Adi-buddha-mahatantra," because the unfolded Jinasagara is Padmanartesvara or sexual yoga. In a related view of the Order of Yidams, the progression is the three kayas, then Guru, then Hayagriva, Guhyajnana, Varahi, Samvara, Kurukulla. Guhyajnana comes in sixth, so, Varahi is seventh, Samvara is going to be the couple, and Kurukulla we believe to have no existence prior to Completion Stage. So although that is Chinese and these Amitabha deities are much closer to Nyingma, the pattern stays pretty much the same as Vajravali.

    Here is a translated Tibetan Invocation of the same Lotus Family, and the first deity, or Assembly, is Janakaya, i. e. Jnana Kaya, a Lotus of ecstasy free from attachment.. What shines forth is Dorje Nyima which in Sanskrit would be Vajra Surya, or, Wrathful Ratnasambhava, Vajra Sun. The result of emanating all deities is Vajra Kaya. "Nine Deities Mantra".

    A good example, in "The New Buddhism", there is an account of a male practitioner with the predictable modern difficulty visualizing themself as female. Then he describes a complete catharsis in using Guhyajnana, "transfixed" by her and experienced nectar and what sounds like the first Dhyana (joy and tears), and then says "the final mantra of all Buddhas poured forth like thunder: Om Guhyajnana Bodhisitta Maha Sukha Rulu Rulu Hung Jho Hung." I don't know where that comes from. But it sounds like what she is supposed to be. A person may claim to understand the existence of a Gnosis Element, but, the testimony there is gnosis of gnosis element. So to speak of having a "real" Varahi, and the rest, is "through" that. Or, the philosophical Prajnaparamita has become the actual one.

    What that means is, Dharmadhatu Vajra had arisen as an Object that was Offered. Not necessarily that the practitioner used those particular mantras or anything. It was accomplished by the inner meaning. And so if we have not achieved the condition, the Preliminaries and the Generation Stage explain and do this. When we do, it goes on.

    Manjuvajra gave us songs from Guhyasamaja which are the Prajnas asking to replace Sparsha Vajra as consort. By, a very round about procedure, we have found Guhyasamaja Body Mandala in Vajrasana sadhana. Vajrasana invokes Acala, Marici, and Locana into play. The symbolism has already placed these deities with Space element. Acala has the ability to perform Trailokyavijaya--I think this means the same thing as Vajrabhairava, he can defeat death in Yama Heaven and "conquer three worlds", Locana has the ability to flow to other elements or dhyanis, and there is an Outer Form of Marici, who eventually intercepts the Vajradhatvishvari, which we say has been pushed "up" from Space Element. This is, so to speak, the action or motion of Varahi, which is Completion Stage. Or rather, it is Complete Stage.

    Sanskrit for Generation Stage is Utpatti Krama, which has the meaning of fetal development stages towards birth. Complete is Nispanna Krama, it means the individual unit is complete and therefor able to do the full abhisambodhis or samadhis. So, Nispanna Yogavali, or Yoga for Complete Stage, has that meaning, with contents closely akin to Vajravali, starting with Namasangiti Manjushri and Samputa Vajrasattva.

    In Nepal, Guhyeshvari has faceted aspects. One is Vilasini which as sexual yoga is considered by Tson Khapa to be useful at Complete Stage; she is a Red Lakshmi who unites with Guhyajnana's Heart Father and Son. Red Guhyeshvari is also Varuni, who has the main aspect of administering most of the Generation Stage, and then spawns Guhyajnana Dakini or the type of morphing increase of Prajnaparamita, Varahi, Jnana Dakini, Buddha Dakini, Sarvabuddha Dakini, Kurukulla, Amaravajra, Marici Vajradhatvishvari. Varuni also plausibly accesses Nairatma (Guhyeshvari), who lacks any progression and requires the full system of six and heads into the cemetery. Like Varahi, there isn't exactly a Nairatma until a type of "Birth", which is the initiatory metaphor for Offering Dharmadhatu Vajra in Kalachakra (prior to Name initiation). Like Vajradhatvishvari, Ekajata is at first the Space Element, but, with further understanding and gnosis, she is something else or is the mother of it. The solar goddess is the mother of All Buddhas, so to speak, or of the radiant mind of the meditator, whereas Ekajata is the mother of Lakshmi who is darkness and deep sleep, death, tamas, the third eye, silence. She may have other outer forms, but, the highest challenge to mind would be lucidity at the black void.

    Nagarjuna on Six Yogas as non-dual Prajna Upaya:

    1. Insight is the sense organs and means is the sense
    objects. The yoga of their equipoise and enjoyment, is
    pratyahara.

    2. Insight is the sense organs and means is the Tatha-
    gatas. The yoga as their equipoise, is dhyana.

    3. Insight is paramartha-bodhicitta and means is samvrti-
    bodfiicitta. The yoga as their equipoise, involving the
    emanation and reunification of them in upper and lower
    sequence, is prana-ayama.

    4. When insight and means are as previous, the yoga of
    their equipoise, holding the bindu the size of a mustard
    grain in (or at) the three ‘tips of nose’, is dharana.

    5. When insight and means are the Tathagatas embraced
    by the goddesses, the yoga of emanating into the sky, as
    their equipoise, is anusmrti.

    6. When insight and means arc the Dharmakaya and the
    Sambhogakaya, the yoga of joining them with the Nir-
    manakaya as their equipoise, is samadhi.

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

    Permissions

    Lokesh Chandra's "Sadhanamala" is a poor choice of titles, because it contains Rinjung Lhantab, Narthang Lhantab, and Vajravali. It is definitely not "the" Sadhanamala, even if they have quite a few things in common. Taranatha simply doesn't have all the Indian practices that were destroyed by Islam.

    But we do get fuller translations than previously. In most cases, this can only back up the previous assertions. What jumps out at me is the "permissions", as this is a big issue in tantra--what can we do on our own versus what we should only study. He gives a very clear indication of several deities that you may "take" by meditation alone. Without ever having seen this, I would still be prepared to say it reinforces exactly what we are already doing.

    The first one is Gold Prajnaparamita, who has a quite good thangka with the whole Kagyu refuge or merit field. We have called her the first "text goddess", and the sadhana specifically states that to worship her, you study her text, Prajnaparamita. This is probably the only real mantra transmission I have, since Heart Sutra is very universal, in fact prior to Guru or even Vajrasattva, the most basic meditation just uses Heart Sutra and shamatha or tranquility. So while this makes her completely exoteric, the nature of her knowledge is not. They give this to you when you walk in the door.

    I did get the impression previously that White Prajnaparamita was ok; Taranatha suggests empowerment. I was looking for a way to bring in Vajra Muttering, or Om Ah Hum, which she is highly appropriate for. Plus, she absorbs or kind of co-exists with Sarasvati, who is not even Buddhist.

    The only thing really universal in Aryan Vedic rites are the three, Sarasvati, Ila, and Bhu. We have said that in Nepal, Vasudhara is the first female deity one may approach. And so, in the new Taranatha translation, we find that Cowherd Vasudhara may be freely used, and, furthermore, she is the Vajra Samaya of Vasudhara. So you may make a samaya or bond of dignity with Vasudhara by starting with Cowherd, who is about the same as Ila. She comes from Alakavati (earthly paradise of Vaisravana, similar to Potalaka of Avalokiteshvara), as does her next form.

    Manohara may then be taken. She is "Hook", which is the first of Four Activities, and the main ingredient if a samaya being was to be able to "hook" a knowledge being. The "second" Red Vasudhara is Bharati, who we take as a form of Bhu. She means "vast", and so, is also the title of the Indian epic, Maha Bharata. And because that is esoteric, the title may be understood as Mahar Loka, which is Kama Loka, or plane of desire, or astral plane. Bharati has a bowl, and, as far as I can tell, begins performing the function of Varuni.

    There is then a type of progression, which I would reason should be filled by the "destroyed" Sadhamala goddesses. But if, by one way or another, one is able to train and achieve Gnosis, then it allows us the two main Complete Stage deities.

    It says we may use Guhyajnana, who is, so to speak, the text goddess of the more esoteric Kagye' or Zhitro, or, she is the actual Gnosis. It is simply the definition and meaning of her. She "becomes" Varahi, Jnana Dakini, and the rest, and mainly handles the solar nerve. This Red Four Arm goddess carries Varahi's items, knife and bowl, with Naro Dakini's staff and Manjushri's sword, which makes her very recognizable.

    On the other, Lunar, side, then, we are told that we may employ Green Maha Lakshmi Sri Devi, crowned by Yamantaka. She is Kamala in the mantra, and another piece of praise addresses her as "Perfection of Wisdom goddess accomplished from the space-treasury concentration". The first part means the same as Prajnaparamita, and then, she really arises from samadhi, in this case Gagana-ganja Samadhi. Although ganja could mean cannabis, it does also mean a treasury, or a house of grain or cows. Gagana usually interprets as "sky", and, spelled gaganagajja, it is even in the dictionary as "a kind of samadhi". So when this word appears, I get the sense of not just Space Element, but sky-going energy. At the very least, she is not a basic devotional text goddess, but, that Prajnaparamita who arises from samadhi. Or, she is the mature or ripened Vasudhara, which is why we should go through those preliminary deities to get here.

    Gaganaganja is also a Bodhisattva for Namasangiti Manjushri. In Dharma Samgraha, we see Eight Bodhisattvas are the six of the senses, plus this one and Maitreya. In section 136, four samadhis are śūraṅgama (heroic march), gagaṇa-gañja (sky-jewel), vimala-prabha (pure light), siṃha-vikrīḍita (lion’s sport). The set is followed in 137 by various expressions of Catuskoti.

    In Hinduism, Maha Lakshmi is first or Adi Lakshmi, but they do not give her an unusual form. Whereas there are not any Buddhist deities drawn as a realistic human (except Brahmarupa Mahakala). This particular Green Mahalakshmi is the one seated on a Lion:







    Srim

    Om Kamala Vasini Kamale Maha Lakshmi Rajya Me Dehi Dehi Varade Svaha

    She has a host of Yaksha Matrikas. There are Nine Treasure Vases under her lotus. She is a bit unusual. The majority of Rinjung Lhantab manifestations begin with syllable Pam, which undergoes a process to become their own syllable. Here, the vases/lotus/moon/lion arise from void. On the lion is Srim which transforms into her. Her held lotus supports a gem. "Graceful, laughing, and wide-eyed." She has added "r" to Sim, which is Sita, which is already her, and Simha, which is a lion.

    I am not sure about the mantra translation provided, as Vasini is standard for "mistress", Pandara Vasini is never "fragrance", possibly "white flower". They say "dehi dehi" is "give give", but we have seen this as dhanam, or da, with Dhanada or Usnisa. In Puranas, "dehi" means an Amitabha deity; in Rg Veda, defense against an enemy such as a rampart; commonly, corporeal or incarnate. Savitri was told dehi is embodied soul subordinate to atma, in a passage where mind is described as the chief of the senses and that it is the obstruction to Jnana, but it is part of Isvara. This is the same doctrine: meditate on Isvara Yidam, remove obstructions to Jnana by changing how the sixth element of mind handles mental objects.

    The word or phrase with "dehi" is not common, almost impossible to find, but, in one transcription of Devi Mahatmya (Part of Markandeya Purana), it is used seventy-five times in a relatively brief Chandika song. And so, again, although this is not Buddhist and is Shakti or Sri Kula, a translation will give us the same doctrine as Lakshmi tantra:

    The primal Mahalakshmi is constituted of all 3 gunas (triguna) and Her
    svarupa forms of Mahakali (tamas), Malakshmi (rajas) and Mahasaraswati
    (sattva).

    Each of these forms then created a twin male-female form;
    Mahalakshmi

    produced Brahma / Lakshmi;

    Mahakali

    produced Rudra / Saraswati;

    Mahasaraswati

    produced Vishnu / Gauri.

    Primal Mahalakshmi is all, then within a trinity Mahalakshmi is Rajas, and then another Lakshmi is produced, who enters the world of form and changes partners in a second trinity not listed (i. e., Brahma + Sarasvati or Brahma Viraj + Vach Viraj, and so on). When we see the story of original descent, maya spawns and deities change, and so when we achieve the mirror or reversal, we are in a different condition where the deities as listed here are over the three voids. The ultimate Mahakali is only an aspect of Mahalakshmi, which is behind her divine twin, which is behind her form twin.

    A few stanzas after her "dehi" song, Chandika is again invoked for Devi Kavacham or Goddess Armor.

    This Buddhist mantra calls her Kamala, which is tantric Lakshmi, and uses a term, dehi, that would be very difficult to interpret unless it simply draws our attention to a major text in which Maha Lakshmi is the principal figure, which describes an almost identical philosophy and practice.

    Yamantaka is her crown, which is both Yamaris and Vajrabhairava. This is so strange it is aberrant.

    Her Praise verse says, "Perfection of Wisdom goddess accomplished from the space-treasury concentration in the act of bestowing siddhis--Goddess of Fortune, praise to you!"

    We can almost completely back-translate it to something close to:

    Prajnaparamita Devi nispannam gagana-ganja-samadhi siddhm prayacchate Sri Devi namah 'stu te.

    At Amba Bai, she is with a lion and crowned by Sesha. Her worship evokes Durga. At one time the temple was ruled by Jains, who regarded her as "Padmavati, their guardian goddess, viewed as a yakshini...typically visualised seated under a multi-hooded serpent, just like Kolhapur’s Mahalakshmi."

    According to Himalayan Art, The goddess of abundance Shri Lakshmi becomes in wrathful form Kamadhatvishvari. The green Devi Lakshmi is most commonly found depicted in Karma Kagyu paintings. Jamgon Kongtrul lists the Kagyu protectors as Four Arm Mahakala, Shri Devi Dhumavati, and Kamadhatvishvari Parvati.

    Mahasri Tara is virtually the same as Mahalakshmi, as she appears to be in samadhi or revealed by Sambhogakaya, and the name Mahasri is hardly understandable unless it means Lakshmi. This makes a lot more sense now that we can show Maha Lakshmi is also Green. Mahasri is different by being in Amoghasiddhi Family and having almost the same mantra as Dhanada.

    In Tibet, they have altered the term Sri Devi to mean both Lakshmi and Sarasvati. However, they maintain that Hindu Sarasvati is a worldly goddess and this one is different, is Vajra Sarasvati. What this appears to mean is that she becomes Vetali, the consort of Vajrabhairava, and Yakshi Remati, Shrimati Parvati Rajni, Magzor Gyalmo, Queen of the Weapon Army, part of Marici. She only has two arms. She rides side-saddle atop a mule. Above her head is a large peacock feather parasol. In the Sakya and related Traditions there is a snake ornament for the right ear and a lion for the left. In the Gelug Tradition this is reversed and the lion is an ornament for the right and the snake for the left. According to the lunar calendar the special day for worship of Magzor Gyalmo is the 14th of the month.

    White Lakshmi is Peaceful Protector, and there is another White Two Arm Shankhapali on horseback with a sword and mongoose. Yakshi Remati has those same items, but she is Blue, the horse is Red, and there is human skin. This seems the same as Dorje Rabtenma (Vajra Stable One) of Pamo Dru Kagyu and Sakya.

    There are multiple blue or black forms of "Sri Devi", - Chaturbhuja Nag Remati (Lhumo Remati, four arms with sword, bowl, garland, and trident, on horse with human skin), Digambara Devi (Lhamo Namka Gochen, two arms with knife and bowl on human skin), Kamadhatvishvari (Dudsol Dokam Wangchugma, four arms with sword, trident, mirror spear, and sometimes drinking from her cup), Mahakali Remati (Dudmo Remati, two arms with sword and bowl on horse with human skin, related to Sera Monastery), Prana Sadhana Lohakila Svayambhu Prajni Devi (Rangjung Gyalmo who reverses Bernagchen, four arms with mirror, trident, snake, kila, on horse with human skin).

    Dudsolma is understood as Kamadhatvishvari by Mahakala and the Sakya tradition: "...the Glorious Goddess, Mistress of the Desire Realm, riding a donkey with a white patch; with a body blue-black in colour, one face and four hands; the first right holds a sword, second a skullcup filled with blood; the first left holds a spear, the second a trident; with a crown of five dry human skulls and a necklace of fifty wet and six bone ornaments; an elephant hide as an upper garment and a rakshasa hide as a skirt, a lower garment of woven hair; the Lord of Nagas tied as a girdle; possessing three eyes, a stiff human corpse in the mouth, bared fangs. The right ear is adorned with a poisonous snake and the left a lion. On the body arranged in bunches are drops of blood, clots of mold, and ashes of the dead; very emaciated..." (Ngorchen Konchog Lhundrup, 1497-1557).

    Kamadhatvishvari is Wangchukma (Initiation) and is Wrathful Lakshmi. Swayambhu Rajni is subsequently her at an advanced initiation, or Prajna, and eventually reverses Bernagchen Mahakala. This says that Shiva has gained Vishnu's consort, but in a reversed world without form, Nisprapanca, without extending the skandhas or downward winds.

    In India, Sri would usually just be Lakshmi, and Buddhism appears to make her freely available in a rare, obscure Green form whose story mostly seems to be that of Devi Mahatmya. This is an Adwaita school which specifically refutes Vaisnava by describing them as satisfied by Bhakti of Sadguna Brahman. Other Yogis are intent on Nirguna Brahman. And so at this point, it is telling me that the Green, and possibly White, Lakshmi are safe refuge. Her dark forms are not outer protectors like Pratisara. Rather, they are quite specific to the initiatory traditions that are the only thing they protect.

    There definitely appears to be a pattern with Sarasvati and Lakshmi, starting with Agni and Rg Veda, which to a point is something anyone can practice in some way. Death, or, in this case, Yamantaka, is a barrier. He is the crown of Green Lakshmi. The initiatory process then can be shown as running Sarasvati and Lakshmi through a psychodrama with death which is crucial in all Sarma traditions. This terrorized Sarasvati becomes stable and is part of Seven Syllable deity's armor and Marici. Lakshmi sports various skins including human, which Seven Syllable deity is draped in. This ordeal is her crown or mind-born process and her destiny is with that supreme magician Mahakala.

    Now if her wrathful initiatory form is Kamadhativishvari, then her peaceful prior form must be Kamadhatvishvari, which means she is the Ishvari or Yidam of Kama Dhatu, which is the standard Buddhist way of saying Kama Loka, which is already explained, and has Vajrapani and Yamantaka as the main male Yidams. Again, the goal seems to be "Trailokyavijaya", conquering the three worlds of the basic system of Kama, Rupa, Arupa Dhatus, where the main battle is in Kama. The Seventh Kamaloka is Akanistha, or, the real meeting area of Dharmadhatu-born deities. "Going to" the Dharmadhatu starts with identification, taste, or gnosis of Dharmadhatu Ishvari--the mental object or objects purified and offered by Bodhisattvas, and struggles through Kama Loka, until we are stable at the top.

    Dudsolma Kamadhatvishvari has three attendants of similar appearance, Yellow riding a yellow horse, red riding a white pig and green riding a pink camel, are the three principal attendants commonly seen on wall murals throughout north India and the western Himalayas. The three pennant flags are also characteristic of this region and time period. Her chief deity may be Amitabha, Hevajra and Nairatma, or Vajradhara alone or with a yellow consort. She may be attended by White Protector Sri or Kurukulla, and of course Makara Dakini. Here in a Drukpa version, she is under a Yellow Vajradhara, and under her is an interesting triangle that has gained a face:






    The two right hands hold a white skullcup to the heart and an upraised sword. The left hold a kila (Tib.: phur ba) three edged dagger and a trident held upraised. Three peacock feathers adorn the crown of the head. Seated atop a mule wading through an ocean of blood she is surrounded by wisps of red flame and clouds of dark billowing smoke.

    Kagyu Dudsolma under Nairatma:







    Swayambhu Prajni Devi or Swayambhu Rajni is almost the same, but switches the sword and trident for a mirror and snake:






    Vilasini is not reversed. I think she is a hypostasis, or, is the name of Padmanartesvara's partner, understood as Lakshmi. But this couple is just an adjustment of Jinasagara with Guhyajnana. If Lakshmi gets a sword, which is rare, Guhyajnana is Khadga or Sword Dakini. She is only occasionally depicted:






    From a Red Hrih, white light emerges, which becomes Guhyajnana, semi-peaceful or wrathful and amorous. Four Family Dakinis uphold her seat. At her heart is Red Avalokita with a pearl rosary and lotus on a moon seat. At his heart is the seed and mantra.

    Om Mani Padme Hum
    Om Dhuma-Gahye Nama Svaha
    Om Ha Ri Ni-Sa Raca Hriya

    Also:

    Undying Vajra One, great in desire, holding the vajra of conceptless space, who have found the perfection of desire--Lotus Dakini, homage to you.

    She is a Subjugation deity. So a good reason to have a Manohara preliminary, who although is Hook, seems to manifest simply to be able to share that power with others. And so after that, red or Lotus has more of a chain or binding nature, magnetism. Then the result of "anchoring" Guhyajnana is that her main line of Completion Stage forms are Vairocana deities. And so if you look at those "Three Reds", it is a scale of changed relationships and abilities, at Preliminary (Manohara), Generation (Guhyajnana) and Completion (Varahi).

    This newer translation explains the Sakya minor Three Reds as Golden Drop Lakshmi (who uses Green Tara and Kurukulla), Red Vasudhara with grain and skullcup (Bharati), and Tinuma. And it specifically says, that for Wrathful Sarasvati, you should have Yamantaka practice. For Kamadhatvishvari, you should have Hevajra, Mahamaya, or Chaturpitha (Jnanadakini).

    Skyclad Black Lhamo Namkha is conjured from Sitavana charnel ground. All of these Rematis, Mahakalas, etc., are well explained. The trouble is the book is a giant unsearchable picture. And so we will just leave it at the fact that Lakshmi Kamadhatvishvari is the major focus of Mahakala, and just use the other deities we need. I won't go into the operative details about these.

    Himalayan Art has several updates and some happen to be Guhyajnana. Here is a Jinasagara where he appears to be experiencing Guhyajnana in Five Families:







    This Drukpa view has her both as the consort and dancing:







    Jinasagara--Guhyajnana have an almost normal mandala, except for two figures in the northeast:






    However, according to the Dorotheum at Vienna, "To the centre, the two-armed, white-coloured Jina Sagara Avalokita in yab-yum with his red-coloured consort, Guhya-jnana-dakini. The pair of deities are accompanied by two further female divinities as aspects of their power. They represent two aspects of the four-armed Shadakshara Avalokitesvara, one of 108 manifestations of this Bodhisattva of compassion. They hold two attributes in their hands, which are held by four-armed Avalokiteshwara in two of his four hands. The attributes are malas (prayer beads) and lotus flowers.":





    They call it twenty-six deities, but what I am able to see is two rings of six and gatekeepers.

    So by paring down Taranatha's "permissions", it provides a clear reference that one may take Prajnaparamita, Gopali, and Manohara as basic deities. The first "absorbs" most of the Aryan Sarasvati, and the others are Vasudhara (Lakshmi). If we are successful in practice, then we find we may turn to Guhyajnana Dakini, who develops the consort for Samvara, and also to Green Mahalakshmi, who becomes consort of Mahakala and is more closely tied to Hevajra--Nairatma. These are the main branches of Completion Stage, Solar and Lunar.

    These two deities mark a high ground for anything we should attempt as outsiders. And so all I have now which cannot really be shown specifically is that Sadhanamala contains intermediate Vasudharas and Taras which consist of the path from the Preliminaries to Lakshmi and Sword Dakini. This can be said to be "very likely true" based on the archaeology of Ellora and Ratnagiri, and from what we can get without a complete translation. This would include Janguli and Parnasabari, who are the outer path of Yamantaka.

    Namkha Ying Kyi Wangchukma is the same as Akashadhatvishvari, so, Dorje Ying Kyi Wangchukma would appear to be Vajradhatvishvari. Drolma Dudjom Wangchukma in one Tara system is Arya-mara-mardaneshvari-Tārā,. Tārā Who Bestows Supreme Powers. The minor or outer twenty-eight ishvaris are wangchukma nyer gyé.

    What RGV calls Seven Vajra Mysteries is in Tibetan don dam dkor bdun, the sevenfold Absolute, or seven aspects of ultimate truth or reality (there, dharu = dharmadhatu). In "The Sole Panacea", Thinley Norbu in notes 215-217 groups these with the seven consciousnesses and the seven jewels of enlightenment. He does call the seventh the alaya consciousness "which contains the consciousness of the mind of the passions". in absolute truth the nature of all dharmas is the secret treasury of all the Tathagatas. This is a re-statement of Mipham in White Lotus:

    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.

    It uses a Nyingma version for Guru Rinpoche. The underlying meaning is the Grounds are senses, plus sense of mind, plus subtle mind; the path is made of these and has seven jewels "which produce enlightement"; and the fruit is perfection of the Seven Mysteries. Where RGV has the term Bodhi, Tibet has Yeshe which they translate as Jnana. This would confuse the Family names a bit. Where RGV has Dhatu, Tibet has Dharmadhatu, which would easily register as Dharmadhatu Ishvari, which we have placed with Jnana element. Although the terms are slightly different and in a different order, the underlying pattern is apparent. Seven is the main explanation of Grounds, Path, and Fruit.

    If we pass it over Eight Bodhisattvas, we are left with the last, Maitreya, being in the future, to emerge from Kama Loka. What is left for the "Seventh Sense" is Gaganaganja and the element for him to experience is Desire, Lakshmi Kama Dhatu Ishvari. Its Ground is Klista Manas, its Path is Upeksha, its Fruit is Adi Bodhi. In tantra, desire at first erupts in a wide range of red deities, but at a higher Mahakala level, is in black rakshasha forms. It has no real existence outside of Gnosis. Within, this seems to be addressing the white, red, and black minds or voids.

    Recently, Synarchy was mentioned again. This is a plain bundle of "adversaries". It contains those people whom HPB refuted their occultism. It includes people like Papus and Rene Guenon who similarly denounced HPB. They proceeded with their "Golden Dawn fragments" to create all the ritual magic lodges which led to the Thule Society, P2, etc. Historically, her point seems to be that in Napoleon's time, the most enlightened or progressive thought in Europe was due to the Egyptian discoveries. Her point was to summarize all that, and start Raja Yoga. But the "experts" replaced it with "Western Occultism" and Fascism. Fascists will say that makes someone a Jewish Communist agent, but this is not true either. Although it is true that Kabala seems to be the closest thing to a path in most of their material.

    Instead, she left a few riddles, such as how a "System of Seven" works in Buddhism. This was denounced and refuted for a hundred years--mostly by "experts"--but on further review, it appears completely correct. It doesn't quite match seven worlds or planes because Buddhism is Noumenal and this is talking about how the seven principles operate within the mortal unit or the organic man who lives in five planes. It is the seven considered on different levels or Wheels of Time, such as Outer, Inner, and Secret, which are the main "classes" of deity, such as Mother-Sister-Daughter, which are mainly the human aura as drawn in the Hundred Dety mandala. When we arrange these classes, then samadhi has a certain place or definition. But also, practically, it may be described as a successful Offering of Dharmadhatu Vajra. The state of gnosis is Guhyajnana. And by a certain type of sky-related samadhi which has overpowered fear and death, Lakshmi is realized, which seems to be the upper planes of Kama Loka. She is really the whole thing, but, in the condition where the lower part no longer has any effect, since she is related to Yamantaka. This means Vajrapani wants to explain the Nagas to us. It is a threshold of the lower Kama Loka; they are the development of Perfections or Paramitas via "crossing the cemeteries".

    This aspect is quite clearly marked by Janguli--Parnasabari--Vajrapani--Yamantaka--Lakshmi. To conquer the "three worlds" genrally below the forces of death in Kama Loka, is Trailokyavijaya, which can perhaps be done by either Vajrapani, Acala, or Yamantaka. Because Cemetery Sita invokes Acala and only exists one time during this stage, we would like to see if she can help Vajrapani with the Nagas. This deity has been recorded in Tibet in a limited way, so, she is not totally "destroyed", but they never talk about her.
    Last edited by shaberon; 15th July 2019 at 17:09.

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

    Nagas and Cemeteries, Asta Maha Smasana

    The main available explanation about Charnel Grounds is from Guide to Dakini Land. It is intended for Vajrayogini. However, like most other components, it is modular; once you have the first one accomplished, then it can easily transfer to another deity. And in this case, Vajrapani brings it up first in Sarvadurgati (ca. 8th century). In this tantra, like its other mandalas, it is simply presented as these beings (Nagas) offering their spells as a boon. But because we understand the definition, we know these are the same Nagas in the Wrathful Cemeteries whether for Vajrayogini or someone else. They are pretty slippery; in the middle of this Nagas page are about six different sets, from Hevajra, Samvara, and other places, but we have a way to standardize it.

    Vajrapani mandalas are on the previous page, and Sarvadurgati at the top of this one.

    I am not sure what to say about Vajrapani and the Four Kings since they are oath-bound, but, they act like drawing-room gentlemen, no one has to make them submit. It seems to me, we couldn't, so it is good they are tamed. This is Vajrapani's first level, so to speak, or the lowest plane of Kama Loka. That is where the Kings reside.

    Eight Nagas Vajrapani is mastery of the second Kama Loka, This is the stage prior to Yamantaka, which itself is unilaterally held to be necessary for any Completion practices such as Hevajra and Samvara. This is due to the subject on which the tantra itself says nothing, that the Naga Kings are the development of Paramitas while accomplishing the Wrathful Cemeteries. There are eight of these, and, in its own words, mantras of the Offering Goddesses are also Eight Paramitas.

    As Eight Cemeteries, these are on a flat plane, suitable for Grounds and Fence, not having upper and lower directions. Sarvadurgati says that Trailokyavijaya deity is Vajrapani in that appearance. He has also an Eight Dikpala or Directions mandala, so, welding Nagas to the Eight Directions is already built in. Further, he also has a Ten Directions mandala, by adding Aditya in zenith and Black Indra in Nadir. Ten Directions is in the book, even if it is not on the master Sarvadurgati mandala. With the height dimension, that moves off the Grounds towards Panjara or Tent. The Grounds are the senses and skandhas and the cemeteries are death of ego in each realm. This is our focus.

    The order the Nagas are listed in Vajrapani's sadhana and at Himalayan Art:

    Ananta (Phuh), Takshaka (Phah), Karkota (Phum), Kulika (Phah with "apple sounding a"), Vasuki (Phih), Shankhapala (Pheh), Padma (Phaih), and Varuna (Phauh)

    According to a succinct explanation of mandala structure, the cemeteries are also Asta Vijnana, or Eight Consciousnesses. We might review Alaya and Lankavatara Sutra, but if I recall, there is a philosophy which uses the eighth not quite as the Alaya, itself, but as the other seven Vijnana or consciousnesses in purified form. Compared to the senses, the eighth spot is held by Maitreya, or, future Buddha; compared to the vijnana, the eighth "lasts as long as samsara" or is the reincarnating element, is not really consciousness aside from having the potential for complete clarity to the Alaya. So the final spot is mostly future accomplishment of the first seven which are all tied to tangibles.

    That is a lot of time in the cemeteries and we just need a first version. It doesn't really matter what the earthly charnel grounds are. It matters what all the stuff in the subjective one means and how it works. The Nagas circle is however different between Vajrayogini, Hevajra, Chakrasamvara, and Mahanirvana. Here, in Sarvadurgati, Vajrapani is explaining, a spell is cast, and that defines the order for his mandala. Because the order is known, the color is known by looking at it. So we will list Vajrapani's snakes even if we may have to use Vajrayogini's cemeteries. The alternate version of the sadhana with the five snake hoods does not match the mandala, although the mandala claims to be the five snake version. Two manuscripts agree on the mantra. So the mantra is our authority and will tell the rest what to do.

    The mantra gives a definite order, and the deities have individual items. Yellow Carrying a Conch Shell is in the right place by doing this. The rest are not very easy to tell what they have. The order automatically sets them up with a Directional Guardian:


    1. East, White Ananta [blue lotus stalk], Yellow Shakra--Indra with vajra and skullcup on a white elephant

    2. south, Red Takshaka [blue lotus and tortoise], Blue Yama with staff and skullcup on a buffalo

    3. west, Blue Karakota [white lotus stalk], White Varuna with serpent noose and skullcup on a makara

    4. north, White Kulika [banner], Yaksha on a horse, or Yellow Vaisravana with mongoose and skullcup on a human

    5. north-east, Red Vasuki [snake], White Ishana (Ishvara) with trident and skullcup on a bull

    6. south-east, Yellow "Carrying a Conch Shell" (Sankhapala), Red Agni with rosary, long-necked vase, and skullcup on a goat

    7. south-west, Yellow Padma, Blue Kardava or Rakshasa with sword and skullcup on a zombie

    8. north-west, Blue Varuna [white lotus stalk], Smoky Vayu with banner and skullcup on a deer.



    As Bhutadamaru Vajrapani, he wears them: Blue Karkotaka diadem, Red Taksaka necklace, Yellw Nanda-Upananda earrings, White Ananta sacred thread, White Vasuki belt, Dove Kulika armlets on gesturing arms, White Sankhapala armlets on other arms, Red Padma-Mahapadma anklets. Already, the set is a little different. Vajrapani 153 wears them in a different set.

    The Vajrayogini formula is probably from from Smasana Vidhi, attributed to Luipa, in which the nagas do anjali and have emblems on their hoods, including:

    Vasuki, white, east, blue lotus
    Padma, white, south, speckles of sea water
    Karkota, “resplendent as dark-green dūrvā grass”, west, lines on throat
    Taksaka, red, north, swastika
    Maha Padma, "lovely like the moon", northeast, trident
    Ananta or Huluhulu, "peacock's neck", southeast, lotus
    Kulika, smoky, southwest, half moon
    Sankhapala, yellow, northwest, spots or tilaka

    As accoutrements, White Kurukulla in Sadhanamala wears:

    nīlānantabaddhakeśāṃ raktatakṣakakuṇḍalāṃ pītaśaṅkhapālakaṇṭhikāṃ viśva[varṇa]kulikakeyūrāṃ haritakarkkoṭakayajñopavītāṃ sitavāsukimekhalāṃ

    She deals with eight naga kings, Varuna being called Maha Padma:

    nīlānantabaddhakeśīṃ [Blue Ananta] pīyūṣavarṇavāsukikṛtahārāṃ [Vasuki]
    raktatakṣakakṛtakarṇograkuṇḍalāṃ [Red Taksaka] dūrvvāśyāmakarkkoṭakakṛtayakṣopavītāṃ [Dark Karkotaka]
    śuklapadmanāgendrakṛtahārāṃ [White Padma]
    mṛṇālavarṇamahāpadmakṛtanūpurāṃ [Lotus Root colored Mahapadma] pītaśaṅkhapālakṛtakaṅkaṇāṃ [Yellow Sankhapala]
    dhūmābhravatkulikakṛtakeyūrāṃ [Smoky Kulika]

    Kurukulla's set of Nagas matches Vajrayogini or Smasana Vidhi, and is the same as Vajrapani's if Varuna may be called Maha Padma. We see the versions quickly change if we look at other things, but if we can get pretty much the same one running from Vajrapani to Kurukulla, this is the mantra version remaining the main one.

    In Sadhanamala, there are a few instances of smasana, but Asta Smasana only appears twice, once with Six Arm White Tara and once with Marici. That is a clue. Marici seems to be the high end of Sarvadurgati.

    Virupa composed Uddiyana sri-yogi-yogini-svayambhu-sambhoga-smasana-kalpa-nama, but I am not sure about finding it. He is also on the previous page with a Shakti set which seems to be a mix of Gauris and Dakinis.

    Durgati resembles Durga, but is a common noun for misfortune or hell. We have not quite been able to place Durgottarini Tara because her name just means Durga. If it looks mixed up, Tarini is just Durga, is half of Tara Tarini, which is Kali and Tarini, with Tarini being red and life force. She is a common Ista Devata or Ishvari in Orissa, and part of Adi Shakti tantra, or, Adi Shakti manifests as Kali and Tarini.

    Sarvadurgati contains Vajrabhairava prior to his own tantra being known. It contains an unreasonably long-named Tathagata beginning with Aparamitayur, which we have translated to Infinite Life and the root of the name Amitayus. The overall rite includes Yellow Sri with Vajra and Lotus, White Sarasvati with Vajra and Vina, and Green Four Arm Durga on a Lion with Vajra and Wheel in her right hands, Spear and Conch Shell in the left (or: a Key and a Sword). Standing Durgottarini from Orissa has Hook and Varada in her right hands, Noose and Lotus in the left. Nothing says that Sarvadurgati's Hindu Durga and this Buddhist Durgottarini are the same, unless someone can find a Green Durga anywhere else in the world while explaining how a common Red household deity turns Green right there in the same neighborhood of Orissa.

    Page 81 of Sarvadurgati tells us to uphold the pledge to Seven Families; further down, the use of Seven Jewels by the Chakravartin (initiate) is intended to convey seven Paramitas (adding aspiration to six); see note pp. 133-4. This tantra is older than before RGV was known, but even without the Vajra Mysteries, it apparently intends to bind the same System of Seven together. "In order to purify himself and gain control over the dharmadhatu, the pupil should pursue the ten stages of a Bodhisattva's path". But for most intents and purposes, there are seven for the practitioner.

    As a Sarvadurgati relationship, here, the top mandala is Sakyamuni, the Body Mandala with Eight Usnisa deities where the first five are the standard Five Wisdoms. This is over Vajrapani and Four Kings, beside Varapani and Eight Directions:






    Usually, Body mandala equates to the first two Yogas, Pratyahara and Dhyana. The two lower mandalas are symbolic of the lowest or first plane in Kama Loka. So Body, Speech, and Mind are each intended to go with certain aspects or levels of Vajrapani. As the rite commandeers just about every Hindu deity, Vajrapani assumes a more terrible form. Trailokyavijaya and Eight Mahadevas:







    Trailokyavijaya and Nine Bhairavas:






    Vajrapani established the charnel grounds. Originally, or from STTS, Vairocana gets Samantabhadra to manifest as Vajrapani, also later apparently known as Vajrasattva and Mahasthamaprapta Bodhisattva. There are several Nyingma versions of the story, but it revolves around Vajrapani destroying Shiva--Rudra, whose dismembered body parts became the charnel grounds.

    A quick explanation from Sacred Place starts with devas of a previous eon living in bodies of light, but, they craved sensation and descended towards earth to eat physical food. This made the first Four Pithas. Next, the Eight Upapithas such as Malava were settled by Gandharvas, these are the Khecari places, "inhabited by those who move in the sky". Then the Ksetra or Fields such as Kamarupa were inhabited by Yaksha, while the Upaksetra such as Kosala were inhabited by their servants. Raksasa moved into areas such as Himalaya. These Eight Places are Bhucari, "inhabited by beings roaming the earth".

    Subterranean Nagas then took control of the meeting places Melapaka and their servants inhabited Upamelapaka. Asura went from the depths of Mt. Meru to the Smasana and their servants went to the Upasmasana. These Eight Places are called Patala Vasini "inhabited by those below the ground". Rudra Mahesvara took over the charnel grounds until Vajrapani overpowered him on Mount Malaya (Lanka). His head went south to Body's End, his heart went east to Sitabani, his guts went west to Lankakuta, his genitals went north to Padmakuta, his right arm went southeast to Self-formed Mounds, his left arm went southwest to Secret Great Pleasure, his right leg went northeast to Lokakuta, his left leg went Northwest to Creeping Great Laughter. These parts grew into the Trees and the charnel grounds spread around. That appears to be the peaceful version, and we are mainly in the wrathful because we lack this wisdom.

    Rudra's servants surrendered the other Twenty-four Sites, which became the domain of wrathful deities.

    In The Taming of the Demons, the edge of the cemeteries has the Eight Pisaci Gandharva daughters of samsaric existence, or animal-headed bodhisattvas. Then are the Eight Gauris. Then animal-headed gatekeepers, and intoxicated corner goddesses. This is really all at Mount Malaya around Krodishvari Greedy Goddess of Desire (Kamadhatvishvari), queen of diseases, before Rudra is gone. Vajrapani summons Vajrakumara Bhurkumkuta, makes him look like Rudra, and casts Rudra's five nectars lying around the cemeteries into him. Bhurkumkuta has sex with the females, who become enlightened gauris and so forth.

    So first of all, we start to recognize our mandala features, and then it falls into place that this is an intersection. Those Gauris or Candalis are the petals of the solar plexus, or they open it. And so if we pass the gatekeepers, and generate inner heat, there we are at the edge of the charnel ground. And so "crossing the cemetery" is getting these Guaris or these petals to send Inner Heat to the center. We are no longer in philosophy because we are making a physiological change based in the solar plexus. The Smasana are inhabited by A-sura, "No Varuni", but everyone is intoxicated here.

    This is a Nyingma Vajrapani. On Mount Malaya, Taksaka was one of Five Excellent Ones to receive his yoga teaching. What is unusual is that in the sphere are three places identified by inscriptions: Varanasi, Sitavana Charnel Ground, and Meri Bawa (Akanistha or another charnel ground). Varanasi is Benares or Kashi, and so if we go back to "death at Kashi", that is what Sitavana is for--metaphorically.






    The eight cremation grounds (śmaśāna) are given in the Saṃvarodaya-tantra (17.36-45):

    Caṇḍogra (east),
    Gahvara (north),
    Karaṅkala or Jvālākula (west),
    Subhīṣaṇa (south),
    Aṭṭaṭṭahāsa (north-east),
    Lakṣmīvana (south-east),
    Ghorāndhakāra (south-west),
    Kilakilārava (north-west)

    From the Hevajra Tantra literature: "In the east is the Gruesome charnel ground (chandograkatasi); south Frightful with Skulls (bhairavakapalika); west Adorned with a Blazing Garland (jvalamalalankara); north Dense Jungle (girigahvaronnati); north-east Fiercely Resounding (ugropanyasa); south-east Forest of the Lord (ishvaravana); south-west Dark and Terrible (bhairavandhakara); north-west Resounding with the Cries Kili Kili (Kilikilaghoshanadita).

    In the Chakrasamvara cycle of Tantra the Eight Great Charnel grounds are: east Gruesome, north Dense Wild Thicket, west Blazing with [the Sound] Ur Ur, south Terrifying, south-east Marvelous Forest, south-west Interminably Gloomy, north-west Resounding with the Sound Kili Kili, north-east Wildly Laughing.

    An elephant skin is a sign that ignorance has been subdued by the ten strengths;
    A human skin is a sign that desire has been subdued by desireless great compassion; and
    A tiger skin is a sign that anger or hatred has been subdued by wrathful compassion

    “Ananda, there are twelve goddesses who often create afflictive emotion among sentient beings, instilling fear, bullying and deceiving them. These beings often guard and protect a bodhisattva throughout the period of him being in the womb, during birth, and upon birth. Their names are as follows:

    Brahmi / Raudri / Kaumari / Vaisnavi / Aindri / Varahi / Kauveri / Varuni / Yamya / Vayuvya / Agneyi / Mahakali.

    “These goddesses have great spiritual power, and radiate great radiance, whose forms and countenance are flawless, and are well known everywhere. During the battles between the heavenly beings and asuras, they displayed awesome might."

    The Keurima or Gauris are called "Wisdom-Dakinis of the eight kinds of awareness" (T. rNam-shes brgyad-kyi ye-shes mkha'-'gro bzhi). Yeshes of Asta Vijnana. It doesn't really mean they are "of" it, they are it. Tramenma rule over realms (T. Yul-gyi phra-men-brgyad).

    One version of Gauris from Bardo Thodol:

    From the east comes the white Keurima carrying a human corpse as a club in
    her right hand and a kapala in her left; from the south comes the
    yellow Tseurima (Cauri-ma) with drawn bow and arrow (the tan-
    tric symbol for the unity of path and goal = Thabs-shes); from the
    west comes the red Pramoha with the makara sign of victory
    (which guarantees no further access to samsara); and from the
    north comes the dark green Vaitali (Petali) who carries the vajra of
    eternal reality and a kapala the reddish-yellow Pukkasi from the southeast,
    who pulls innards from the place of sinful misery; from the south-
    west, the greenish-black Ghasmari, who stirs the skull-bowl with a
    vajra (or who drinks blood from the kapala as a sacrifice to the
    giving up of samsara); from the northwest the pale-yellow
    Candali, carrying a heart and a corpse (or who "is just tearing the
    head of false thinking from a corpse"); and finally from the north-
    east the blue-black Smas'ani, who is twisting the head off a corpse.
    All eight terrible goddesses make wild gestures of threat, vio-
    lence, and destruction and are surrounded by the raging flames of
    anger. All theriomorphic goddesses as well as the eight Keurima wear
    leopard-skins and hover in empty space, surrounded by blazing
    flames.

    They are extremely violent and threatening. NSP Panchadaka makes them a little different, each one in Pratyalidha dance pose, having Tarjani gesture and one item: White Gauri, Goad; Yellow Cauri, Noose; Red Vetali, Chain; Green Ghasmari, Bell; Blue Pukkasi, bowl of Bodhi Mind; White Sabari, Mt. Meru; Blue Candali, Fire pot; Mixed color Dombi, banner.

    There are Eight Great Consorts, the primary family members of Hevajra:

    1. Gauri, holding a moon
    2. Cauri, holding a sun vessel
    3. Vetali, holding a pure water
    4. Ghasmari, holding medicine
    5. Pukkasi, holding a vajra
    6. Savari, holding ambrosia
    7. Candali, holding a drum
    8. Dombi, with hands dancing

    The eight consorts are located at the eight directions, forming a circle around Hevajra [who has] eight faces, four legs, and sixteen arms, in the midst of tremendous passion. So their mood has changed, Hevajra enjoys them on the "other side" of the cemeteries.

    They receive the rite's Offerings and enter the practitioner's body with Hevajra.

    Again, there are different versions. On the previous page, Virupa has a group of Shaktis which seem to be mixed Dakinis and Gauris. In India, Dakini would have meant something horrible like the Gauris, but in Tibet, they lack this connotation. Yogambara and Jnanadakini use a mixed set using Vetali and Gauri with alterations. Nairatma and Hevajra make the clearest use of them, although there are still a few different versions.

    "The Eight Great Consorts, which are transformed from the Eight Great Light Drops, are dancing in
    the Great Wisdom Fire—can eliminate the habitual tendencies of the ‘womb birth’. The descent of
    the Eight Great Light Drops is from the ‘secretive point’ of Hevajra into the ‘secret door’ of
    Nairatmya where the Eight Great Light Drops transform into the Eight Great Consorts. Inner Practices of Vital Energy (Chi/Qi), Channels (Mai) and Light drops (Mingdian) including Vital Energy practice and the opening of the Channels, Treasure
    Vase Yoga, Inner Fire, Non-Leaking, and Light drop practices. This is the empowerment of the
    red and white Bodhi, represented by the red and white flowers."

    The multiple processes cleanse all four kinds of rebirth. Nairatma, No Ego, is the chief over those Gauris who defeat Asta Vijnana in the cemeteries. That quote is from a Chinese Hevajra manual. And so if you look at Sarvadurgati, it begins with mandalas of Body, Speech, and Mind. It contains--in mostly unexplained, exoteric format--all of the Gnosis that is born out in elaborate detail by Kalachakra or Hevajra. And in the Buddhist System of Seven, the odd thing that is mainly kicked out is Seven Chakras. When we get into how many chakras, or how many kinds of Buddha Families there are, the important thing is how it works in Yoga. This is why Vajra Muttering is so important. If we look at Sarvadurgati Body, Speech, and Mind, then the vast majority of Yoga proceeds from Om Ah Hum and three chakras. The inner process is basically the same with all these deities. It begins this way and will eventually expand to those Eight Consorts, who are violently guarding the cemeteries which we, so to speak, journey through seeking a peaceful Bodhi tree of some kind with a certain expression of deity. The protectors Indra, etc., are in the trees and only the top half of their body shows through the branches.

    Om Crown: Body — also, “waking” activity
    Ah Speech: Speech — also, “dreaming” activity;
    Hum Heart: Mind — also “sleeping” activity [Deep Sleep]. Note: in Tantra, “mind,” not to be confused with ‘brain,’ is always associated with the heart, not the head. That is what we mean by Bodhi Mind or Bodhicitta. The brain is wrathful. The cemetery journey wrathfully removes those aspects of the brain which are not reflective of Bodhi.

    Then it is generally described as Two Drops, Red at the navel and White at the crown, but when these Candalis or Gauris show up, we find that in Yoga, there are two sets of four drops, the Candalis, Eight Consorts, Eight Drops. As the main Inner Heat goddess, individual Candali resides in the red triangular center of the navel chakra.

    Some of them work with downwards winds and some with upwards. In the average person, Inner Heat during sex rises primarily in the left channel, and is released by the downward winds as orgasm. By "centering", Yoga attaches Heat to the upwards winds instead. The heart is the center of the upward winds. Self-grasping is the cause of winds (prana) entering the left and right channels. Or, if winds in those channels are not present, grasping cannot develop. Bliss dissipates these winds completely.

    In Mind of Clear Light: and Living a Better Life, H. H. D. L. is talking about the Clear Light of Death and explains how these Eight Subtle Drops are the Bases of the Subtle Minds. Kalachakra handles it very clearly. He says it is the same Guhyasamaja Six Yogas system. We are not initiates, so Vajrapani is explaining it with Sarvadurgati. Circle of Bliss says the Eight Drops carry "instincts of the two obscurations". So the subtle drops, the Gauris, are the base of Asta Vijnana.

    The "basic" centering melts the White Boddhicitta which flows to the throat, producing intense bliss. However, Six Yogas teach Four Joys, meaning the bodhicitta proceeds to heart, navel, jewel, lingering in each and causing joy, and then reverses and produces Four Subtle Joys (Sukshma Yoga) ascending and residing in the four chakras. The ability to perform the Suskhma cycle is considered Complete; it is the basis to attain the Mind Mandala; it is the last "stage of development prior to birth" and makes the individual a complete working unit, who may be initiated to the Complete Stage practices.

    So Kalachakra starts with the couple surrounded by Eight Yoginis of the Inner House. Or in Hevajra the Candalis are really Eight Consorts. If we are going to meet them at the cemeteries, then we need to follow how this works in the subtle body.

    The heart contains the "Indestructible Drop" and is the source of Eight Nadis, or nerves, each of which is triple as Body/Speech/Mind, the Twenty-Four Sacred Sites. Each branch has a wind and a mental function. The 72,000 minor nerves carry the impure winds of the conceptual mind, which dissolve into the center at the time of death, but are purified and brought under control in Generation Stage. From the life-supporting wind of the heart come five winds of sensory consciousness.

    The equally-arising wind at the navel is concentrated by Vase Breathing. This fans the digestive fire (First Fire), causing it to ignite (Agni) and blaze (Jvala) upwards through the central like a twisting needle of fire. This is Kumbhaka or a forced technique different from the basic "pot'shaped" Vase Breathing, and rather than actually doing it it, we will follow its inner meaning.

    All winds exist on gross, subtle, and very subtle levels. The first two levels carry coarse and refined mind; the very subtle wind carries the transmigrator from life to life. All drops exist on these levels. Coarse drops give sexual pleasure, subtle drops give the Four Joys, and the Very Subtle Indestructible Drop gives Clear Light or Prabhasvara.

    The Eight Drops are composed of subtle matter and retain imprints from thought and action, until the right conditions permit their manifestation, like a spark plug waiting for voltage, or voltage waiting for a small enough gap. They are supports of subtle mind. It is not the drops themselves that "contain" karma, but, the very subtle wind and consciousness. The Eight Consorts, or four pairs of Gauris:

    Upper drops:

    1. Forehead, between brows, or crown
    2. Throat
    3. Heart
    4. Navel

    The lower set meets at the navel:

    1. Navel
    2. Secret place/base of spine
    3. center of sex organ
    4. tip of sex organ

    The way the sets work is that during a given state, the upper winds collect at the first site, and the lower winds collect at the second site. The drop itself contains pure and impure potencies.

    Pair 1 produces Wakefulness and will show Mere Appearances [Sunyata or Empty Forms] or Appearances of Impure Objects.
    Pair 2 produces Dreaming and will have Sheer Sounds [Aparajita or Invincible Sound] or Confused Speech.
    Pair 3 produces Deep Sleep and will show Non-conceptual Clarity [Prajna] or Obscurity.
    Pair 4 produces Bliss and will cause immutable bliss [Vajra Maha Sukha] or the release of sexual fluid.

    The connection is that Navel is used in the First and Fourth states, Waking and Bliss. And so normally when awake, there is a great deal of life energy going up in the brain/head, along with more auotmated processes centered from around the stomach. However in an ordinary blissful, or sexual experience, most of the "upper life force" descends to the navel. Obviously, most of the lower wind flows to the sex organ, but tantric bliss replicates that "descent of upward wind to navel". This is for the Third Yoga, Vital Exertion or Pranayama. It unites wind and mantra in the central channel. Vase Breathing makes the upward wind descend, and the downward-voiding wind rise, so they meet. The main mantra is Vajra Muttering. It prevents the left and right winds.

    "Compression" often describes this, squeezing together the upper and lower winds together vertically while preventing any slippage horizontally into branches. To do this is also to enter Speech Mandala and establish Sambhogakaya.

    Pranayama threads a needle, and the fourth Yoga, Dharana or retention, is the possibility of the thread slipping out. If retained, then Smrti or Recollection will cause Candali to ignite and blaze, melting the Tathagatas.

    The coarse body gotten from others will not last, but the very subtle body has been our own since begininglessness.

    Chandrakirti says, "The precious jewel of five colors with the nature of the
    five transcendent lords is reknowned as the Indestructible,
    because it creates the precious jewel of buddhahood. It
    has the precise measure of a grain of mustard seed,
    because that is the form of the drop. “On the tip of the
    nose” indicates the hub of the heart center lotus.
    “Intensely” means that you should meditate constantly
    day and night by focusing on it and using the yogas of
    inhaling, holding, releasing, and compressing...“Without its becoming
    stable” means that you should practice this yoga with
    [constant focus on] the realization of the thatness of the
    indestructible, and not otherwise."

    The Five Point’s mention of the black and white boundary in the heart, or the
    Four Point’s mention of the empty space in the heart center. As for the
    dhūti channel, it is stated in the Great Seal Drop and the Wisdom-
    Intuition Drop to be stabilized as the “staff of the life-energy wind” and
    the root of the life-energy wind. Since the hub of the heart center channel
    wheel is in front of the life-energy wind channel at the height of, and in
    the center between, the two breasts, you should visualize it there.
    In regard to such reasonable instructions as this [concerning] the
    meditations on the drops and so on as accurately penetrating the vital
    points of the body, if you know well the vital points of the body, when
    you aim the mind there, it will reach those vital points; and otherwise
    not."

    The heart center is explained to be the place where the between person’s consciousness enters in the center
    of the semen and ovum of father and mother in the womb; and is also
    explained as the support of the mind. And that is the key of the basic
    reality cultivation foundation of both those [Noble and Jñānapāda] systems
    of meditation.

    The measure of the drop is said to be just that of a mustard seed;
    for if you hold the mind on a subtle object, it is easy to eradicate thought
    constructions and compress the wind-energies.

    the twelve subject-object wind-energies
    are said to arise in the heart center. If you practice the art of penetrating
    the body’s vital points and holding the mind therein, those wind-energies
    will compress back there, and by the key process of their dissolving there,
    you can easily cut off the constructions of subject and object. By such a
    procedure, you generate the great certitude about this that is praised in
    the many treatises of the great adepts and in many Tantras. Thus you
    should strive to meditate the life-energy control of the mantra drop, the
    indestructible in the heart-center nose tip.

    What is the Indestructible Drop? A white drop. A blue one. A reddish-white drop. A sun and moon. A black syllable on a moon disk. It isn't quite specifically anything other than a force center given different appearances in different sadhanas. At the most fundamental, it is just wind energy (prana). The Indestructible will never manifest until other winds are dissolved and one passes the Eight Dissolutions of Death.

    In Vajra Rosary, Ratna and Amoghasiddhi seem to have moved, but the teaching discusses entering the heart:

    "Until you dissolve the life-wind-energy and evacuative energy, which generate the
    [natural] instinctual constructs, into the heart center indestructible, the
    clear light will not fully arise. For that purpose, you must open the heart
    center channel knot. “Opening that” means opening it by [meditating on]
    the reality [of mantra and wind-energy]."

    It mentions three knots each in right and left channels at the heart, but they are not opened by Om Ah Hum:

    "Having named the sound HŪṀ and the drop HOḤ,
    By opening with the two wind-energies
    You cause the opening of the ignorance-knot.

    The [Lord declares that], in the place of the released channel knots
    of the three channel wheels of heart, throat and crown, within the merged
    three wind-energies of life-energy, evacuative, etc., “this is the great key
    point.” [It is] the point which is greatest secret of secrets, hidden within
    other Tantras. So [while I] explain this, you should listen. Within all
    three of those, the definitive meaning HŪṀ syllable, the seed of the
    heart, is the master merger within the dhūti channel [central chamber]
    of the released heart channel-knot. Why? The release of the heart
    channel knot is the freedom from mental constructions. It is the supreme
    of causes of cutting off [the instinctual constructs]; because, unless you
    hold the wind-energies there without moving, those wind-energies
    become the chief thing that moves the constructs to obscure and
    deprive [you of accomplishments]."

    So Vajra Muttering concerns the first part of binding and stabilizing the winds, uniting them to mantra in the center. The sixfold heart knot is a subsequent barrier opened a different way.

    The tantric Ten Winds are not much different from those of Ayurveda or rLung Rta:

    1. Prana vayu — Vital life energy: This energy is the basis of your life. It is the vital life force in your breath, the subtle element in oxygen. Almost like fuel for your body. It has a direct impact on your state of mind, your emotions, moods and disposition. [Heart--Akshobya]

    2. Apana vayu — Descending energy: Urine, seminal fluids and defecation is controlled by the descending energy. It predominantly lives below your stomach. Mastery over this vayu can give you control over urination, bowel movements and ejaculation. [Secret place--Ratnasambhava]

    3. Udana vayu — Ascending energy: This energy lives in your throat and is responsible for producing voice. Thyroid glands can be controlled by the manipulation of ascending energy. Thyroid glands directly affect the growth of hormones. [Amitabha]

    4. Samana vayu — Thermal energy: This energy resides in your stomach. It is responsible for movement of food and digestion. Control of this energy can help you change your body heat at will. Channelized thermal energy will give you an amazing colon and exceptional metabolism. [Navel--Amoghasiddhi]

    5. Vyana vayu — Diffusive energy: This energy circulates through your whole body. It causes the blood to transport oxygen to all parts of the body. Manipulation of this energy can help you stay in one posture for as long as you want. [Surface--Vairocana]

    The five secondary ones are noted below:

    1. Naga: It controls belching, burping and all upwards wind movement from your stomach.
    2. Kurma: It controls sneezing and all abnormal wind movement in the sinusitis.
    3. Krkara: It controls the function of blinking of the eyes.
    4. Devadatta: Yawning can be completely controlled by manipulation of this vayu.
    5. Dhananjaya: Twitching in any part of the body is affected by this energy.

    The Winds explained as Wisdoms are the Dhyanis and Prajnas. Coarse Life-wind flows through the nostrils, Subtle Life-wind lives in the heart. Very Subtle Life-wind lives in the Secret place.

    In Tibetan Tantric Buddhism, five chakras are visualized as the connecting points of the three channels: central, left and right.

    H.E. Zasep Rinpoche, in discussing the importance of the subtle body in healing, explains the five chakras and three channels:

    “Crown chakra is called the ‘chakra of divine bliss.’ Throat chakra is the ‘chakra of enjoyment.’ Heart chakra is the ‘chakra of Dharma’ — or understanding. Navel chakra is the ‘chakra of manifestation’ or emanation. The secret chakra is the ‘chakra of holding bliss.'”

    They are the junction points [knots] for the three main channels (central, left and right), ultimately connecting the 72,000 nadis (channels) which carry vital La (“life force” in English, Prana in Sanskrit, Chi, in Chinese) to every cell of the body.

    Crown or Mahasukha (Wrathful Deities)

    Throat: Sambhogakaya, Body of Enjoyment (sometimes “Bliss Body”) — which is why it is called the “Enjoyment Chakra.” This is the manifestation of an Enlightened Being as the “object of devotion” or the Body of a Buddha as it appears in the Pure Lands. (Fire, Wisdom Deities)

    Heart: Dharmakaya, Body of Essence (sometimes ‘Truth Body’ or ‘Unmanifested Body’) — “Dharma Chakra”: this is why, for example, the unmanifested ‘seed syllable’ of the deity is visualized at the Heart Chakra. (Dharmakaya also is associated with our own Buddha Nature, and also with Emptiness.) (Space Element, Peaceful Deities)

    Navel: Nimanakaya, Body of Transformation (sometimes ‘Body of Manifestation’) — “Manifestation Chakra” (For example Shakyamuni Buddha as a human emanation, or ourselves as physical beings.) (Earth Element)

    The red drop is visualized in the navel and the white subtle drop in the crown (head) chakra. It is through working with these drops, and the various winds (La) and channels that one can attain realizations of bliss and emptiness — also thought of as compassion (male) and wisdom (female.)

    Crown (white): Body, Dhyani Buddha Vairochana or Vajrasattva
    Throat (red): Speech, Dhyani Buddha Amitabha, and Padma Family (includes Chenrezig, Hayagriva and so on)
    Heart (blue): Mind, Dhyani Buddha Akshobya, but also including Medicine Buddha, etc.
    Navel (yellow): Tummo Fire, Dhyani Buddha Ratnasmbhava and Jewel Family — i.e. associating Ratnsasmbhava with manifestation and earth.
    Secret (green): Wind Action, Dhyani Buddha Amoghisiddi and the Double Vajra Family including Green Tara.

    Parnasabari says:

    oṃ gauri gāndhāri caṇḍāli mātāṅgi pūkvasi svāhā

    Right after Seven Syllable mantra, Kurukulla says:

    mahākālo 'pi vaśīkṛto hārītyā mahāyakṣiṇyā anena kurukullāmantreṇeti -vaśyavidhiḥ /
    jārī caṇḍālikā caiva snehamallī svaśukrakam

    Right after Sadanga or Six Yogas, Nairatma says:

    rūpaskandhe bhaved vajrā gaurī vedanayāṃ smṛtā /
    saṃjñāyāṃ vāriyoginī saṃskāre vajraḍākinī //
    vijñānaskandharūpeṇa sthitā nairātmyayoginī /
    maṇḍale sā sthitā bhīmā bhayasyāpi bhayaṅkarī //
    pṛthivī pukkasī khyātā abdhātuḥ śabarī matā /
    tejaścaṇdālinī jñeyā vāyurḍombī prakīrttitā //
    rūpe gaurī sadā khyātā śabde caurī prakīrttitā /
    vetālī gandhaviṣaye rame ca ghasmarī tathā //
    sparśe ca bhūcarī khyātā khecarī dharmmadhātutaḥ

    Dhamapa says,

    "I became united with the middle (sahaj way)
    Where the thunderbolt and lotus flower met.
    Here their union (of apana and prana) at the navel cakra has turned ordinary passion into the Candali (Kundalini) fire.

    The body of the Dombi girl (purified avadhuti) burns as the passion of great bliss.
    Taking the path of the moon (Bodhicitta), I sprinkle water on that fire so that neither scorching flame nor smoke is seen; but reaching the peak of Mt. Meru (the sushumna),
    the flame bliss enters the sky (the chakra of Great Bliss). Orthodox religious practices and the dominion of doctrine and intellect has been entirely melted down. Dhama says clearly: 'Having understood simultaneously arisen bliss through the five channels, water rose up (Bodhicitta) from the lotus of great bliss to the jeweled pinnacle."

    Notes from Hevajra practices:

    On top of the refuge tree is a lion supported throne upon which is an eight-petaled lotus. On each petal is a moon disc which is a seat for a goddess: the front (east) petal supports black Gaua, to the far left (south) is red Cauri; in back (west) is yellow Vetali; on the far right (north) is green Ghasmari; in the south-east is white Shavari; in the south-west is purple Candali; in the north-west is multicoloured Dombini; and in the north-east is blue Pukkasi. In the centre of the lotus is a sun disc upon which lie the four maras standing upon them is Sri Hevajra with consort.

    They make Offerings and Dombi offers her body.

    The word candali is composed of canda
    (the fierce one) which refers to Wisdom (prajna) because Wisdom is
    fierce when destroying afflictions and distresses, and ali which refers to
    Vajrasattva. Canda is Wisdom and [the seed-syllable] am. Ali is Vajrasattva and
    [the seed-syllablej hum. Thus, Candali is composed of am and hum-
    When these two seed-syllables become one aggregate in the form of a
    drop (bindu) within the channel of the Vajra Gem situated in the navel,
    the Great Bliss-filled Fire of Passion blazes.

    Canda is the Source of Nature (dharmodaya) and is red. Ali is the first letter of the
    alphabet, the seed-syllable a. By attentively compressing and churning
    that radiant seed-syllable together with the winds, the experiences of the
    eye and the otiicr sense organs, the Five Buddhas in their entirety, the five
    elements and the ego are all burnt and the Moon establishes the supreme
    goal.

    "The meeting-place of ali and kali is Vajrasattva"--Ali (vowel), red blood sun, Kali (consonant), white semen moon. Vajrasattva is the sound A from which Nairatma arises.

    Another interpretation according to the tradition: Canda is Wisdom
    and the left nadi, ali is Means and the right nadi. The two nadis when
    united, in accordance with the instructions of the guru, are called Candali.
    Here 'navel' refers to the central position. Candali blazes within the
    Avadhuti which is in between the left and right nadis and with the Fire of
    Great Passion bums the Aggregate of the Five Components of Phenomenal
    Awareness and Locana and the others, who are Earth and the other
    elements. Canda. Wisdom, is the discriminative knowledge of the stabilized meditative states of the
    processes of Generation and Completion. Ali is the consciousness full of
    Great Compassion. In this manner the composite word Candali indicates
    Voidness and Compassion. At the navel, means between Canda and Ah,
    that is, in the Mahamudra characterised by the Innate Radiance, Candali
    blazes.

    nap (Dancer): 'Dancer' represents the tongue, flavour and tasting.
    rajaki (Washerwoman): 'Washerwoman' represents the organ of
    touch [the skin], tactile sensation of objects and touching.
    vajn (Adamantine woman): 'Adamantine woman' represents the
    ear, sound and hearing.
    candali (Charnel-ground woman): 'Chamel-ground woman' represents
    the nose, smell and smelling.
    brahmani (Brahmin woman): 'Brahmin woman' represents the eye,
    form and seeing.

    Pukkasi is said to be the Earth element; Savan is known to
    be the Water element; Candali is known to be the Fire element
    and Dombi is proclaimed to be the Air element.

    Pombi is proclaimed to be of the
    family of Vajra, Natl of Padma, Candali of Ratna, Brahmani
    of Tathagata and Rajaki of Karma.

    Pukkasi by Wrath, Savafi by Delusion,
    Candali by Malignity, Dombl by Passion, the other Gaun by
    Wrath, Cauri by Delusion, Vetali by Malignity, Ghasman by
    Passion, Bhucari [samsara] by Delusion and Khecan [nirvana] by Passion.

    Gaun holds a knife in her right hand and a fish in her
    left hand; Caun holds a hand-drum in her right hand and a
    wild boar in her left hand; Vetah holds a tortoise in her right
    hand and a skull in her left hand; Ghasman holds a snake in
    her right hand and a mendicant's begging-bowl in her left
    hand; Pukkasi holds a lion in her right hand and an axe in her
    left hand; Savan holds a monk in her right hand and a
    Khatvaiiga in her left hand; Candali holds a disc in her right
    hand and a plough in her left hand and Dombi holds a Vajra
    in her right hand and her left hand is held in the pointing
    gesture.

    From the blazing and terrifyingly black seed-syllables
    hum and am of the Lord and his erotic consort, issue the
    retinue of goddesses with their seed-syllables gam, cam, vam,
    gham, pam, sam, lam and dam.

    Gaun is black in colour, Caun crimson as the sun, Vetah
    burnished gold, Ghasman emerald green, Pukkasi sapphire
    blue, Savari bright as a moonstone, Candali dark grey as the
    rain cloud and Pombi golden yellow.

    As we go through this, it is obvious that Buddha's Enlightenment is only in this radically-changed energetic state; it is not to be found in the ordinary condition of unbalanced, uncontrolled prana. It only comes from a careful type of pyrotechnics or eletrical circuitry that changes the subtle body and manifests what, to the normal person, is unknown. There is little chance you would ever get this from Sutra or philosophy. It is only mantra united to the winds. So the scope of this project is no more than entry into Pranayama or the whole Generation Stage. I personally know it is a fact in nature. Concurrently, to look for wisdom anywhere other than a state of purified prana is an error.

    We are sort of left holding the bag without much of a way to use the cemeteries. The available Vajrayogini rites do this. Most of the tradition was against making it available, but, some of the lamas ratified it. Almost the only things that really are similar are Jnanadakini or Nairatma.

    The only other place I am sure they are mentioned is by Six Arm White Tara, who "adhiyasthitam", which is something like regulates or governs, the Asta Smasana. She is called Bhagavatim Sitataram, her sire is Amoghasiddhi, and she says:

    oṃ acale animittavare huṃ huṃ phaṭ phaṭ

    Acale is an invocative form of Acala, which suggests vare is invocative of vara, a boon, as in varada mudra. Animitta may be interpreted as "Causeless" or "Unconditional Salvation", the two perhaps being expressions of the same thing.

    She comes right after Ngor Four Arm Sita, followed by White Four Arm Janguli and Dhanada. Taranatha says that Dhanada is from Sakya Pandita, which can't be too far from Ngor. I am pretty sure the White Janguli we found is Ngor. So they would all seem to be related.

    Sita will give us something like a wrathful environment on a per-skandha basis. We will more or less know this is "around" Vajrapani and the nagas. This Vajrapani tale says that the Gauris are Mamos. Sita has no nagas but just the cemeteries, there is no retinue. If it really is the cemeteries, the nagas are there.

    The skandhas in Hevajra's unique inner retinue:

    Vajra Yogini form/delusion/mogha, Gupta Gauri feeling/malignity/paisunya, Variyogini perception/coveteousness/raga, Vajradakini formation/envy/irsya, Nairatmayogini (Vajra One with Knowledge of Void) consciousness/wrath/dvesa.

    The Gauris:

    Gauri form object, Cauri sound object, Vetali smell object, Ghasmari taste object, Bhucari tactile object (produced by the nature of samsara), Khecari dharma object (produced by the nature of nirvana).

    Corner deities: Pukkasi earth element, Savari water element, Candali fire element, Dombi air element.

    So if the Gauris are on a flat plane, Tactile Object and Dharma Object are one thing. If touch is centered, it is an Amoghasiddhi mandala, so Six Arm White Tara fits. Unusually, the elements are in the corners, Air normally being Amoghasiddhi's element except he is in Space, but Dombi is the one who offers herself up. As "low caste women", Dombi is the outcaste--Untouchable.

    Because "gaining the consort" here has a physiological meaning of successfully centering the heat, then that occult change will "split" Khecari up to the zenith where Dharma Object becomes distinctly known, expanding the rite to need a Tent or Canopy. This condition is Dhruva, pole star, centered, and would represent months, or, likely, years, of demonstrating Sukshma.

    A brief Hindu view of Nairatma contrasts Six Limb Yoga from Patanjali's Eight Limb Yoga and recognizes that Candali's name changes as she asccends through stages of splendor. The article seems to be a paraphrase of Buddhist Tantra.

    In Guhyasamaja, Dharmadhatu Vajra asked to replace Sparsha Vajra as the consort. That is very similar to "dharma object" becoming distinctly known from touch object. This perhaps makes Amoghasiddhi and Ratnasambhava change places in the chakras. I am not completely sure, however, there is a very simple pattern, by definition, Six Arm White Tara is in the middle of cemeteries, each having a Naga and Gauri, while she is a fusion of north and south poles that later separate. So, if we have most of the information, next time we can draw up a cemetery set and attach it to the main meanings found in the sources.

  18. Link to Post #391
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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Tri-samadhi Vyuha

    That is the name for the method as shown in Sarvadurgati where Body, Speech, and Mind of a deity is established, Nirmana, Sambhoga, and Dharma kaya. Along the way, some amount of wrathful rite is required. Namasangiti has a good warm-up where Manjushri meets Blue Sarasvati. and then it brings in Vajrabhairava. Sarvadurgati gives a form of Vajrabhairava preliminaries, Vajrbhairava is involved, and we find Vajrapani dealing with Four Kings and Eight Nagas. The kings gate the first plane of Kamaloka, and the Nagas are the Path through the Cemeteries, which Vajrapani either created or made operable. He shows the Nagas in peaceful mode, which has its own list of cemeteries starting with Sitabani. When you ask for the wrathful vision, you are going to the Talas, and you will have to purify each one, we are looking at the wrathful correspondence of Peaceful Offering Bodhisattvas.

    Starting around an unmarked page is an interview with RKV, raised from a child as a Vajracharya. He gives a quick run-through of the process but also explains how tribulating Smasana Yoga is. He talks about intense psychic pressure and the likelihood of hearing disturbing voices.

    So in Tri-samadhi, Nirmana chakra is the solar plexus. The Gauris in question are the solar plexus and they are also the Mamos. If Mamos are not pacified, they instantly unleash uncontrollable discord and destructive emotions. These powers are constant and unstoppable. What we will do is control them. Note the presence of Ganesh and that the "first Gauri" is in the inner ring, not here in the cemeteries. Vajrapani uses the name, Gauri, twice, and specifically says they are different units. It may be accurate to say the animal-headed Tramenma are the Mamos as turbulence, but Gauris are a dakini or queen of space or tame-able version.

    According to Long chen pa, "correction in the Nirmana field or social order consisting of individual persons enmeshed in delusional samsaric behavior, occurs due to the action of eight genetrixes (ma-mo) who force man to realize his humanity."

    Completion Stage is the Mind Mandala, but, in this case, we mean heart mind, no bigger than a mustard seed. It is the Life Wind or support of the other winds, and the support of the subtle and coarse minds that arise on these winds. The seed is caged by six knots against our admiration or devotion to it. And so we are trying to get the accessible Bodhicitta of the crown and solar plexus to the seed. Before the six knots are any problem is the act of engaging Bodhicitta on a physiological basis, or pacifying the Mamos and getting the Gauris to build Sambhogakaya.

    Knots and especially the sixfold bundle of knots are "Bull's Hoof". The Concentration Hero, or, syllable at the very heart of "nested doll" deities. is the seed as a syllable. "At one’s heart is a four-petalled lotus in the center of which is a blue sphere and on each of the ... four petals, a sphere, each of a different color." From Jamgon Kongtrul as a colored light quintessence. So that is dark blue or the color indicative of Dharmakaya. There are other ways to visualize it for specific exercises, but, mainly, it is blue.

    Samputa says:

    The lotus within the heart
    Has eight petals and a center.
    The channel within the lotus,
    Has a flame as its nature.
    [The channel] hangs face downward
    Like the plantain tree’s flower.
    Within it resides the hero,
    The size of a mustard seed.
    The invincible Hum, the seed,
    Is what drips like melting snow.
    It gladdens all creatures’ hearts,
    And thus is known as “spring.”
    The Mare’s fire, due to its great form,
    Is called Selfless Female [Am], “vital essence".

    The whole Path is well mapped, conceptually, but this is an actual or manifest stage of it, Pranayama. It is internal and can be determined when it starts working and how well. It uses Wrathful Vajrasattva. So this is not something that can be done on the spur of the moment by a breathing exercise. It takes Vajrasattva Preliminaries and a good understanding of the Wheels of Time, classes of deities, and how most of the philosophical systems such as Elements and Paramitas are a simultaneous fusion.

    If the cemeteries are difficult and painful to a Vajracharya coming from a peaceful and well-trained background, then it is reasonable to say, that to an untrained person who triggers the physiology without the preparation, there is risk of permanent damage. If there is a balancing factor, it is basically a bliss to insanity axis.

    That bliss takes us to where Buddha's Wisdom really is. That is the only way you can learn it.

    So right now we just want the reliable basics on what Pranayama is, restraint of the winds, and, at most, generate some meditative heat and try to center it (Tapas). If someone finds success in this, you are going to need a real Vajrabhairava empowerment or something close to that. This has to be reasonable and very careful to be done as outer Yoga.

    Vajrapani is just saying the cemeteries are a fact. And it is going to crack open every subconscious impulse and all the fossilized karmic residue and accomplish 300 eons of Sutra meditation in one lifetime.

    Peaceful Sitabani charnel ground (or Sosaling when inhabited by Niguma) is called the source of Upa-yoga, which is Vairocana Abhisambodhi and Vajrapani Abhisekha. Fusing these would make something nearly identical to Sarvadurgati.

    The Gauris mostly only appear with certain deities, although there is a Parnasabari who says:

    oṃ gauri gāndhāri caṇḍāli mātāṅgi pūkvasi svāhā

    Sadhanamala Parnasabari is a pisaci who gains parasu or axe; Gandhari also has this, and Mantrasnusadharin, Ekajata, Marici. It is possible that Gandhari and Matangi are the extensive explanations of other gauris in the circle of eight.

    The cemeteries are mostly with those same deities as the Gauris are (except Panchadaka has Gauris). There is a Maha-maya-devyah smasana, which probably is the Samvara kind. We will list Samvara and Hevajra cemetery names, they are fairly similar.

    However, the cemeteries do appear with one Yoga deity:

    Sitatara is three-faced, and six-armed. Her right face is yellow and the left blue in colour, and the faces are endowed with three eyes each. Her three right hands show the Varada mudra, the rosary and the arrow, and the three left carry the Utpala, the lotus and the bow. She sits in the Ardhaparyanka attitude, sits on and shines like the moon, and bears the effigy of Amoghasiddhi on her crown of matted hair. Her head is embellished by five severed heads and the crescent moon. She is decked in many ornaments, is twice eight years old, and resides in the midst of the eight cremation grounds.

    So, by definition, Sita will be amongst Naga Kings as given by a mantra of Sarvadurgati, and Gauris as given by a mantra of Hevajra. It is the most basic meaning. She is a Tara. That means if we have the bond and follow her meaning closely according to the teachings, she will be there, she will carry us across.

    The untranslated parts of Six Arm Sukla Tara tell us that she uses Vajra Grounds and Fence. And that is her name, Sukla, Moonlight. The presence of the first void is not "the moon", just moonlight. She has nothing that refers to Completion Stage, and, in order to get to know her, I have to ask the Lord of Secrets where she is. And, she asks Acala, Immovable, for a boon of Unconditional Salvation.

    Cemetery Yoga appears to originate from the mahasiddhas at Sitabani charnel ground. In peaceful mode, it goes with Peaceful Vajrapani and Eight Nagas. This seems close to the change that happens to basic Pancha Raksha mandala where Mantranusadharin becomes a rakshasha and Sitabani sits north with Amoghasiddhi from having left Amitabha/red/desire. In other words, "successful accomplishment of transference of desire to the formless, or dharmadhatu" for her.

    To do this peaceful rite requires the Peaceful Bodhisattva Offering Goddesses in Guru Yoga. You use them to present offerings to naga mandala. It starts centered on Mahoraga sheltering Vajrapani, but the intense application of the nagas is to Vajradhara. The All Nagas' syllable is the same as that of Karkota. Who are Vajrapani and Mahoraga? Well, Vajrapani is the protector of Shaolin monastery. Tibetan Buddhism almost shrugs off Mahoraga by calling it an earth serpent and leaving it. However, in China, "If I’m not wrong, the eight legions are referred to in some sutras as human-like but non-human creatures/beings (人非人 ren fei ren) who function as dharma protectors. Within the eight legions, nagas and mahoragas share the characteristic of serpent-like. In terms of depiction, there is a tendency for south-asian and south-east asian artists to draw nagas as like giant cobras. But in east asia (like China and Japan), nagas are considered dragons, associated with the ability to fly and swim and bring rain to the place."

    The Jains say, "The mahoragas are a group of deities categorised as belonging to the vyantara class of Gods (devas). The vyantaras represent a class of Gods (devas) comprising eight groups of peripatetic deities that wander about the three worlds (adhaloka, madhyaloka and ūrdhvaloka). Blackish in appearance, they have broad and muscular shoulders and necks and are adorned with various ornaments and sandal paste marks. The Nāga is the mark on their heralds. The Nāga-tree is their Caitya-tree."

    Mahoraga is a great dragon in some way, shape, or form.

    Sarvadurgati Naga method:

    Then you summon the Hooded Ones by means of a hood and by reciting JAH HüM VAM HOH together with the syllable PHUM. Leading them all into (the mandala), whether they are kings or warriors, he should consecrate them by reciting the syllable PHUM, thus removing the impurity and the pain of the venom. All the Nagas are coerced by mere mentioning
    of their names.

    At that point they rejoice, do Anjali and say boons. The Naga Kings say:

    Hum

    Om Phuh, Om Phah, Om Phum, Om Phah, Om Phih, Om Pheh, Om Phaih, Om Phauh

    He should recite the syllable PHUM one hundred thousand times meditating on the Lord Vajradhara with his head surrounded with snake hoods and garlanded with beautiful white rays. Having regard to the venom he meditates on the sacred mandala of the syllable PHUM surrounded by a garland of rays. He should envisage in it the syllable PHUM. Breathing out the syllable PHUM and summoning with his hand formed like a snake-noose, he should draw out all the venom located in the body, bones and flesh. Then he should perform all the rites: burning of the venom, antidote and the rest. He should remove it all just with his fist; how much more easily with the hood-gesture.

    The text does not presume to be fully explanatory, it expects you to find out what "antidote and the rest" is, and it does not exactly say when you would coerce a naga by its name. The seed syllables were at the beginning. But it works like any other. So it is based from Phum, and if I just say Om Phum, then it is to establish the base existence of Karkota. If this works, then, to say Om Karkota Phum makes him strike his target. Or if you have affiliated Four Activities with a ring of deities, you can always use Om [Name] Akarsaya Jah and so forth.

    The accumulative total of Naga boons is described as bringing you beneficial rains and flooding an enemy. As we see with clouds at the cemetery, that pertains to the goal of this stage, or is the motion of the white drop from being heated. Nagas are described as "related to the clouds".

    The Cemetery Grounds are the practitioner as their eight consciousness and ten life winds, subject to the complete Path of Sutra and Tantra. The first five Grounds, the sense consciousnesses, are part of Form or Rupa Skandha. Sometimes "Form" means visual form and is associated with sight, or, it can mean the entire physical form perceived by all the senses. So I believe "System of Eight" can be taken as Form = Sight and Skandhas are arranged one-by-one, or, the slightly more intricate mode given here would be to use Form = unity of all sensory consciousness, which is physiologically situated inside the soft palate. That is where Brahma resides known as "entrance to nirvana". At Completion, the five skandhas will be an inner deity ring inside the cemeteries. At this stage, the center is Dharmadhatu Wisdom or its skandha, as well as Touch Object. Mental Object and Touch Object would be at the center, but the associated Vijnana, or Touch Consciousness, is with Earth Element, and the three mind Vijnanas are with other elements. These modes of apprehension are coming to face the Mahabhuta or Great Form Element of four forms. Space is not a dense form element. I suppose the implication is that Touch Consciousness begins to perceive purified solidity or earth.

    The central Gauri would be Nairatma, No Ego. We cannot really employ her, but, Moonlight has the major role here, shown as male being the moon generally and female its days.

    To explain Skandhas as pure psychological entities instead of as senses, they say:

    The Mental Sense Object [Dharmadhatu Vajra] is attached to Rupa [form] Skandha and also to feeling, perception and formation, Vedana, Samnjna, and Samsara Skandhas. The mental organ, or Manas-Vijnana, is Consciousness or Vijnana Skandha.

    Manas, or Vijnana Skandha, experiences a Mental Object or Objects primarily composed of all sensory input concentrated at one point, along with Sentience (good/bad/neutral reaction), Perception (which can be material or spiritual), and Samsara or Volition (Kama).

    This system does not attempt to explain more than five skandhas. We might say, Jnana Skandha is also a part of Manas, and Klista Skandha agrees with the seventh consciousness or klista manas used here. The eighth, anything, is a future reality being contemplated now, corresponding to Prabhasvara or Clear Light, and no skandhas.

    At times they also say the first five consciousnesses are the Five Wisdoms, which would fan out the skandhas so they matched the Grounds on a one-to-one basis, leaving six to eight the same. If it is easier to think of this way, it seems acceptable as a conceptual learning pattern; the other being more related to the fruit or completion, states of bliss.

    The Tree is the One Initiator, the Avadhut or Central Channel.

    There is only one of these, but it seems to have eight appearances in Maya to be resolved by Smasana Yoga.

    Regional Protectors [Indra, etc.] are the downward-voiding winds below the navel. Realm Protectors [Yaksha] are the life wind of the heart.

    Mountains are Upeksha. Lakes are relative, or developing, Bodhicitta, where the Nagas live. Clouds are the white drops or crown bodhicitta, fires are inner heat. The stupa is the tri-samadhi vyuha of the deity. The one that seems to be used in Sarvadurgati is Marici.

    Nagas are more or less the guides, they are not the Paramitas, they are cultivation of Paramitas, and attack hindrances. They live in the lakes of arising Bodhicitta.

    What goes on is a type of feast, in the manner of dancing Ganesh, who is Ganapati, and the feast is a Ganachakra. One may use a variety of Charyapada songs, written mostly in sandhabhasya, and so Nath or Baul can probably also give equivalents, this rite is also the provenance of Dattatreya. This is not much of a home shrine affair. If you do not currently have access to a charnel ground, a dismal location is best. You probably won't have offering bowls or practice notes; maybe a staff.

    One of the most basic Hindu cemetery songs would just be Kali Gayatri:

    Om mahakalyai ca vidmahe
    smasana vasinyai ca dhimahi
    tanno kali prachodayat

    Jalandhara’s Sadhana of Hevajra says:

    ..the eight charnel grounds represent the purities of the eight
    consciousnesses: the five sense consciousnesses, that of the eye, and so forth; the ground-of-all consciousness (kun gzhi’i rnam
    shes); the subjective consciousness (yid kyi rnam shes); and the afflicted consciousness
    (nyon mongs pa can gyi yid ). The purities of these consciousnesses are symbolized
    by the eight examples of illusion: an image in a mirror, a dream, a magical creation, an optical illusion, a city of gandharvas, an echo, a reflection on water, and space. In order that conceptions of
    apprehender, apprehended, and so forth, be overcome through knowledge of all phenomena,
    the charnel grounds are to be understood through those eight examples that
    symbolize the purities of the eight consciousnesses.

    Because the vijnanas start with eye, this seems to start with Nagarjuna's order in Dharmasamgraha: cakṣur-vijñāna-eye-Consciousness, śrotra-vijñāna-ear-consciousness, ghrāṇa-vijñāna-nose-consciousness, ihvā-vijñāna-tongue-consciousness, kāya-vijñāna-body-consciousness. That does match the Gauris, taking body or Touch to be the center of the mandala, since it lacks any deity in the ring. Related to the Grounds, it would just circle around like pie slices, so touch consciousness would go northeast, followed by three minds, Manovijnana, Klista Manas, Alaya Vijnana. That makes the practitioner's Touch Consciousness interface with Earth Element, and Air, which was Touch in the basic system, is the eighth future or ultimate purified subtle consciousness.

    This is energy and as such, Gauris have multiple moods. As well as the gathering of fire in the belly, they are four elements and four objects, and eight drops, what Koothoomi called your spiritual "I". If our sattva samaya is not good, they will be every kind of problem.

    At Completion, "The union of these two, Moon and Sun, is great bliss. Ali is the Moon and Kali is the Sun. Gauri and the other Yoginis are proclaimed to arise from the union of the Moon and Sun." As for now, we shall see that just as No Ego is being evoked in a certain way, so is what I call Suchness, here, Thatness, for Purification:

    "Although the six sense organs, their six objects, the Aggregate of the Five Components of Phenomenal Awareness and the five elements are by their intrinsic nature pure, they are veiled by ignorance and afflictions. svabhavena (by their intrinsic nature): Means by the very nature of Thusness. If all things are already pure, then what is the need for purifying? [In answer it is said:]

    ajnanam (ignorance): Here ignorance means not knowing the intrinsic nature of things and refers to the veil that obscures the nature of the objects experienced (jneyavarana). klesah (afflictions): The veils of afflictions (klesavarana) are passion and the other emotions. avrtam (veiled): Veiled by ignorance and afflictions means obscured by them. It is for this reason that purification is necessary.

    The nature of the purification by Thusness is said by:

    Only that purification which is essentially one of direct personal experience and no other method of purification liberates. From the pure nature of the objects of experience arises this direct personal experience which is the highest bliss...

    Vajragarbha asked: O Bhagavan, what are these unpurified things?

    Bhagavan replied: Form and the others.

    Vajragarbha asked: How so?

    Bhagavan answered: Because of the existence of the subject and object.

    Vajragarbha asked: What are the subjects and objects?

    Bhagavan replied: Form is perceived by the eye; sound is heard by the ear; smell is experienced by the nose; taste is experienced by the tongue; objects are felt by the body and the mind experiences pleasure etc. These, which are worthy of
    adoration, should be served, rendering them non-substantial through purification...[uses Pancha Jina for skandhas and then defines the Gauris]...The arms symbolise the purification of Voidness; the feet the purification of the Maras; the faces the purification of the Eight Releases (astavimoksah) and the eyes the purification of the three Vajris [Tri-samadhi vyuha]...It is by those very things which bind mankind that their bondage is released. Men are deluded by not knowing the True Principle, and those who are devoid of the True Principle cannot achieve the accomplishment.

    Purification results in non-duality in an ever more subtle direction. The "releases" we have seen before and they represent the upper end of the Bodhisattva degrees: They ‘turn the back’ on the five objects of enjoyment (kāmaguṇa) and [they ‘reject’] or eliminate the mind of attachment (saṅgacitta) towards them; this is why they are called ‘turning the mind and rejecting’ (vi-mokṣa). These True Faces of the Gauris are iterated at the end of the post.

    The array of fiteen yoginis [in Hevajra] stand for the nadis, but rejects the sixteenth related to waning phase of the moon:

    The Enlightened Consciousness is the Moon comprised of
    fifteen digits. The Moon is the Great Bliss which is of the
    nature of Ali, the fifteen vowels, the Yoginis being aspects of
    the Moon. [cemetery yoginis are different shades of moonlight or Sukla]

    Explaining the male white moon purified by multiple female deities, uniting mantra with wind, and considered as semen and why it is retained for the state of bliss:

    The Released is nothing other than the Phenomenal. The Phenomenal is form, sound and so on; it is
    Sensation and the other components of the aggregate of
    phenomenal awareness; it is the sense organs and it is Wrath
    and so on. All these elements are [essentially] released but
    because of delusion they appear as the phenomenal. The
    undeluded one functions in the world, releasing the phenomenal
    by means of the process of purification. This Release is the
    Enlightened Consciousness which is both absolute and relative
    in nature.

    The Naga circle is different, so we will delete that part. About cemeteries, Rahulaguhya’s Sadhana of Hevajra called Luminous says:

    "Each charnel ground is characterized by various features: a particular tree,
    a yaksha, a guardian of one direction, a naga, a particular cloud formation in the sky above, a mountain, and a stupa...All the yakshas in the charnel grounds possess miraculous powers. They are one-faced and two-armed, and half of their bodies emerge from the tree. Each holds a human skull filled with blood in the left hand and a lotus with different scents in the right.

    Moreover, the charnel grounds are replete with birds and wild animals and fearsome
    sights such as skeletons and corpses. There are also shrines, temples, and hermitages
    amidst ponds and fields of flowers. All sorts of beings, human and non-human,
    wander through these charnel grounds. Among the humans are yogins and yoginis,
    displaying different modes of behavior, some dancing, some singing, some drinking
    spirits, and so forth."

    So the cemetery backgrounds are from Rahulaguhya. The additional description is Nyingma, in which the regional guardians or Yaksha hold red triangular torma offering cakes and skullcups, while being inside the tree branches. The cakes, generally, are dharmadhatu; ‘tor’ refers to giving without any attachment or grasping in the mind, and ‘ma’ to when what is given is completely present to the perception of the guests. And who are those guests? They are those who are higher than us and to whom we offer, and those who are lower than us and to whom we give. To divide those two groups slightly, there are four categories: the guests invited out of respect, the Three Jewels,; the guests invited for their qualities, the glorious deities, the guests invited out of compassion, the beings of the six realms, and the guests who are harmful spirits (Tib. dön), obstacle makers (Tib. gek) and our karmic creditors.

    The Nagas listed are those of Sarvadurgati.

    For the Gauris, first item listed is basic or Panchadaka mode, where they do Tarjani gesture, pointing up near the heart, and have one item, standard things such as Hook, Noose, etc. These are dancing in Pratyalidha pose. Beside that is a different item in Hevajra mode when they are feeling amorous; that is the way that Dombi goes up as consort. Then a Hevajra mode that is more violent, and then Zhitro or after-death nightmare. In the case of Zhitro, I have broken its directions so the dakini matches by name where possible to the Panchadaka and Hevajra styles which are similar.

    The center, Space Element, must be considered a mix of Sparsha Vajra (Touch Object) with Dharmadhatu Vajra (Mental Object), whereas the Touch Consciousness goes to the Purified Earth Element. The Gauris are not the Grounds. The Grounds are the practitioner's Asta Vijnana. The deities are the actions, powers, etc., it undergoes or experiences. The Gauris are Objects and Elements. Devouring animals symbolise the realisation of the 'generation stage'—the animals devour the 'corpses' of ordinary appearances and perceptions. Fresh corpses represent cyclic existence—the sufferings of birth, old age, sickness, and death. Impaled, hanging, dismembered and decaying corpses symbolise the death of ego. Animals devour these. Skeletons represent emptiness. Zombies or mindless corpses saying Phaim symbolise selflessness.

    Chandali, as Fire, fairly clearly operates three-in-one Agni as hidden inner fire and ultimate inner fire:

    As for its general sense, in the sutra way, inner fire means the innate, ineffable emptiness-nature of all phenomena. In the mantra way, inner fire means bliss, emptiness, and their inseparable union [as pristine awareness]. Inner fire in its hidden sense means all [aspects of ] the action inner fire, the yoga inner fire, and innate inner fire. The action inner fire is present
    in the secret place, blazing with warmth during the sexual union of male and female. The yoga inner fire is the a-stroke at the navel, which has the potency, when one strikes the relevant crucial points, to elicit the pristine awareness of the four joys and the four empties. The innate inner fire is innate pristine awareness, which is the all-aspects emptiness and unchanging
    bliss, manifested through the strength of familiarization with the yogas of the channels, winds, and vital essences. The ultimate inner fire means the attainment of utterly luminous clarity, the flame of stainless pristine awareness. Such attainment is brought
    about by means of the inner fire in the literal sense, which cuts through conceptual elaborations; the inner fire in the general sense, which is the practice itself; and inner fire in the hidden sense, which acts as a link [to attainment].

    Their Families are given in terms of their flaws, being Pukkasi by Wrath, Savafi by Delusion, Candali by Malignity, Dombl by Passion, the other Gaun by Wrath, Cauri by Delusion, Vetali by Malignity, Ghasman by Passion, [Bhucari by Delusion and Khecan by Passion]. The change of Families in apparent contradiction to mandala quadrants is explained. The Gauris are only in Four Families. "Dombi is jealousy which arises due to passion", so, i. e. she is Lotus Family.

    Purified, they produce, Gauri the Mirror-like Wisdom; Cauri the Wisdom of Equality, Vetali the Wisdom of Discrimination, Ghasmari the Wisdom of Accomplishment; Pukkasi limitless love; Shavari limitless compassion; Candali limitless joy; Dombini limitless equanimity [Upeksha]. So they have wisdoms that do not necessarily match the families.

    Here is "first cemetery". The center is Sumeru, or, individual Mt. Meru, and on the right, we can see Indra on a White Elephant with Elephant Face up in a tree:






    Seven Syllable deity is considered to have the best set of charnel grounds, since they fill the whole background and are all upright. Yamari does not have them, but, most wrathful Completion deities show a ring of cemeteries, most of them being completely different. Jnanadakini replaces the Realm Protectors Indra, etc., with a Pancha Jina, each one being a different color scheme. They are worth looking at, but are difficult to see. This Hevajra has the Gauris and has the trees in the cemetery. But since we are not doing Hevajra, we should start from generic Sumeru or a deity we can use. If we can obtain Sukla, she will cast a Fence, inside which are the charnel grounds, there is no mansion or anything else that makes a complete mandala. On a full mandala, charnel ground is less of a focus, but is the awareness of death and impermanence.

    The cemetery set is to create an operating environment, which could be used for elaborate torma rites, but mainly we are going to burn garbage and try to harness and center heat by Vajra Muttering and other mantras and songs. In a formal mode, this just follows the relevant point in Hevajra, and the Gauris would present Offerings to Sukla for example. Then you start looking in one or more of the places more closely and wrathfully and it will intensify. In other words, this is not exactly a sadhana, it is peaceful (nagas) and wrathful (charnel grounds) alterations to Guru Yoga as a template to how it might be done in a dismal location.

    Using symbolic Varuni:

    There arises a Dharmakara triangular in shape. The outside is white, inside red, and set with a wide-open side upwards and a narrow, root side downwards. Inside of this, from a YAM arises a blue air mandala, in the shape of a bow. From the upward pointed two ends, banners hang marked with a YAM. Above that from RAM arises a red, triangular fire mandala marked with a RAM. Above that from a VAM arises a white, circular water mandala marked with a vase. Above that from LAM arises a yellow earth mandala, square with a half-vajra at (each of) the four corners and marked in the center by a LAM. Above that from BHRUM arises a yellow Cakra, ten spokes and marked by a BHRUM. In the space above that are OM, AH, HUM with a red HOH placed at either end (top one upside down). These represent the Bardo-consciousness. Then, these absorb into the four mandalas and (cakra-) wheel.

    Skipping Celestial Mansion, which may instead be a generic Sumeru, arise a deity such as Sukla who casts a Fence and within it appear the cemeteries. A samadhi is taken to spawn each gauri from her syllable which is in her place (gate or corner).

    Caṇḍogra (east), Gruesome; H: chandograkatasi






    Yellow Shakra--Indra with vajra and skullcup on a white elephant

    Phuh

    White Ananta [blue lotus stalk]

    From the samadhi where one finds happiness in enjoyment:

    Gam

    Visual Form Object

    White Gauri, Hook (Moon)
    Black Gaun holds a knife in her right hand and a fish in her left hand.
    Zhitro: White Gauri with human corpse as a club in her right hand and a kapala in her left.

    Om Ah Gam Vajra Gauri Hum Phat Svaha

    In the eastern charnel ground are found a shirisha tree; an elephant-faced yaksha;
    Indra as the guardian of the direction; a multicolored
    cloud formation called Roaring; a square four-colored Mount Meru made of precious
    substances; and a white stupa called Vajra.

    In the eastern charnel ground is a nagkesar tree called Naga Tree. At its foot is the guardian of the east called Indra. He is yellow, holds a vajra and skull-cup, and rides a white elephant. At the top of the tree there is a white regional guardian called Elephant Face. Below there is a lake called Water of Compassion in which there is a white naga...In the sky above, there is a cloud called Making Sounds. The precious mountain called Mount Meru has a fire called Wisdom Fire blazing at its base, and a white stupa called Stupa of Enlightenment at its peak.

    The Ground is Eye Consciousness.

    Purified, it resembles an image in a mirror.






    Subhīṣaṇa (south), Terrifying; H: Frightful with Skulls (bhairavakapalika)






    Blue Yama with staff and skullcup on a buffalo

    Phah

    Red Takshaka [blue lotus and tortoise]

    From the samadhi associated with manthana:

    Cam

    Sound Object

    Yellow Cauri, Noose (Sun vessel)
    Crimson as the sun Caun holds a hand-drum in her right hand and a wild boar in her left hand.
    Zhitro: yellow Tseurima (Cauri-ma) with drawn bow and arrow (the tantric symbol for the unity of path and goal = Thabs-shes)

    Om Ah Cam Vajra Cauri Hum Svaha

    In the southern charnel ground are found a mango tree; a buffalo-faced yaksha;
    Yama as the guardian of the direction; a multicolored
    cloud formation called Whirling; the white Malaya Mountain; and a black stupa
    called Vajra.

    In the southern charnel ground Endowed with Skeletons is a mango tree called Tsuta. At its foot is the guardian of the south called Yama. He is blue, holds a staff and skull-cup, and rides on a buffalo. At the top of the tree there is a black regional guardian called Buffalo Face. In the lake below there is a...naga...and in the sky above there is a cloud called Moving. The yellow mountain called Malaya has a fire of wisdom blazing at its base, and a white stupa on its peak.

    The Ground is Ear Consciousness.

    Purified, it resembles a dream.




    Karaṅkala or Jvālākula (west), Blazing with [the Sound] Ur Ur; H: Adorned with a Blazing Garland (jvalamalalankara)






    White Varuna with serpent noose and skullcup on a makara

    Phum

    Blue Karakota [white lotus stalk]

    In the samadhi associated with vajra and lotus:

    Vam

    Smell Object

    Red Vetali, Chain (Pure water)
    Burnished Gold Vetali holds a tortoise in her right hand and a skull in her left hand.
    Zhitro: Dark Green Vaitali (Petali) who carries the vajra of eternal reality and a kapala.

    Om Ah Vam Vajra Vetali Hum Phat

    In the western charnel ground are found an ashoka tree; a crocodile-faced yaksha;
    Varuna as the guardian of the direction; a multicolored cloud
    formation called Terrifying; the white Kailasha Mountain; and a white stupa called
    Vajra of Passion.

    In the western charnel ground is a banana tree called Kangkela. At its foot is the guardian of the west called Water Deity, or Varuna in Sanskrit. He is white with a hood of seven snakes. He holds a snake-rope and skull-cup and rides on a crocodile. At the top of the tree there is a red regional guardian called Crocodile Face. In the lake below there is a blue naga called Karakota, and in the sky above there is a cloud called Wrathful. The white mountain called Kailash has a fire of wisdom blazing at its base, and a white stupa on its peak.

    The Ground is Nose Consciousness.

    Purified, it resembles a magical creation.




    Gahvara (north), Dense Wild Thicket; H: Dense Jungle (girigahvaronnati)






    Yaksha on a horse, or Yellow Vaisravana with mongoose and skullcup

    Phah

    White Kulika [banner]

    In the samadhi which destroys the great affliction, ignorance:

    Gham

    Taste Object

    Green Ghasmari, Bell (Medicine), Mara's destroyer
    Emerald Ghasmari holds a snake (uraga, dragon) in her right hand and a mendicant's begging-bowl in her left hand.
    Zhitro: greenish-black Ghasmari, who stirs the skull-bowl with a vajra (or who drinks blood from the kapala as a sacrifice to the
    giving up of samsara).

    Om Ah Gham Vajra Ghasmari Hum Phat

    In the northern charnel ground are found an ashvatta tree; a human-faced yaksha;
    Kubera as a guardian of the direction; a multicolored cloud
    formation called Sounding Hur Hur; the green Mandarava Mountain; and a white
    stupa called Vajra Formation.

    In the northern charnel ground is a bodhi tree called Ashuta. At its foot is the guardian of the north called Vaishravana. He is yellow, holds a mongoose and skull-cup, and rides on the back of a man. At the top of the tree there is a yellow regional guardian called Human Face. In the lake below there is a naga...and in the sky above there is a cloud called Making Loud Sounds. The green mountain called Mandara has a fire of wisdom blazing at its base, and a white stupa on its peak.

    The Ground is Tongue Consciousness.

    Purified, it resembles an optical illusion.




    Aṭṭaṭṭahāsa (north-east), Wildly Laughing; H: Fiercely Resounding (ugropanyasa)






    White Ishana (Ishvara) with trident and skullcup on a bull

    Phih

    Red Vasuki [snake]

    In perhaps the same samadhi:

    Pam

    Earth Element (solidity)

    Blue Pukkasi, Bowl of Bodhi Mind (Vajra)
    Sapphire holds a lion in her right hand and an axe in her left hand.
    Zhitro: Reddish-yellow Pukkasi pulls innards from the place of sinful misery.

    Om Ah Pam Vajra Pukkasi Hum

    In the northeastern charnel ground are found a nyagrodha tree; an ox-headed yaksha;
    the white Ishana as the guardian of the direction;
    a multicolored cloud formation called Fierce; the black Powerful Mountain; and a
    white stupa called Vajra Mind.

    In the north-eastern charnel ground is a walnut tree called Nadota. At its foot is the guardian of the north-east called Ishvara. He is white, holds a trident and skull-cup, and rides a bull. At the top of the tree there is a white regional guardian called Bull Face. In the lake below there is a...naga...and in the sky above there is a cloud called Unmoving. The black mountain called Great Power has a fire of wisdom blazing at its base, and a white stupa on its peak.

    The Ground is Touch Consciousness.

    Purified, it resembles a city of gandharvas.





    Lakṣmīvana (south-east), Marvelous Forest; H: Forest of the Lord (ishvaravana)





    Red Agni with rosary, long-necked vase, and skullcup on a goat

    Pheh

    Yellow "Carrying a Conch Shell" (Sankhapala)

    In the samadhi associated with manthana:

    Sam

    Water Element (cohesion)

    White Sabari, Mt. Meru (Ambrosia)
    Bright as a moonstone Savan holds a monk in her right hand and a Khatvanga in her left hand.
    Zhitro: Red Pramoha with the makara sign of victory (which guarantees no further access to samsara).

    Om Ah Sam Vajra Sabari Hum

    In the southeastern charnel ground are found a karanjaka tree; a goat-headed yaksha;
    the red Agnideva as the guardian of the direction; a multicolored
    cloud formation called Thick; the yellow Gandamadana Mountain; and a
    red stupa called Vajra Body.

    In the south-eastern charnel ground is a karaya tree called Karanza. At its foot is the guardian of the south-east called Fire Deity, or Agni in Sanskrit. He is red, holds a mala, a long-necked vase, and a skull-cup, and rides on a goat. At the top of the tree there is a red regional guardian called Goat Face. In the lake below there is a yellow naga called Carrying a Conch-shell, and in the sky above there is a cloud called Completely Full. The yellow mountain called Fragrant Incense has a fire of wisdom blazing at its base, and a white stupa on its peak.

    The Ground is Mano Vijnana or awareness of mental environment.

    Purified, it resembles an echo.





    Ghorāndhakāra (south-west), Interminably Gloomy; H: Dark and Terrible (bhairavandhakara)






    Blue Kardava or Rakshasa with sword and skullcup on a zombie

    Phaih

    Yellow Padma

    Apparently continuing the samadhi associated with manthana:

    Lam

    Fire Element (heat)

    Blue (Purple) Candali, Fire pot (Drum)
    Dark Grey as a raincloud Candali holds a disc [Spoked wheel] in her right hand and a plough in her left hand.
    Zhitro: Pale-yellow Candali, carrying a heart and a corpse (or who "is just tearing the head of false thinking from a corpse").

    Om Ah Lam Vajra Candali Hum

    In the southwestern charnel ground are found a lataparkati tree; a bear-headed
    yaksha; the black Nairiti as the guardian of the direction;
    a multicolored cloud formation called Filling; the mountain called Gold; and the
    white stupa called Precious Vajra.

    In the south-western charnel ground is a bataki tree called Padre-yaga. At its foot is the guardian of the south-west called Possessing a Rosary of Human Heads, or Kardava in Sanskrit. He is naked, blue in colour, holds a sword and skull-cup, and rides on a zombie. At the top of the tree there is a black regional guardian called Zombie Face. In the lake below there is a white naga called Possessing Lineage, and in the sky above there is a cloud called Descending. The white mountain called Possessing Snow has a fire of wisdom blazing at its base, and a white stupa on its peak.

    The Ground is Klista Manas or self awareness.

    Purified, it resembles a reflection on water.




    Kilakilārava (north-west), Resounding with the Sound Kili Kili; H: Resounding with the Cries Kili Kili (Kilikilaghoshanadita)






    Smoky Vayu with banner and skullcup on a deer

    Phauh

    Blue Varuna [white lotus stalk]

    Apparently continuing the samadhi associated with manthana:

    Dam

    Air Element (motion)

    Variegated Dombi, Banner (Dancing with hands)
    Golden Yellow Dombi holds a Vajra in her right hand and her left hand is held in the pointing gesture.
    Zhitro: Blue-black Smas'ani, who is twisting the head off a corpse.

    Om Ah Dam Vajra Dombini Hum

    In the northwestern charnel ground are found an arjuna tree; a deer-headed yaksha;
    the azure Vayudeva as the guardian of the direction; a
    multicolored cloud formation called Raining; the blue Shri Parvata Mountain; and
    the green stupa called Vajra of the Doctrine.

    In the north-western charnel ground is an arjuna tree called Parthipa. At its foot is the guardian of the north-west called Wind Deity, or Vayuni in Sanskrit. He is smoke-coloured, holds a yellow banner and skull-cup, and rides on a deer. At the top of the tree is a green regional guardian called Deer Face. In the lake below there is a...naga...and in the sky above there is a cloud called Wrathful. The blue mountain called Mountain of Glory has a fire of wisdom blazing at its base, and a white stupa on its peak.

    The Ground is Alaya Vijnana.

    Purified, it resembles space.



    The Gauris may make Offerings, although, Dombini needs to stay in place and only symbolically offer her body by dancing.


    As mainly a reference, the composite yogini's mantra of fifteen deities is:

    OM AH A A I I U U RI RI LI LI E AI O AU AM HUM PHAT SVAHA

    Pukkasi u, Savari r, Candali r, Dombi l, Gauri l, Cauri e, Vetali ai, Ghasmari o, Bhucari au, Khecari am. It starts with Pancha Prajna, then Ten Directions as the Gauris plus nadir and zenith.



    Maitri has a Charyapada song referring to Gauri:

    No.1. Title: Madhyemeru Raga: Bhairavi Tala: Jhapa

    //Ragamala//



    Sarovarstha sphatikasya mandale

    saroruhesam karamarcayanti/

    Taro prayoga rati vandha gita gauri

    tanunarada bharaviyam//



    Madhyemeru mahamani kanaka rajite purva videha jala jambudvipe/

    apare godayami uttar kuru bhuvane/

    panca varna pancajina vyapiyare-name pance buddhism



    visva srijita visvahita visvabhura panca murtih/

    asta dvipanala vahanti jing manasa/

    harantu bhaya timira ghana ghora rure//

    jata vedanase ya updvipa ra updvipa pari jantu jane/

    svasa ralla updvipa cau vidigam bhuvane va upa dvipa sri khanda parasu//



    dvirada vala praciyanara rudhira yaciya sapta asta dara cumbiyare//

    ava ralla udicya sayakam cakra/

    maniu kupa nidhi nikhila vedayanti//

    gurucaranaq tribhalasa bhagti pari bhavana pranava pari bghavayi saptapri purita/bhava jala nidhia sakala sentu bhutam//(20)


    A very unusual thing he says there is "bhuvane va upa dvipa sri khanda parasu". This means born or becoming from the Near Continent of Sri Khanda Parasu. This actually comes from Krishna appearing as Parasu and what happens is:

    Then for the destruction of rudra, nara took a reed and by the
    recitation of mantras gave new power to it. At once it became an
    immense axe. It was thrown on rudra with great force. But then it
    broke. Because of the breaking of the axe, from that time I came to be
    known as "khaNDa paraSuh - the Lord with the broken axe

    In his Gauri song, Maitri digs from Vaisnava literature to refer to the same story of destroying Rudra. This is consistent with Vajrapani, Boddhisattva of Akshobya--Vishnu, and Agni Vaisvanara.


    Jalandhara used Padmavajra's Vajra Lamp (Hevajra commentary) to define the eight awakenings (what we would probably call initiations in Hevajra) as Generation Stage. What stands out is that step seven is the same as Seven Syllable deity.

    The eight consecutive awakenings according to Jalandhara are delineated as follows:

    The first includes the steps beginning with the meditation on emptiness, generation of the disks of the elements, up to the manifestation of the celestial palace. These steps constitute the awakening by means of knowledge of all aspects (thams cad
    mkhyen pa nyid mngon par byang chub pa).

    The second, comprising the steps from the creation of the multicolored lotus in the center of the mandala, which is the seat of the main deity, up to the full manifestation of the causal Vajradhara and of the deities of the retinue, is the awakening by means of knowledge of the paths (lam shes pa nyid mngon par byang chub pa).

    The third, comprising the steps of contemplation beginning with the entrance of the mind of the intermediate
    being into Hevajra up to the emanation of the deities created in the wombs of Hevajra’s consorts, is the awakening by means of knowledge of all aspects (rnam pa thams cad shes pa nyid mngon par byang chub pa), i.e., knowledge of the bases ( gzhi
    shes).

    The fourth, the invitation of the pristine-awareness deities and the total merging of these into the pledge deities, is the awakening by means of the manifestation of all aspects in their entirety (rnam pa kun mngon rdzogs mngon par
    byang chub pa).

    The fifth, the steps of initiation, sealing with the lord of the family, and receiving offerings and praise from the goddesses, is the awakening of the peak yoga (rtse mo’i mngon par byang chub pa).

    The sixth, the step of tasting the nectar, is the awakening by means of realization of the sequential yoga (mthar
    gyis gnas pa’i mngon rtogs).

    The seventh, the spontaneous arising as a white Hevajra with one face and two arms, performed after the step of effecting the
    benefit of sentient beings, is the awakening by means of the instantaneous yoga (skad cig ma gcig la mngon par byang chub pa).

    The eighth, entering the state of luminous clarity subsequent to the spontaneous arising, is the awakening by means
    of the dimension of reality (chos kyi sku mngon par byang chub pa).



    The eight Vimokṣas according to Daśottarasūtra, Kośavyākhyā, Daśasāhasrikā, Śatasāhasrikā, Mahāvyutpatti, compared to Dharmasamgraha, are less clear physiologically about nectar and deity and seem to mean progress of Bodhisattva Stages, or, require Completion or the eighth of the previous list:

    1) First vimokṣa: Being [in the sphere of subtle form], he sees visibles; this is the first vimokṣa. (One having form perceives forms as empty,)

    2) Second vimokṣa: Not having the notion of inner visibles, he sees outer visibles; this is the second vimokṣa. (not perceiving forms internally, one perceives forms externally as empty,)

    3) Third vimokṣa: Producing the pleasant vimokṣa, he abides in this absorption; this is the third vimokṣa. (one perceives being resolved on beauty as empty,)

    4) Fourth vimokṣa: By means of complete transcendence of notions of form, disappearance of notions of resistance, rejection of notions of multiplicity, he thinks: “Space is infinite” and he penetrates into the sphere of infinity of space and abides there in the manner of the gods attached to this sphere; this is the fourth vimokṣa. (one perceives the sphere of endless space as empty,)

    [As the fourth is space, the second half appear to mean mastery of the three voids and great void or Bodhisattva stages seven to ten]

    5) Fifth vimokṣa: Further, having completely transcended the sphere of infinity of space, he thinks: ‘Consciousness is infinite”, he penetrates into the sphere of infinity of consciousness and abides there in the manner of the gods attached to this sphere; this is the fifth vimokṣa. (one perceives the sphere of endless consciousness as empty,)

    6) Sixth vimokṣa: Further, having completely transcended the sphere of infinity of consciousness, he thinks: “Nothing exists”, he penetrates into the sphere of nothing at all and abides there in the manner of the gods who are attached to it; this is the sixth vimokṣa. (one perceives the sphere of nothingness as empty,)

    7) Seventh vimokṣa: Further, having completely transcended the sphere of nothing at all, he penetrates into the sphere of neither identification nor non-identification and abides there in the manner of the gods who are attached to it; this is the seventh vimokṣa. (one perceives the sphere of neither-perception-nor-non-perception as empty)

    8) Eighth vimokṣa: Further, having completely transcended the sphere of neither identification nor non-identification, the cessation of notions and sensations being realized, he penetrates into it and abides there; this is the eighth vimokṣa. (one perceives the sphere of the cessation of perception and feeling as empty.)
    Last edited by shaberon; Yesterday at 19:14.

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