+ Reply to Thread
Page 25 of 25 FirstFirst 1 15 25
Results 481 to 484 of 484

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

  1. Link to Post #481
    United States Avalon Member
    Join Date
    1st April 2016
    Posts
    2,180
    Thanks
    3,447
    Thanked 7,298 times in 1,907 posts

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

    Vajrayogini and Vajradakini 2 of 2



    Jnana Dakini's heart mantra is Om Hrih Svaha, and her All Activity mantra is Om Vetali Hum Svaha. Her seeds are mantricly identical to Samputa Tantra (NSP 3), or, Samputa tradition uses Jnanadakini forms and syllables. This is what Alex Wayman says, although the Samputa mandala lacks tramen names. In the mandala, all I can tell is Samputa has done something very clever: his ring of Vajraraudris up to Vajradakini looks like six Gauris followed by Sabda Vajra and Prithvi Vajra--Sound and Earth. In his offering ring, the middle one, Gandha--Incense "doubles" as Gandha Vajra--Scent Object, until the series ends on Dharmadhatu Vajra. Akshobya has Sabda, Sparsha, and Dharmadhatu all in his family; Vairocana has the usual Locana and Prithvi, and Vajraraudri; Ratna has Vajradakini; Lotus has Gandha; Amoghasiddhi has Rasa. Adarsi--Sight Object has not been given a sire (normally Vairocana who has not been given a sense).

    Samputa and Jnana Dakini both appear to define Jewel Family Vajradakini as the crown or only acceptable gate for prana and consciousness; she changes Family at the time of Union; so far, she is found in Jewel and Tathagata.

    Jnana Dakini places Vetali in the same role as she has in Dakini Jala Heruka's core list of Gauri, Cauri, Pramoha, Vetali, as Taste and Nectar. Neither Wayman nor NSP 4 give that Vetali's color or form. If we are mainly trying to draw from Dakini Jala and study how it may change later, then we are left with a white vampire who is jazzy and sparkles and distributes nectar like Aquarius. That she also has a dark side is Dhvajagrakeyura--Banner. But this one is, according to the only information, in Lotus Family and capable of gaining Garuda. At first, due to position, she may not be in Lotus. Dakini Jala is not reversed, so she is in standard order in the north, suggestibly Amoghasiddhi. Jnana Dakini, who is Ishvari in Dakini Jala, moves to her personal completion by reversing the retinue and moving it around. She is Chatur Pitha or takes the Four Sacred Sites we are trying to develop for granted.

    The same deity, Ishvari Jnana Dakini, takes Vetali from the "completion" area of Dakini Jala and uses her for further purposes in Chaturpitha. That is why we understudy her as Guhyajnana Dakini, the same deity at an approachable preliminary stage, which could be said to start by emphasizing heat, and grow to this Rasa, if we look at it as an attempt to impress Ziro Bhusana, then our success is an extremely close correspondence to seeking Nectar Vetali of the North. Dakini Jala covers all prior sub-systems and remains valid until one achieves the main active ingredient of all tantra, which "is" Varuni, who in this case is being "handled" by Vetali, who seems to have a mantra for the purpose.

    Wayman believes Jnana Dakini follows astrology, with Aries--Ram--Fire at the beginning, since the attributes are Fire--Vajradakini Crown, Earth Ghoradakini Eyes, Air Candali Nose and Ears, Water Vetali Tongue, same order as astrological signs, but unusual or shuffled for Buddhism, which is why the elements are in an "extraordinary" form such as Ambrosial Water. His order does not match the mandala, which is reversed, but his is not a retinue, it is a body mandala, so they are in eyes instead of east and so forth. I suppose it matches the union style. The casting order there would make it Fire Crown Tathagata Elephant Vajradakini East, Earth Eyes Jewel Peacock Ghoradakini North, Water Lotus Tongue Garuda Vetali West, Air Amoghasiddhi Nose Ears Servant Candali South. I am not sure, but Air Candali also sounds like Dakini Jala Candali on Whirlwind. This Air Candali has intercepted two sense organs which is odd. Her servant is probably whatever used to be the Skandhas we are in the process of demolishing. Vetali and Candali have, apparently, the same function in Dakini Jala and Jnana Dakini, but in a different order.

    A newer Japanese version of Yogambara says all four are Dakinis, as Vetalidakini and so forth, and changes the syllables; Ghori is in the second ring. It mixes Bhairava and Ganesvara. Ghoradakini periodically appears as:

    antriksh-chara ghora dakinyashch mahabalaa

    In a way in which they are all destroyed as Armor. This says Ghoradakini is Mahabala in the Sky or Antariksa, the middle plane of Bhu, Bhuvar, Svar, abode of Yaksas and Gandharvas. Antara is "intermediate", iksha, seeing or knowing or atma vidya, synonymous to Chidakash, elimination of duality in mental space. It is the domain of Vayu, understood as Prana. Agni enters the earth or Bhu; Bhuvar is interaction of life winds; Surya is above in Svar. Ghoradakini appears to concern Marut Gana or the Maruts or Storm Lords internal to the body; difficult air elementals; subtle mystery.

    Buddhism states we are in a karmic penance for abuse of the inner kingdoms. HPB says:

    When the Bhur, Bhuvar and Swarga (States) are once passed, and the consciousness of the Yogi is in Maharloka, it is the last plane and state between entire identification of the Personal and the Higher Manas.

    Mahar is the Kama Loka, or, roughly, the whole Hevajra cycle; Svar is Manipura, the main chakra of concern in Sri Vidya and Sri Yantra. Ghoradakini is talking about the Nidhis or secret treasures underneath the abused bodily kingdoms.

    Jnana Dakini furthers herself into Buddhaḍākinī (alt. Ākāśadhātvīśvarī; Sparśavajrā) in union with Mahamaya. From what I can gather, this requires the "interception" of Vairocaniye as produced by Varuni. This means Nectar so powerful it unleashes a never-before-seen entity. Vairocaniye's companion Varnani, or Sarva Buddha Dakini, is similar, except affected more by the singular Kama Dhatu Ishvari. These are the two main branch nerves which generally have to be opened and worked before the central Avadhut will do much.

    In the Vajravali sketch version of Jnanadakini, they all appear to have Lion Mounts, and then there are Four Tramen and Four Gatekeepers, very close to NSP 4:








    A modern series of Marpa Kagyu starts with Namasangiti and Jnana Dakini, has a Samputa Vajrasattva and most of the Completion Stage deities, and would probably make more sense if the first Chakrasamvara was called Seven Syllable and the second on page two was called Sahaja Heruka. It has surprisingly poor resolution for modern work, but, this would be Jnana Dakini with Four Gauris and Four Tramen:








    The Samputa image has four Four Arm goddesses and four Eight Arm ones; otherwise unidentified and blurry.

    There is perhaps a little confusion whether the Gauris are Dakinis, and there, they do look like seated Dakinis, except I am not sure it is possible to make a Dakini sit. Dakini has multiple levels and can manifest in the outer world; Gauris are only internal. Even if they have names like Vajradakini, this definitely does not mean a dakini in Vajra Family, it is more like a strength level, the strongest, Upeksa. Here, she is not protecting the crown like Armor, she is using it for the required purpose, transit of consciousness. It only comes from heat, bliss, etc., of Pranayama, and must gain the ability to shut the other eight doors and use this one exclusively. As Upeksa, she is a Jewel of Enlightenment, which is not Armor, because it is the Path. I do not believe she is called for, prior to arising here, Jewel Family Fire Crown is her way, Ratna Sikhi or Ratnaketu being original names of the Dhyani, meaning a flame at the crown. Namasangiti Paramitas are in Jewel Family; the final one has for her main item, Vajra, and her other item is Amitabha, almost as if we had spliced Vajra Tara with Usnisa. In this case, Amitabha in the hand is Buddhahood.
    From an old journal, Buddhist Forum vol. VI,

    The inner homa, which has no recourse to any external articles as the source (rgyu) of the highest
    happiness and excellence, has been explained by me (= Abhayākaragupta) in my
    commentary on the Saṃputa-tantra. It is from that text that one should learn it. Just as
    the threefold world is committed into the wisdom-fire shaped like a circle of non-dual
    emptiness and compassion, the destruction by fire of the firewood of the skandhas and
    the rest represents the highest homa.

    It is followed by the large second chapter of Samputa, which is Wrathful Vajrasattva in union with Vajravarahi. However it then goes to Tara, and from her, to Kurukulla. This series is the "main device" in potential with "one's own deity" which results in experiencing Agni as All Families. Vajravali is therefor Abhayakaragupta's work-along manual for Homas, and one would have to say Agni forces his appearance regardless of anyone else used. The Samputa is not "original", it is eclectic, a more thorough explanation than the sadhanas may have at face value. To me, it appears that things like Chakrasamvara as only a list of names is a mnemonic, which was just a reference for spoken instruction, until further along when more explanations were published. Samputa is not a deduction from clues, it is a gathering basket. Knowledge of mandalas slowly arrives and expands in a world. The Tara that is used here is a pretty basic one, according to the reviewer, about averting and controlling adverse forces, and of gaining control over the world through the practice of meditation and recitations; so, if we follow Samputa's inner meaning, and work around not using Varahi and Kurukulla, particularly by using more Taras, this is a substitute for not having an Agni temple down the street. Or it is a personal Vajradakini if one follows the teachings.

    She is the governor about prana and the pinpoint aperture.

    Samputa specifically refers to Sarvabuddha Samayoga Dakini Jala Samvara. And so it should be helpful with some aspect, perhaps Vajrasattva in terms of Ratna Family, which in the relevant mandala is the single fiery family.

    Samputa says:

    The bodhicitta is brightly shining like pure crystal. That entity of five knowledges is as small as a mus­tard seed.

    The deity located in the middle of that has a form both manifest and unmanifest.
    Half the size (of a letter), very subtle, it has the form of a drop and is made of mind.

    Possessing light rays of great splendor, it always dwells in the middle of the heart.
    It is at the limit of the twelve (sense bases) and

    at the limit of the nine (orifices), leaving out the soles of the feet and the head.

    The single thread having issued, (that issue) is placed in the middle of the nave.
    Amounting to only five parts, it expands into the shape of a Serpent Chief.
    A small portion of that having been emitted, it is

    drawn out of the middle of the vajra.

    The seed is put into the middle of the yoni. When the dharmadhatu melts,
    it transits sequentially in all nine orifices.

    Accordingly, (the seed syllable of) fire (is applied to) the (orifice of) Brahma.
    As for the twofold seed of earth, precisely that is applied to the eyes.
    As for the seed of the voids of wind, (it is applied)
    mentally to the nostrils and ears.
    As for the good seed of ambrosial water, the lord (applies it to) the mighty tongue organ.

    The seed of delusion (is applied to) the neck while that of (another) defilement is likewise (applied to) the two arms.
    (The seed syllable of) vibration (is put into) places
    in the heart while that of animals (is placed) in two roots of the navel.
    One should hold on to the eight members of seeds with the rite of eight members.



    In other words, Jnana Dakini syllables are actually timed to the melting. This proper descent would cool the orange liquid; from there, consciousness could transit the Mahasukha.


    Samputa Chapter Two is similar to Dakini Jala Rahasya. The consecrations, Four Joys, and Four Initiations are clearly outlined, but their actual performance is not explained in any detail. The focus is on the essential stages of the consecrations, on their doctrinal and spiritual significance, and so forth. Its first section (Bodhicitta Abhiseka) pertains to the consecration of the thought of enlightenment; second (Prajnopaya Artha Bhavana) is a description of subtle non-dual Prajna--Upaya; third (which is a Rahasya) is Samputa generation, and last is Tara.

    Section Three moves to Vajragarbha Uvaca, a rare bodhisattva, or a Nepalese Lokeshvara. It refers to utpattivarnarupam and then mantrajapa (Muttering). The next line after Muttering begins another segment with the phrase Bhagavan Aha. This is a large segment generating all the Gauris. The fourth and final Tara section mentions:

    santipaUstikavasyadiraksa-abhicarakam

    karmavarnadicakrasya

    It calls her Tarini before moving to Six Limb Yoga which emits Kurukulla. So the fourth section is a tiny drop compared to the Tara system which we already know is the parent of Kurukulla. So it is primarily Section Three which deals with Muttering and Samputa Vajrasattva.

    This is a later writing (ca. 900-1,000) that does not use Dakini Jala's names for Gauris. Samputa is arguably a Yogacara text since it begins with "source", Buddha Nature or Refuge of One, whereas other methods such as Panjara may shuffle it into the middle. Samputa is intended to explain the group of directly-related tantras such as Jnanadakini, Mahamaya, etc., and is tangential to Panjara--Hevajra or Dzogchen or Kalachakra.

    In Section Three, Vajrasattva loads Four Brahmavihara into the void and seed syllable. The next line says:


    trtlye bimba--nispattis caturthe nyasam aksaram

    Nyasa (derived from Ni, "under") is what is commonly spelled Nayasa, which really starts in Rig Veda; so, this refers to bodily placement syllables. The first phrase means something like "complete reflection".

    before going to Hum arising as Crossed Vajra and starting a mandala, or Fence and Canopy; instead of fire and so forth, there is:

    mrtakam dharmadhatvatmakam

    The blue Maha Ghora resident of the mandala may be called Vajrasambhava (or Chakrasamvara); "Herukatvam" is also used. The Vajra gives Janma or birth to Maha Virya and Maha Kripa (probably a collection of all the Brahmavihara). He is Vyomini Bhattaraka who then does puja for eight Devis who have all Lamkara, which has many meanings in other systems, but in Buddhism is mainly Six Ornaments. They simply appear:


    gauri mrgalamchanam dhatte cauri martandabhajanam//
    vetali vari-hasta ca bhaisajyam dhatte ghasmari
    pukkasi vajra-(or gandha)-hasta ca savari rasadhari tatha
    Candali damarum vaded domby alingitabandhaka

    who are something like branches (Vistara) which honor (Sampujyate) Prabhuh.

    Then comes Candra Ali Kali, and Tam (or Sa) eva sattvam ity ahuh paramanandasvabhavakam.

    This swells into Gagana mandala; into the heart of which is Dvesatmako. Then from Nabho, presumably:

    Nābha (नाभ) refers to the “navel” of the Buddha, to which his rays (raśmi) might return after emission, according to Mahāprajñāpāramitāśāstra (chapter XIV). According to the Avadānaśataka and Divyāvadāna, it is a custom that, at the moment when the Buddha Bhagavats show their smile, blue, yellow, red and white rays flash out of the Bhagavat’s mouth, some of which go up and some of which go down. Those that go down penetrate into the hells (naraka); those that go up penetrate to the gods from the Cāturmahārājikas up to the Akaniṣṭas. Having travelled through the trisāhasramahāsāhasralokadhātu, the rays return to the Bhagavat from behind. According as to whether the Buddha wishes to show such-and-such a thing, the rays return to him by a different part of the body.

    in Nabho-Kha-dhatumadhyagatam cintayet suryamandalam

    where Hum becomes a blue three-eyed Krodha, who is a Cemetery Natha of eight Devis, sarvayogamrtasamvaram, Vajrasattva, caturanandasvabhavas, caturmaravisuddhitai. There is then a long, detailed description of union with Vajravarahi.

    They place items in the corners making a Guhyamandala, and cast Gatekeepers; they seem to have a special way of muttering Hum, Om, Ah, Hrih, which may be for the gates as it then mentions "dvarapalisu". Then comes puja of Gandha and Puspa. After this:

    vajraraudri tatha caika vajrabimba tathaiva ca
    vajraragl trtlya tu vajrasaumya caturthika
    pancaml vajrayaksi ca sasthi vajradakinl
    saptaml sabdavajra tu prthivlvajra tv astaml
    dvitlyasya trtlyaprakaranam

    So it has mostly just provided a basic outline without saying anything about the goddesses, aside from Vajraragi being the same as Raga Vajra. But it has Gauris, which are not in the mandala, and so it possibly intends Vajraraudris as Purified Gauris, replacing them. It is possible Samputa explains them with the small Hevajras; these chapters remain unavailable. It is, however, tri-lingual, and in the Tibetan, Drag mo is Raudri:

    rdo rje drag mo de bzhin gcig I de bzhin rdo rje gzugs bmyan gnyis II
    gsum pa rdo rje 'dod chags rna I bzhi pa rdo rje zhi ba rna II
    lnga pa rdo rje gnod spyin rna I drug pa rdo rje mkha' 'gro rna II
    bdun pa sgra yi rdo rje rna I de bzhin brgyad pa rdo rje rna II



    As Hevajra states the Gauris are in Samapatti, Padmavajra explains:


    The Sambhogakaya is those (yogins) with samapatti in the initial
    samadhi (prathamasamadhi)...Whatever the gods
    dwelling in the wind and vijnana (i.e. vijnana riding on the winds),
    their non-apperception is the Dharmakaya. Moreover, those with
    samapatti (meditational equiposie) in the three samadhis are
    the Sambhogakaya. Those who mutually gaze by reason of
    habit-energy of adhering to the idea of “mine”, are the
    Nirmanakaya.

    Likewise, it is explained by knowledge: The non-oozing ecstasy
    of dwelling in the Akanistha (heaven), is the Dharmakaya. Those
    with the ecstasy of frequently tasting the Dharma in introspection,
    are the Sambhogakaya. Those who are self-originated by rea¬
    son of a former vow, but do not know it, are the Nirmanakaya.

    So for us, attempting a Tri-samadhi or to perceive Akanistha, at best, "oozes" because it is unstable and leaks. Whereas the lowest existence of a Dharmakaya being is an appearance in Akanistha, without those defects. By translating into a western philosophical term, "apperception", it says these beings have no mental process by which a person makes sense of an idea by assimilating it to the body of ideas he or she already possesses, or no introspective or reflective apprehension by the mind of its own inner states; there is not an object which is apprehended as "not-self" and yet in relation to the self. It abrogates all normal psychological processes described as Apperception.

    Vajradakini is in a position where heat has reached the crown; as bodhicitta descends, it may get lost, go wild, or dissipate, and so her other forms or Eight Syllables prevent this, so we can complete the Four Joys and synthesize the mercury and enter the state called Sahaja. From here, one could discover Sahaja Heruka, or continue with transit solely by Vajradakini.



    In the area concerning transit and the crown, Wayman interestingly suggests we compare to the C. A. Muses text, which we found accidentally and was a very Rime' tradition shared by Tson Khapa, all the way in Sichuan at the rock of death. Quoting Tson Khapa to move to the stage beyond Yoga:

    ...he mentions that a person who is sick, suffering, or old, should not engage in this practice:

    There are two basic counsels about transit. Of these two, [first] the
    purification {sbyan ba) is as follows: The Vajradaka (i.e. the
    Srivajradaka-nama-mahatantra) states: “The alternations
    of the place are to be purified. After their purification one should
    perform transit of the state of being. Otherwise it would be purpose-
    less.” That refers to the alternations, pleasure and pain, of the place,
    i.e. the body. That is, Bhavabhadra explains that if one transits
    without having first purified by cultivation of the heat — the ml ba
    (yogin’s rest) is purposeless. Thus, the prior cultivation of the heat
    is a distinguished basis for accomplishing the transit.

    Furthermore, the Vajradaka states : “Upon binding the orifices by means of the
    ‘pot’ (kumbhaka) the orifice holes become pure.” Both the
    Catuspitha and the Samputa are consistent with that, because they
    express the necessity to cultivate the kumbhaka of wind with a
    capacity to compress within the wind that enters the sense organs
    and other orifices.

    Now, kumbhaka was previously explained to
    have the three degrees of highest, middling, and lowest; and those
    many persons who assert that it suffices to have the lowest degree,
    speak as though they do not understand the meaning of the Tantra.
    Hence, when one stops the transit of vijnana through the eight
    orifices, not including the golden gate at the crown of the head, it
    transits through the golden gate at the crown of the head. And that
    transit of attainment is the chief basis for the vidyadhara (wisdom
    holder) who practices mantras. Such statements of the Tantras are
    essential; and even though there are (various) visualizations of
    vijnana (the perceptual stream) departing from the body, it is
    necessary to complete the characteristic of visualizing it as explained
    according to those Tantras.

    The gurus maintain that one should contemplate whatever is one’s own
    tutelary deity. Since the Samputa and the Catuspltha have stated a
    method of contemplating the deity especially in this case, that is a
    reason~if one would succeed — to do it accordingly. As it would
    take too much space, I shall not go into that matter here.

    [Second:] The '"brightness'*' of oneself as deity and uniting of the
    winds. Starting with the realm of contemplating the secret place, or
    the navel, one imagines a red A at the navel, a black HUM at the
    heart, a white KSA at the brahmarandhra (the golden gate). Then
    one vehemently draws up the lower wind, and imagines it pushed to
    the A-syllable of the navel; and having arrived, pushed to the HUM;
    and having arrived at the pushed to the KSA-syllable. And

    he imagines it re-descending to the place of the HUM in the heart
    and to the place of the A in the navel. Now some persons claim
    that one should contemplate it dissolving in the A and HUM, but
    doing it the former way (i.e. simply arriving, not dissolving) is
    better. One should work at it that way as long as the prognostics
    {rtags) have not arisen. The prognostics are an itching sensation,
    throbbing, etc. at the crown of the head. Then the application to
    the rite is as follows. One should put the main part of the body in
    sitting up position, and clasp his two knees with his two hands. One
    should start with taking refuge and generating the mind of en-
    lightenment. Then from the realm of the “bright” where oneself is
    the tutelary deity, one visualizes in the space straight up in front
    of one’s head, at a distance from 1-1/2 to six feet at a comfortable
    level, the guru and tutelary deity in inseparable manner. Deeply
    moved with devotion and faith, one fervently beseeches him. Then,
    having brightly posited the A of the navel, the HUM of the heart,
    and the KSA of the crown of the head; vehemently drawing the
    lower wind one contemplates that the A itself is within the central
    vein and while (moving) upward pronounces a group deer-like
    sound {khyu ru ru byun nas) and dissolves in the HUM of the heart;
    and one recites A-HIK for as many times as necessary. Further-
    more, the HUM itself pronounces (while moving) upward, and one
    recites A-HIK up to twenty times and contemplates that it (the
    HUM) is pronouncing in the throat. Then one should contemplate
    the bright KSA-syllable at the brahmarandhra and that it is pure
    white, as though the brahmarandhra constituted the starry realm;
    and reciting A-HIK vehemently five times one sees that HUM
    proceed hastily through the brahmarandhra and dissolve in the
    heart of the inseparable guru and tutelary deity. Controlling
    consciousness that way, he settles it in the realm without dis-
    cursive thought. That shows in abbreviated form the transit
    according to the sayings of the gurus and the Catuspitha.

    Tson-kha-pa’s passage establishes rather clearly that some of the varying
    descriptions — for example, some of those already brought forward in this
    essay — have to do with two separate phases of the praxis. That is to say,
    the description may concern the phase of purifying the orifices, and this is
    associated with containing the winds in kumbhaka which is referred to as
    the “heat”, or the description may concern the phase of transit of the
    perceptual principle {vijnana) through the gate at the crown of the head.

    Tson-kha-pa referred to three degrees of kumbhaka which he treated
    earlier in the same work. He may well intend the three mentioned in the
    Samvarodaya-tantra (PTT, Vol. 2, p. 205-2-7,8): “The lowest amounts to
    thirty-six; the doubling of that is the medium; the tripling is the great.”
    The text seems to mean the number of times one performs the kumbhaka,
    thereby lengthening it. The “great” kind thus amounts to 108 times.


    So by "transit", this is beyond what we are doing here: he has taken Pranayama for granted, and said the Hum of the Heart moves through the Brahmarandra into the deity, which rests in Nirvikalpa, beyond the Savikalpa being dealt with by Charchika and Gauris at first. Sukhasiddhi works similarly with Ah. Some other systems may only do Samapatti, Savikalpa or Sadguna Brahman; others that teach Nirvikalpa will blow you out of manifestation; we merge them both.



    The Seven Syllable Vajradaka is intimately close to our study; to expand his notes a little bit, it should say he is the lord born from Ali Kali. It does Inverted Stupa without explaining it, and then he and Varahi are in the middle of a six-spoked wheel, which is the Wheel of Six Chakravartins, except the males are replaced by dakinis. The dakinis are empowered with five elements, and then oneself purifies six skandhas and six senses. He then appears to use his own "door sealing" syllables, and then the familiar Armor Syllables. One consecrates the goddesses' five ambrosias, tastes the nectar, and then does Seven Syllable mantra, Mutters it and contemplates the Seven Jewels. The mantra is also in Abhidanottara, and the sadhana is also with Nairatma, although Heruki mistakenly becomes the consort, and Nairatma takes her place.

    He is recorded in Sadhanamala and by Taranatha; in Rinjung Gyatsa, the Armor sadhana is bracketed by Blue and White Heruka that use the mantra, followed by Seven Syllable deity with retinue; tantric Vajradaka is a more elaborate form with more explanation. Armor is used with most major deities, but physically, in the book, it is balled up with Seven Syllable mantra all around it, and the Armor goes onto the Seven Syllable deity.

    Himalayan Passages scrubs the Tibetan "back translations" of Seven Syllable goddesses and says Bhima is Vajrabhairavi, Rudrani is Ghoracandi, Vasavartini is Vajrabhaskari, and Vyavalokita is Vajraraudri; in other words, the Sanskrit names applied to it in Tibetan Deities 70 are guesses. These are the corrections, the names from Seven Syllable Vajradaka. This is a good guide since one would tend to think Rudrani is Vajraraudri. Jigs ma was called Bhima, fearful or terrifying. Rolang ma (Vetali) is not used, so, Vajrabhairavi is not Vetali, she is Bhima (not Bimba). There is no "dorje" anywhere, which is why Vajra is parenthesized in the corrections. Drag mo usually means Rudrani or Vajraraudri, which would imply that the Tibetan list is an error, and that the color scheme is correct and means the goddesses as recorded in Sanskrit. The supposedly erroneous list is here. Raudri is commonly explained as a guna, along with forms of Agni. Mahanirvana uses this and explains seed syllables. With septenary Shiva, Ghora specifies fiery nature, and that source includes the large Ten Face Guhyakali asking questions to Mahakala.

    It is possible to find Ghora distinguished from Rudrani in anUgra Tara retinue, and several types of Candi under Mahamaya.

    Seven Syllable deity is 51 in Mitra's mandalas, the author having no idea what it is, other than very little else in Buddhist iconography resembles it. It is a Mitra tradition of a Maitri tradition. with another variation on the Tibetan names: Khrag 'thun ma (blood drinker or a mistake for Heruka), 'Jigs byed ma. Drag gtum ma (Tumdrak or Most Fierce cemetery), sNan byed ma, rDo rJe drag mo, and rDo rje mk.ha gro. Snang is Appearance or Manifestation, used this way in relation to the http://rywiki.tsadra.org/index.php/nyi_ma, by Vimalamitra and Anandagarbha for illumination.

    The color scheme simplifies the naming dispute; we are left with the third goddess as Red Candi, whereas the sixth has commonly been known as Smoky Candi without much question. This is similar to Yamari tantra making Charchika and Chamunda distinct.

    With Heruki and Vajradakini, the equivalent names remain in the Tibetan, but otherwise four of the retinue appear to have changed into something particularly in Tibet, with a divergent or ad hoc Sanskrit name appended. So here are the four guesses and Durjayachandra's originals as in the complete Sanskrit Vajradaka:


    Bhima or Jigs ma is the first one that did not really register; her correction to Vajrabhairavi is probably superior, but, despite it sounding like it should mean "consort of Vajrabhairava", she is not, because that is Vetali.

    The female Bhima dakini appears in a comparative list of Dakarnava Sacred Sites. In Kalachakra, Bhima comes right after Charchika.

    In Kalachakra, Jigs ma is Ghora, but Bhima is Jigs byed ma--whereas Dragmo is both Ugra and Raudri. Tibetan Dragmo will be found having multiple forms; "jigs" is an abundant Tibetan term, and is in the common name Jigme or "fearless". Bhima may be Cinnamasta, and even Kamala, where it becomes evident there is little distinction between the terms ghora and bhima. Both of those have a pretty yellow form as well as ferocious. Bhairavi and Ugra are little different in meaning. It is like saying horrifying, terrifying, scary, frightening, hideous, you would have to be really meticulous to keep them separate. Color helps in that case, and so as far as we can tell, Yellow Bhima means Yellow Bhairavi, as personal names. It means she is also "doubled" as Bhima in a minor sacred site, and Bhairavi in Armor and Seven Syllable at a higher level. If Bhairavi has a pleasant form, it is not in this ring.

    Indra related to Ghora, Bhairavi, and Speech, is very close to Bagalamukhi. This shakti is called Indrani--Kamala--Ushas (Marici). Tongue is the main "enemy" here, one's own. Harmful speech is an opposite of Tongue united to Rasa in the tantric sense.

    Vyavalokita is "steady gaze, looking around", in fact it is in Prajnaparamita as how Avalokiteshvara "saw" the five skandhas; nevertheless, she is smoky. A male one is Atisha's first Historical Buddha: Vyavalokita, Ushnisha, Vishvabhu, Krakucchanda, Kankamuni, Kashyapa, Shakyamuni Gautama. It is not any kind of known dakini. But the Tibetan name Ltas means omens and signs generally, and has the Yoga definition of Nimitta. Rnam is a type of respectful title that veers towards the esoteric. Rnam Ltas comes together as Chod. This is a specific ritual, but, nimitta is samadhi, with an improving image, as well as the six sense objects. That is actually a decent match to what Amoghasiddhi Vajraraudri or Candika should be.


    Vasavartini is "power to subjugate others" like vasyadikhara, and implies poetry. In 1000 Names of Sita, we find in verse forty, Agneyindranika Raudri Varuni Vasavartini; this line is Sita's only reference to Varuni. The correction, Bhaskari, is an odd mix of the Solar Virgin and a piece of bread. The Tibetan dbang byed ma can be analyzed as Wang Je Ma (that is actually how the older publication spells it). Dbang byed ma is definitely a repetitive subject after a male equivalent. In another text, she comes up shortly after Jigs byed ma; she even has around five pages of her own manuscript. I cannot read any of that, but Wang is empowerment and initiation, which gets back to Vase, and Varuni.


    Tibetan would seem to make Drag mo a female Bhairava. But Drag mo is particularly worshipped in Jokhang temple. The name Drag mo has main variants of Mari Rabjam and Lion Face. The Lion Face is prefaced by Dud dul. There is a sakti called IHa mo drag mo; her body is smoke-coloured and her attributes are a chopper and a skull-cup. But it is Mari Rabjam who takes the title Dorje Dragmo and has a green form, and a white form on a stag almost exactly like Sri, and so this is all about a Palden Lhamo hypostasis that protects the area around Ganden and Sera and Mari Rabjam hill. However the Lion Face Dragmo is at the head of a major liturgy from a 1600s terma in Kham, and in this version, at the very beginning. Another Lion Face terma was revealed by Tare Lhamo in very recent times.

    Mari Rabjam is in the same class as Yudronma, sujugated by Padmasambhava. These are under the Four Seasons.

    This Drag mo is "supposed" to be the Red Goddess, but, she has no prefix, cannot determine which one, and is a Palden Lhamo hypostasis particular to Tibet.

    The Sanskrit version, Ghoracandi, has only a couple of existences, one in Bengal. It pertains to a legend about Indra leaving his abode and touring heaven and earth:

    With the company of Vyasamuni, Indra after leaving his
    kingdom travelled extensively in heaven and earth but when
    he returned to heaven he found it desolate. Indra asked
    Vyasamuni of the cause of its desolation. Vyasamuni replied
    that it was due to the wrath of Ghora-Candi who was displeased
    with a Gandharva king— the king of heaven during the absence
    of Indra, who obtained the blessings of Ghora-Candi from
    Mahadeva by practising austerities.

    At this Indra felt inclined to worship Ghora Candi, and
    by her blessings, he once more recovered his own kingdom.

    Vidyadhara, an honest man, heard about the omnipotence
    of Ghora Candi and worshipped the goddess. Through her
    grace, Vidyadhara became the king of Campakanagara.

    An old man prayed to the goddess, and he was rejuvenated.

    But owing to the discourtesy shown by Pihgala, one of
    the wives of Vidyadhara, Ghora-Candi disappeared from his
    home and Vidyadhara became an ordinary man.

    Campakanagara is an almost mythical land related to Manasa. There is some altercation with the physician Dhanvantara. It is the name of a sadhana carried by the Chakma people to this day. The Chakma legend says they are a part of Buddha's Sakya clan who migrated east. There is a historical King Vidyadhara of the early 1000s who built a massive Mahadeva temple, but it is in Middle Country. The older story is Mahabarata era.

    If it was Ugra Candi, this would be a common name for Bhairava's companion all over Nepal. Her eighteen arm form is this close to Varuni: "The dhyana sloka preceding the Middle episode of Devi Mahatmya the iconographic details are given. The Goddess is described as having vermilion complexion, eighteen armed bearing string of beads, battle axe, mace, arrow, thunderbolt, lotus, bow, water-pot, cudgel, lance, sword, shield, conch, bell, wine-cup, trident, noose and the discus (sudarsana). She has a complexion of coral..." and whether or not Varuni is completely identical, she is one of the very few Buddhist deities equipped with a shield which is commonly Hindu like this one. However, Ugra Candi's song is to the smoky-colored one.

    So I am not sure "which" Drag mo is intended by the Tibetans, but the Sanskrit original is Ghoracandi, who got involved while Indra was busy, and affected one earthly kingdom related to Janguli. As much as the name Charchika mostly means a specific Red Candi of Orissa, the name Ghoracandi appears to mean the same of Bengal. Of "emaciated Chamunda", Harvard says she is worshipped throughout India, and particularly in the eastern state of Bengal. In the broadest Kali terms, it is behind the Sumbha Nisumbha mantra.

    If Charchika is a preliminary mantra teacher, Sumbha Nisumbha is one of the important four Chakrasamvara mantras, along with Seven Syllable. She can then pass the baton and forfeit her name and another Red Chamunda seems to be in Lotus Family now, i. e., competent in mantra. In the retinue she is assigned to Joy. That seems consistent with blissful speech made from pain, which is part of Chamunda's repertoire.

    Sri Pitha Stava [Celebrating as a hero or hymning as a deity] which is about Kathmandu Asta Matrika has as the first line:

    brahmani tattvarupa vividha ghanarava ghoracandi ca raudri

    followed by references to Kaumari who drinks intoxicating honey, Vaisnavi, Varahi, Indri, and Chamunda as aspects of Lakshmi, followed by five couplets describing Ganesh. Ca could come at the end of three things meaning "and"; written this way, Ghoracandi and Raudri appear to be the objects of "many thundering forms of Brahmani". The likely reason for stating both is that Candi is Puranic Durga, but Raudri would be associated with Shiva; so they are trying to talk about reality (tattva) behind both sets of literature, particularly the fierce and frightening kind.

    Then it gets back to Brahmani with several yellow attributes; she is Brahma Sakti of Purva Pitha, Prayaga.

    Next is Golden

    māheśvarī mahādevī mohamāyāniraṃja

    of Uttare Pitha, Varanasi. Next is Four Arm Red Maharaudri Kaumari of Agni Pitha, Kolapura (Kaumari is also regarded as Guru-Guha the intimate guide who resides in the cave of one’s heart). Next is Dark Green Vaisnavi of Nrttya Pitha, Attahasa. Then Red Varahi of Yama Pitha, Jayanti. Then Sakresvari who is Mahavajradhara Devi of Naga Pitha, Cirana. Then Chamunda of Marut Pitha, Ekamaksa. Then Sword Mahalakshmi on Lion has the powers of Gandharvas and Vidyadharas, and is at Isana Pitha of Devikota. Finally appears a compound of eight forms, for Catus Pitha Nitya Eight Yoginis, which is the Good Pitha of Bhadra Kali. The article finishes with ten or so couplets about the male. It makes a jumble of things like ghora, bhima, and bhairavi as adjectives; raudri is used with Kaumari and Candi.

    It appears Hindu but is filed in Chakrasamvara literature. Four pithas--chakras always make Eight Kshetra Vasinis using a bindu of a thousand suns seems to be the only specifically Buddhist statement. That would not make sense if it just told me there are eight pithas. It does if I understand why there are four major pithas, and that the group of eight is probably useful to keep my life from flowing out the exits or cemeteries.

    bhadrapīṭhe sthitā nityaṃ bhadrakālī samāvṛtā (veil)

    At the end, all diseases are pacified, Dirgha Mayura Vapyate (is sown). Dirgha means long, or extended in time or space, most commonly as in Dirgha Pranayama or the most basic at the level of Fourfold Om. Mayura has almost no other meaning than peafowl, although according to the Guptas, it is a contraction of Mayapura, which is the Vajradaka sacred site where Bhima is, or, a name for the body, city of illusion. In Pitha Stava, it is Kaumari's mount, and then in Nepal, one of the most important Buddha stories is Golden Peacock.

    Pitha is Fire blended with all elements.



    The Seven Syllable retinue are born from six syllables: Phat Blue Heruki, Hum Yellow Vajrabhairavi, Ha Red Ghoracandi, Ha Green Vajrabhaskari, Hrih Smoky Vajraraudri, Om White Vajradakini; the principals bear the Armor syllables. All are crowned with Vajrasattva. The whole mantra is given backwards to match the reversed retinue. I am not sure there are any other examples of this. It is long after they have been cast that the whole mantra is used normally with the addition of male Smrti as a second Hum.

    They are progressions of Armor Deities, called Six Yoginis which is the same, and are female replacements of the Chakravartins, so they are wrathful Prajnas. They have drum, bell, and human skin. We could almost say everything we have is a study of this sadhana; it lacks some of what we have not emphasized; for instance, it does not use Ten Wrathful Ones, and has nothing compared to the mudras of Vajradhatu. It is the point in goddess study that if we have not used union or Varahi, it becomes unavoidable, moreover the male seed is Smrti which begets Samadhi, and the female in this case may also be appropriately named as Lasya, which is nature's vibrational response to Shiva or to a mind entering a samadhi of the potency indicated here.


    The order in Seven Syllables is counterclockwise, but in a different sequence from Armor: Heruki is first, Vajrabhairavi is second, but Armor starts with Varahi then Yamini (Heruki). Armor ends on Amoghasiddhi Candika (Vajraraudri), but Seven Syllables ends on White Vajradakini (Mohani). It really is a different spell; in Seven Syllables, you have already cast Armor in the normal way which is really just a syllable; the visible retinue is part of the mandala, and now they have a different function as Seven Jewels. Both sets are fairly passive; Armor just emits rays, and the Jewels just are the Wisdoms of the Path, or, at least, their Purification of the Elements is. Nothing really says Armor Deities are more than Semi-wrathful; nothing strong like ghora or raudri, but Seven Syllable goddesses are Maha Raudras. This is Extremely Wrathful like Vajrakila.

    The Seven Syllable sadhana is supposed to be done often, especially on the Full Moon of Vaishak.

  2. Link to Post #482
    United States Avalon Member
    Join Date
    1st April 2016
    Posts
    2,180
    Thanks
    3,447
    Thanked 7,298 times in 1,907 posts

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

    Vairocani 1 of 2


    This deity is important as to why one would not simply pick up and do a Cinnamasta practice and get it to work. There, she just shows up as "a companion", but, she is really a metaphysical key, an internal change, which is portrayed in Samvarodaya Tantra. Because of her, it works differently than the widely-known Varahi rites or Chakrasamvara as a whole.

    Firstly, it establishes a pattern of Vajrasattva at the beginning, going to Amoghasiddhi at the end, like Namasangiti and Dakini Jala do. When we match the goddesses to them, it does make a stamp, or shape, to the abundance of Indian lore, like a set of parentheses.

    In terms of Vairocani's color, there are only a few yellow samaya deities, such as Cintamani, Ila, Vasudhara, or Bhrkuti, and then there is some quiet Yellow Vajrayogini who is also Kurmapadi or Tortoise Pose, and this is known as Vairocani in the texts, but not explained. Following this, we see that the upper end of several tantric spectrums is dominated by yellow, or perhaps more properly gold, and especially in a way that is luminous or fiery. Buddha became yellow or gold, Kamala or tantric Lakshmi is the same, and it could perhaps be described as "secret treasures of the unknown", hidden by Yakshas within one's body, usually called Nidhi. Its outer association with increasing wealth esoterically means enrichment by removing veils of subtle ignorance. And so Vairocani appears in the form of Yellow Vajrayogini meaning a certain amount of inner heat and light has been produced by the disciple. Compared to our practice sadhana, she is along the lines of an "approved" offering, or a meditative construction of nectar that would appeal to Ziro Bhusana. Not the ability to think about it or imagine it, but to actually cause Tapas or this reservoir of occult energy.

    Correctly-working yellow energy would be the top of our Inverted Stupa, intended to merge with the base of that of the deity.

    Samvarodaya uses her in Armor Deities, similar to, but and adjustment of, Varahi's common pattern. And if we ask why they might do this, and if it is a type of Vairocana tantra, no; her origin is quite obscure, but will actually show why she comes along with Varuni. It is not explained by Buddhism, and, must therefor be a Buddhist appropriation of existing material. It is, because it launches the strictly Buddhist Vajrasattva at her. He is being hurled into the core of the mysteries. Perhaps we should say it is very Puranic; standardized publication of all Puranas was begun by a Maharajah of Benares; the original Theosophical Society being related to a Maharajah of Benares. The Samvarodaya is fairly straightforward, and then when we look at where Vairocani comes from, it is very dense. In doing this, HPB's Puranic clue or guidance actually does intersect "the next level", or, dovetails into the practical path. The only way to improve on what she said is this subject.



    The Armor Deities are wrathful Prajnas in Protector mode, whereas Seven Syllable deity has them in Path mode. They use different names, and, since Seven Syllable incorporates Vajraraudri, then the use of Vajraraudri's ring in Samputa Tantra is involved. Because they are prajna, they cannot be restricted by external means such as a temple gate, but are more or less concealed by Yakshas or internal factors.


    Although Armor deities' personal forms actually enter one's body in Tibetan Deities 228, the text says at first they are cast normally as Varahi at the center of a five-petaled lotus, and Mohani is the only one on a moon disk. However, Varuni specifically shows all six of these around herself. That is how Varuni is like a prelude and placeholder for Seven Syllable deity; they each are distinct from the group of six, the center of it. And here, there is no alternative but to consider Varuni as being whatever Vajradhara's Family is. Because Vajradhara's Family cannot be described as much other than "remains to be seen", and whatever is to be seen must be produced by Varuni, this is sound.


    The Varuni thangka and Circle of Bliss are correct for the usual Akshobya-based Varahi Armor Deities, but in Samvarodaya, the central couple is Six Arm Heruka and Two Arm Three Eyed Bandhuka Orange Vairocani. Heruka melts in her body. And in this case it is Vajrasattva based and works a bit differently. It first has Dakini Jala's names for the Dhyanis such as Paramasva.


    Samvarodaya that has Eighteen Arm Varuni does not mention color and assigns the Armor as:


    prathamam vajrasattvena dvitiyam vairocanasthitah |

    trtiyam padmanartesvarena caturthe sriheruka ucyate 11 36 11

    pancame vajrasuryeti sasthe paramasvas ca |

    sadbhih kavacais tu raksitam | ] 37 11

    om vam vajravairocani | ham yom yamini | hrim mom mohani |

    hrem hrim samcalim | hum hum samtrasini | phat phat

    candikayam

    nabhau hrdi tatha vaktre sirasi sikhayam sarvangesv astram eva ca

    om yogasuddhah sarvadharma yogasuddho ’ham i|39||


    His Armor format is:

    Vajrasattva--Vairocani--Navel, Vairocana--Yamini--Heart, Lotus--Mohani--Face, Vajra--Sanchalani--Head, Jewel--Samtrasani--Crown, Amoghasiddhi--Chandika--Limbs.

    It would not seem appropriate to substitute Charchika, since she is Vam and Vajra Family like the regular way. Vajrasattvatmika and Vajragharvi would fit. This does repeat the odd maneuver where the principal goddess is her own navel deity.

    This is a little different since it is not Varahi and its title is Source Chakrasamvara, something like "Functioning Dharmodaya".

    In this Samvarodaya format, Vajrasattva is at the Navel, where he has no option to do anything besides become half of E Vam and Dharmodaya, which defines the root of any union tantra. Vairocani is Kanya or a daughter from within the body of Varuni, much as if offering an orange liquid to Ziro Bhusana and she approves. Both the heat of the liquid and Vairocani are attributed with melting the male principle. It is at that moment when, according to Jnana Dakini, Vajradakini crown syllable and so forth apply; and next, when tasting good nectar, then Seven Syllable deity is able to re-emanate Wrathful Prajnas on their own plane so to speak. He casts their form first, then does armor and nectar, and then Mutters them while enjoying the effects of nectar. This is only a slight adjustment to how Ziro Bhusana is set up. Vajradaka presumes adeptship of the raw occult energy she is handling.

    If we are doing a preliminary stage assisted by Dakini Jala and Varuni, then comparatively, Samvarodaya says of her:

    ‘ she
    flows in the middle of all which have become rivers ’.
    clarified butter and honey, she runs into what is called the ocean
    of milk.

    somapanan tu sa kanya dehe vajravairocani sthita 11 9 11

    vairocanidehamadhye tu herukan ca drutam bhavet |


    Varuni is Soma drinking, in her body Kanya Vairocani resides, in the middle of whom, you, Heruka, melt.


    sarvavirasamayogadakinijalasatsukham || 10 ||

    ekibhutani sarvani amrtam raudrarupini |

    harta karta ca bhokta ca tasya garbhamrtam tatha 11 11 [ |

    kundarh dharmodayakhyatam golako ’mrta giyate |

    yah sura vajrayoginyo yo madah sa ca herukah 11 12 [ |


    This is the supreme pleasure (satsukha) of a multitude
    of dakinis through the union with all the heroes (10). (Here,)
    everything has become one; (it is) the amrta and is the goddess of
    dreadful appearance; it is the destroyer, the maker and the enjoyer;
    and so is the amrta of her womb (11).

    Kunda (the hearth-pit or a bowl to brew sura with) is said to
    be “the origin of dharma” {dharmodaya) ; the globular water-jar
    (golaka) is asserted to be the amrta. Suras (spirituous liquors) are
    vajrayoginis ; and intoxication is Heruka (12). The colour (of suras)
    is Padmesvara himself; the scent is Ratnasambhava. The taste is
    indeed Amoghasiddhi ; and the vehemence is the wind itself (13).
    How can there be sacred knowledge ( jnana) for a man who is
    without intoxication; or how can there be worldly knowledge
    (■vijnana ) (for him) ? (The amrta which is) fully equipped with
    sacred and worldly knowledge makes the world confused through
    intoxication.

    Om Ah Hum is called consecration, and then:

    He should cause (him) to make (the spirituous liquor) purified and known with the mantra Ha ho
    hrlh. The syllable Ha removes the colour ; the syllable Ho
    destroys the scent; and the syllable Hrlh kills the energy; (the
    practiser) should take (the spirituous liquor) in the guise of the
    amrta.

    If you do not do this, it is toxic. I believe the second part is for the cooled mercury. If this stage is reached, there is not any kind of question about its power; the "personal fingerprint" is neutralized; its lowest level of performance is Sahaja, or it may do the rest of the signs.

    The section has explained itself as the Sukha of Dakini Jala in line ten.



    Indian Mother Goddesses refers to Ambika, sister or spouse of Rudra, invoked as Vairocani, Durga, Katyayani, and Kanyakumari. The name is also used for the wife of Tvastr, in which case she is Daughter-of-Brightness, mother of Viswakarman.

    That is her innocuous-seeming source; after a bit more general information, it will come back with a vengeance. In digging for Vairocani's roots, it starts talking about the moon in ways that are not Chandra--Soma.

    There are a few different ways of using a lunar calendar, but, if we look at the basis of it, then it is the same as showing the full moon as the Absolute Object or Prabhasvara in the middle of a candelabra, the same as the three voids, dissolving and emerging before and after:

    [IMG]https://miro.medium.com/max/1400/1*DbFlXZBwFiLZ3-dYdJh1Fg.jpeg[/IMG]





    Vaishakh Amavasya refers to the New Moon day in the Hindu month of Vaishakh. Amavasya is the day on which the lunar calendar begins. It is also called a New Moon day as the moon becomes invisible to the naked eye.

    Buddhism appears to use the South Indian method (Amasanta), which is this northern one, upside down:






    Some southern systems may use no moon as the first day, but, day one of Amasanta is "first crescent" and the literal new or dark moon is the last day of the month, usually 29th. Because the lunar year does not match the solar year, they simply add an extra lunation or complete lunar cycle about every two and a half years, the correct ratio being around 30:31 solar to lunar months. Regardless of system, light or waxing is called Sukla and waning is Krsna.

    If we have one Tara specifically named Sukla, who works for Amoghasiddhi, or in other words she is Not Ignorant about Occult Power of Moon Waxing Full, we may also note the first half of the month is mainly for peaceful sadhanas and the dark half more for wrathful and protector practice.

    Vaishak full moon is May 7 this year. The full moon of Jyestha on June 5 is used by married women to honor Savitri.

    When the whole hexagram is the union of male and female triangles, or Purusha and Prakriti, Koothoomi says:

    The white represents in its straight lines: Gnanam -- (Knowledge); Gnata -- (the Knower); and Gnayam -- (that which is known). The black-form, colour, and substance, also the creative, preservative, and destructive forces and are mutually correlating, etc., etc. [three gunas].

    In metaphysical terms the upwards triangle is white bodhicitta and the lower is the fire triangle; Vajrasattva + Vajrasttvatmika.




    Ramayana contains the stories of Sita and Urmila. And Sita turns out not to be white, but molten gold; she is an occult product like Vairocani or Kamala Lakshmi. Our samaya beings have a limited number of yellow forms, such as Cintamani, Ila, Vasudhara, or Bhrkuti, and then we find yellow to be a highly occult color assuming the form of deities which are more like physiological states of being. Urmila however is Sleep, or Tamas Guna, darkness, like the Black Void. This is Nidra Yoga which doesn't change the nature of the void, so much as it enhances one's ability to pass it lucidly. From a heart-related death experience, Mantas says there is nothing other than it sounds like he is talking about black void. And so in the medical circles they know of this but cannot really add anything to it. That is what the Yoga is for, to "pass through" so there is an experience of the Absolute Object, before emerging through the black and others. Without this yogic attenuation, one is generally not able to experience anything other than black void--no absolute consciousness--black void and back out to the world. The tip of the iceberg is missing.

    Note it is not an astral experience like a projection. He is talking about being dead in the body. The difference with Pranayama is there is no damage but there is bliss and the experience of dissolving the black.



    The kidnapping of Sita or the possibility of it having been Maya Sita is a close earthly parallel of the Sun and Chhaya--Shadow. Koothoomi says the name Avalokiteshvara is proper for all possible consciousness arising in our solar system or Sakwala. The Sun is also a very high mystery, since perhaps the most important symbol is the "shearing" of sunrays, which we find fashioned by Viswakarman into various weapons of the gods, culminating in the Trident which may generally be accepted as the white seed in the head. So in terms of the male force, it appears sunlight is bound up in an atom, whereas the female aspect has much more to do with Mayavic doubling by Samjna. HPB was aware of the importance of both of these two related things--but they turn out to be a basic, outer, statement, whereas the relevant lore has much more to say.

    The introduction to Samjna, also called (Suresvari or Saranyu):

    15. SEVEN TIMES SEVEN SHADOWS (chhayas) OF FUTURE MEN (or Amanasas) (a) WERE (thus) BORN, EACH OF HIS OWN COLOUR (complexion) AND KIND (b). EACH (also) INFERIOR TO HIS FATHER (creator). THE FATHERS, THE BONELESS, COULD GIVE NO LIFE TO BEINGS WITH BONES. THEIR PROGENY WERE BHUTA (phantoms) WITH NEITHER FORM NOR MIND, THEREFORE THEY WERE CALLED THE CHHAYA (image or shadow) RACE (c).

    (c) Chhaya, as already explained, is the astral image. It bears this meaning in Sanskrit works. Thus Sanjna (Spiritual Consciousness), the wife of Surya, the Sun, is shown retiring into the jungle to lead an ascetic life, and leaving behind to her husband her Chhaya, shadow or image (SD II p. 101).

    According to the Purānas, [Samjna is] the daughter of Viśvakarman and wife of Sūrya (the sun). In the Vishnu-Purāna (3:2) Sañjñā, “ ‘unable to endure the fervours of her lord,’ gave him her chhāya (shadow, image, or astral body), while she herself repaired to the jungle to perform religious devotions, or Tapas. The Sun, supposing the ‘chhāya’ to be his wife begat by her children, like Adam with Lilith — an ethereal shadow also, as in the legend, though an actual living female monster millions of years ago” (SD 2:174). This refers to the creation of the first root-race, the “chhāya-birth, or that primeval mode of sexless procreation, the first-race having eased out, so to say, from the body of the Pitṛs . . .”

    Twashtri (Viswakarman) is the "divine artist and carpenter" and is also the Father of the gods and of creative fire in the Vedas.

    HPB is faithful to Puranic Samjna. And yes the Puranas are muddled, as one would have to "pick a version" to decide if the father is Tvastr or Viswakarman, or the husband may be Surya or Vivasvan, but in either case, it is symbolic of a non-physical parental origin, descending to that part of the astral plane which is a blueprint of the physical and then manifestation.

    In Vishnu Purana, Samjna complained to her father Viśvakarman, that life with Sūrya was impossible on account of his excessive heat, and so Viśvakarman ground Sūrya on his drilling machine and reduced his heat. But, only (1/8) of the heat (effulgence) could be so reduced, and it was with that fraction of effulgence that Viṣṇu’s disc (cakra), Śiva’s triśūla (trident), Kubera’s puṣpakavimāna and Subrahmaṇya’s weapon called Śakti were made.

    Surya finds out her trick due to the curse on Yama; he pursues her in horse form into Uttarakuru, and from this, the Aswins, or immortality, are born. This is the most famous mare in Hinduism, having to do with horses becoming vehicles of further deities.

    So Vairocani is the mother aspect which would say Tvastr + Vairocani = Viswakarman (Brahmanda and Vayu Puranas), and possibly in the sense that Viswakarman is Tvastr on a more terrestrial plane; Myths and Gods of India says they are identified, or, the Shaper, Tvastr, primarily identifies with Viswakarman, and to a lesser extent, with his other progeny.

    Tvastr is Samjna's father in Matsya and Brahmanda Puranas and in Mahabharata. It is Vishwakarman in Vishnu and most other Puranas. Samjna is always the consort of Surya, unless it is Vivasvata (Bhagavata Purana), which is about the same meaning; and she standardly throws in her substitute who manages to have her own children with Surya, such as Shani--Saturn and the future manu. The next Manu is in a cycle where Amitabhas are a principal deity class of the universe. This is emanated from the current Buddha cycle where Amitabha is the overall main guru or teaching Buddha of the time; and so once he is mastered or absorbed, he is then a basic building block in the future.


    Chhaya is also simply called Prithvi Samjna, i. e., earthly or mundane perception. Her sister, as Saranyu or Swift Cloud Samjna is shown as Vairocani's daughter. From there, we see that Vairoicani's father is Prahrada, Sound of Happiness, an Asura chief also called Kayadhava in Taittirīya-brāhmaṇa, which is like a common key for Hindu tantra, a commentary on Krsna Yajurveda. Vairocani in Brahmanda Purana is the sister of male Vairocana (brother of Sumbha and Nisumbha, father of Bali), and mother of a male Viraja (possibly the father of female Viraja and also of the Vairājas—pitṛs living by yoga), or, Viraja is son of Pūrṇamāsa and Sarasvatī; his wife was Gaurī; son Sudhāmā, Lokapala of the East. Bhagavata Purana intends to use Viraja twice, as a son of Tvastr whose wife is Visuci, and as a son of Purnamasa (which is actually first). There is also Parvasa — a son of Purnamasa and Sarasvati; the lord of all ganas.

    Purnamasa is son of male Marīci and Sambhṛtī (or Sambhūtī in Vāyu-purāṇa, or Kala); whose wife is Sarasvatī. As a standard word in male form, Purnamasa means full moon sacrifice, and in feminine means day or night time of the full moon. SAMBHUTI—(i) Daughter of Daksha; wife of Marichi and mother of Purnamasa, Prishthi and Trisa. SAMJNA—Daughter of Kalindi. This definition is backwards; Kalindi is Yami, daughter of Samjna.

    This Krishna Yajur Veda commentary is three massive Devanagari books, the only existing one of its kind, and untranslated.

    The Ditis

    Diti with Kasyapa had Hiranyakasipu and others; Hiranyakapisu, the first Daitya, had four "Sound" children, of whom Prahrada is considered important. The incarnations of Visnu are in part about defeating the generations of Hiranyakapisu; Visnu is his half-brother born from Aditi. They have the same father, Kasyapa, who had children with Diti and Aditi, Daksa's daughters and others and also sired the Danavas. General information on Diti does not carry the explanation about bounded space and conditioned matter, but, she is this change to her sister Aditi, the boundless. One of Diti's few daughters, Simhika, is the mother of Rahu--Ketu.

    In Theosophy, Daitya means descendants of Diti. The glossary for Daitya is the basic argument that orthodox devils, Pisaca and all the rest, are not so in yoga. Strangely, this courtesy is not forwarded to Dakini, even though its basic folk meaning was a nasty witch, it is just like any similar term. In other words there is not really a class of beings which "is" evil permanently and intentionally; all are able to turn to Dharma. And the word dakini does not really appear in the Puranas along with the others; it may be strictly tantric, along with Candali and so forth, and so it did not require the same defense or explanation as Daitya, etc. The Puranic equivalent is describing devas, humans, rakshasha and all others as knowing about and performing tapas.

    Daityas are Asuras in the sense of "no Sura" (Brandy--Varuni), whereas the older Vedic Sura (Deva) is "breath", the Puranic name does not mean breathless, but refers to Churning of the Ocean.

    Daitya Guru (Sk.) The instructor of the giants, called Daityas (q.v.) Allegorically, it is the title given to the planet Venus-Lucifer, or rather to its indwelling Ruler, Sukra, a male deity.

    The first chief Diti or Daitya, Hiranya Kasipu, is Gold Cushion, Clothing, or Food. He is reborn as Ravana in Ramayana.


    Hiranyakasipu and one of his brothers are Jaya and Vijaya due to the Kumaras' curse. Hiranyakasipu tried to kill his own son with Kayadhu, Prahrada or Kayadhava, who was defended by Visnu in Narasimha form. Prahrada inherits the Daitya--Asura kingdom; but one should note that due to the nature of the curse, Jaya and Vijaya are wanting to be killed many times as quickly as possible. Prahlada has a very intricate story never mentioning a wife.

    Adityas are equal to Tusitas of the prior cosmos. So in Kama Loka, Indra's Heaven is the last having to do with the terrestrial plane; Tusita is as low as a formless being can descend.

    Prahrada is generally an enemy of the devas and attacked by Indra, Mars, etc, but is a Visnu devotee.

    The alternate spelling Prahlada calls him a Mahatma, a disciple of Dattatreya and of the line of Sukra--Venus. There is no note of his wife except possibly Drarbi, or else Dhriti. Hindus have almost no trace of this tv trivia question. A standard cycle of incarnations says Kunti and Madri: The two goddesses Siddhi and Dhriti became Kunti and Madri. Gandhari: Mati became Gandhari. More frequently, Dhriti is the wife of Dharma, and mother of Niyama. A dictionary definition about the marriage is unsourced. Dharti Mai means Bhu Devi. Dhrti is possibly sourced here.

    Usually Dharma, son of Brahma, marries thirteen daughters of Daksha, including Dhrti. But she is also called a wife of Rudra. Her son is commonly called Dhairya. Dhriti is restraint of the organs of taste and reproduction.

    Prahlad is actually reverenced by Sikhs, and heavily admired by Vaisnavas--understood as a demon who turned to honoring Visnu--but Hindus are having an extremely hard time figuring out his wife, the mother of Vairocani, since Dhriti appears to be misplaced from a previous generation. It is very suggestive since the wives of the less-famous brothers are all named. Bhagavata Purana is instructive about the avatars of Visnu, but is not that useful for goddesses.

    In Buddhist terms, noumenally, Vairocani emerges from Varuni. Vairocani is then the mother of Viraja and of Samjna, whose sister is Chhaya. Vairocani's mate is obscure, but possibly Purniman (Bhagavata Purana), since both are considered parents of Viraja. The only way that would really work is if Vairocani is permitted two husbands. Both males are reluctant to speak of it; and Viraja is used repeatedly.


    Prabhasu or Dyaus was the chief Vasu in stealing the Wealth Cow; but, it is reproduced and milked in all these world systems; and so the Vasus were cursed to incarnate, him the longest. He marries Jupiter's sister, Yogasiddha or Varastri, which normally means "woman of the many". In metaphysical terms, there is a type of "handoff", since Jupiter is really the Deva Guru and man is not a Deva; it does mean something like blind, vain rites being rotely performed are not that useful to spiritual growth; at the same time, Jupiter is associated with yellow and is "almost solar". In technical terms, Jupiter simply has to do with Rtu, which is the natural and cosmic order; whereas social and personal mental order is Dharma.

    Primordial Light plus the sister of Jupiter arrive at a pinnacle with respect to our plane:

    Dharma + Prabhata (Dawn, or to make or become light) = Vasu Prabhasa

    Prabhasa + Yogasiddha Varastri = Vishwakarman

    Prahlada + (Drarbi, Dhriti, or Varuni) = Vairocani

    Vishwakarman + Vairocani = Samjna (Brahmanda Purana, III.59)

    In Brahmanda Purana, Viswakarman and Tvastr are the same.

    It mentions one Varuna wife as Stuta (elsewhere, Sura or Carsani), mother of Surasundari.



    The idea is that all of these creation tales are speaking to different planes as they spin out from rest. This is fairly visible in the sequential sections or Cantos of Bhagavata as well.

    Purniman is in Bhagavata Purana 4.1 as the father of Devakulya and Viraja.


    The related group are the Tusitas (Adityas or formless) in the time of Root Manu or Swayambhu Manu--where Soma is born separately from Purniman--and so this is a primitive stage of the cosmos, still something like a germ; the son's name is repeated, there is another Viraja further down the page, until in 5.15 story of Gaya:

    "From his [Bhauvana's] wife Dûshanâ a son was born named Tvashthâ and from Tvashthâ's wife Virocanâ there was a son named Viraja. From Viraja's wife Vishûcî a hundred sons [and grandsons] and one daughter were born with S'atajit as the first one."

    Visuci is an end-product of the story and a synonym of manas. Even though the text says it is about material creation, it seems to end at the point of creating mental forms. So this likely would be the cosmic third point or third logos, as the "two" must produce the three or cosmic manas or Mahat to manifest, or they disappear.

    Gaya is on the road between the Bodhi tree and Benares, and was three gavutas from the Bodhi tree and fifteen yojanas from Benares, sanctified by Visnu based on 5.15, having a general meaning like a home. The Gaya character is a descendant of Priyavarta, who is responsible for making seven oceans and continents, and of these it is said happiness is spontaneous and there is no death, so this Swayambhu epoch is not quite physical. Priyavrata had three priest sons and seven rulers of the countries. The mother is called Barhismati, daughter of Viswakarman.


    In 6.6 with the Aditis, it goes on to:

    "The most fortunate Samjñâ gave as the wife of Vivasvân birth to the Manu called S'râddhadeva as also to the twin, the demigod Yamarâja and his sister Yamî [the river Yamunâ]. She appeared on earth in the form of a mare and gave birth to the As'vinî-kumâras... From the marriage between Tvashthâ and the girl called Racanâ, who was a Daitya daughter, the two sons Sannives'a and the very powerful Vis'varûpa were born."

    This is the layer with Vasus and Krittika and the former or Caksusa Manu, followed by the Aditis and Vamana, until Visvarupa replaces Brihaspati as a priest for humans. So in the esoteric terminology, it is descent at least as far as the second or Indra Heaven. Vamana steps in three worlds, so form has been cast, which would go under Chhaya.

    Bhagavata Purana does not mention the origin of Samjna. Solar Dynasty shows that puranic accounts do not match, but, as mother of Manu, Death, and the Aswins, Samjna wife of the Visible Sun is fundamental. Figuring her our completely makes one a Samjna Samjnin which is in Satya Loka or the highest plane.

    Somehow, Bhagavata has pinned the description of Vairocani onto Racana, which is virtually the same meaning as Raca in Four Dakinis' Mantra. It is a common word, but, this is the only place in the world where it becomes a deity, when it is stepping into Vairocani's position. It could be a scribal error or if you knock off the first syllable "vai" then it becomes apparent. Visvarupa is the Mega form of Visnu such as Krishna displayed.

    Vivasvan is alternately the Sun or Manu's father, so this is still like marriage to Surya.

    Sannivesa has rather limited use; in a general example, it is the same as Racana: order and arrangement (sanniveśa-viśiṣṭatā) of the universe.

    In Buddhism, Sthana Vijnapti is synonymous to Bhajana Loka Sannivesa Vijnapti from a Nirvikalpa document.

    Vijnapti is used amongst synonyms of Yogacara, in the difficulty of showing it is not idealism but non-apperception, again the source of ancient divisions in schools.

    Sthāna (स्थान) refers to “sacred seats”.—The Vajraḍākatantra deals with three types of sacred districts (deśa or kṣetra) or seats (sthāna) of deities:—Type (1): Internal twenty-four seats divided into pīṭhādi and tricakra; Type (2): Twenty-four districts divided into twelve groups or six families; Type (3): Another group of twenty-four districts. Sannivesa is something on Mt. Meru that burns at the end of time; Sam, "all", ni, "lead", vis "enter", usually means some type of union like an encampment or an asterism. Therefor, it could be interpreted as the main "categories" of Sthana, Body--Speech--Mind and the Pithas, or, Six Families in Peaceful and Wrathful forms.

    So the sons of Vairocani appear to be the ordered components of the subtle body as in Vajradaka, and Visvarupa or the cosmic forms of Krishna or Sadashiva, Avalokiteshvara, Sitatapatra, etc.

    Here in a strand of related words to Purniman, it brings in Krodhas and so forth. It generally relates to the moon, but is not Soma or Chandra but mainly means Full Moon. Male Sage Marici has two sons, Kasyapa and Purniman; Purniman's daughter Devakulya becomes Celestial Ganges. This Marici is pre-dawn or breath of the sun prior to manifestation. Surya or the actual Sun is a son of Kasyapa, "bed", something like bed of all life forms. Purniman, Vairocani, and Ganges are therefor something of a sidestream or entity apart from the jivas or kingdoms of incarnations within the Tortoise or Kasyapa.

    Vayu Purana states Devakulya has four sisters: Tushti, Pushti, Twisha, and Apachiti.

    Purniman is usually male but even called female in the same Marici lineage. Esoteric Hinduism was published at Benares, and it is someone trying to teach Bhagavat Purana to Annie Besant; saying Purnima is female, but, to use Theosophical terms, calls Kasyapa the source of bodies, and Purnima is the monad. Something like this was apparent at first glance, but this would appear to be the correct and useful template. This of course would "stick to the original", instead of pasting Solar Logos and hierarchy of masters over it, I think we can see the glaring error and how this more or less does bridge Theosophy, Hinduism, and Buddhism, if I am finding it when trying to explain a specific Buddhist tantra.

    Subba Row on lower manas holding four-fold form and upper manas seeking its union to the higher two. Within the black void, he says that only Purusha is real, although the masters and most of the teachings would say Mulaprakriti. Damodar reprises him near the end of the page. Damodar had been protected by Koothoomi as HPB had by Morya, and trained in Brahmanism and English. In 1879, Isis Unveiled was his catharsis, he joined Theosophy and he went in 1880 to Sri Lanka to renounce his caste and enter Buddhism with the Founders. This caused him to become Disinherited. Damodar earned the privilege of meeting his Master in Lahore in November 1883. Shortly thereafter, Damodar and H.S.Olcott spent a few days at Jammu in Kashmir as guests of the Maharaja. Damodar disappeared without warning, only to return in three days transformed. In 1885, HPB left for Europe, Damodar visited Majji, and entered Tibet with "the Tibetan", which Olcott had learned to call an Avatari Lama, which is a still-current term around Nepal that has been known since at least the 1850s.

    Damodar typifies and was said by HPB to be the fruit of the whole theosophical program. As far as we know, he wound up somewhere around Shigatse and never wrote books about the masters or anything else.

    The main "entrance" to Tibet that one would use from Sikkhim or Bhutan is a place Koothoomi visited, and soon became famous as a staging ground for the "British Invasion"--nevertheless, it is hard to tell much about the particular gompa, which he says was the residence of a friend, Lama Ton-dhub Gyatcho.

    Phari Dzong is in the southern promontory of Tibet, at the west end of Bhutan. It can be discerned on a 1904 map; slightly north is Tang La and Mount Chomolhari. This mountain is a home of a Tseringma sister Jomo or Tseringma herself; an annual pilgrimage goes up from Phari. Tang La is a high pass marked by cairns and prayer flags. Koothoomi refers to "the greatest of our living adepts — the Shaberon of Than-La" (presumably Mahachohan). There are a few other "Tang Las" at China or Ladakh, but this one is on the road to Shigatse. "La" is simply "pass". Younghusband has a picture crossing it. When he says "our" and "adepts", he means those who serve the Bodhisattvas. So if Than-La is this particular Tang La, then, the adept would be the chief of Phari Dzong, since nothing else is there. He does not mean any head of Tibetan Buddhism, or the One Initiator, or anything other than the senior of "ours", which means Tibetan, trans-Himalayan, Sikh, Druze, and Coptic adepts, according to what he said of those who act in concert. Subba Row said the South Indian branch was its own thing.

    Jomo is locally called Aum Jomo or Ama Jomo.
    Her festival is Jomo Kora. But this is at Jomo Kukhar in East Bhutan of the Brokpas. Jomo River is the Brahmaputra. According to their oral history, the Brokpa originate from Tibet and came to Bhutan after they beheaded a tyrannical king Dreba-Yabu in their ancestral village in 1347. Led through the mountains by the deity Aum Jomo and the guru Lam Jarepa, they brought with them scores of religious texts, their form of Mahayana Buddhism, and their distinct culture.

    Tibetan messengers are supposed to cross eight hundred miles day and night on horseback in twenty-two days.

    Phari Dzong predates the Bhutanese, having been on a caravan route, which also has been used to haul a lot of iron from Bhutan by the founder of Iron Chain Shangpa.

    The life and work of Thangtong Gyalpo are available in several biographies of which two were written in Tibet. The first one was written by his nephew Konchog Dewä Jungnä (dkon mchog bde ba i Byung gnas) who took care of a temple in the Phari (Phag ri) Dzong in Tibet near the Bhutanese border. Thang Tong Gyalpo is one of the most prominent figures in Tibetan history, who recognized the first Samding Dorje Phamo.

    Ama Jomo traditional lyrics.

    Tibetan nuns are usually called Ani or Jomo ("head of household"). Ama Jomo's vague memory in Bhutan. Ama Jomo is used in Nepal at Mt. Gaurishankar and for Yolmo, and around Everest. For some reason, information runs out when it comes to Jomo's mountain and lake that watch the entrance to Tibet.

    HPB was, more or less, the only foreign woman much welcomed in Tibet, but the opportunity for them to have formed mainly non-English brotherhoods is inexhaustible, even based from food:

    "The Russian explorer Nikolay Przhevalsky in 1878 described Lhasa as the “Rome of Asia”. We know that since time immemorial, an unending stream of pilgrims, mendicant and merchants flocked to that city particularly during the period of the New Year and the Monlam festival. Early accounts even refer to Armenians, Pebouns (Newari), Casimiris (Muslims), Mongols, Chinese and “Muscovites” among these visitors... [the] great scholar (and spy) Sarat Chandra Das, who in 1879 writes of this establishment in Shigatse: “On one side of the market-place is a large zakhang, or restaurant, where Phurchung and Ugyen (Das’s companions) went to appease their hunger. While they were busy … the proprietor came in. He was a nobleman of Tashilhunpo, head of the Tondub Khangsar family, and held the office of Chyangjob of the Tashi Lama … The lady under whose immediate supervision this establishment is no less a personage than the wife of this dignitary."

    In his own report, Sarat Chandra Das easily went through official channels to get a passport and invitation from the Panchen Lama, and so was immersed in the same milieu around the same time as HPB. Das's teacher Ugyen Gyatso was an assistant teacher in the school. He was a lama from the Rinchenpong monastery in Sikkim, which was affiliated to Tashilhunpo lamasery in Shigatse, eastern Tibet. Das was among a large number of "Pundits" the British used as spies, which accomplished some map-making and basic information, but never gave anything important that the British were after; they just paved the way for Younghusband. Das pretty much just devoted himself to Tibetanism, although everyone who assisted him was punished or killed. This Pundit scheme is more or less the inverse of the theosophical one, although it bears superficial resemblance and may have intermingled to some extent.


    So if there was an attempt by a native to render Bhagavata Purana in theosophical terms--and it appears to be correct--then we should give the Bhagavata some credence, and perhaps say that Bhagavata and Mahabharata are primarily Vaisnava, which is not really wrong, but, incomplete in the light of Devi puranas; or perhaps they complete each other. Buddhist tantra appears to be a streamlined fusion, in the way that Puranic background is important, but not quite in the academic sense of having to learn all eighteen Maha Puranas and as many minor ones.

    Although he goes on to be the majority of the Seventh Canto of the Bhagavata Purana, Prahlada's wife isn't there, neither does one seem to be apparent to Purniman who is sometimes called female. Mahabharata does not really say Prahlada's wife is Dhriti or his daughter is Vairocani since they are omitted altogether. Lakshmi's 1,000 names line seventy-five does however begin with Vairocani Narasimhi.

    The theosophical Bhagavata made a few interpretations concerning what is commonly referred to as the Marici Creation, or, the lifewave of this particular planet under this particular sun. As soon as we saw Purniman was a parallel to Kasyapa, one would have to say this must mean something significant, and it does.

    Her or his son, of Purniman, Visvaga means "goes all over the universe", very similar to Vamana. Viraja is the father of the Vairajas; together with his brother Visvaga, they are the "Universal Aspects of Jivic Intelligence" in the theosophical study. Jivas are monads or individualized lives, so, Purniman must be the monads, and his children some kind of differentiation. Viraja is a likely smaller assembly of already-perfected monads, Vairajas. Visvaga contains humanity or the human monads for the most part.

    Male Marici is called Atmic Ray or Atma-Buddhi, which matches calling him pre-dawn, unmanifest. The book confesses itself to be "work of a student". It teaches forty-nine fires without naming them, and recognizes the difference between solar and lunar Pitris. And it is not cosmic, utterly, since this part is really still about our particular planet. The deity still has the name Marici which is still a mirage since the individual sun is only a reflection of that original Ray of the Central Sun. Spiritual practice is under or within Marici, since a direct hit from the Central Sun is the wind and fire at the end of time. If we manage to touch just a mere thread of the reflection, it will give us a strong impression of that.

    Purniman's daughter Devakulya is the presiding deity of the River Ganges, which comes down from the heavenly planets to this planet and is accepted to be sanctified because it touched the lotus feet of [the Supreme Personality of Godhead,] Hari. The original text only says Hari, and Devakulya became sarit or river of Diva which is Svar Loka or Heaven of Surya, day as opposite of night, and synonym for Lamp--Dipa. Her name, "kulya", has the meaning of a "factitional river", such as a canal or irrigation; but the centrality of her role cannot be missed as the divine source of Ganges, which in its turn is the mother of the earthly incarnations of the Vasus.

    It looks circumstantially like Full Moon Vajrasattva or Purniman is the or a consort of Vairocani. Their offspring include Viraja, Samjna, and Devakulya--Ganges. Full Moon in Buddhism is Relative Bodhicitta, Ah or Ali of Great Bliss followed by Khandarohi mantra, and White Appearance Void. Water Moon is Sambhogakaya or mastery of illusory body.

  3. Link to Post #483
    United States Avalon Member
    Join Date
    1st April 2016
    Posts
    2,180
    Thanks
    3,447
    Thanked 7,298 times in 1,907 posts

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

    Vairocani 2 of 2

    To all appearances, Samvarodaya Tantra uses Vairocani in a specific way that can be shown as one of the rare gaps where most Hindus are hard pressed to explain the family relationships. Something is missing, like the rays sheared off Surya. She is "above" the Ganges Mirror. Her slightly nebulous "identity" is nevertheless mostly surrounded by circumstances and definitions that make something like a frame, she is a nexus on it, something like three levels of three channels. She is latched onto by Vajrasattva in the navel as great bliss and as protection from fire in yellow earth nirmana chakra or the starting zone, so to speak; it mentally uses cool white moon for protection. The phenomenon or feminine experience is fierce heat or candali, to which the male knower is applied as white moon.

    In Sri Vidya:

    Chinnamasta is called vajra Vairocani, the sakti of Vajra-weilding lord of devatas - Indra. Indra is the supreme lord of deities according to Veda, and Chinnamasta is thus seen evidently as developed from Vedic vidyas.

    Kavyakantha Vasistha Ganapati Muni traces Chinnamasta back to the Puranic story of Renuka. Chinnamasta is said to be Renuka, the mother of Parasurama and wife of Jamadagni.

    Chinnamasta is a teevra devata and its initiation is not to be given easily. One would get great siddhis through the upasana, however the consequence of mistake too would be serious. Teevra or tivra is an equivalent of "Extremely Wrathful", the degrees being Ugra, Prachanda, Ghora, Tivra. It has a connotation of hot and sharp. In terms of goddesses, we have something like Ugra Sarasvati, Ugra Tara, Mahacina Tara as something like the "start" of wrathful practice; Prachanda Candi is perhaps an outer or exoteric approach to Cinnamasta; Ghora is only found at the level of the Gauris and Raudris; and Tivra is perhaps a full or true Cinnamasta becoming possible if one generates Vairocani.

    From p. 69 of an Orissan governmental document:

    In this context the story of Renuka, the
    wife of sage Jamadagni can be cited. She is
    worshipped as goddess Matangi, Yellama and
    Prthvi etc. for procuring offspring by barren
    women even today...Although we do not find mention of
    goddess Durga in the Rg Veda, Her name
    occurred for the first time as Ambika in
    the Taittiriya Aranyaka as the consort of
    Rudra. She has been mentioned as
    Durga Vairocani, Katyayani, and
    Kanyakumari in the same work also.


    They have let slip that the first known use of Durga's name is something like Durga Vairocani.


    Sage Sukra's daughter Varuni is Varuna's wife in Mahabharata. Savitr, the seventh Aditya, is the Inscribed Word amidst six sovereign principles, Rg Veda 9.114.3; it is the sound from which the sun was created; it first took control of mind, seized the light of Agni, and extracted it from earth (Svetasvatara Upanishad).


    Buddhists and Hindus alike both honor Guru Purnima (usually in June), which is also Viraja Homa.


    Tvastr is used in a Vaisnava Armor formula with Padmanabha. To Vaisnavas, the spiritual world is a manifestation of spiritual energy and is known as Vaikuṇṭhaloka, “the place where there is no anxiety”. The material world, known as Brahmāṇḍa is the creation of the external energy. Between the two creations-the material creation and the spiritual creation-is a river known as Virajā as well as a place known as Brahmaloka. Virajā-nadī and Brahmaloka are shelters for living entities disgusted with material life and inclined to impersonal existence by way of denying material variegatedness.

    Dialogue of Samjna and Chhaya

    In Buddhism, Samjna is Perception Skandha, sixfold, with respect to perception of the objects of the five senses plus the ideas perceived by the mind. Samjna for instance perceives the difference between blue and orange, but reactive feelings or mental thoughts about them come from other skandhas. Samjna simply takes sensory inputs or objects (Sparsha Vajra, etc.), and is Amitabha or Lotus Family. So this perhaps is the reason for Lotus Khandaroha Varuni being so influential, if this is a type of "daughter Varuni", she would circle back to meaning samjna or Lotus skandha. Vairocani is the consort of Vajrasattva, and mother of Viraja and Samjna.

    Amitabha's Discriminating Wisdom is tricky, since it would see the differences and details of blue and orange without ever "splitting" or going into any digressions that would emulate an independent existence of either. They are just known masks on one element. No mental process should occur. Asking about them would be like using a vending machine whereby all possible knowledge is instantly dispensed, without thinking about it. It is just there. That is how we would emulate Dharma or Lotus Speech; pure truth comes out without the mind having colored or stained it.

    Samjna was overwhelmed by light, heat, and sexual desire; Pandara becomes "red by proximity" to Amitabha. The females are almost the same, but, Amitabha is not the sun. On a noumenal basis, the same importance is switched to karuna or refuge of one or Buddha Nature--"as if" it were the sun that visibly gives life and energy. It is not to say the visible one is not happening, but, in Buddhism, it is in the hands of something else; Amitayus or One Life as inseparable from Bodhicitta.

    The close parallel for Agni is goddess Ganga and her six mayavic seeds.

    Lakshmi tantra makes it clear the trinity is "twisted" before it is even reflected; that Gunas in the theosophical sense are conditioned, pertain to form, and their source is a Divine Guna on a higher plane where the goddesses function differently. Tripura Sundari or Manipura concerns a triangle within the body, to which there is found a subtle higher yoni triangle above the head; the subtle higher triangle consisting of what we call three voids or three subtle minds.



    Varuni is far from a mere shakti of Varuna, much as Buddhist Marici has little to do with male or Sage Marici; she is a noumenal dawn, not the physical; and is something like a solar daughter that comes to us, and she, so to speak, is like the sheared out sun rays, like we find the personal saga of Vairocani conspicuously absent except for a few hints. Therefor Cinnamasta would not seem to work, unless this blank is filled with tapas and following the teaching as closely as possible.

    Vairocani is mainly mentioned in Vayu and Brahmanda Puranas.


    There is a hypostasis of Bhadrakali in Vayu Purana part one.

    Vayu Purana 2.22 and Brahmanda Purana state Vairocani is daughter of Prahlada, wife of Tvastr; and confusion lingers about "other generations". The statement is from p. 651 in Vayu Purana part 2.

    P. 478 of the Vayu mentions birth by thought, sight, touch, and sex, and so it is something like 200 pages of all kinds of beings from all manvantaras. Chapter Twenty-two is The Race of Varuna : Birth of the Aswins. Varuna's wife was the daughter of the ocean (Samudra), called Sunodevi, Nevijyeshta (Sukra's daughter in Mahabharata and Bhagavata Purana; Jyestha should be "elder" to Lakshmi), Charsani, Parnasa, Rddhi, Gauri -- in other words, Varuni or Varunani because she is Varuna's wife, but hardly, if ever, called that. Sunadevi has been used as a title for Durga, Lakshmi, and Parvati. Sunavama has been translated as "may we offer", or, "press out [soma]"; suna has many meanings, although sunau, water, is related to sunoti, to press out or extract or distill.

    The Vayu also says Sura and (male) Kali had the son, Mada (intoxication). In Brahmanda, Stuta--Sura is Kali's mother, his wife is not named. In Devi Bhagavata, Varuna is simply Devi's sweat and Varuni is his left side. It is hard to tell which of Varuni's wives are distinct individuals; Varuni and Rddhi sometimes being called the two. Tehchnically, all waters, rivers, etc., are his. Varunani in Rg Vdea, twice with Rodasi; Varunani as Nrrti in Atharva Veda.

    Later, Balarama gets another Varuni:

    Lord Balarama however, who is considered the avatari (source of all avatars) (in the Gaudiya view of course) has two consorts. According to us [?], when He appears as Lord Nityananda, then Revati and Varuni become Jahnava and Vasudha respectively. According to Gaudiyas its the other way around (which makes sense because they consider that Ananta Sesha is form of Balarama). Varuni devi is considered an expansion of Revati devi. Sometimes in avatars, personalities may merge into one, (which is what happened with the consort of Lakshmana, Urmila devi, who is combined avatar of Revati and Varuni).

    Vāruṇī is the mūlarūpa patnī of śeṣa, revatī is an avatāra of vāruṇī with āveśa of śrī since balarāma had an amśa of nārāyaṇa.

    Urmila, Dhumorna, or Syamala are Yama's wife.

    cf. Brahmanda Purana -Part 3 - Chapter 59 - Birth Of Vaivasvata - 2.3.59:

    . Chapter 56 - The descent of Gaṅgā
    . Chapter 57 - Varuṇa visits Bhārgava (Sukra, Parasurama, or Jamadagni)
    . Chapter 58 - Rāma reclaims land from the sea
    . Chapter 59 - The Birth of Vaivasvata

    The reason for the congruity of these two Puranas is that the Brahmanda is a recension of the Vayu.

    So Samvarodaya Armor Deities has pretty selectively bracketed itself with the two main Devi Puranas by having Vairocani first from:

    Brahmanda Purana (12,000 verses; includes Lalita Sahasranamam, a text some Hindus recite as prayer)

    And last is Candi of:

    Markandeya Purana (9,000 verses; includes Devi Mahatmyam, an important text for Shaktas)



    Vayu as Prana; Five Purusya fire gods and Varuna and Carsini's unusual modes of reproduction in Bhagavata.

    Vayu Purana Synopsis with Maruts

    Larger Synopsis


    But Vairocani pre-dates this in a way that is still subject to philosophical wrangling, from Taittirīya Āraṇyaka 10 verse (ascribed with a terminus ad quem of 3rd century BCE), which hails Durgā as follows:

    “tām agnivarṇām tapasā jvalantīm vairocinīm karmaphaleṣu
    juṣṭām, durgāṃ devīṃ śaraṇam ahaṃ prapadye sutarasi tarase namaḥ,”

    which Coburn translates:

    “In her who has the color of Agni, flaming with ascetic power (tapas), the offspring of
    Virocana (vairocani) who delights in the fruits of one’s actions. In the goddess Durgā do I take
    refuge; O one of great speed, (well) do you navigate. Hail (to you)!”

    This verse is duplicated verbatim in Ṛg Vedic Khila, Rātrī Sūkta (4.2.13). (From Mother of Power, Mother of Kings)

    Not "offspring of Vairocana": Vairocani means the daughter of sun or fire. Version two:

    Wife of Rudra, Ambika--Durga is of the colour of fire, luminous owing to austerities; Vairocani who is worshipped for reaping the fruits of human deeds.

    Justam (worship, delight) has related meanings as above and is also Ucchista.

    So the Aranyaka or forest hermit doctrine was recorded ca. 300 B. C., and the older Puranas such as Vayu after the year 300.
    Tattiriya Aranyaka chapter ten is actually Mahanarayana Upanisad:

    Sanskrit version

    Translation with commentary.



    This is Durga Suktam.

    In other words, this oldest known use of Durga Vairocani is abundantly common. It is the same as the first recorded mention of Katyayani. Buddhism uses Narayana one time with Mahamaya Vijayavahini. The corresponding Upanishad makes the goddess weave with Agni and, she becomes a specific power of fire with its own set of rays she is the sum total of.

    The line in question is refuge in Durga and also a form of "tara" or that Durga has tara--cross over as an ability or action.

    tāmagnivarṇāṁ tapasā jvalantīṁ vairocanīṁ karmaphaleṣu juṣṭām .
    durgāṁ devīɱ śaraṇamahaṁ prapadye sutarasi tarase namaḥ

    The translator seems to give vairocani as shakti or power; The main comment at least says Durgā Devī is the saviour of man in his troubles of mundane life and bestower of the highest bliss. Well, Buddhism mainly takes this and makes it internal and gnostic.

    Another attempt translates her as self-effulgent:

    She is shining like fire, burns up Her enemies by Her radiance, is self-effulgent, is worshipped by those who seek fulfillment of the rites performed by them.


    Sometimes she is even called consort of Vairocana the Supreme Being, which is to call god an incestuous demon; "energy belonging to the Absolute in its various manifestations" actually all comes out of her name according to some.

    Yet another version says "you are born of the fire of tapas (vairocani), the fruits of all actions belong to you".

    That independent opinion is pretty much the same meaning we want her to have in the sadhana, even though I am not sure it literally says "born of". With Bali, this name would sensibly mean "son of Vairocana", but here it is not saying child of anything; is almost more like "spectrum". Roshana is the commonly-given name equivalent, bright, shining. Rocana may mean bright sky or solar, with "vai" or vi- in a regular meaning of division, distribution; with Vishnu or Vibuddha, it means expands into all of these differences.

    So the Buddhist tantras have nothing to say on her origin, she suddenly is just there if you were to follow Cinnamasta, or else she is found in an extremely limited number of other things, such as Samvarodaya. And so after hammering out her inner meaning--that she must not be any kind of outer deity, but, is an expansion of inner heat and light--traced back to her origin, that is a legitimate explanation, where she is not called all forms of fire, but it is quite close to all forms of light produced by tapas; or, a particularly strong one, blazing.

    Rocana Phala is citron.

    Basically she is Agni colored with or by Jvala--Blaze of Tapas, vairocani, karma-fruit (pleases). Vairocani, even if taken as a proper name here, would still be non-different from Durga. Kanyakumari is a living nirmanakaya of her who is both Hindu and Buddhist, but, it is a temporary manifestation, compared to Varahi tulku. So to call Vairocani an "acolyte of Varahi" is accurate.

    Varuni is the one taste of all tantras since Vairocani resides in her. Varuni is consistent with the practice of tapas, japa, etc., in the body of which is its illumination, Vairocani. If we follow the Armor Deities, it goes from tapas illumination Vairocani to Smoky samadhi Candika; Brahmanda to Markandeya Puranas, Lalita to Candi.

    If it then makes sense that as a sort of tutorial sadhana, Vam Vajracharchika, being japa, is first, it would be consistent to switch to Vam Vairocani when the degree of progress and familiarity is obvious; manifest.

    In the second line with Sutarasi, Sūta is one of the names, or synonyms, for Rasa (mercury), although sutara does ordinarily mean "make easier to cross over". Sutara is also a Gandharva, friends with Pramohini, in a quick story where after Durga worship, a Brahmin takes all as five wives who were unable to bear the tapas-brilliance of Sage Lomasa.



    5/7 of Durga Sukta mantras are to Agni, the exception being this one with Vairocani, and her gayatri:

    Om KatyAnaya Vidmahe kanyAkumari dhimahi tannoh Durgi prachodayath.

    I do not see a lyric version; Uma Mohan with Durga Gayatri at the beginning and end of the same song as the next one:








    This one is more flowing and Upanishadic:









    Specifically she is singing the seven verses from dvitIyo.anuvAkaH "chapter two" of Mahanarayana Upanisad, or, the first part of the commented version. Or, here is a commented version which also expresses Vairocani as the Fire of Tapas. The Jatavedase at the beginning is like yajna or that Agni which carries oblations to the deities, as opposed to Kravyad, the funeral or cremation of bodies; and so has the connotation of "pleasing". Here, it starts by offering Soma. Jataveda is equal to Vaisvanara and/or tantric male Savitr.

    The way she echoes the final H on a lot of the lines is quite plain.

    The piece certainly is not about her attacking or destroying things. The end of it blends bliss and intoxication, similar to Varuni.


    Kumari is a child and this power is also equal to the mature Katyayani.

    umā kātyāyanī gaurī kālī haimavatīśvarī


    Katyayani's seed syllable is Kam. So she does have the aspect of Kamakhya or Kamakshi, Kalika Purana which interlaces the Mahavidyas, as well as of Vimala--Viraj and Bhairavi.

    In her mantra, Chandrahassoja means she has the or a Chandrahasa sword, "moon's smile", i. e. curved. Manjushri also used the or a Chandrahasa to smash out the lake in Nepal.

    Compared to Brahmanda Purana, Buddhist Chakrasamvara uses a goddess very much like the following Lalita name, and, two names down, she has no quarrel with this:

    O Cakrasvāminī (O mistress of the Cakra i.e. mystic circle),
    O Prakaṭayoginī (one who has manifested Yogic power),
    O Bauddha-Darśanāṅgi (one having the Buddhist philosophy as one as of the limbs)

    The group of names is from ch. 43 where it is evident this is about Kamakshi.

    Chariots or ch. 19 of Lalita Mahatmya is the end of Brahmanda Purana, is one way they make the scale of Sri Chakra.

    It is more quickly evident, in most of the enclosures, there is some kind of Chakraswamini and Yogini. The higher yoginis are speech-oriented Rahasya Yoginis, Vimala is a Rahasya Yogini, and the final ones are:

    Sri Sri Bhattarika, Sarvanandamaya Chakraswamini and Parapara Rahasya Yogini in Devi Bhagavata.

    So we are almost reciprocally saying, Vajrayogini gives the Rahasya of Dakini Jala as well as of Sri Cakra; Cinnamasta--Renuka is Tri-kaya Vajrayogini, and Vairocani is the power of crossing. Dakini Jala is not an attempt to re-write or codify the Puranas and say "creation happened thus", but, it relies on the basis of them, it does not dispute it but emphasizes Buddha Families, which in most senses are about a different source-and-return, Buddha Nature.

    Lalita is a different format than Devi, and for example includes Nepal in the first four pithas; they use 51 vs. 108.

    Brahmanda Purana also contains Adhyatma Ramayana, or, an Adwaita abridged Ramayana, which was added around the tenth century. In the Shakta view, this Purana is supreme:

    The reading of the 18 Puranas is to be concluded with this Purana which contains a description of the coronation of Rajarajesvari.

    It is spoken by Hayagriva; Ganesh is born from a gaze. Yajnawalkya has a chapter.

    The Lalita is also considered a separate work, but its actual origin or when it was added, are not said.

    Nisprapancha and Nidra



    From a kind of scattered commentary on her thousand names:

    'The city is surrounded by nectar.' Another one is in the place of bindu in the centre of the moon in the pericarp of the thousand-petalled lotus. The third one is, 'In the city called Aparajita (unconquerable) to be attained with devotion on the Saguna-brahman; there are two ocean-like lakes of nectar named respectively Ara and Nya'

    68. Chakra raja ratha rooda sarvayudha parishkridha - She who is fully armed and rides in the Srichakra chariot with nine stories.

    69. Geya chakra ratha rooda manthrini pari sevitha - She who rides in the chariot with seven stories and is served by manthrini who is the goddess of music.

    70. Giri chakra ratharooda dhanda natha puraskrutha - She who rides in the chariot with five stories and is served by goddess Varahi otherwise called Dhanda natha.

    71. Jwalimalika ksiptha vanhi prakara madhyaka - She who is in the middle of the fort of fire built by the Goddess Jwalamalini.

    Prachanda Candi 226-227 associates Indra shakti, Cinnamasta, and Prachanda Candi Vajratman to Vairocani; 241-242 associates Kundalini shakti to Vairocani Durga Jvalanti Tapasa. Cinnamasta Heart Eulogy associates Vairocani to Indra's wife and ten million suns. She is control of sex impulse as Vairocani is the power of Lightning. Prachanda is a fairly ordinary name for Cinnamasta also described in her thangka as using a scimitar.

    It also appears that Chandrahasa or "scimitar" is "abbreviated" to kartri or chopper, which is shown with a curved blade.

    Katyayani is devi's name, temporarily, while taking birth as the combined effulgence of deities, until slaying Mahishasura. She is the "most violent", like Prachanda, not the "most frightening".

    If HPB described Yogacara as coming from Yajnawalkya and the Aranyaka Upanishad literature, and that its apex is Cinnamasta tantra, it makes perfect sense, seen as a selective "stripe" of Durga. One would not generally get this sense if thinking in general terms about someone defeating evil enemies, but it works, understood as Tapas.

    After Manu and the mind-born generations, the Puranas continue through into human history.

    The "source" of Cinnamasta is really Renuka, which is like an earthly Tilottama: fine grain of sand vs. fine sesame seed. Renuka (Kamali in Vayu Purana) is mother of Parasurama. Matangi is Renuka, or Renuka's daughter, or someone with whom she has switched heads, or a woman possessed by her, or a type of prostitution. Renuka is in Bhagavata and Brahmanda Puranas; roughly, Parasurama cuts off her head and brings her back to life, before Arjuna Haihaiya kills her husband Jamdagni, which results in Parasurama killing almost the entire warrior caste. In multiple Puranas which do not always agree, he means produced by eating (jama) the Vaiṣṇavāgni (Vaisvanara). In the Buddhist Vinaya Pitaka section of the Mahavagga (I.245) the Buddha pays respect to Jamadagni by declaring that the Vedas in their true form were revealed to the original Vedic rishis, including Jamadagni.

    Renuka wanted to accompany Sage Jamadagni on the funeral pyre. Sage Bhrigu (grandfather of Jamadagni) stopped her and brought her back to life along with the Sage Jamadagni.

    Jamadagni's mother, Satyavati, is Kaushiki, because her father is:

    Gadhi (गाधि).—(Kauśika) a royal sage who knew the yoga powers of Hari; the son of Kuśāmbu(a) (Kuśanābha, Vāyu-purāṇa.) Indra incarnate. His daughter was Satyavatī whom the Brāhmaṇa Ṛcīka wanted to marry. Gādhi thought him unsuitable and asked for a bride-fee of a thousand horses white like the moon and with one ear black. This condition was satisfied with the help of Varuṇa, and Ṛcīka got her married. Gādhi's wife took the consecrated caru intended for her daughter and became the mother of a Brahmavit, by name Viśvāmītra.

    Satyavati was given away at Kanya Kubja, modern Kinnauj. Varuṇa presented a thousand horses on the bank of the river Gaṅgā. The place in Gaṅgā where the horses rose up, came to be called "Aśvatīrtha". Gādhi gave Satyavatī to Ṛcīka at the place called 'Kanyākubja', in Mahabharata. This has the same meaning as Kubjika, round-shouldered or hunchbacked.

    Satyavati or Kaushiki re-emerges as the lighter form splitting off Matangi in Kalika Purana.

    Rcika has to do with the divine Bows. This era is Bhagavata Purana Canto 9.15.

    Brahmarshi Vishvamitra is one of the most venerated rishis or sages of ancient times in India. He is also credited as the author of most of Mandala 3 of the Rigveda, including the Gayatri Mantra. The Puranas mention that only 24 rishis since antiquity have understood the whole meaning of—and thus wielded the whole power of—the Gayatri Mantra. Vishvamitra is supposed to be the first, and Yajnavalkya the last. Vishvamitra was a king in ancient India, also called Kaushika ("descendant of Kusha").

    David Frawley is a follower of Ganapati Muni--the one mentioned above--who was a follower of Ramana Maharishi, although Frawley considers him something of a prophet of Cinnamasta and holds to her Indra Shakti or lightnng description as Vairocani, particularly the lightning of a flash of illumination.

    In Buddhism we do not do Yoga the same way, but, we know they usually count from the root chakra upwards and train accordingly. Strangely, from a Nepalese Hindu archive where we find Vairocani used at the root, they skip the head and replace it with a Cinnamasta scripture:

    (1) adhAmnAya gaNeCa vairocanI svatantra bhairava AdhAra cakra vidhi (2) svAdhiSThAna brahmA pUrNeCvarI svachanda bhairava pUrvAmnAya svAdhiSThAna cakra vidhi , (3) nArAyaNa CrIdakSiNakAlI aghora mahAkAla bhairava dakSiNAmnAya maNipUra cakra vidhi , (4) CrI mahArudra CrIkubjikA mahAkAla bhairava paCcimAmnAya anAhata cakra vidhi , (5) CrIuttarAmnAya jIvAtmane CrI guhyeCvarI CrIcaNDakApAli bhairava viCuddha cakra vidhi , (6) CrI chinnamastA paTala

    At each chakra there is a god and goddess pair, and a type of Bhairava:

    1. Original family Ganesha Vairocani, Svatantra Bhairava, root chakra
    2. East family Brahma Purnesvari, Svachanda Bhairava, sacral chakra
    3. Southern family Narayana Daksinakali, Aghora Mahakala Bhairava, solar plexus
    4. Western family Rudra Kubjika, Mahakala Bhairava, heart
    5. Northern family Jivatman Guhyeshvari, Canda Kapali Bhairava, throat
    6. Cinnamasta

    The bundle goes on to other songs and writings without mentioning any more chakras.

    It is similar to Buddhism, i. e. placing Vairocani in the first chakra; but the vast majority of Buddhism uses the sacral or svadhisthana at the beginning, with maybe a ten per cent minority allowing it to be Manipura. Svadhisthana is definitely a major stage in Yoga; and no matter how you look at it, in the Four Chakra system, there are not separate stages for lower chakras, it starts with whatever one uses and then goes to heart. Varahi in one sense is the fusion of all three lower centers; and the Inverted Crescent is showing the legs, and whatever else, vacuuming energy towards the Triangle. So if we look at this as Ganesha and Vairocani in Svatantra Bhairava forms in the first practical chakra, it is pretty close to Samvarodaya using Vajrasattva and Vairocani in the navel.

    Purnesvari is the shakti at Purnagiri Pitha. It is also Punyagiri; one temple is on the Indian Annapurna; also site of Kalika, in Orissa, pitha of breasts, Tara and Tarini; what the meaning "full" has to do with this, we can only guess.

    In the Nath lineages, Purnagiri Pitha is above the head, the cusp of the voids, so to speak, and so in practice, it is like Sambhogakaya or Akanistha. Nepal, perhaps, has a sly hint of it by apparently fusing two well-known lineages.

    Buddhist Candika Dandaka Stotram is a song to Siddhi Candi. This appears to have blended two amnayas: Purnachandi is Siddhi Lakshmi, or, to Nepalese Buddhists, Yogambara Dakini, which means Jnana Dakini. Along with Vedic Bhadrakali, these are names of Pratyangira. If there is a practical trinity of Prajnas in Nepal, it is Vasudhara, Pratyangira, Guhyeshvari. Tara is elevated to the position of the highest deity in the Mahapratyangiradharani, a fragment of which is found in Central Asia, in which she is described as a goddess of white colour wearing a garland of vajras and having the figure of Vairocana on her crown. According to Narendra Bhattacharya, there is an alternate set of Mahavidyas from Malimvijaya referring to Kali, Tara, Mahadurga, Tvarita, Chinnamasta, Vagvadini, Annapurna, Pratyangira, Kamakhyavasini, Bala, Matangl, and SailavasinI. He says Uma is the alternate pronunciation of Amma. At any rate, Pratyangira is a concatenation of Tivras and Parasol. Or specifically in Nepal, she is meaningful across multiple sects, Vedic, Puranic, or Tantric, and none of those Prajnas are Buddhist in origin. Buddhism applies a certain interpretation and practice, such as Vasudhara related to Varahi, Pratyangira related to Parasol, and Guhyeshvari to Mamaki, without rejecting their original characters. However as Prajnas they are Wisdom and we have already identified all the Skandhas, there is nothing left for them to be Prajnas of, unless, it means three subtle minds or Three Voids.

    Pratyangira is the form of Mother found in Atharva Veda. It is said that Pratyangira of Atharva Veda corresponds to Vana Durga and Bhadra Kali. And so also Parasol, Yogambara Dakini, Jnana Dakini, Siddhi Lakshmi, Purna Chandi, Tara Pratyangira, are considered equivalents in scattered lineages. Atharva Pratyangira is dark in hue and having many hands and faces, She has a terrible form. Besides the mantra Vidya, there are prayogas in Pratyangira. Application of Pratyangira is called Kritya.

    Katyayani was simply formed in a similar manner, but, by a sage in the line of Viswamitra. And so this is why she would be like a daughter fire or Vairocani which brings the illumination revealing the subtle worlds.

    In the chakra list, Daksina is Kali's smiling form with her right foot on Shiva; Vama Kali with her left foot on him is ferocious; the idea being that Shiva got trampled to calm her. Daksinakali is the fourth major pitha in Kolkata, West Bengal. In Kalika Purana, the pithas are for Vimala, Tara Tarini, Kamakhya, Dakshinakalika.

    The first two Bhairavas given are relevant to the emergence of Parvati as Kurukulla. If Prajna could be loosely described as the most refined wisdom and intelligence, it is not too far off from Bhairava as the Knower of it.

    Vijnanabhairava or philosophy of Abhinavagupta says that worship is not the offering of gross items, flowers, incense, etc., but that it is Nirvikalpa Mahavyomni, interpreted as:

    setting one's heart on Vijnana, the highest ether of consciousness above thought constructs; dissolution of self into the supreme consciousness known as Bhairava.

    Mahakala is called, by the Hindus, Mahakala Bhairava, and rules the Eight Bhairavas of the directions. Usually they skip "Mahakala" and just call him Bhairava.

    Even page one of an Indian study describes how most of Chakrasamvara is just a slight adjustment of Hindu tantra; but even so, Cinnamasta is still seen as having emerged in reverse or the Hindus got it from the Buddhists. I do not know, but, Cinnamasta as derived from tantric Vairocani is a very specific practice and path, whereas if Vairocani were only presented as "a name of Durga", it would not stand out and there would be no reason to frame it as tapas and a subsequent change to the subtle body. This way, she is abstract or does not exist to the ordinary person; can be "learned about", but, only known by experience.

    The way to resolve HPB's interesting hint about Samjna is the next higher degree, which is philosophical but also practical; Samjna's mother, or the Dharmodaya itself being the next higher. In order for Vairocani to make sense in Samvarodaya or the source of Dharmodaya, it is only evident through a guided Puranic view. And for example if her close equivalent Katyayani is mainly remembered as a helper towards marriage, esoterically this remains the marriage of Manas to Atma-Buddhi. Samjna is a veil or covering to this.

    According to Abhinavagupta, the real Homa is pouring thoughts, sense perceptions, elements, everything up to the Highest Void, Mahasunya, into the fire of supreme reality, Bhairava, by using the ladle, Cetana.

    In Buddhism, Cetana is the skandha after Samjna.

  4. The Following User Says Thank You to shaberon For This Post:

    George (23rd August 2020)

  5. Link to Post #484
    United States Avalon Member
    Join Date
    1st April 2016
    Posts
    2,180
    Thanks
    3,447
    Thanked 7,298 times in 1,907 posts

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

    I have not updated this lately because it is like a reference section that has grown so much that even I can only try to find things by the contents in this post.

    However in continuing to research the same subjects, I have become aware my work has been entirely copied by someone called Sam On Rye and distributed to many clickbait sites in Italy and elsewhere.

    The posts are actually the property of Project Avalon, whom, to my knowledge, has not given any permission for wholesale plagiarism. This is not even a book. It is just net surfing. Copying it is ridiculous.

  6. The Following 3 Users Say Thank You to shaberon For This Post:

    Jayke (22nd August 2020), pueblo (22nd August 2020), Sarah Rainsong (22nd August 2020)

+ Reply to Thread
Page 25 of 25 FirstFirst 1 15 25

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts