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

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

    Vajravidarana and Sarvadurgati Parishodana

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    "..now, for the Non-dual Anuttara uncommon explanatory Tantra to the Hevajra, called the Vajrapanjara, it is said; Trailokyavajra's greater and lesser Bhutadamara meditations are based on this - which is found in the Sadhanasamgraha [Sadhanamala].

    Beginning on the left side are: Janguli or Yellow Tara, Arya Janguli, Yellow with Three Faces and Six Hands, Vishvamatra, Janguli, Green with One Face and Four Hands, Chunda, Vajradhara, Ekajati is all the rest. Below the top register on the upper right side is White Tara with one face and four arms (Sita of Ngor), along with two retinue deities. On the upper left side are three forms of Ekajati. Above the bottom register on the right and left sides are forms of Marichi riding atop chariots pulled by seven sows, along with two attendant retinue deities each. The two principal Marichi's are forms of the white Kalpoktam Vidhina Sita Marichi. In front of the chariot a crocodile is resting, above is black Great Devi Pig Face with one face and two hands. In the right direction is red Great Devi Pig Face with four hands. The right [hands] hold a hook and needle, the left, a wrathful gesture together with a lasso and thread. In the left direction is red Great Devi Pig Face with four hands. The first two [hands] hold a bow and arrow drawn near to the ear, the lower two, a vajra and branch of the ashoka [tree].

    The bottom register is populated with three forms of Marichi and retinue figures. At the center of the register is the single figure of Oddiyana Marichi. On the far left side of the register are five figures belonging to the Kalpoktam Marichi Mandala. In the south is yellow Vadali with four hands, the right hold a branch of the ashoka [tree] and a needle, the left a vajra and lasso. In the west is white Varali with four hands, the right [hold] a vajra and needle, the left a lasso and branch of ashoka [tree]. In the north is red Varahamukhi with three eyes [and] four hands. The right hold a vajra and arrow, the left a lasso and branch of the ashoka [tree].

    On the right side of the register again are five figures who are very similar in appearance to the Kalpoktam Marichi set of five deities on the left. The Marichi on the right has three faces and eight arms. The principal face is yellow and the right white and left a blue sow's face. Two of the retinue figures are red in colour and two are yellow."

    Part of the explanation for this is, prior to other retreats, you should have Acala or Vajrapani, equivalents for Trailokyavijaya. "Conqueror of Three Worlds", faces death, like Vajrabhairava.

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

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

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

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

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

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

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

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

    If so, the "missing" part from Sarvadurgati is where they have taken Hindu planetary gods and Vajra-fied them. The Hindu Sun, Aditya, became Vajrakundali with Vajramrita.

    This is Sarvadurgati with all its ancilliary mandalas:

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

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

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

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

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

    Sarvavid without the other mandalas:

    Last edited by shaberon; 19th May 2019 at 07:32.

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