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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

    Alakshmi

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

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

    This indicates goddess Dhumavati.

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

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

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

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

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

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

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

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

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

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

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

    Dhumatala in Longchen Nyintik Fire Offering.

    Dhumatala referred to as luminous in Yeshe Tsogyal song

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

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

    Dhumavati is also:

    nArIprIti narArAdhyA

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

    Her first name is Mahamaya.

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

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

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

    Nepali Dhumavati yantra:






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

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

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

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

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








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

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

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

    Fat Varahi in Orissa with Fish and Bowl







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

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

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

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

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

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

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

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

    Joy and Laughter


    Here is why Vajrasattva mantra is like a permanent fractal.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    So this is a valid list:

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

    And so is this (Naro's terms):

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

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

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

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

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

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

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

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

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

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

    ( ( ( ! ) ) )



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

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

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

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

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

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

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

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

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







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

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

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

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

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

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

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    shaberon (7th October 2019)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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    Peter UK (7th October 2019)

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

    Lighter Methods to complement Guru Yoga and Namasangiti Dharanis

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

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

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

    In the Tibetan calendar, things can get more intricate rather quickly, but for general purposes, if we refer to them for Wesak, Buddha's Descent day, etc., they won't steer us wrong. If we look at their Water of Water day or anything like that, it is only the Tibetan style; India does not have the Wood Monkey Year or Fire Rat or those kinds of cycles which are closer to Chinese.

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

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

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

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

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

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

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

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

    om namo bhagavatye āryya grahamātṛtakāyai

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

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

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

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








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

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

    bhaṭṭārikāmahādevī

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

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


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

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

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

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

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




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

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

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

    parA vasumatI devI

    and:

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

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

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

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

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

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

    Surungama
    Golden Light
    Mayuri and Pancha Raksha
    Dhumavati

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

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

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

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

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

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

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

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

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

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



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

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

    According to Bhattacharya, this Mahasri conforms entirely to Sadhanamala:






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

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

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

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

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

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

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

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

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

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





    Vajrasattva--Pramudita, Joy

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

    1. Freedom from conceptual elaborations is known as generosity.

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

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

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

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





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



    Vairocana:

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

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

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

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

    Śīla is of three kinds:

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

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

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

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

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










    Ratna:

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

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

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

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

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

    What are these five?

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

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

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

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





    Padma:

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

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

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

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

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




    Vajra:

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

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

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

    oṃ ṛddhyai namaḥ

    The full Dharani for this is that of Janguli.

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

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

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




    Visva Daka:

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

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

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

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

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

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


    The dharani used in Namasangiti loops back to the beginning:

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

    (Arya ananta mukha sadhaka nama dharani)

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


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


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

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

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

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



    Acala

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




    Lama

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

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

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

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





    Khandaroha


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

    8. Prayer is bringing oneself and others to fulfillment.

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

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

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

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

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










    Dharmamegha [or Dakini]

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

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

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

    What are these twelve?

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

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

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

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

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

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





    Rupini

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

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

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

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



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

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

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

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



    Parasol Dharani is commonly used on Prayer Flags.

    Om Sitatapatra Hum Phat

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

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

    TADYATHA OM ANALE ANALE KHASAME KHASAME BHAIRE BHAIRE SAUME SAUME SARVA BUDDHA ADHISHTHANA ADHISHTHITE SARVA TATHAGATA USHNISHA SITATAPATRE HUM PHAT HUM MAMA HUM NI SVAHA



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

    Namo Ratna Trayāya, (homage to the triple gem)


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


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


    Tathagatāya, (to the tathagata)


    Arhate, (to the arhat)


    Samyak sambuddhāya, (to the perfectly awakened one)


    Nama Sarva TathagatebhyaH (homage to all tathagatas)


    ArhatebhyaH, (to the arhats)


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


    Nama Aryā Avalokiteshvarāya (homage to noble Avalokitesvara)


    Bodhisattvāya, (to the bodhisattva)


    Maha Sattvāya, (to the great being)


    Maha Karunikāya, (to the greatly compassionate one)


    Tadyatha (thus):


    Om Dhāra Dhāra, (bearing)


    Dhīri Dhīri, (firm)


    Dhuru Dhuru (bearing a burden)


    Itte Vatte, (??)


    Cale Cale, (moving, trembling, shaking)


    Pracale Pracale, (moving, trembling, shaking)


    Kusume (in flower)


    Kusume Vare, (in the circumference)


    Illi Mili (??)


    Citi Jvālam, (blazing understanding)


    Apanaye Svāhā. (leading away) hail!


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

    Vajrayogini and Mahamanjushri dances upper left and right:

    Last edited by shaberon; Today at 02:33.

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

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

    What is the actual significance of the serpent?

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

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

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

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

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

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

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

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

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

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

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

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

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

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