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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.

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

    Mahakala and Dharmodaya--Hexagram

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

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

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

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

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

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

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

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






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





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

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





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

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





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

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






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






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

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





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

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

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

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





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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    oṃ kha kha khāhi khāhi sarvvayakṣarākṣasabhūtapretapiśāconmādāpasmāraḍāka ḍākinyādaya

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

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

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

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

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

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





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

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

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

    Serpent Source and Return

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

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





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

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

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

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

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





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

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

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





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

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





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

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






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





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





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

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

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

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





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

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

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

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

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

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

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






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

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

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

    Paramadya

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






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

    38. Paramadya (?)

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

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

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

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

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

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

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

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

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

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

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

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

    or:

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

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

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

    The classes of tantras are mainly for Actions (Kriya), Meditative Stability (Charya), then Inner Conditions (Yoga). So if we are able to meditate stably, we can safely turn to Yoga methods which clearly involve Bliss and non-dual union of, at least, the philosophical principles, or even in Paramadya specifically uses the name Prajna Paramita united with Upaya or Skillful Compassionate Methods.

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

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

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

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

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

    Green Tara as a samaya being makes sense because she helps with emotional and mental disturbances. But then, at least a long time ago, when I looked at White Tara, the customary results were Long Life. I did not understand this, because it sounds like it could easily be selfish, asking for more continuance in incarnation and form, and more like a luck charm or even a distraction. But her answer is because of Vajrasattva, Bodhicitta. If the reason for asking for her is Bodhicitta, and, her real meaning, is not extended life in form, but Deathlessness, then she must be a regeneration of the subtle body according to the needs of Vajrasattva or Bodhi Mind which is the thing achieving the immortal condition.

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

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

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

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

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






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

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

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

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

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

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

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

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

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

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

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

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

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

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





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

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

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

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

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






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

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

    sumbhāṃ bhāsvarasadrūpāṃ nāgapāśalasatarām //
    dvibhujā ekavadanāḥ sarvā jńeyā manoharāḥ

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

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

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

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

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

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

    Vajra Tara's Ten Directions:

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

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

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

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





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

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





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

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





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

    The only place Prajnaparamita comes up again is with Vajra Sarasvati, around one of the only mentions of Laksmi. Vajra Sarasvati also repeats the "picu picu" mantra. So we will comb through the already posted material. This type of relationship was found previously, but now, after working over Sadhanamala a bit, everything can be tightened up. Bhattacharya's translation is very useful, but omits things and perhaps has a few errors.
    Last edited by shaberon; Yesterday at 08:29.

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