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

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

    Vajravidarana and Sarvadurgati Parishodana

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

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

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

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

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

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

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

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

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





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

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

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

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





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

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





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

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

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




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

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





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

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

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

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

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

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

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

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

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

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





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

    This is Sarvadurgati with all its ancilliary mandalas:




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


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

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

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

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

    Sarvavid without the other mandalas:





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

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

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

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

    Mahakala and Dharmodaya--Hexagram

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

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

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

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

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

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

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

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






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





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

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





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

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





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

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






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






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

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





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

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

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

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





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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    oṃ kha kha khāhi khāhi sarvvayakṣarākṣasabhūtapretapiśāconmādāpasmāraḍāka ḍākinyādaya

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

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

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

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

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

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





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

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

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

    Serpent Source and Return

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

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





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

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

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

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

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





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

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

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





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

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





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

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






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





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





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

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

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

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





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

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

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

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

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

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

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






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

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

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

    Paramadya

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






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

    38. Paramadya (?)

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

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

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

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

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

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

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

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

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

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

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

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

    or:

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

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

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

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

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

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

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

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

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

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

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

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

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

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






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

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

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

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

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

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

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

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

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

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

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

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

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

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





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

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

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

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

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






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

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

    sumbhāṃ bhāsvarasadrūpāṃ nāgapāśalasatarām //
    dvibhujā ekavadanāḥ sarvā jñeyā manoharāḥ

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

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

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

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

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

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

    Vajra Tara's Ten Directions:

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

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

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

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





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

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





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

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





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

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

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

    oṃ śūnyatājñānavajrasvabhāvātmako 'ham / saiva bhagavatī prajñāpāramitā saiva paramā rakṣā

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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





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

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

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

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

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

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

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

    The actual casting starts by saluting Prithvi:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Such to the Portals are the golden keys.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    119. Eight Practices for the Abandoning of Conditions

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

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

    {1} Śraddhā,
    {1} Faith,

    {2} buddho,
    {2} intelligence,

    {3} vyāyāmaḥ,
    {3} endeavour,

    {4} prasrabdhiḥ,
    {4} calm,

    {5} smrtiḥ,
    {5} mindfulness,

    {6} samprajanyaṁ,
    {6} full knowledge,

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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




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



    Dirty raw live version:






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




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


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

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

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

    Dharmadhatu Vajra and Manjuvajra

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

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

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

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

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





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

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

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

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

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







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





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

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

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

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

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

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

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

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

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






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

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

    1. Freedom from conceptual elaborations is known as generosity. 2. Not losing one’s regenerative fluids even when in union with a consort is known as ethical discipline. 3. The non-craving for the ordinary and the non-craving for true existence are called patience. 4. The gathering of the ten vital energies in the central channel is called zeal. 5. The mind that single-pointedly abides in immutable bliss is known as meditative stabilization. 6. The wisdom that is not overcome by conceptualization and that bears the speech of the buddha, which is perfectly suitable for those to whom it is directed, is known as wisdom. 7. Meditative stabilization is the means for retaining the drops while engaged with the three mudrās, namely, the action mudrā, primordial wisdom mudrā, and the empty form mahā- mudrā. 8. Prayer is bringing oneself and others to fulfillment. 9. Power refers to the power of immutable bliss in which one gains liberation from the three states of existence. 10. Taking the bodhicitta from the tip of the jewel up to the crown of the head and experiencing immutable bliss is called primordial wisdom.

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

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

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

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


    Click image for larger version

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

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

    Tantric Bodhisattvas

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    called blood and sun.

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

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

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

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

    East

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

    South

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

    West

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

    North

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

    More are repeated, nothing is new but female first:

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

    i. Agni Corner

    Sparsavajra Sarvanivaranaviskambhi

    2. Nairrta Corner

    Rasavajra Lokesvara

    3. Vayu Corner

    Gandhavajra Khagarbha

    4, lsana Corner

    Rupavajra Ksitigarbha

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


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

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

    1. East
    Niladanda with Marie! Pig chariot

    2. South
    Takkiraja with Cunda Horse chariot

    3. West
    Mahabala with Vajrashrinkala Elephant chariot

    4, North
    Acala with BhhrkutI Lion chariot

    5, Above
    UsnIsacakravartI with Atinlla Garuda chariot

    6, Below
    Sumbharaja with Raudraksi Tiger chariot

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

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

    In the Ornament of Stainless Light (Kalachakra commentary):

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

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

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

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

    The Great Commentary states:

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

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

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

    Dhyanis and Prajnas:

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

    Bodhisattvas:

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

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

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

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

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

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

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

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

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

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

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

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

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

    Hum is a shield, Phat is the weapon.

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

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

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

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







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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Nagarjuna on Six Yogas as non-dual Prajna Upaya:

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

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

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

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

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

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

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

    Permissions

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

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

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

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

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

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

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

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

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

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

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







    Srim

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

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

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

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

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

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

    produced Brahma / Lakshmi;

    Mahakali

    produced Rudra / Saraswati;

    Mahasaraswati

    produced Vishnu / Gauri.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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






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

    Kagyu Dudsolma under Nairatma:







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






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






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

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

    Also:

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

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

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

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

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







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







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






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





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

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

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

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

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

    The prayer in seven lines is root of all these sadhanas.
    Within the Ground, these lines denote
    The seven kinds of consciousness;
    Upon the Path, they represent
    The seven branches of enlightenment;
    And when the Fruit is won, they are perfected
    As the seven sacred riches of the ultimate.

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

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

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

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

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

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

    Nagas and Cemeteries, Asta Maha Smasana

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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



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

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

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

    As accoutrements, White Kurukulla in Sadhanamala wears:

    nīlānantabaddhakeśāṃ raktatakṣakakuṇḍalāṃ pītaśaṅkhapālakaṇṭhikāṃ viśva[varṇa]kulikakeyūrāṃ haritakarkkoṭakayajñopavītāṃ sitavāsukimekhalāṃ

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

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

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

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

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

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

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

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

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






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







    Trailokyavijaya and Nine Bhairavas:






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

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

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

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

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

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

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






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

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

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

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

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

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

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

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

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

    One version of Gauris from Bardo Thodol:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Upper drops:

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

    The lower set meets at the navel:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    The five secondary ones are noted below:

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

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

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

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

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

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

    Crown or Mahasukha (Wrathful Deities)

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

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

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

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

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

    Parnasabari says:

    oṃ gauri gāndhāri caṇḍāli mātāṅgi pūkvasi svāhā

    Right after Seven Syllable mantra, Kurukulla says:

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

    Right after Sadanga or Six Yogas, Nairatma says:

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

    Dhamapa says,

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

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

    Notes from Hevajra practices:

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

    They make Offerings and Dombi offers her body.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    oṃ acale animittavare huṃ huṃ phaṭ phaṭ

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

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

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

    The skandhas in Hevajra's unique inner retinue:

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

    The Gauris:

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

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

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

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

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

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

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

    Tri-samadhi Vyuha

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

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

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

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

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

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

    Samputa says:

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

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

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

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

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

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

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

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

    oṃ gauri gāndhāri caṇḍāli mātāṅgi pūkvasi svāhā

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

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

    However, the cemeteries do appear with one Yoga deity:

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

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

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

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

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

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

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

    Sarvadurgati Naga method:

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

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

    Hum

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Om mahakalyai ca vidmahe
    smasana vasinyai ca dhimahi
    tanno kali prachodayat

    Jalandhara’s Sadhana of Hevajra says:

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

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

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

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

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

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

    The nature of the purification by Thusness is said by:

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

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

    Bhagavan replied: Form and the others.

    Vajragarbha asked: How so?

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

    Vajragarbha asked: What are the subjects and objects?

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

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

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

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

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

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

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

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

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

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

    The Nagas listed are those of Sarvadurgati.

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

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

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

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

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

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

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






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

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

    Using symbolic Varuni:

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

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

    Caṇḍogra (east), Gruesome; H: chandograkatasi






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

    Phuh

    White Ananta [blue lotus stalk]

    From the samadhi where one finds happiness in enjoyment:

    Gam

    Visual Form Object

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

    Om Ah Gam Vajra Gauri Hum Phat Svaha

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

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

    The Ground is Eye Consciousness.

    Purified, it resembles an image in a mirror.






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






    Blue Yama with staff and skullcup on a buffalo

    Phah

    Red Takshaka [blue lotus and tortoise]

    From the samadhi associated with manthana:

    Cam

    Sound Object

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

    Om Ah Cam Vajra Cauri Hum Svaha

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

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

    The Ground is Ear Consciousness.

    Purified, it resembles a dream.




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






    White Varuna with serpent noose and skullcup on a makara

    Phum

    Blue Karakota [white lotus stalk]

    In the samadhi associated with vajra and lotus:

    Vam

    Smell Object

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

    Om Ah Vam Vajra Vetali Hum Phat

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

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

    The Ground is Nose Consciousness.

    Purified, it resembles a magical creation.




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






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

    Phah

    White Kulika [banner]

    In the samadhi which destroys the great affliction, ignorance:

    Gham

    Taste Object

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

    Om Ah Gham Vajra Ghasmari Hum Phat

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

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

    The Ground is Tongue Consciousness.

    Purified, it resembles an optical illusion.




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






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

    Phih

    Red Vasuki [snake]

    In perhaps the same samadhi:

    Pam

    Earth Element (solidity)

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

    Om Ah Pam Vajra Pukkasi Hum

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

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

    The Ground is Touch Consciousness.

    Purified, it resembles a city of gandharvas.





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





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

    Pheh

    Yellow "Carrying a Conch Shell" (Sankhapala)

    In the samadhi associated with manthana:

    Sam

    Water Element (cohesion)

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

    Om Ah Sam Vajra Sabari Hum

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

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

    The Ground is Mano Vijnana or awareness of mental environment.

    Purified, it resembles an echo.





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






    Blue Kardava or Rakshasa with sword and skullcup on a zombie

    Phaih

    Yellow Padma

    Apparently continuing the samadhi associated with manthana:

    Lam

    Fire Element (heat)

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

    Om Ah Lam Vajra Candali Hum

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

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

    The Ground is Klista Manas or self awareness.

    Purified, it resembles a reflection on water.




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






    Smoky Vayu with banner and skullcup on a deer

    Phauh

    Blue Varuna [white lotus stalk]

    Apparently continuing the samadhi associated with manthana:

    Dam

    Air Element (motion)

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

    Om Ah Dam Vajra Dombini Hum

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

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

    The Ground is Alaya Vijnana.

    Purified, it resembles space.



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


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

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

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



    Maitri has a Charyapada song referring to Gauri:

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

    //Ragamala//



    Sarovarstha sphatikasya mandale

    saroruhesam karamarcayanti/

    Taro prayoga rati vandha gita gauri

    tanunarada bharaviyam//



    Madhyemeru mahamani kanaka rajite purva videha jala jambudvipe/

    apare godayami uttar kuru bhuvane/

    panca varna pancajina vyapiyare-name pance buddhism



    visva srijita visvahita visvabhura panca murtih/

    asta dvipanala vahanti jing manasa/

    harantu bhaya timira ghana ghora rure//

    jata vedanase ya updvipa ra updvipa pari jantu jane/

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



    dvirada vala praciyanara rudhira yaciya sapta asta dara cumbiyare//

    ava ralla udicya sayakam cakra/

    maniu kupa nidhi nikhila vedayanti//

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


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

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

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


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

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

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

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

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

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

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

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

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

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



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

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

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

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

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

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

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

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

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

    8) Eighth vimokṣa: Further, having completely transcended the sphere of neither identification nor non-identification, the cessation of notions and sensations being realized, he penetrates into it and abides there; this is the eighth vimokṣa. (one perceives the sphere of the cessation of perception and feeling as empty.)
    Last edited by shaberon; 23rd July 2019 at 19:14.

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

    Cemeteries and Generation Stage

    Charnel Grounds are difficult for many reasons. If you only examine charnel grounds, gauris are not mentioned. The same phrases are used to describe gauris as unintelligent, violent fiends, as well as divinities. These eight are not the first, or inner Gauri, who would be part of Pancha Jina or a nucleus inside the charnel grounds. This second ring is perhaps the most important whether in terms of consciousness or the subtle body.

    The phrase Gauris comes out in Tibetan as Kyerim or Kyeurim which means Generation Stage. They are also called Candalis which refers to Inner Heat and this name distinguishes it from Kundalini Yoga which is different. It is the same force but to call it Candali Yoga means using these goddesses, the Gauris, according to this method.

    The cemeteries are the eight joys, namely, four joys of the ascending order and four of the descending order, according to a Hevajra practice note. The gauris are eight drops. This fits with placing Sukshma as the end or transition to Completion, as this means stable manifestation of the four subtle joys. From knowing what the candali does, I would say that what they are talking about here is very specific and not at all what might automatically happen if you used other means to trigger the physiological process. So that is beyond my personal experience and the direction I would want to move. The generation and start and things like melting the Tathagatas are what I can do, but not carry the protection and really gain much from the wisdoms they are trying to teach. That is why I think this is important.

    The Gauris are Mamos and Matrikas, "These are the eight great Matrikas of the eight great Cemeteries, to whom prayer is made, that when forms are changed and entrance is made on the intermediate [afterlife] plane, they may place the spirit on the clear light path of Radiance." Woodroffe says this and his version is different, since the actors are Avalokiteshvara as Hayagriva and Tara as Vajravarahi. It is still the same meaning which carries forward from Sarvadurgati, as cleansing of bardo consciousness is intended there.

    There are multiple stories and possibly endless ways to show the charnel grounds, but, no matter the version, or even with a Shiva or Vaisnava interpretation, the actual subject is one's inner Rudra. Mamos are really just a class, maybe Tibetan for Dakini in its older sense of nasty and harmful. Some can be tamed or subjugated, so, the same allegory seems to hold, if you pacify your personal Mamos, the wisdom version is available.

    So if you scrutinize the teaching, that is what it says: fiends or divinites are the same thing, Purified. In each cemetery, this means blissful non-duality:

    "When one's experience and the experience (caused by) another are said to be associated with great bliss, the objects of sense are pure. [they become of one taste]

    He can distinguish the sisters who are Wisdom. Like Rajaki [alternate name of a gauri], he sings and dances...When dancing, he is like the wisdom, and while spinning, he becomes highly compassionate. He is called Dombi yogini, and therefor he does not experience contact."

    Contact is in the same word, Sparsha, Touch, but when "contact" is the interpretation, it means contact of subject to object or self to other. So that helps see why in the symbolism, sense of touch is peeled from where it would have been with Dombini and goes with Earth Element. There is no duality and consciousness experiences the pure root element.

    According to "The Taming of the Demons", Vajrakumara Bhurkumkuta ("Heaping Moles") appeared as Rudra, transmuted five nectars, and had union with Rudra's consorts, who were "coerced and purified by this union, from which there emanated forth an assembly of heroes, emanations of [the buddha's] wisdom appearing in the form of an assembly of [wisdom-] gauris and so forth, and the assembly of [eight wisdom pisacis] the Lion-faced, the Tiger-faced One, and so on."

    According to Yeshe Tsogyal, "To Gyalwa Choyang of Kunglung and Gyalwa Lodro of Dre he gave Tamdrin [Hayagriva] Yangsang Rolpa, the root sadhana of Yoga Sum- with twenty five supplementary pith instructions, together with twelve tantras and the sadhana of Tramenma, telling them to practice in Chimphu itself... To Kawa Peltsek and Odren Wangchuk he gave, among others, the outer, inner and secret root sadhanas of the Mamos and the Neivap and Legye, telling them to practice in the caves of Yerpa."

    According to the Book of the Dead, Tramenma rule the "realms of awareness" (T. Yul-gyi phra-men-brgyad) and would therefor be similar to Yaksha (realm protectors). These particular Yaksha happen to have animal faces. If Parnasabari is a Pisaci--Tramen and invokes Gauris, this sounds like an outer goddess tapping into a tantric form. She has an Axe which is a thing to use on Rudra. That would just make a flow, if she smashes him with the axe, then helps you search the cemetery for gauris. If she no longer had leaves, she would just be Sabari among them. The Gandhari she mentions is shared with Kurukulla. Sadhanamala Parnasabari has nothing to do with preventing the spread of the common cold. She is a pisachi with an axe. She has Matangi, who is mentioned one other time in the book, with Janguli. Parnasabari is the only pisaci. Gauris appear with Nairatma and Kurukulla. Tramen generally include Simhamukha, Ulukhamukha (Owl face), Kakamukha (Crow face) and so forth, or Six Yoga Dakinis. Because it means, hybrid, it is difficult to conceive how Parnasabari fits in, however pisaci is the original term which would not seem to require an animal face. She has a Five Families method in Rinjung Lhantab, she has Tri-samadhi Vyuha, and an invocation of gauris, which may be more powerful than Yamari. He has a retinue, but no charnel grounds. He does have Vetali who becomes a gauri and then part of Vajradhatvishvari and is Vajrabhairavi. These all derive from Wrathful Blue Sarasvati.

    Matangi is like Sarasvati mixed with Varuni. As to whether specifically Janguli is Matangi, or if her ultimate fate is to become a Gauri or Sumbha--Bhucari is hard to say. Whether Pisaci Parnasabari is linked to losing leaves as Sabari Gauri is also hard to be sure. A section of Lotus Sutra is much like Sarvadurgati, wherein various deities offer their spells as boons. After Vaisravana, Heavenly King Upholder of the Nation surrounded by gandharvas says:

    agane gane gauri gandhari chandali matangi janguli vrusani aghasti

    It protects a large area similar to a Fence. And this is followed by ten rakshasha daughters and Devil Mother offering protection, much like wrathful Ten Directions. Aghasti would be the star Canopus, or a female descendant of Rishi Aghastya. Most of these spells are not real words, or, they are word plays, but, the strand of five names certainly is almost the same:

    oṃ gauri gāndhāri caṇḍāli mātāṅgi pūkvasi svāhā

    is Parnasabari's version and so Janguli appears to render into Pukvasi or Pukkasi (Indigo Plant), at least on two-dimensional Grounds, after Vaisravana's Ground. This is among the most occult plants and related to Soma. I cannot see how her mantra would be un-related to Lotus Sutra, and so Gandhari should at least be somewhat related to Gandharvas. There is no explanation at all, Parnasabari just says this in the middle of a large dharani. Gane means nothing if not an evocative of gana, or singing, or Ganesh, which perhaps is done by ganeru, female elephant, or harlot. Matangi is both of those. "Vru" is not even a sanskrit combination, vrusani may have to do with vrsana, scrotum, testicles, fertilizing, sprinkling. So none of the additional words in the sutra are necessarily individual names; a descendant of Aghastya could simply mean in Rishi Gotra or a yoga lineage or school. The sage himself is already mixed into Buddhist wrathful tantra.

    There certainly seems to be progression from outer Janguli to Pukkasi (Eight Directions) to Sumbha (Ten Directions) which corresponds to the core of the underworld and the expression "Varuni as the embodied radiance of Ananta at the bottom of the Talas". This also corresponds to maturation of Hum syllable. It is solar but filtered through the talas. That just brings us back to cemetery purification. If we glance at the proper order of cemeteries, Vaisravana is followed by Pukkasi who is in the "special" spot of Earth Element and Touch Consciousness that purifies into a City of Gandharvas, while the Touch Object is in the center mixed with Mental Object. She is entitled to be Blue or Sapphire and the motif is Bull, Nandi, or Taurus. Pukkasi is defined as Wrath Family which is Akshobya, same as Janguli and Sumbha. If he is the earth-touching Dhyani, this stream of development blends whatever it means philosophically to something that is physically felt.

    Yaksha Realm Protectors are the Life Wind and if we remember the story of original descent, then, reversing back past the Nagas domain is that of Yakshas. This is where they are guarding the hidden treasure: and so if we go back over Yellow and Earth Element, it all belongs that way, this is mainly why. Past there would go to Gandharvas and luminous beings.

    An Esoteric Exposition of the Bardo Thodol Part A: Vol 5 says the Matarah (Gauris) are in the diaphragm center, and the pisacis in the spleen. Usually, the "navel center" of meditation is considered below the navel, but diaphragm center is pretty much what I would mean by solar plexus.

    The tantras have different methods and descriptions of the subtle body at Completion. Guhyasamaja mandalas lack charnel grounds because King Indrabhuti had a knack for cleanliness. These differences are to accommodate the variety of temperaments in different beings. Namasangiti is one of the first sources to refer to these distinctions. In one description, the nadis total 84,000, so there are 84,000 teachings or paths that all come together in Generation Stage. Vajra Kaya is made of the "changes" that happen to the subtle body from Yoga. One sees that bindus remain effective after death.

    Therefor, the Path is the process or stages much more than x is y, or, certain exact deity form is the right one for a given chakra, etc, or a cemetery has a fixed population. The main common core is the classes of deities and that Varuni is consistently the way to generate. Gauris are Sensed Objects which may be Pure or Impure. Tramen apparently protect or rule the realms of these objects in the way that binding the outer winds and going to the life wind is the inner meaning of outer purification. Then the realm or vijnana is no longer divided or dualized; innate bliss may be realized.

    Sakyamuni (Vajradhara) had manifested the Dhyana called stable samadhi and then space-filling samadhi. The Tathagatas of Ten Directions appeared and told him this would not make Complete Manifest Buddha. They took him to Akanistha in his manomaya kaya and initiated him in Abhisambodhi. He emerged as a Mahavairocana, that is, Sambhoga kaya. The first Abhisambodhi, Pratyaveksana, places the sixteen vowels as sixteen kinds of voidness transforming into a moon disk in the heart. This is basically the same as full Nairatma retinue, or, all ten Gauris plus the activated seed or nucleus of five. To speak of an Abhisambodhi sequence is the part that attaches to the end of all these preparations. It is the matured form of Six Yogas.

    That is why it makes sense to have Moonlight goddess in the middle of the cemeteries while gathering familiarity or experience with what this means.

    Wheel of Protection, or Protection Wheel, etc., refers to eight-spoked wheel in the heart, which is also the directions, so theoretically can have ten spokes. This may be made into an amulet worn around the neck.

    According to The All-Pervading Melodious Drumbeat: The Life of Ra Lotsawa, some or most of the cemetery-related beings such as Four Kings, Eight Nagas, the Bhiaravas, Lunar Mansions, etc., are also the protectors of Pure Abodes. Everywhere we turn, horror converts into paradise. Still, it is said if you are in the cemetery, and an evil person comes, you should not respond by having base thoughts about him. This is the resurgence of Mara.

    Longchenpa's Great Chariot says that the Parasol is the Dharmadhatu and also:

    the eight charnel grounds are the eight consciousnesses;
    the eight teachers are the eight self-arising wisdoms;
    the eight fires are the completely torment of false conceptions;
    the eight trees are the eight natures of the kleshas;
    the eight ponds are the eight-fold purifying path;
    the eight deities are the eight gates of siddhi;
    the eight nagas are the assembly of eight qualities; and
    the eight lokapalas are the eight collections of merit and wisdom.

    The Eight Fears removed by Tara or Avalokiteshvara are also symbolic: (1) fire (anger); (2) water or drowning (attachment); (3) lions (pride); (4) elephants (ignorance); (5) imprisonment or punishment (greed); (6) nagas or poisonous snakes (jealousy); (7) demons or witches (doubt); (8) thieves (false views). We do not wish to fear these eight kleshas which will keep us away from the real tree.

    When Nairatma expands her full retinue, they are the sixteen Sanskrit vowels, but there are only fifteen yoginis from omitting a waning part of the moon. All we can say now is Nairatma "would" be the center, but is the No Ego aspect of Dharmadhatu which is effectively center now. The Dharmadhatu has whatever is in the skandhas, or, it has a No Ego mode where it becomes Treasure Storehouse.

    Four Skandhas have been described as "Mental Objects", part of the Dharmadhatu, whereas Vijnana Skandha has been explained as the mental consciousness perceiving them, Mano Vijnana, sixth or Agni cemetery.

    In the words of Barbara O'Brien, "The skandha vijnana is the intersection of organ and object. It is pure awareness. For example, your visual system encountering a visible object, creating a "sight." Vijnana does not recognize the object (that's the third skandha) or form opinions about the object (that's the fourth skandha)...Very simply, yogacara teaches that vijnana is real, but objects of awareness are unreal. What we think of as external objects are creations of consciousness. Yogacara is primarily concerned with the nature of vijnana and the nature of experience."

    Vijnana Skandha has use of all Six Senses. Vinnana-kkhandha is real, but arises and falls away; it is impermanent. Vijnana is, perhaps, a "reaction", since it is divided, Jnana is not. Manas, as a whole, is inclusive of Citta, or Bodhicitta, that being its source. Vijnana arises in dependence upon the mental formations (samskara). Vijnana is a condition for the arising of name and form (nama-rupa).

    So to produce samsara is to produce vijnana, or, to divide consciousness from blissful non-duality or Jnana.

    Samsara depends on Self-grasping, and grasping depends on the right and left winds.

    Manas, as a whole, has the ability to transform it, and the vijnana skandha or mano-vijnana would still be there as a neutral observer.

    Alaya provides the sensory inputs (Maya). Matter is real, but compound elements, or objects, are temporary alterations to one element caused by vijnana or whatever is in the skandhas.

    Tson kha pa says, "the Vajra Rosary states often and explicitly how the
    mind isolation voids are generated from the perspective of the vajra recitation’s blocking the circulation of
    the wind-energies….According to the Pradipoddyotana, (among the six members) pratyahara
    and dhyana are incorporated in secret state of mind (citta-viveka);
    pranayama in diamond muttering [vajra recitation] (vajrajapa) (i.e. secret
    state of speech, vag-viveka); dharani in clear light; anusmirti and samadhi
    in pair-united (yuga-naddha)."

    He says that Generation Stage makes Mantra deha and Completion is Jnana deha (Illusory Body formed of mind and winds only, body of Vajrasattva). That is something like a conceptual and non-conceptual Jnana kaya.

    The four limbs of muttering are said to be Wrathful, Vajra, Emanation, and Blocking Energy, according to Jamgon Kongtrul. Om inhaling, Ah pausing, Hum exhaling is the rhythm. It may also be done mentally. This is riding a bicycle. Lean left, lean right, remember to pedal. The winds are like that. They will go to the center more or less on their own. When conditions are good, it is like coasting downhill, effortless.

    In the way Vajradhatvishvari, Queen of the Vajra Ladies of the Heart, is used as a spectrum, Kamadhatvishvari appears to be the high end. Or the highest practice element, highest plane in Kamaloka, which when purified is Akanistha. From the Akanistha is where Sakyamuni started Abhisambodhis which directly reveal the Three Voids.

    The real tantric Vajra Japa is the first goal for Tri-samadhi Vyuha. It centers the winds out of the left and right and operates the manifest Varuni rather than a symbolic one. That is why Varuni is really Guhyeshvari, Lady of Secrets, who is better known through books as Nairatma or Dakini, but she is really this specific way of linking Pranayama--Vajra Japa to any and all of the deities or Yidams.

    Muttering is specifically incorporated with Pratisara and Prajnaparamita. Vajra Tara transmutes Om Ah Hum into Khecari-Bhucari-Nairatma. This full Vajra Tara is mostly where we are headed with the related outer deities and ripe Vasudhara and the moon in the cemeteries.

    Vajrapani's "consort" is dance bodhisattva Nrrti (Garma). This is noted but I am not sure where it is shown.

    If Janguli has much to do with seven serpents, this does not use the common seven chakras:







    Someone has used a naga of nagas mandala and added Tramen, including Magzor Gyalmo and Makara Dakini:







    Janguli does not, but Parnasabari does, have a Tri-samadhi Vyuha presentation. We have seen these before; this one is in a Chinese monastery, where Parnasabari has her axe and a snake in her hair, Body, Speech, and Mind, and Nagaraja is in the upper area:








    Black Manjushri is a form we are perhaps allowed to use as non-initiates. In the same monastery, he is found with Parnasabari in his upper region:






    Yama Dharmaraja at bottom center is Manjushri's Protector appearance for Vajrabhairava tantra. At the very least, this does not seem to oppose combining Manjushri, believed to be Chinese in origin, with a deity likely Dravidian or Tamil that mostly makes sense in Sadhanamala.

    The parasol item represents the Dharmadhatu itself, and the banner represents winds entering the central. The banner mantra is an extension of Wind Horse which is also very helpful. Parasol goddess was mind-born from Buddha and has outer forms. At the same monastery, the serpent theme continues with Nagarjuna appearing beside Buddha over Parasol:







    They also have a concept of Prajnaparamita retinue. At the top here is the exoteric Yellow Prajnaparamita text goddess, whose mantra we are basically given on day one and we should definitely follow. It would be hard to call this her group from Ratnagiri, and it would also be hard not to call them Paramitas anyway. They hold drum and bell which is unusual:







    Vasudhara is easy to find in a basic form. She presents her minor devis Ila and Manohara. Four Arm Ngor Sita is invoked as Manohara, and Cemetery Moonlight goddess is right after her. In some sense, Vasudhara is the whole outer path. The Forest Maidens such as Janguli and Parnasabari are more or less subsequent to simple earth devis like Ila and Cintamani, and they have to do with wandering the forest to the slopes of Mt. Meru. The second Red Vasudhara is Bharati, who appears related to Varuni, for scaling the heights of Meru. Eventually, Vasudhara appears to effect a reversal on behalf of Ratna Family:







    Yellow has moved east and Green is still its opposite, but the other axis is reversed. She has managed to replace or over-write White, which makes this look close to Buddha Body or Kaya Vajra, where Jewel Family merges to Tathagata Family.

    A full body mandala is one of the most closely guarded secrets and not something we can really do. This one appears related to Generation Stage, with the blue heart deity hanging upside down like a bunch of bananas, three nerves coming together at the front of the head, a crescent moon at the top of the head implying that deity is the white seed, and an over-chakra based from a triangle:






    At this stage, we mainly only do a seed or heart essence syllable in the heart or Concentration Hero, or Protection Wheel.

    In Sakya's Three Small Reds, Kurukulla would seem to be the main one that has an incredibly lengthy Completion rite. One assistant is Tinuma yogini, slightly more wrathful with knife and bowl, but has also been found related to a Fire pot. They also use Bharati with a bowl; she is tantric but more peaceful having Vasudhara's Corn instead of a knife:







    So in looking at Pranayama, it is wind united with mantra, which is Speech, Vach Devi Sarasvati, and Lotus Family generally. This generates Sambhogakaya, without which there is no Samyak Sambuddha. Those three reds of Sakya use a bowl and a fire pot, both of which items are really Varuni, and Kurukulla adds Archer or Avadhut or central. The bow shape or crescent is Varuni's launching force. By knowing this one goddess, we have to understand Samudra Mathan or Churning of the Ocean in relation to the Inverted Stupa, which explains harnessing the red seed and the meaning of Completion Stage inversions as an utter collapse of Form. She is only openly known this way in Nepal, and transferred usually namelessly into all the tantras where she is really Guhyeshvari or the principal deities Varahi and Nairatma.

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

    Book of the Dead reprisal with Samvara

    When we look at Sarma or New Translation, characterized by Hevajra, it is a very intricate expansion of Body, Speech, and Mind that is also found with outer or preliminary deities. This class of literature does not contain one important thing, it does not talk about what Buddha actually did or why his Enlightenment is considered different from Moksha or Liberation. This however is explained in "lower tantras" as Direct Revelation, or Abhisambodhi. That is why these should be included prior to Hevajra.

    Sarma also seems quite different from the Old Translation, characterized by Guhyagarbha Tantra, Nyingma, Lotus Family, and the Zhitro or Hundred Deity mandala associated with "Book of the Dead". We have maintained that this last book is not quite literal, but is something like a fragment describing a meditation which is part of an overall method known as Liberation by Encountering Peaceful and Wrathful Deities. The idea is that from a state of meditative equipoise, the same deities are experienced in life and death. The main tradition is very Tibetan and uses many revealed treasures, which makes it almost seem divorced from the Indian system, but that is because we are missing an important piece of information.

    There is a Sanskrit original tantra from which the Tibetan derivations are based.

    It is the clearest use of Six Families, moreso than Six Chakravartins does, and consistently explains Illusion's Net. So when we look at Vairocana Abhisambodhi or Namasangiti Manjushri, these also teach Illusion's Net. In the Mahayoga system where Guhyagarbha is the main root tantra, there are five more important root tantras used to explain Illusion's Net. And so if "Jala" or Net is part of a title, it has to do with this. Both Abhisambodhi and the descriptions of death or meditations based on death are united in Illusion's Net.

    The Six Family basis is the first part of Illusion's Net.

    Padmanarteshvara, or Nrityanath, is practiced as the head of one of the six mandalas taught in the obscure, almost missing, Sarvabuddhasamayoga Dakinijalasamvara Tantra. It is in this same tantra that teachings on the Buddhist ganachakra or tantric feast-gather practice were first codified. In most of the later Chakrasamvara texts, it is referred to, quoted from, at length, with or without attribution, and called "the Samvara". It is the source of charnel grounds. At its age, 7th-8th century, it was prohibited in Tibet because the king at the time did not want to allow things like that.

    It is almost lost from Sanskrit, but is supposed to have two sadhanas in Sadhanamala, Heruka 241 and something else (it would match the form). If this Six Family pattern were centered on Vairocana, it would appear to be like Vajradhatu, which is about Buddha entering the mandala as or in the state of Vajradhara, and emerging as Maha Vairocana, the Abhisambodhis. The beginning of these is identical to the beginning of Hevajra, or, the sixteen vowels as dakinis enter the moon, and then the consonants do so. Sakya Pandita, in explaining Hevajra as the ultimate practice, says that by learning ever-more intricate philosophies, from Sautrantika up through Yogacara and Madhyamika, is like deepening stages of Guhyasamaja, using secret or Guhyamantra. For many, it is a step-by-step process, but it is possible to "get it" and almost at once, comprehend mantra in such a way as to be ready for Hevajra. If you can turn on or ignite this whole pattern, or Net, you would be initiated to Completion Stage.

    Union with All Buddhas Dakini Jala Samvara is more or less the obscure tantra's title, so it is describing Dakini's Net Samvara, or Dakini's Net Union of Ecstasy.

    Its pantheon is an expanded Paramadya retinue, having six families of twenty members, except Paramasva has twenty-two. Paramadya has no Paramasva Family; in Samvara, he copies Heruka's family and adds two members. These are replicated in Sarvakalpasamuccaya and other satellite tantras. Because Paramasva is Accomplishment, the addition plausibly suggests Completion from a "Supreme Original" or Paramadya preliminary.

    Paramadya is obscure, and Samvara is obscure, because the tendency is to roll through them and work in the most advanced tantras. Lacking that option, we are looking at outer methods that work with the explanation that connects Buddha's Enlightenment, Abhisambodhi, with the deities that are the same in life or death.

    Samvara has two styles of arranging six mandalas, first centered on Heruka, and then on Vajrasattva, which causes Paramasva to take four mandalas in the corners. Any sub-mandala may have its own rite, and perhaps any may be chief of all six at once, but the two main versions are obviously the peaceful and wrathful mandalas, and the main wrathful mantra is just Vajrasattva 100 syllable that calls Heruka instead.

    Samvara as Heruka's retinue starts from the seventeen deity Paramadya Vajrasattva, which explains seventeen vishuddhipadas of Prajnaparamita. It adds four Musician goddesses, Vamsa, Vina, Mukunda, and Muraja, because Heruka dances. The rest of Samvara is just a few name changes to Paramadya families, such as Vajra to Heruka and Jewel to Vajrasurya. It should not be terribly hard to learn, as the retinues are simply a ring of eight and then a ring of twelve.

    It can barely be seen, but this is Samvara, probably centered on Heruka:









    So in the most universal understanding, Samvara means this original use of Six Families in Peaceful and Wrathful encounters including charnel grounds in Generation Stage, and Seven Syllable Samvara at Completion, who was elected as having the "best view" of charnel grounds. The generation praxis makes all the details, elements, families, and so forth, come to life, and the Seven Syllable Vajradaka explanation fuses it all into instantaneous lightning.

    Here is a description of Samvara Contents and a Dissertation relating lower or Yoga tantras to their important place as the basis for the rest. Buston, compiler of the Tibetan canon or Tanjur, mainly explained Yoga tantras.

    Longchenpa and Mipham drew from root Samvara for their classification of practices of the eighteen Mahayoga tantras normally done in Nyingma. The five main tantras are equivalent to Body, Speech, and Mind, plus Qualities and Activity. One difference perhaps is that Guhyagarbha wrathfuls are centered on Jewel Family; this may be due to Vimalamitra and Vajramrita Tantra. Here, Paramadya seems to be equivalent to Vajramrita. In the canon, Samvara is placed with Vajramrita and Buddhakapala in the same volume.

    Sarvabuddhasamāyoga ḍākinī jāla śaṃvara is the full name of Body practice in Mahayoga:

    (1) Enlightened body: Union with Buddha (Skt. buddhasamāyoga, i. e. Samvara)
    (2) Enlightened speech: Secret Vital Essence of the Moon (Skt. śrī candra guhya tilaka nāma mahā tantra rāja, i. e. Vajrapani)
    (3) Enlightened mind: Gathering of Secrets (Skt. guhyasamāja)
    (4) Enlightened qualities: Glorious Supreme Beginning (Skt. śrī paramādya)
    (5) Enlightened activity: Garland of Activity (Skt. karmamāla)


    So when we are able to reverse the Tibetan "bouquet" back to its roots, it seems to have complete agreement with Sarma based in Samvara. Then, the Nyingma system alters the meaning of "Heruka" and appears to run one way, which perhaps is most appropriate for those who have a deep bond to Lotus Family or the karma to be in their schools. From Sanskrit, Heruka does not refer to wrath, but to Completion.

    The full mandala and seed syllables of Samvara are translated by the Japanese and published in Vienna: Tomabechi, Toru (2007), 'The Extraction of Mantra (mantroddhāra) in the SarvabuddhasamāyogaTantra'. But this is not internet accessible. This Samvara evolution is described in An Illustrated History of the Mandala which can probably be found in pdf.

    We don't have an easy way to give all the published details, but we can easily find this Samvara to be "at the core" and mostly understand it.

    There is a fair amount of information about it in Genesis and Development of Tantra:

    "According to the visualization given by Anandagarbha he [Heruka] has four faces
    and eight arms, emerging as the transformation of a dark blue flaming Vajra, it-
    self a transformation of a dark blue syllable HRIH. The central face is fierce, those to its right and left expressive of delusion and erotic passion, and that behind open-mouthed to devour. In his two uppermost hands he holds the
    freshly flayed skin of Bhairava over his back, in the two below a bow and arrows,
    in the third right in descent he shakes a blazing three-pronged Vajra, and in
    the fourth a skull-bowl filled with human blood (mahdraktam). In the third left
    in descent he brandishes the Kapalika's skull-staff (khatvangah), topped with a
    three-pronged Vajra and adorned with bells, and in the fourth a skull-bowl filled
    with human flesh (mahamamsam). Or he may be single-faced and two-armed,
    with a five-pronged Vajra in his right hand raised above his shoulder and a skull-
    bowl full of human flesh in his left, with a skull-staff resting on his left shoulder
    and held in the crook of his left arm. He wears a chaplet of skulls with the Bud-
    dha [Aksobhya] adorning his flaming hair, is surrounded by an aureole of flames,
    poses with his left foot on the ground and his right leg raised so that the sole of
    the foot touches his left thigh, has dancing eye-brows knitted in anger, and has
    round, fire-red darting eyes.

    He is surrounded in the style of the Vidyapitha by twenty Vajradakinis:
    first, in the innermost circuit the eight Gauri, Cauri, Pramoha, Vetali, PukkasI,
    Candali, Ghasmari, and Herukasamnivesa/Herukasamnibha; then the four
    Capadharini, Khatvarigadharini, Cakradharini, and Citrapatakadharini; then
    four offering goddesses: Puspa, Dhupa, Aloka, and Gandha; and finally four
    theriocephalic gate-guardians: Turarigama, Vajramukhi, Vajramamaki, and
    Bhasmapralayavetali.

    The last twelve goddesses are the same in each, namely Susira, Nrtya/Vina, Vitata, and Ghana,
    followed by Puspa, Dhupa, Aloka, Gandha, Turaga, Vajramukhi, Vajramamaki,
    and Bhasmapralayavetali, the first eight of these being, as their names reveal,
    offering-goddesses (pujadevyah), personifications of offerings, and the last four gate-
    guardians, except that in the retinue of Heruka Capadharini, Khatvangadharini,
    Cakradharini, and Citrapatakadharini are substituted for the first four, the mu-
    sical offering-goddesses Susira, Nrtya/Vina, Vitata, and Ghana. The first eight
    of the twenty, then, stand apart as the retinue specific to each Tathagata. The
    eight from Gauri to Herukasamnivesa formed the basis of the retinue of Hevajra
    in the Yoginitantra Hevajra, with the difference that there we see Sabari rather
    than Pramoha and Dombi rather than Herukasamnivesa.

    According to Anandagarbha, Gauri (E) is fair in colour and tranquil-faced. Eight-armed, she cuts off each of the four heads of Brahma by simultaneously firing arrows from four bows. Cauri (S) is red and fierce-faced. Wearing a chap-
    let of skulls she holds a goad-hook (ankusah) in her left hand at her heart with
    a skull-staff in the crook of her left arm resting on her left shoulder, and holds
    aloft an eight-spoked discuss with the middle finger of her right, pressing down
    on the three worlds with her left foot. Pramoha (W) is black and four-armed, with
    the face of Visnu's boar-incarnation (adivarahamukha, or, according to Humkaravajra, boar
    above and a red head below. Moreover, he has her raise with her two lower hands
    a wheel ('khor lo) rather than the earth). In her first left hand she
    holds a skull -bowl full of wine and in her first right a Vajra. With her other two
    hands she imitates the boar-incarnation by raising up the earth. Vetali (N)
    is white and joyful-faced. With her right hand she pours a stream of the nec-
    tar of immortality from a transparent skull-cup and with her left shows the Va-
    jra banner gesture. Pukkasi [E] is multi-coloured (visvavarna) and dancing in a
    smoky cremation -ground full of strings of skulls and the like. In her right fist she
    clasps a five-pronged Vajra and in her left a wind-buffetted tendril from the wish-
    granting tree of paradise (kalpavrksalata). Candali (S) is dark blue and riding
    on a whirlwind (vatamandalika). In her right fist she clenches a Vajra-topped
    trident and with her left releases a whirlwind against her victims. Ghasmari
    (W) is black and eating a corpse. In her left hand she holds a blazing sacrificial
    fire-vessel (agnikunda-) and with her right grasps a sword. Herukasamnibha
    (N), black like Heruka, holds a skull-cup [to her heart] in her left hand, with
    a skull-staff resting on her left shoulder, and a five-pronged Vajra in her right.

    Capadharini (SE) is red and, holding a Vajra bow with her left hand, fires Vajra
    arrows by drawing back the bowstring with her right. Khatvarigadharini (SW)
    is ash-white, wearing a chaplet of skulls and the Buddha on her crown, [holding
    a skull-staff with her left hand and] hurling a blazing fire-pronged Vajra from
    her right. Cakradharini (NW) is light green and holds aloft an eight-spoked dis-
    cuss on the middle finger of her right hand and threatens [the wicked] with her
    left fist clenched in anger. Citrapatakadharini (NE) is golden in colour, holding a
    multi-coloured banner in her right hand. The four offering-goddesses stand in the
    directions holding the offerings that they personify: flowers, an incense-burner,
    a lamp, and fragrant powder; and the four goddesses Turangama, Vajramukhi,
    Vajramamakl/Aloka, and Bhasmapralayavetali stand in the four gates of the en-
    closure to subjugate all hostile deities (krodhakulam), with the heads of a horse,
    a boar, a crow, and a dog, and holding a hook, noose, chain, and bell.

    Pramoha, who, as we have seen, has the boar face of Visnu's Adivaraha incarna-
    tion, is invoked as Vajranarayani, Cauri as Vajracandesvari, and Ghasmari as
    Vajramahesvari. Furthermore, Heruka's first appearance in the Mantranaya
    is in the Sarvatathagatatattvasamgraha, where his name appears in a Mantra
    for the drawing of all the [Saiva] Mother-goddesses into Buddhism, and it is
    that, with the insertion of a single seed syllable, that is adopted as the Mantra
    of Heruka in the Sarvabuddhasamayogadakinijalasamvara. The very title of
    the work alludes to this assimilation, since it is evidently calqued on those of two
    Vidyapitha scriptures, the Sarvavlrasamayoga and the Yoginijalasamvara.

    There are other examples of the assimilative transformation
    of non-Buddhist deities in the Mantranaya, marked, as here, by the prefixing of
    Vajra- to their names. For example, the deities Vajranarayana, [Vajra]candisvara,
    and Vajrapadmodbhava, that is to say, Vajrayanist transformations of Visnu, Rudra,
    and Brahma, together with their consorts Vajrasri, Vajragauri, and Vajratara, join
    Akasagarbha and Khavajrini to form the retinue of Vajrasattva in the central sec-
    tion of the abridged Mandala (bsdus pa'i dkyil 'khor) of the Yogatantra Paramadya,
    a text with which the Sarvabuddhasamayoga is closely related

    In the Heruka-centred Mandala set out there each of the six
    deities presiding over the sub-Mandalas has a consort: Heruka + Isvari, Vairocana
    + Locana, Vajrasurya + Mamaki, Padmanartesvara + Pandaravasini, Paramasva
    + Tara, and Vajradhara + Samvari; and the total of deities is 135, since two extra
    goddesses, counted as one, Citrapadma and Citravajra, are found in front of the cen-
    tral deity in the sub-Mandala of Paramasva, and there are eight additional deities
    in the outer enclosure, since there too there are four offering goddesses within its
    corners and four animal-headed goddesses guarding its gateways.

    The retinue of Vajrasattva has the eight peculiar to him being Samvari, Ahosukha, Pradipa, Sisya, Buddhabodhi, Dharmacakra,
    Trailokya, and Kamalata."

    So this Samvara is the same as (one) Heruka, which is the same as (one) Hevajra based on the Gauris. All the other Dhyanis have the same Hevajra style retinue. This cannot be much different from the well-known Five Families Hevajra, including Vajrasattva as a sixth with the same kind of retinue. This whole thing is apparently considered to be just Body Mandala, while it is simultaneously the same pattern as Body, Speech, Mind, Qualities, Activity, and Vajrasattva. Each Family can be said to have its sub-mandalas or individual rites to boost its capacity, but, as we have seen, the actual full working Body Mandala is the activation of Candali Yoga.

    Samvara inherently includes Amitabha as Padmanartesvara, Lotus Family is Speech, and then if Mahayoga wants to state that Guhya Tilaka Vajrapani is also an important practice for speech mastery, this would probably meet with agreement in Sarma. If they want to say Guhyasamaja is an important practice for mind mastery, this seems so by defitnition, since Guhyasamaja starts with Bodhi Citta Vajra and very heavily focuses on Bodhi Mind, Vajra Family, and Vajrasattva. Therefor, Guhyasamaja remains a major root explanation of Mahayoga or Kalachakra, as well as Samvara. The first two become different in a complicated way from the original Sanskrit version, which itself is highly consistent with Samvara. If I look at Namasangiti Manjushri, it immediately indexes Vairocana Abhisambodhi with Samvara, so this way is rather unified.

    If I look at Vajra Family in Samvara, he is Heruka, or Completion, partnered with Ishvari, or Yidam. That name with no prefix makes utter sense if we have found much reason that the central goddess will cycle as Dharmadhatu Ishvari, Akashadhatu Ishvari, Vajradhatu Ishvari, Kamadhatu Ishvari. So Guhyasamaja is the major method of generating and evolving her, Bodhi Mind, Vajra Ladies of the Heart. If I am trying to do mind mastery and this is the main Yidam, the Heruka Family retinue already carries Guru Vajradhara with Samvari, who sounds a lot like the completing initiatory goddess by being last, and sharing the female name of the root deity. Her Gauri has already decapitated Brahma by using four arrows, or centered heat.

    "They draw on the authority of the Sarvabuddhasamayoga, which refers to its deity Vajrasattva
    as Samvara and explains that name as meaning '[he who has/is the] Highest
    Bliss'."

    So the "Vajrasattva-centered" format would appear as Samvara-centered. It is unclear how Heruka or Vajradhara may change to accomodate this or who his consort would be, or if this deity is like White Heruka Samvara.

    "Vajrarudra appears already in the Sarvabuddhasamayoga in a passage
    that associates the nine dramatic sentiments (rasah) with Vajrasattva, Tathagata,
    Vajradhara, Lokesvara, Vajrasurya, Vajrarudra, Sakyamuni, Arali (or perhaps
    Aralli), and Sasvata (Vairocana) respectively. Vajrarudra's is the sentiment of ter-
    ror (bhaydnakarasah) and it is probable therefore that we should understand Vajra-
    rudra to be Heruka."

    Nine Moods was oddly found by Brian Hodgson in a Newari parallel of Dharmasamgraha, and does eventually coalesce on Nine Moods Marici. Hodgson's record of tantras is very different from the Tibetan, and includes distinctly Dakini Jala, Yogini Jala, and Maya Jala. Taranatha attributes Dakini Jala to Indrabhuti, and also to Ratnavajra and Anandagarbha as recorded lineages. According to Elizabeth English, Jala, itself, is a term for Varuna. Dakini Jala is a phrase employed in Heruka and Chakrasamvara mantras.

    If the Net as a whole is Varuna, this only adds credence to Varuni being something like the spine of the whole Generation (Gauri) Stage.

    In Kali Yuga, Mahadeva "with his four secondary mother goddesses (ne bahi yum) i.e. Gaurl (gau
    ri) in the east, Ekajati (e ka dsa ti) in the south, Kalaratri (ka la ra tri) in the
    west, and Umadevi (u ma de bi) in the north and his four secret mother goddesses (sbas pahi yum) i.e. Kesini (skra can ma), Upakesini (ne bahi skra can ma), Mun pa ma, and Ne bahi mun pa ma, became the lord of these Bhairavas.
    These twenty-five paired awful divinities damaged the people living on Jambu
    and brought this world to a state of degeneration."

    I am not sure who the second four are, other than Kesini and Upakesini go to Manjushri.

    Sthavira's major Vajra Tara 110 "praṇamya tāriṇīṃ bhaktyā sarvasampattivardhanīm" uses Heruka as five nectars/five tathagatas. Otherwise, the name is barely found in Sadhanamala except with a few Completion deities. Likewise, Hevajra is mentioned several times with Kurukulla and once with Nairatma.

    The Samvara primarily only draws from Paramadya and Trisamayarājakalpa. Works from the 9th century that refer to the Śaṃvara or incorporate passages from it include the Nāmamantrārthāvalokinī of Vilāsavajra, the Ātmasādhanāvatāra of Jñānapāda, the Jñānasiddhi of (an) Indrabhūti, the Pradīpoddyotana of Candrakīrti, the Vajrasattvaniṣpādanasūtra of the same, the Pañcakrama of Nāgārjuna and Śākyamitra, many others, plus Vajradaka Tantra, Mystic Kiss, Herukābhidhāna/Laghuśaṃvara, Samputodbhava tantras. So the full Seven Syllable Vajradaka explanation directly includes passages from this core Samvara, making it a more specifically detailed iteration at the very least.

    One of the most important Namasangiti commentaries by Vilasavajra also refers to Samvara. The 53 (or 52 or 57) deity mandala of the sanksiptakula guhyaka manjusri of the manjusri namasangiti is regarded as an anuttara (or Yoganiruttara) tantra, counted together with most Vajrabhairavas of Father Tantra. Sarvabuddhasamayoga and Sanksiptakula Sarva-buddhasamayoga Vajrasattva are general Mother Tantra. So an obscure Manjushri ranks as a corresponding Father tantra to Samvara.

    In his Buddha Kapala Jnanavati, Saraha states, Locana is the brahmin maid Brahmani, Mamaki is the outcast Dombi, Pandara is the dancer Narti, Tara is the washer-woman Rajaki. This seems to say, the Prajnas have a mental offspring, being these Bodhisattvas.

    Tson kha pa says the Dhyanis are Winds, and for instance the wind of Amitabha splits 225 times four ways as Earthy Locana of Fire and all other possible permutations, i. e. Prajnas (Purity of Elements) continually shift as consorts. (Wayman, Buddhist Tantras)

    In one perspective, Dharmapala Vetali is the same as Mamo Botong. "Thus the Vidyadhara used to talk about the experience of life as the “charnel ground” — by which he meant seeing the raw quality of the energies as they are. Without idealizing or demonizing things, both extremes seem to be present in our world...By relating with Wisdom Mother Vajrayogini in our own being, for instance, we gradually also begin to see Mahakali Vetali...while coming from the completely pure wisdom mind, they function in the confused world. They are right at home in the charnel ground — to them, the charnel ground is the completely pure dharmadhatu."

    Vetali takes some careful consideration. As a Yidam, she requires initiation, but, she is also an innate existence, present and working all the time.

    With Longchen and Mipham, there are ten main components of tantra, which they associate to Paramitas:


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

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

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

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

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

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

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

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

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

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


    These components are somewhat similar to the Four or Eight Sections of Magical Illusion.

    "Genesis and Development" explains the Holy Sites in Samvara's Abhidhanottaratantra: "...the base concept which structures the mandala of six lineage-lords is the idea of six lineages rather than that of ten
    site-categories [ten Paramitas]. The mandala of six lineage-lords can be stated to be the reformation of
    the system summarized in TABLE 2 in terms of the concept of six lineages. From this
    standpoint, the twenty-four holy sites are grouped into six lineages and the first six of
    the ten spiritual stages [Bhumis] are assingned to these six lineages. The remaining four spiritual
    stages are connected with the four magical female beings, who are not related to any holy
    sites."

    It gives the six Bhumis in order of Vajrasattva, Buddha, Jewel, Lotus, Vajra, Visva Daka. Then, Acala is a divider to the four magical females such as Lama, Khandaroha, Dharmamegha, and Rupini. This may be quite similar to what we already have.

    According to Patrul Rinpoche, mantra is mostly for protection, tantra mostly penetrates the voids, and the overall Thirty-seven point Enlightenment system is also an expansion of Paramitas:

    "Mantra is so called because it is praised as the supreme means of protection from the mental afflictions. There are four or six subdivisions of tantra. It is called tantra, or continuum, because it brings comprehension of the clear light of the space of reality within one’s own mental continuum.

    Although the meditative equipoise of the noble ones does not involve meditation on different aspects since all conceptual elaboration is utterly pacified, this does not mean that it is completely devoid of any aspect. For example, in the context of the culmination of the path of seeing, it is said:

    That in which generosity and so on
    Are each included one within another,
    Brought together in a moment’s acceptance
    Is the path of seeing here.

    Thus, the path of seeing in this context is explained as having the nature of the six-times-six (i.e., thirty-six) pāramitās. Similarly, all aspects of the three knowledges are complete within the meditative composure in which conceptual elaboration has been pacified within non-conceptual wisdom. Therefore, this is also what is meant by the term “awakening completely to all aspects (Dzogchen).""

    It takes Seven Bhumis to really perform Nirakara meditation, which again shows why to use seven-at-once or six by six or thirty-six or seven points for generation, and that the true samadhi of Six Yogas or Abhisambodhi requires all of that:

    "On the seven impure bhūmis, all the ocean-like activity of the bodhisattvas during post-meditation is accomplished based on the samādhi of all aspects. Still, they are not able to train with this [activity] being of a single taste within the absolute space beyond characteristics. On the seventh [bhūmi] the samādhi without characteristics is present, but it involves effort, so the [application of] all aspects and the gradual meditation are distinct. From the eighth bhūmi onwards, through the samādhi of emptiness endowed with the supreme of all aspects, all the boundless, inconceivable qualities of a tathāgata are progressively attained within undefiled absolute space."

    Patrul Rinpoche briefly describes the Bardos and Voids.

    Patrul Rinpoche's brief Manjughosha sadhana is for dhih-arising Arapacana.

  22. Link to Post #394
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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Continuity from Kriya-Charya to Yoga Tantra

    On a closer look, Paramadya is quite difficult to employ. There are very large mandalas for it, but nothing much that shows the main seventeen deities. It is based from four families, where Jewel has the function of Karma or Action Family as well, and here, Vairocana is Raga--Lust and Amitabha is Moha--Delusion. It does not mention Dharmadhatu Wisdom, and refers to three paramitas.

    It is not flawed, but, from the view of Completion Stage, it is considered "compressed", or preliminary. To speak of Four Families means the four gross, dense, or form elements. If we look at Reality of the Hand Symbol in Paramadya, then, this is the process of making a Pancha Jina of Vajrasattva, or, Bodhi Mind arises in a Relative or Aspirational Condition, experiences Four Activities, up to an attainment of Gnosis, and the sealing of success is the Body of Vajrasattva.

    The title itself is circular for Vajrasattva: "[Vajrasattva] has marks born of the sky, is supreme without beginning or end, the great self-existence (svabhava) of Vajrasattva is said to be the Glorious Supreme Primordial (sri paramadya)."

    Inquiries for "vishuddhi pada" said to comprise Vajrasattva's main retinue tend to bring up the seven purifications of Vishuddhi Magga, which also mentions "that the mind is contemplating all formations as limited, and is rushing forward to the condition less element (animitta-dhātu); that the mind is stirred with regard to all formations of existence, and is rushing forward to the desire less element (appanihita-dhātu); that the mind sees all things as something foreign, and is rushing forward to the void element (suññatā-dhātu)." So even from Pali we find a formless element, and the opposite of Kama Dhatu.

    We are left knowing that Sarva Buddha Samayoga Dakini Jala Samvara is expanded from Paramadya.

    This is saying something like to have a legitimate Six Family practice, it has to have its Sixth member, who is not really a primordial sense or sin like the first five. This seems closely paralleled on the goddess side with a similar type of summoning and entry of Dharmadhatu Ishvari. In some way, it represents a change from purification or what might have been meaningless words, to inner knowledge or Gnosis, from theory to fact.

    According to Wayne Verrill, Chakrasamvara Root Tantra (Laghusamvara) separates Sarva Buddha Samayoga as not being "limited", in that Tattvasamgraha, Guhyagarbha, Paramadya, and Vajrabhairava mostly use mantra repetition and fire offerings, i. e., external ritual actions, which is truncated and performed in Chakrasamvara by meditation alone. The Samayoga is not limited that way, and may also be taken as Mother tantra. We do not know all of its individual retinues, but, they are all Gauri class or Asta Vijnana of that Family, Generation Stage. Samayoga is almost exactly like Namasangiti, a Yoga class writing that nevertheless is capable of a Highest Yoga commentary.

    The second, or Vajrasattva-centered mandala scheme in Samayoga has Vairocana East, Heruka South, Padmanartesvara West, and Vajrasurya North. Paramasva Family has four mandalas in the corners; in Chaturangarthaloka, Humkarakirti describes these as Four Activities, although an example has not been found in Tibet. We would guess that the Heruka-centered format is supposed to designate an "above" mandala like in Six Chakravartins, but we are not told. We see two main methods of deploying the Families like the Zhitro Peaceful and Wrathful Hundred, and what is missing seems to be the inner nucleus or the Dhyani's own Pancha Jina, as found in Hevajra, Completion seems to add that. And so these Gauris are supposed to mark a major mental and physiological barrier, or change of state, like ice turning to water, it takes time and energy. Primarily, Samayoga is showing each Dhyani with Peaceful and Wrathful Bodhisattva Offering Goddesses.

    At the very lest, Samayoga guides us to Asta Vijnana and Bodhisattva Inner Offerings, which can be done peacefully in a Mt. Meru style, or wrathfully at the cemeteries. Offerings may be previously known by rote, if done only as Kriya or an outer activity, you would be familiar with flowers and incense and so forth, but the point Chakrasamvara is making is that most of these outer rites are transferred internally into meditation.

    Along with Buston, Anandagarbha was a major exponent of Yoga Tantra, especially on STTS, Sarvabuddhasamayoga, Mayajala, Sarvadurgatiparishodhana, Guhyasamaja and Paramadya. There is furthermore one sadhana, the Vajrajvalodaya-sadhanopayika, still available in Sanskrit, which was not translated into Tibetan. Anandagarbha is giving many of the root tantras of Mahayoga, as Yoga Tantra.

    King Dharmapala had Jnanapada and Haribhadra for preceptors, and started Vikramasila. He made thirty-five Prajnaparamita centers and numerous tantric ones; Jnanapada mainly spread the Guhyasamaja, Mayajala, Sarvabuddha Samayoga, Candra Guhya Tilaka, and Manjushri Krodha. He used introductory Kriya tantras in a limited way. Some monks from Ceylon did make trouble by attacking tantra as a money-making scheme. Kriya tantra is mainly intended for the Brahmin class, outer tantras are for the upper classes, but Anuttara or Yoganiruttara Tantra is for the working class. So there is an inverse relationship of simplicity or rote to the social classes expected to employ that style most, with the profound meaning intended for the lower class generally.

    According to Jamgon Kongtrul, Vajrasattva Maya Jala is an equivalent name for Guhyagarbha, which has eight root texts and four explanatory texts. Anyone attempting to read a quality commentary to Guhyagarbha such as Key to the Precious Treasury "must have received the empowerment of Vajrasattva's Magical Manifestation Matrix for the peaceful and wrathful deities from either the kama or the terma tradition and must have received the reading transmission, as well as permission to study the text."

    Namasangiti is Manjushri Mayajala, and Manjuvajra is determined to be Vajrasattva in Manjushri form. So we have Namasangiti as sort of a more public or accessible practice, which, so far, seems to work as an index for most everything else. It takes in Sarasvati--Prajnaparamita, Guhyasamaja, Vajrabhairava, Vairocana Abhisambodhi, Dharmadhatu, and basically everything Nairatma or Samvara would ask for.

    Panjara uses the term "Vajradaka" for Father Tantra (Mahayoga), and "Yogini" for Mother Tantra. It says:


    Vajradaka tantras bring benefit to other beings, i. e., emphasize method, and has four root tantras:

    1. Delightful Dakini or Dakini Ecstasy is Sarva Buddha Samayoga

    2. Ocean of Ecstasy is Dakarnava Tantra

    3. Space or Equal to Space is Khasama Tantra

    4. Golden Rain is Chaturpitha Tantra


    And four explanatory tantras:

    5. Great Pleasure or Secret Moon is Candra Guhya Tilaka Tantra

    6. Ghasmari or Power of Food is Samputa Tantra (Seven Secrets)

    7. Extreme Amusement or Secret Enjoyment

    8. Secret Charm or Great Ecstatic Charm


    Yogini Tantras:

    1. Hevajra

    2. Secret Treasury

    3. Source of Vajra Nectar -- Vajramrita Tantra (explanatory for Secret Treasury)

    4. Union of Chakras -- Chakrasamvara Tantra

    5. Canopy -- Vajra Panjara Tantra (explanatory for Hevajra)

    6. Source or Heruka Manifestation -- Heruka Bhudaya Tantra (explanatory for Chakrasamvara)


    So for Panjara, we are headed in the right direction with Samayoga and Equal to the End of the Sky or Khasama. They also let us know that Ghasmari refers to Samputa, which is not obvious. It is the main Vajrasattva explanation for Completion Stage, shown by its early position in Nispanna Yogavali.

    A simple Introduction to the Key also plainly states that Book of the Dead is only one version or example of Mahayoga.

    From the archive Introduction to the Buddhist Tantra Systems, because the flow is interspersed with Tibetan pages, and sections of text are out of order, and there is also an inconsequential argument about self-generation in Kriya. If you have the permission, of course you can do that, but we will look at the inner meaning and process and go find appropriate sadhanas.

    It characterizes the instructions that are generally absent from lower tantra that prevent it from being the same as Completion Stage:

    In the three lower Tantras (i.e., Kriya, Carya, and Yoga) there are neither the aims (artha) nor the terms (yyavahara) of the Steps of Production {utpatti-krama) and the Steps of Completion ( nispanna-krama ). If one proceeds according to the characteristics of the Steps of Production, it is not sufficient to limit oneself to an intense contemplation (bhavana ) in immediacy conforming to the five perfections of the resultative complete Buddha, for it is also necessary to have the yoga of intense contemplation conforming to the three spheres of purification, namely, birth, death, and the intermediate state.

    [This does not appear definitive because Sarvadurgati deals with those three spheres even if it does not discuss utpatti--nispanna.]

    For the complete characteristics of the Steps of Completion, it does
    not suffice to have merely the intense contemplation of voidness ( sunyata )
    of the natural state of things ( dharma ) and the intense con¬
    templation of the yoga of the winds ( vayu ), but it is also necessary to
    have three special things, as the case may be: (1) the knowledge of bliss-
    void ( sukha-sunya ) which occurs from making the wind(s) enter, stay,
    and rise for leaving in the central vein ( avadhuti ); (2) the divine body
    which occurs from that [knowledge]; and (3) the yoga of piercing the
    vital centers in the uncommon ‘means’ body (upaya-deha) attracted by
    those two (i.e. the knowledge and the divine body). In the three lower
    Tantras, there is the intense contemplation of the voidness of the natural
    state and there is the intense contemplation of the yoga of the winds;
    but as the others (i.e. the three special things) are lacking, there is no
    intense contemplation of the Steps of Completion.

    ...in each of the three lower Tantras, there are both the yogas
    called “with signs” ( sanimitta-yoga ) and “without signs” (animitta-yoga).

    [this is found in Sukla's mantra as animitte]

    Not only are the absent instructions available anyway, I am in the difficult position of having accomplished (1) and entered a meager amount of (2), without any transmissions of the things that are supposed to enable you to do it. So I look around for those types of permissible deities that provide the same meaning (Kriya Families, Yoga deities, etc.). To follow it this way is to build a much better working engine, I believe, than to get a Vajrayogini or Chakrasamvara book and start using it and then filling in the blanks or trying to catch up on the fact that all this stuff is in it.

    The main problem most of us have is "too fast". In some sense, Abhisambodhi is nothing other than what each person perceives when going to sleep, but, it happens too fast for most people to notice. Same with death. The meditation is designed to "slow down" and stabilize the void sequence. From activating the subtle body by other means such as Hatha Yoga, it seems to me, you are getting a similar result, that just goes by too fast, making it papery and weak. You believe you have (2) although it is a cheap copy. The tendency is to go "in" like a rocket and "out" because it just stops or dissipates. So this slower Yoga is much more thorough and effective.

    The book does describe the progress of outer yoga up to pranayama, which is what we are focusing on. It reviews the full Completion Stage, and then compares the outer methods, keeping in mind the chief of Charya tantra is Vairocana Abhisambodhi:

    The equivalent to that [Calming or Shamatha] in the Kriya-Carya is the accomplishment [of those
    complete characteristics] when contemplating the six gods and when
    reaching the limit of the meditations of dwelling in the flame and dwelling
    in the sound.

    If, through one’s own power of contemplation in the meditation of
    dwelling in the sound, one is able to attract in actuality the physical and
    mental cathartic (kaya-prasrabdhi and citta-prasrabdhi), one accomplishes
    the complete characteristics of Calming.

    [That is the result and now we will go back to the procedure.]

    In the Kriya-Carya one contemplates the body as the Great Seal ( maha -
    mudra ), speech as Incantation ( dharanl ), and mind as Reality ( tattva ).

    Body as the Great Seal: This is the contemplation of the six gods.

    [that is not Six Families, but rather more like Vajrasattva by increments]

    Speech as Incantation : This is the meditative object in the sounds of
    the syllables of the Incantation, and the meditative object in the form
    of the syllables, in the phase of meditation attended with muttering.
    However, the main part is the meditative object in the sounds of the
    Incantation in the phases of meditation of dwelling in the flame and
    meditation of dwelling in the sound.

    [here again is muttering and the union of wind and mantra]

    Mind as Reality : This is [the three things, viz.] the meditative object
    in the Reality of the mind, the yoga without signs, and the limit of the
    meditation of dwelling in the sound. Because it constitutes the contem¬
    plation of voidness which is the basis of the affiliation with the Dharma-
    kaya at a subsequent time, it grants the freedom of the Dharmakaya,
    and thus is the meditation which grants freedom at the limit of the
    sound. That being so, those three are identical.

    [This high point is considered a contemplation of voidness, which itself is the basis for future Dharmakaya awareness.]

    The Dhyanottara is a portion of the great Tantra of the Kriya Tantra
    called the Vajrosnisa-tantra. It is also regarded as a kind of Continuation
    of that Tantra. It deals with ten kinds of subject matter: 1. The char¬
    acteristics of the place where one practises; 2. The Self Reality; 3. The
    Reality of the vidya-dharani ; 4. The Reality of the God; 5. The medita¬
    tion of dwelling in the fire; 6. The meditation of dwelling in the sound;
    7. The meditation which grants liberation at the limit of the sound; 8.
    The rite of engaging in the practice of the vidya-dharani 9. The rite of
    the burnt offering; 10. The initiation rite. Of these, the three headed
    by “The Self Reality” show the four members of recitation that are of
    great importance in both the Kriya and Carya Tantras. The three kinds
    of meditation, starting with “dwelling in the fire”, are the main part
    (maula ) of the action of the Kriya and Carya Tantras. The rite of en¬
    gaging in the practice of the vidya-dharani shows how to perform the
    service ( seva ) which precedes [that main part] and how to perform that
    which concludes [it].

    [These are large stages, any sub-section a, b, etc., is approximately "months" doing the thing.]


    The main part of the four members of muttering (Ground, Objective and Subjective;
    Immersion in Mind; Immersion in Sound):

    Here there are two parts : the service to be done through contemplation
    of Self Generation; and the method of presenting offerings through the
    contemplation of Generation in Front. [Self = Subjective Ground, and Front = Objective Ground]

    a. Generation of Self into Deity [here at most we do Divine Pride of Vajrasattva, or possibly start a connection to Tara, etc.]

    The first god

    The Self Reality ( *atma-tattva ) is the contemplation (bhavana) that (1) is
    free from such concepts as singleness and multiplicity by recourse to
    the reasoned formulations of the Madhyamika; and (2) which decides
    that one’s own mind is void because accomplished by intrinsic nature.
    -After that, the God Reality (*devata-tattva) is the contemplation of the
    reality of the god to be contemplated and the Self Reality as inseparable
    and as devoid of intrinsic nature. The two realities constitute the Reality
    God ( *tattva-devata ) among the six gods. They are equivalent to the
    contemplation of voidness in the higher Tantra divisions that attends
    the muttering of such expressions as svabhava and sunyata.

    (* svabhava ’ and * sunyata the author presumably refers to the
    two dharanis : Om svabhavasuddhah sarvadharmah svabhavasuddho ’ham and Om
    sunyatajnanavajrasvabhavatmako 'ham)

    [So the first, Shuddha or Purity mantra, concerns Atma Tattva or Self Reality, concept-free by becoming centered in Catuskoti, the second, Sunyata or Emptiness Mantra, concerns the inseparable Devata Tattva or God Reality, or Ishvar Reality. Together, they are the Tattva Devata or Ishvar, who for all intents and purposes is Vajrasattva.]

    The second god

    Then one imagines that the god to be contemplated (i.e. created medi¬
    tatively) out of the sphere of the Void is that very god in essence, and
    that his aspect (akara) is the intonation of the sounds of the dharani to
    be muttered. That [aspect] as the mind’s sole meditative object ( alam -
    band) is the Sound God (*sabda-devata).

    The third god

    Then one imagines that his own mind ( citta ) transforms itself in the sky
    into a moon disk ( candra-mandala ) upon which the god to be contem¬
    plated is that very god in essence. The contemplation of its aspect as
    the aspect of the letters, the color of liquid gold, of the dharani to be
    muttered, is the Letter God ( *aksara-devata)

    For those Sound and Letter Gods, it is satisfactory to use either the
    long ( dirgha ), the essence (hr day a), or the near-essence ( upahrdaya )
    dharani.

    The fourth god

    Then one imagines that from those letters emanate innumerable rays
    of light, from the ends of which issue innumerable aspects of the body
    of that god to be intensely contemplated. They purify all sentient beings
    from their sins, obscurations, and sufferings, and they give joy to all the
    Buddhas and their sons [i.e. Bodhisattvas] by making offerings to them.
    Then the rays, together with the gods, are withdrawn, absorbed by the
    letters; and the moon, together with the letters, transforms itself into
    the perfected body of the god to be contemplated. This as the meditative
    object is the Form God (*rupa-devata).

    At the time of doing service through contemplation of Self Generation,
    one need only contemplate the Lord ( *prabhu ) but not his retinue ( pari -
    vara ), palace ( vimana ), etc.


    The fifth god

    Then, if one knows [them] he touches whh the various dharanis and seals
    (mudra): 1 . the crown of the head, 2. the space between the eyebrows
    ( urna-kosa ), 3. the eyes, 4. the shoulders, 5. the neck, 6. the heart,
    and 7. the navel. If one does not know [them] to that extent, he touches
    those places with a single dhararni and seal of that particular Family
    among the three Families. And having been [thus] blessed (adhisjhita),
    they are the Seal God (*mudra-devata).

    That is equivalent to the blessing of the sense bases (ayatana) in the
    higher Tantra divisions.


    The sixth god

    Then, while the aspect of the god is bright, one fortifies the ego ( aham -
    kara or garva). That [aspect] taken as the mind’s sole meditative object
    is the Sign God ( *nimitta-devata ).

    Those [gods] are equivalent to the generation by means of the five
    Abhisambodhis in the higher Tantras.

    The Anuttara pranayama means the abolition
    of the coursing into the right and left channels; the present pranayama [i.e. of the
    Kriya Tantra] means the abolition of the coming and going of the wind (vayu) riding
    on discursive thought (vikalpa ), as well as the inner containment [of the wind].

    Vairocana tantra and Buddhaguhya say: prana is the vital air (vayu) passing through the
    doors of the sense organs ( indriya ); ayama is the dispersal into other
    sensory domains ( visaya ) of the mental elements (*tarka). Binding or
    abolishing the prana-ayama means preventing the vital air and the mental
    elements from escaping outside, and containing them inside.

    It is contemplated on the occasion of service ( seva ) in the Kriya and Carya
    Tantras, either after completing contemplation of the six gods, or after
    accomplishing Generation in Front, as the case may be.

    Controlling the vital centers of the body, one draws the upper vital air (urdhva-vayu) inside
    to the navel, pressing it down; and draws the lower vital air (adhas-vayu)
    up to the navel, holding it there. The mind is fixed solely upon the god.
    Thereupon, when one is no longer able to retain the vital air, it is emitted,
    and while one is relaxing, the mind is fixed solely upon the god. Then
    he again holds the vital air within and contemplates in the same manner.

    Generation of Deity in Front

    There are six things, offering and so on, to be done while accomplishing
    the Generation in Front: generation of the residence; invitation to the
    gods to be residents and offering of seats; exhibition of the seals; offering
    and praising; confession of sins; contemplation of the four boundless
    states. compassion ( karuna ), friendship {maitri), sympa¬
    thetic joy ( mudita ), and indifference ( upeksa )

    [this is for Ocean of Milk and Mt. Meru, similar to Peaceful Offering Bodhisattvas]

    A'. Confession of sins (papa-desana).

    B'. Refuge formula (sarana-gamana).

    C'. Sympathetic delight ( anumodana ) [with the merit (punya) and
    knowledge (jhana ) amassed by the Buddhas and Bodhisattvas].

    D'. Exhortation and entreaty [to the Buddha to turn the Wheel of the
    Law and to not depart into Nirvana as long as there be candidates].

    E'. Fervent aspiration ( pranidhana ) [to alleviate the sufferings of
    humanity].

    VT. Contemplation of the four boundless states (caturapramana-bhavana)
    and Generation of the Mind (cittotpada)

    Those two [i.e., the Generation of Self and the Generation in Front]
    constitute members of muttering ( japa-ahga ). For the genuine muttering
    one must complete the four members of muttering (Ground, Objective and Subjective;
    Immersion in Mind; Immersion in Sound). Consequently, the
    Dhyanottara says, “Immerse yourself in the sound, the mind, and the
    ground.”

    The “ ground ” member : The “ground” (T. gzi , S. *vastu ) is the body
    of the god in whose heart the dharani wheel is deposited. Of the two
    kinds, the “subjective ground” (bdag gi gzi) is the contemplation of
    oneself transfigured into a god; and the “objective ground” {gzan gyi
    gzi) is the contemplation of the god generated in front.

    The member of immersion in mind (*citta-nimna): This has the vivid
    meditative object ( alambana ) consisting in one’s mind (citta) in the shape
    of a moon -mandala in the heart of the deity generated in front.

    The member of immersion in sound (*svara-nimna): This has the vivid
    meditative object consisting in the letters of the dhararnl to be recited,
    located upon that [moon -mandala].

    [Sound as a noun is Sabda. Here as the object of a preposition it is svara. So it may be possible the name is Avalokita Svara or something like "sound which is seen"]

    Muttering while dwelling on the shape of the syllables

    There are two kinds: muttering while dwelling on the shape of the
    syllables in the heart of the deity generated in front; muttering while
    dwelling on the shape of the syllables in one’s heart.

    The first kind : One binds the prana-ayama as previously described
    and mutters by way of the complete four members of muttering while
    simultaneously dwelling on the body of the deity generated in front and
    on the three syllables which are on the moon seat in the heart [of the
    deity’s body]. When exhaling, one should not mutter dharanis , but hold
    the mind fixed on one’s own body contemplated as the deity. Then,
    again holding the breath, one should mutter as before.

    The second kind : The garland of dharanis is at a modest distance in
    front of himself, slightly higher than himself, upon the moon in the
    heart of the deity generated in front. While inhaling, he attracts that
    [moon and garland] into himself and transfers it into his own heart.
    He dwells on it while muttering, as long as he does not release his breath;
    but when he exhales the wind, he is to imagine that the moon, along
    with the garland of dharanis , is emitted together with the wind and then
    is stationed in the heart of the god in front. Again in the same manner
    as before he transfers it into his own heart.

    Muttering while dwelling on the sound of the syllables

    First one distinctly recalls the four members of muttering. Then,
    without dwelling on the shape of the syllables of the dharani, the moon,
    or the body of the god, one dwells on the tone of the sounds of the
    dharani while he recites. Moreover, it is not as though the dharani were
    being uttered by another person and being heard by oneself, but rather
    one dwells on the tone of the sounds of that dharani at the time oneself
    is reciting it.

    This rite of dwelling on the tone of the dharani involves both mental
    recitation and whispered recitation. The commentary (Toh. 2670) [on
    the Dhyanottara ] states that one cannot employ whispered recitation
    while restraining the prana-ayama. [the work] explains the sequence
    in outline this way: first one performs the whispered recitation; when,
    during that [recitation], the mind is not distracted, then one restrains
    the prana-ayama, performing the mental recitation.

    According to the commentary, in the first case (T, the first kind),
    there are three meditative objects: the god, the moon, and the dharani -
    garland; in the second case (T, the second kind), there are two medita¬
    tive objects: the moon and the dharani-garland; in the third case (IT),
    there is only one meditative object: the sound [of the dharani]. A single
    person must proceed by these three steps.

    One must complete the muttering with recitation ;

    Then permanently protect it by doing

    The muttering twenty-one times

    To the Mother and Master of the Family.

    The Mothers of the three Families are Locana, Pandara, and Mamakl.

    (c) Terminating acts to the four members of muttering

    The way in which one concludes the four members of muttering is to
    offer his roots of merit (kusala-mula) as a cause ( hetu ) for siddhi to the
    deity by means of the seal of the flask (kalasa-mudra ).

    One releases in reverse order to the se¬
    quence in which the six gods were contemplated.

    The meditative object in the sound of the dhararii being recited is
    released by dwelling on the letters of the dharani ; those, in turn, by
    dwelling on only the moon. The moon is released by dwelling on just
    the body of the deity; that body in front, by thinking only of one’s own
    divine body.

    That divine body of Self Generation is released by thinking only of
    the syllables in its heart; that, in turn, by dwelling on the sound; the
    sound, in turn, by dwelling on the Knowledge Body of the god; that, in
    turn, by dwelling on the Dharma-kaya. In turn, unsupported by that,
    one should dwell on the Self Reality (*atma-tattva). That, in turn, is
    released by thinking of the Maturation Body ( vipaka-kaya ) which ap¬
    pears as an illusion, mirage, and so forth.

    Having summarized by steps those meditative objects, finally he is
    equipoised in voidness ( sunyata ). Thereupon, because he emerges in
    the fashion of an illusion, even at the time of giving up the watch, he
    should not release his hold on divine egoity. This procedure is equiv¬
    alent to the unification in the phase of the Anuttara.

    MEDITATION WITHOUT MUTTERING

    This has three sections, namely, exposition of the meditation ( dhyana )
    of dwelling in the flame, exposition of the meditation of dwelling in
    the sound, and exposition of the meditation granting freedom at the
    limit of the sound.

    a) Meditation of dwelling in the flame

    What type of person has this contemplation? The one who has come
    to the limit of the contemplation of the six gods has this contemplation.
    What is the method of contemplation? One contemplates himself as
    the deity; in his heart he contemplates a tongue of flame, like a bright
    and blazing butter lamp, and in it he discerns the Self Reality ; and he
    contemplates the aspect of his mind’s reality as the tone of the sound of
    whatever dharani is to be uttered.

    The standard for having come to the limit is as follows: When one
    does not feel the pangs of hunger and thirst, although not partaking
    of external food or drink, and when one depends on internal warmth
    and beatitude, the samadhi is produced.

    (b) Meditation of dwelling in the sound

    One contemplates himself as the deity; in his heart, inside the moon-
    mandala, he contemplates a tiny body of the deity, similar to himself.
    In its heart, he imagines [a flame] like that of a burning butter lamp,
    and within [the flame], he contemplates the tone of the sounds of the
    dharani. This is not the same as the dwelling on the sounds of the syl¬
    lables in the phase attended with muttering. In that case, it was a dwelling
    on the sounds recited by oneself, whether the recitation be whispered
    or mental. In the present case, there is no recitation by oneself: one
    dwells on the tone of the sounds of the dharani within the flame, heard
    as a bystander. The situation in the phase of dwelling in the flame is
    also like the present case.

    And again the present case, one contemplates its aspect as the tone of
    the sounds of the dharani and its essence as the essence of one’s own mind.

    In the present case, one vividly imagines the body of the god, and
    so on, in sequence. Thereupon, one hold the mind solely on the sound,
    paying no attention to other objects, such as the body of the god. On
    the other hand, at the time of dwelling in the flame, one holds the mind
    on both fire and sound.

    The standard for having come to the limit is as follows: For example,
    when one goes to the limit of the contemplation of a god, the bodies,
    colors, hand symbols, and so on, of the chief god and of all his retinue
    become simultaneously more clearly visible than ever when seen without
    loss of definition before the [ordinary] eye. Likewise in the present case,
    when one reaches the limit, the sounds of the syllables of the dharani do
    not appear one after another, but arise in the mind simultaneously, more
    clearly and distinctly than when heard by the ear as audible sound.

    All those [i.e., (1) Meditation with muttering, and (a) and (b) of (2)
    Meditation without muttering] are yoga with signs ( sanimitta-yoga ).

    (c) Meditation granting freedom at the limit of the sound

    Buddhaguhya (Toh. 2670), Thu, 26b-7, describes the meditation this way: “The
    expression ‘granting freedom at the limit of the sound’ should be considered. The
    previously mentioned ‘limit of the sound’ is silence ( *nihsahda ); when one dwells
    solely on the sound of the mantra and then releases it, there is the limit of the sound.
    The meditation is the mindfulness that the mantra at the limit of the sound has granted
    the freedom abiding in the intrinsic nature of the Dharmakaya”

    In general, the samadhi in which Calming (samatha) and Higher Vision
    (vipasyana ) are combined together ( yuganaddha) is the backbone, so to
    say, of the path of both the Paramita-yana and Mantra-yana. Of those,
    in the Paramita-yana, having first developed Calming and having at¬
    tained in full measure its characteristics, one develops, on the basis of
    that, Higher Vision. Having attained in full measure the characteristics
    of the latter, one proceeds to Calming and Higher Vision combined
    together. However, in none of the four Tantra divisions is the method
    of accomplishing explained in terms of Calming, nor is that necessary,
    because by the contemplation itself of the yoga of the deity, one develops
    the complete characteristics of Calming.

    Thus, in the two higher Tantras fi.e., the Yoga and Anuttara] one
    accomplishes the complete characteristics of Calming when reaching
    the limit of the two yogas of the deity, the rough and the fine. The
    equivalent to that in the Kriya-Carya is the accomplishment [of those
    complete characteristics] when contemplating the six gods and when
    reaching the limit of the meditations of dwelling in the flame and dwelling
    in the sound.

    Even when one reaches the limit of the meditations with signs he is
    still without the basic antidote that eradicates the root of the ‘cycle of
    transmigration’ (samsara). For eradicating the root of samsara, one
    must have the yoga without signs (animitta-yoga). In the latter contem¬
    plation, one does not contemplate any conventional aspect, such as the
    body of a god, but contemplates according to the precepts through
    becoming skilled in the analyzing contemplation and the
    stoppage contemplation of voidness. If, through one’s own
    power of contemplation in that manner, one is able to attract in actuality
    the physical and mental cathartic, one accomplishes the complete char¬
    acteristics of Higher Vision.

    Although "without images" is a subtle, refined state, according to Vairocana Abhisambodhi, it is not in isolation or at expense of "with images":

    (1) PROCEDURE OF PRELIMINARY SERVICE AFTER
    BEING COMMITTED TO THE PLEDGES

    There are two phases: Yoga with images; Yoga without images. The
    first of these is the yoga of the deity not governed by voidness; the
    second, the yoga of the deity governed by voidness. However, one
    should not contemplate only voidness, because one does not become a
    Buddha by merely contemplating voidness: it is explained that one does
    not accomplish both siddhis by means of the Yoga without images.
    Moreover, if someone enacts the contemplation of voidness prior to
    the contemplation of Yoga with images, with that alone he does not
    pass into Yoga without images.

    Vairocana's Yoga with images is much as the prior description with also:

    From the sphere of the void, one generates as before [a deity] or the
    Victor Sakyamuni from any of the four letters A, A, Am, Ah. This is
    the ‘Subjective Ground’. It is taught that in the heart of that [deity] he
    imagines an unblemished moon-disk like a mirror with two surfaces.
    He fixes [his attention] on it, contemplating his own body until he sees
    it as the body of the deity.

    [Two-sided mirror is described further along]

    (b) Yoga without images (animitta-yoga)

    This is the habituation in the decisive knowledge that concludes through
    higher cognition that all things (sarvadharmah) are void and not isolated,
    as regards accomplishment by intrinsic nature.

    The “signature” of that intense contemplation is the trans¬
    figuration of the body of the deity on the manas-face as though
    before the eyes, after reaching the limit of Yoga with images. And when
    he contemplates in the manner by which that brightness appears only
    on the buddhi- side without leaving it, and the body
    of the deity appears to be like the illusion of a void accumulation, he
    is able to attract the complete characteristics of higher vision {vipasy-
    ana). In the present Buddhist nomenclature, the first side of the buddhi is called the manas face; the reverse side of
    the buddhi , the buddhi-side. Hence, the limit of Yoga with images is still involved with
    the first side of the “mirror” but with eidetic or “realistic” imagery. Thereafter, Yoga
    without images is involved with the reverse, or inward-directed, side, on which one
    cognizes things as arising dream-like or as void.

    [So there is a small glimpse of Buddhi, which, with continuation, takes the whole person inside the mirror]

    If we understand Kriya-Charya, what does it mean to enter Yoga?

    Union {yoga, nal jor ) means union with the dharmadhatu, the interior objects of the mind {manas), according to Buddhist
    Abhidharma theory; the ‘source of natures’ ( dharmodaya ) and the Absolute ‘Object’
    (paramartha ) in Buddhist Tantra] by means of Knowledge {jnana).

    The fundamental Yoga tantra is Tattvasamgraha. Yoga tantra is aimed at those who enjoy samadhi and would be motivated to do nispanna or Completion Stage.

    The title Tattvasamgraha means “collection of categories”. According to Pad-
    mavajra’s Tantrarthavataravyakhyana (Toh. 2502), which we cite in abbreviation as
    Avatara-vyakh , there are thirty-seven categories (tattva), which we give in Sanskrit
    reconstruction: (1) hrdaya, (2) mudra, (3) mantra, (4) vidya, (5) adhisthana, (6)
    abhiseka, (7) samadhi, (8) puja, (9) atmatattva, (10) devatattva, (11) mandala,
    (12) prajna, (13) upaya, (14) hetu, (15) phala, (16) yoga, (17) atiyoga, (18) maha-
    yoga, (19) guhyayoga, (20) sarvayoga, (21)japa, (22)homa, (23) vrata, (24) siddhi,
    (25) sadhana, (26) dhyana, (27) bodhicitta, (28) sunyata-jnana, (29) adarsa-jnana,
    (30) samata-jnana, (31) pratyavek?apa-jnana, (32) krtyanusthana-jnana, (33) vi-
    suddhadharmadhatu-jnana, (34) akar?apa, (35) pravesana, (36) bandhana, (37)
    vasikara.

    So the Kriya-Chara principles of Atmatattva and Devattatattva lead to Mandala, which then shows the Androgyne and the Path. Bodhicitta is followed by Six Wisdoms and Four Activities. So to contemplate actual Yoga required an esoteric instruction for (9) and (10) which is really like the preliminary meditation. It is preparatory for the Yoga phase, a magic circle of Six Wisdoms intended to go to Completion.

    Guhyasamaja and Samputa appear to be the major basis of any Completion rites.

    Samputa begins by saluting Vajradaka. Four chapters of it have been translated.

    Four magical females are described in Samputa as Mother, Sister, Daughter, Kin. Or in the case of Eight Gauris, Brahmin Twice-born--Tathagata, Kshaitriya Royal--Vajra, Vaisya Cowherder--Karma, Sudra Servant--Mahavairocana, Dancer--Padma, Dyer--Karma, Outcaste--Vajra, Candalini--Jewel.

    It uses a more formal Thirty-seven points as Four Stations of Mindfulness (four realizations of ignorance that require the next group), Four Elimination-exertions (longing, striving, examination, thought), Four Bases of Magical Power, Five Organs, Five Powers (belief, striving, mindfulness, samadhi, prajna, same as the organs), Seven Jewels of Enlightenment, Eightfold Noble Path. The home of the Bodhisattvas is the same as the true form of the organs and of the skandhas "in a distinguished way".

    This tantra gives the title of Samayoga:

    "He who is joined to all Buddhas has the vow of the net of dakinis."

    Dakini is diverse illusion, illusory women, and going in the sky. Pervasive of all things and states. The tantra starts by defining Samputa as Prajna-Upaya, and increases this to Great Bliss.

    Whoever shines brightly and (praises) the Buddha here in Jambudvipa becomes the (evam) of pleasure in the middle of the pure triangle in the form of "e". When there is pleasure in the triangular mandala, it is called Vajra Arali (also bhaga of the lady and dharmodaya).

    At the filament in the middle of this [eight petals around the triangle], is known to be the Supreme Female Lord ["a"].

    The dharmarali arises from the great place of various knots.

    "E" is known as earth, karmamudra, and Locana, residing in nirmana chakra. "Vam" is known as water, dharmamudra, and Mamaki in the dharma chakra at the heart. "Ma" is fire, maha-mudra, and Pandara, in the sambhoga chakra in the throat. "Ya" has the nature of wind, maha-samaya mudra, and Tara, in the Maha Sukha chakra.

    "E" is prajna and "vam" is means. These syllables are Evam Maya Srutam, Thus Have I Heard, which is a Thirty-seven Syllable mantra used with the same thirty-seven point pattern. These chakras are obviously in a different condition if earth = navel and so forth. This perhaps is intended as a type of protective preliminary to fire = navel. Importantly, in neither case is it trying to say something like "earth is this exact piece" and it is "located right here" because there is always intermixture. Earth and Locana do some weird things, there is definitely motion involved, the starting condition does not remain in stasis.

    if one attracts the Knowledge Being (jnana-sattva) and draws it into any Anuttara mandala, and
    the male deity moves correctly while the yogini remains immobile, one
    has Father Tantra; if one attracts the Knowledge Being and draws it
    into any [Anuttara] mandala , and the yoginls move correctly while the
    male deities remain immobile, one has a Mother Tantra.

    In Dakrarnava, Vajradhara explains,

    "Dividing the Anuttara Tantra into [maha] yoga-tantra and yogini-tantra — in the
    ‘kings’ of the [maha] yoga-tantras taken by themselves. By what method
    is it done? One generates in the forward direction the three [called] Light
    ( aloka ), Spread-of-Light ( alokabhasa ), and Culmination-of-Light ( aloko -
    palabdhi), together with the Clear Light ( prabhasvara ); and at the time
    of emerging from the latter, in the reverse direction one accomplishes
    the Illusory Body from the five rays of wind ( vayu ) riding on the four
    Voids. The method consists in emerging in the Illusory Body from the
    Clear Light by way of knowing in exactitude such things as the coming
    forth with skill and the varieties of their rites.

    In short, the basic classification of the Anuttara Tantras is into those
    which teach elaborately the subject matter of the Knowledge of the in¬
    dissolubility of Beatitude and Void on the side of the Void, and into
    those which teach elaborately the coming forth with skill in the method
    of accomplishing the Illusory Body from the five rays of wind riding on
    the four Voids in the part of the ‘Means’ — or any Tantras belonging
    to the [respective] categories."

    Tantra of Effect. This is the rank of Vajradhara, which is the supreme
    attainment. The terminology ‘pair combined beyond learning’ (asaiksa-
    yuganaddha) and ‘rank possessing the seven members of the samputa ’
    has the same meaning.

    The seven members of the samputa are identified with
    “perfection of body”. “Subsequent to the affiliation of pair combined
    with learning ( saiksa-yuganaddha ), there arose the Body of pair combined beyond
    learning (asaiksa-yuganaddha) and the rank of the seven members of the samputa
    appeared directly; as long as samsara is not emptied [of its suffering denizens] That
    abides immovable. The seven members of the samputa are as stated by the acarya
    Vagisvarakirti: ‘(1) Sambhoga [-kaya], (2) samputa , (3) Great Beatitude ( mahasukha ), (4) no intrinsic
    nature ( nihsvabhava ), (5) state of being filled with compassion, (6) non-interruption,
    and (7) no cessation’."

    “The seven members of the samputa are as follows: (1) the Formal Body {rupa-kaya ) adorned with the [thirty-
    two) Characteristics ( laksana ), (2) samputa with one’s own manifested vidya, (3) mind
    dwelling with Great Beatitude, (4) comprehension, with that Beatitude, of the lack
    of intrinsic nature, (5) rejection, with compassion, of the quiescence extreme, (6) no
    interruption in affiliation with the Body, (7) no cessation of wondrous action."

    The five perfections are:
    (1) perfection of body, viz., possession of the seven members of the samputa , decorated
    with the Characteristics and Minor Marks (sku phun sum tshogs pa mtshan dpes
    spras pahi kha sbyor yan lag bdun dan idan pa); (2) perfection of merit, viz., gain of
    the ultimate merit, consisting in having eliminated [the imagination of both nirvana
    and samsara ] and fully comprehended (yon tan phun sum tshogs pa spans rtogs mthar
    phyin pahi yon tan brnes pa); (3) perfection of retinue, viz., comprised of one’s own
    stream of consciousness (hkhor phun sum tshogs pa ran rgyud kyis bsdus pa); (4)
    perfection of place, viz., the self-generated palace of divine knowledge (gnas phun
    sum tshogs pa ye ses ran snan las grub pahi gzal yas khan); (5) perfection of affilia¬
    tion, viz., continuity of the affiliation of both body and mind (rigs hdra phun sum
    tshogs pa sku thugs gnis kyi rigs hdra rgyun mi hchad pa).

    So as the mind progresses to the more challenging phase of Samputa, its seven secrets are still re-directed into Body Mandala. In other words, one goes to Completion before actually using all available practice on the body.

    In tantric depictions of the winds, Vairocana is consistently Vyana, but the Vyana wind itself seems to change depending how the mandala is centered:

    Tson kha pa gives Amoghasiddhi’s samana, the yellowish-green wind-wind;
    Amitabha’s udana , the red fire-wind; Aksobhya’s prana , the white water-wind; Rat-
    nasambhava’s apana , the yellow earth-wind; and Vairocana’s vyana , the pervasive
    (? colorless) wind.

    In Kalachakra, "Winds in the purified form are called awareness-wind, and in the impure form, action-winds. There are ten of these main winds moving within all these channels. It is also correct to understand these as ten types of winds that move within the channels of the body.

    The names of these ten winds and the elements associated with them, are:

    Prāṇavāyu (srog) – space
    Samānavāyu (mnyam gnas) – wind
    Udānavāyu (gyen rgyu) – fire
    Vyānavāyu (khyab byed) – water
    Apānavāyu (thur sel) – earth
    Nāgavāyu (klu) – awareness
    Kūrmavāyu (rus sbal) – wind
    Kṛikaravāyu (rtsangs pa) – fire
    Devadattavāyu (lhas byin) – water
    Dhanañjayavāyu (nor rgyal) – earth

    Tson kha pa and Kalachakra have switched Prana and Vyana in terms of the elements water and space. This may have something to do with the second water-wind being named for Vajrasattva practice from Kriya. Each version could be compared to Ayurveda. Rather than dispute which Dhyani has what, we may be best off by becoming sensitive to the winds themselves, since, to actually take this and use it is Pranayama, so our purposes end by getting it arranged onto some scheme of Ten Directions. If Vajra Tara is the most complex deity I might be likely to construct, knowing Kalachakra does things its own way and that Tson kha pa is probably speaking from a more general or Guhyasamaja perspective, it would probably be done that way. You would have "Water of Life" and Space as pervasive throughout the whole body.

    Some of their locations and functions are as follows.

    Prāṇavāyu – In the central channel, above the navel, and in the upper channels of the heart. Maintains life, identity and creates many thoughts. If damaged, concentration is broken, lack of consciousness, craziness, finally death.

    Samānavāyu – channels on front side (east) of the heart. Preserves the heat in the belly, maintains the separation of nutrients nd waste in food, passing nutrients through the body and expelling waste downwards. If damaged. stomach illnesses.

    Udānavāyu – south-east channel (of the heart centre). Speech, taste, drinking, eating, spittle, vomiting. If damaged, fever and upper (body) ailments.

    Vyānavāyu – exists throughout the body. Combines with the power of the rasanā channel. In the joints enables stretching and contraction of the limbs; if damaged causes paralysis, palsy.

    Apānavāyu – in the central channel, below the navel, and the channels starting on the lower side of the heart. Controls emission and retention of faeces, urine and seed. If damaged, cold and lower ailments.

    Nāgavāyu – south-west channel. Eyesight, fatness, belching.

    Kūrmavāyu – rear channel. Extension and contraction of the limbs.

    Kṛikaravāyu – north-west channel. Anger, distraction, intoxication.

    Devadattavāyu – Left channel. Yawning, and creates ailments of the winds.

    Dhanañjayavāyu – north-east channel. Earth ailments; ailments that will last a long time.

    Two of these winds are considered to be physical winds. These are the life wind (Prāṇavāyu) and the "downward-clearing" wind (Apānavāyu).

    The four main seeds, or drops, are considered to exist at four of the main centres:

    Forehead – body – the potential of the element of water
    Throat – speech – the potential of the element of fire
    Heart – mind – the potential of the element of wind
    Navel – awareness – the potential of the element of earth"



    Blazing Flames or Anala-pramohani-dharani is for Vajra Family Mother (that may help explain the Gauri, Pramoha).

    Seven Chela initiations is presented in Primordial Buddha Tantra, or Paramadi Buddha Kalachakra Tantra, and attested in Hevajra. The whole panel is considered "the Vase" initiation, regardless of how many sub-vases may have been used in the seven stages. The vase symbol itself mainly goes through the hands of Bharati--Varuni--Vasudhara--Lakshmi at Nine Treasure Vases.

    Paramadi Buddha is the source of Mahasamvara Kalachakra, the one which shows Six Elements.

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

    Kriya-Charya teaches Abhisambodhi without explaining Generation and Completion. Many things explain Completion without explaining Abhisambodhi.

    Yoga is between the two and so firstly it draws from Abhisambodhi and secondly can be considered an inroad to Generation that explains Completion without containing the full practices for it. So there is an upper bound to what as outsiders, or converts, we should train in, Pranayama.

    This is the same as saying Generation Stage is Varuni's Inverted Stupa, and we are going to enter the bindu and possibly work in the triangle.

    If we have an aptitude for Yoga, we want to pursue it in a way that presents Muttering as the highest practice. We can take this to the Kriya-Charya meaning of Pranayama, which is the jewels or snakes that are bracelets and so forth, Binding the Winds, and centering in the sense of drawing the upper wind down, and the lower wind up, to the navel. This is not going to "do" a mandala but would eventually train us in all the details involved with it. Rather than making strange overtures about initiation, this is simply improving our candidacy.

    Yoga includes Atma Tattva and Deva Tattva from Kriya-Charya, followed by Mandala. Together, Atma and Deva Tattvas make Tattva Devata, the first or reality god. The Six Gods of Kriya-Charya are intended as the Abhisambodhis plus Manifest Buddha. This is akin to increasing Vajrasattva from Purification to Prajna-Upaya.

    Then in Yoga, Paramadya increases Vajrasattva from Prajna-Upaya to Mahasukha-Unwasted Vajra, or Bliss. This is due to mantra, the throat is Sambhoga chakra. Paramadya's goddesses are Four Activities in a Vajrasattva theme, having Ragavajra or Passion to please Vajrasattva's mind so he will not swerve from the thought of Enlightenment, Joyful Utterance Vajra Kili Kila arouses a pledge to remain attached to mahasukha-unwasted vajra, Vajrasmrti is unshattered by the poisons, Vajra Kameshvari, Queen of Desires, Objects Manifested by Vajrasattva. is Gnosis. This makes the hand symbol, five pronged vajra of Vajradhara.

    It may be this Gnosis is equivalent to Dharmadhatvishvari, or, there is an outer Manjuvajra with a similar retinue or purpose.

    In actuality, Paramadya is a series of massive mandalas and we are unable to do that. There are not even iconographical descriptions of the goddesses. But the inner meaning is explained. So if we have a version of Four Activities, and apply it to Vajrasattva with those intentions, it's not a real sadhana, but it would be a useful way to meditate. Then for instance you establish a bond with Gopali, you would be able to do Manohara--Hook. And that would be one Paramadya-alike activity, Manohara--Hook--Beauty pleases Vajrasattva's mind so he will not swerve from the thought of Enlightenment. If this is combined with mantra, at a minimum, it will quieten disturbing emotions, but it may bring a greater intensity. If one has Vajradhara Guru Yoga, the Paramadya makes a spectacular amount of sense.

    The final dozen elements of Yoga are very telling:

    (25) sadhana, a spiritual practice

    (26) dhyana, profound meditation and bliss

    (27) bodhicitta, which is Vajrasattva

    Six Wisdoms:

    (28) sunyata-jnana,

    (29) adarsa-jnana,

    (30) samata-jnana,

    (31) pratyavek?apa-jnana,

    (32) krtyanusthana-jnana,

    (33) visuddhadharmadhatu-jnana

    And Four Activities:

    (34) akar?apa, (35) pravesana, (36) bandhana, (37) vasikara.

    The Activities are in their generic form, this is part of Yoga, so if I have Manohara--Hook, Akarsaya, it is in closer accord with the system as a whole, than using Ragavajra. This reinforces the idea that Vasudhara is a critical practice. She specifically says to use Gopali as her Vajra Samaya being. Somehow, it has been going around the public consciousness that you should meditate on Green Tara, but she hasn't come with a name. If it is Suryagupta's Tara, this is the center of a Highest Yoga mandala, and if it supposed to be Nagarjuna's, this is an Akanistha or Completion Stage deity. However since her teaching is mainly mental and emotional help, this is more likely an Eight Fears or Astamabhaya version. But if I turn to Vasudhara, she already contains the Yoga Path and is the main outer goddess of the higher initiations. She is a Tara with her own forms including Ramayana Sita, so, it is valid to do Sita Gayatri and so forth. In a Peaceful rite, the Hook power mostly is peace as the force of attraction. So if I take Sita and Manohara, this combines the pre-Buddhist doctrine of Body-less-ness, and then goes to a specifically Buddhist deity who intends for it to become a power, attractive to other peaceful deities.

    Tibet overall makes "White Tara" very abstruse, however they mainly use an extension of Usnisa, who both is well worth starting any time, and inevitably comes up as a sort of dominatrix of Generation or the peak of it. White Tara, per se, in the original meaning, is Sita, Mrtyuvacana, Vajra Tara, and Sukla.

    Compared to the lower tantras, Abhisambodhi does have a further explanation indicating Completion Stage.

    The Buddha performed Abhisambodhi equal to the Tathagathas because they summoned Tilottama who initiated him by Union. She is the finest and why Shiva popped additional faces and Indra sprouted 1,000 eyes to watch her.

    According to Snellgrove, Compendium of Truth of All Tathagatas states accomplishment is impossible without union, although this was not physical, it was in Akanistha or mano-kaya. A different version says they did it physically in the previous life.

    Sheaves of Instructions says: "For the ultimate also, you definitely rely on this method." I will explain, for example having received the wisdom initiation given by the perfect buddhas abiding in the skies above, the Sakya master relied upon it in order to attain enlightenment while sitting in front of a bodhi tree. Also, the Bhagavan, by this alone, was initiated into the vajra essence by Tilottama.

    The Hevajra Tantra says: Having manifested a mandala of a violent circle of flames, Tilottama was summoned to grant the initiation of the vajra essence.

    For tantric Buddhists however, several other traditions
    exist, such as the CaNDasamhAroShaNa Tantra, which describes the Buddha in
    his tantric form. Also, according to Tsongkhapa's student Khadubje (mKhas
    Grub rJe, 1385-1438), the Buddha practiced with an actual consort just before
    incarnating as ShAkyamuni. ... in the tenth stage of a bodhisattva, in order
    to achieve enlightenment, he needed the initiation of wisdom (prajn~A), which
    required practice with a consort. The celestial buddhas summoned the divine
    courtesan (divyavesyA) TilottamA (Tib: Thig le mchog ma) and then gave him initiation.

    She is in NSP Bhutadamara mandala, which is Vajrapani, or a "type" of Canda Maha Roshana.

    She is a Divine Maiden, Divya Kanya, fashioned by Viswakarman from a pile of gems, Ratna samghata mayi. She is also Lightning Flash, Vidyut Prabha. Presumably she is the "drop of springtime", vasanta tilaka, and therefor Varahi, Candali, Nairatma. In Tibetan, Thig le mchog ma, i. e. a thigle or bindu, who is an Apsara, a division of Gandharva. The spring tilaka has the dazzle of lightning, and when inner heat is perfectly operated, the illumination pervades the ten directions and informs the sangha that a Buddha has manifested.

    Completion Abhisambodhis were taught at his third initiation; Buddha needed no Generation Stage, etc., instruction like we require. The Tathagatas revealed the Abhisambodhi steps directly to him and he was perfect.

    Multiple sources such as Tson kha pa and Hevajra both assert that Tilottama sealed Sakyamuni's Buddha initiation sexually. Am I going to do something in the Akanistha today that will cause lightning to strike infinity, no. To get the same, or "real consort of the Mahasiddhas", instead of being handed the finest by the Tathagatas, we will likely crawl around in dismal places seeking the Gauris such as Candali, who are mostly low class and dirty, or such is their form. If we pry in to "their world", it is Naga realm, then Yaksha, then Gandharva, or, roughly, Paramitas, Cemeteries, Akanistha. No matter the filth or if she is twisting the head off a corpse, ultimately, the finest aspect of her is non-different from the result of the entire Path. The cognizable or potentially useful version of her is Generation Stage or will be found if Binding and Muttering produce heat.

    Tson Khapa says Panjara divides Generation Stage into six parts:

    Vairocana, generation of palace
    Vajrasattva, attraction of residents (includes Abhisambodhis, necessary for jnanasattvas to enter the meditator)
    Akshobya, initiation
    Amoghasiddhi, offerings
    Ratnasambhava, praise
    Amitabha, enjoyment of ambrosia

    Here again the related outer deities are Pratisara, Prajnaparamita, and Vajra Tara. So if we are using these to operate sub-Pranayama, sub-Mandala, then it appears to be a conceptual or outer method of Vairocana (assembly of palace, so i. e. components, guests, similar to Vajradhatu) and Vajrasattva (conceptual Abhisambodhis and jnanasattva). We cannot say we are having a Panjara initiation, so all this appears subsumed prior to Akshobya here.

    However the Panjara process resembles "Front Generation" of Kriya-Charya which, upon examination, is a great resemblance to Guru Yoga. In other words, this is the same pattern and method expanding and entering new levels, which add meaning and cause deities to behave differently. We can see that originally, Abhisambodhis formed the whole pattern, but they are done by step two of Panjara.

    Buddhist Tantras is not quite the proper title, but is more of Wayman's work after "Introduction to Buddhist Tantras".

    With the description of Vasanta Tilaka from the Introduction, we find her as the Generation-Completion revelatory goddess known under many names. So at this level we are primarily getting her orientation as the Gauris, chiefly Candali, and if this makes or does anything, the wild-caught variety is Guhya Jnana Dakini. She is the partner of Jinasagara Avalokiteshvara, but more importantly is also the root of Jnana Dakini, Varahi and the others. Her realization "has no need for empowerments and the like". But what it is or is defined as, is an inner, esoteric, or gnostic realization.

    If Vajrasattva is entering Bliss, we are looking at a method of Sambhoga kaya, and he is already Mantra, and the special throat energy is used for these purposes and emergence of Speech Mandala.

    So it should make sense to say our intent is Binding and Muttering, and it turns out that there are a limited number of sadhanas for this.

    Considering mainly Sadhanamala, Yellow Prajnaparamita does something unrelated to her first form. She presents the syllable Dhi, which is a synonym for Buddhi, which we attempt to get a glimpse of in the two-way mirror. She then becomes more complex and is intended to interface with Manjushri to make Dhimma.

    White Prajnaparamita is more specifically linked to Panjara and is a Sherab who does two things. Firstly, she uses Prajna Vardhani, or Prajna Increasing mantra. This is the same as Sarasvati. Then she does Muttering and also uses Sunyata Jnana Vajra Svabhavatmako Ham, same as Vajra Tara 96.

    The other Muttering sadhanas are for Pratisara, who works a little differently since she is a Protector and uses a Pancha Raksha or Five Families. That starts in a basic "apparent" form that would resemble Guhyasamaja or any kind of Pancha Jina, but transits to its own unique major variation which is occultly profound to say the least.

    Janguli--Parnasabari is a closely-related line that is preparatory for Vajrabhairava and all Ten Directions, it does not seem to have Muttering, but it does lead to Gauris. Parnasabari also becomes Wrathful, unlike the Muttering Deities. The Wrathful line will largely be for the purpose of Armor Deities as used by Varuni, which includes Vajrabhairavi, so this is a bit more difficult, and a Wrathful rite itself is generally used less often. The cemeteries as a whole are inhabited by Sukla in the middle of them, emanated by Amoghasiddhi, who casts Fence, flat Grounds of Eight Directions, and invokes Acala, defined as stable or immovable boundary, again the Fence, and Animitta, or Completion Stage meditation of Emptiness plus Six Gods, "Without Form". So again this is simply a Yoga perspective explained more fully by Vajrapani and Sarvadurgati, which adds the intent to purify birth, death, and intermediate realms, making awareness of Six Bardo.

    But those would be the feet of Liberation by Encountering Peaceful and Wrathful Deities. Peace, as a singular element can be shown to come from Sita and Vajra Tara, whereas what we could call "Pra" deities are a further fusion of it.

    Prajnaparamita will come in the "Body-less" condition which, mixed with Bliss, becomes Dancing and Flying Dakini, or, Guhya Jnana Dakini, text goddess of the Zhitro or Hundred Peaceful and Wrathful Deities mandala. She is really the central thread-like reality, who dispenses with her personal name and arises as:

    Dharma Dhatu Ishvari (Body-less, Mental-only)

    Akasha Dhatu Ishvari (Dakini Queen of Space; akash in the head; Maitri Dakini; Red and White Celestial Women)

    Vajra Dhatu Ishvari (Life Wind from Heart upwards which blends with Marici and Varahi)

    Kama Dhatu Ishvari (Panjara)


    In Kalachakra, Visvamata is a fusion of Prajnaparamita and Vajradhatvishvari. However, Marici does the same thing and also with Vetali, and she is very extensive in Sadhanamala, following closer to the same type of vocabulary and deity forms that are widely used in Yoga. It appears that Sarvadurgati "sets her up".

    Vajra Tara will eventually gather our Muttering and convert Om Ah Hum into Khecari--Bhucari--Nairatma. On analysis, this appears to explain occult purification of Earth Element by Purity of Sense of Touch and Purified Touch Objects, corresponding to a Gnosis of Mental-only or Dharma Dhatu Ishvari reality. This is not a faint glimpse, but more like an establishment of Nirmana kaya, and so the beginning of generation stage is the "Earthing" of Nirmana chakra or solar plexus put together with its ability to generate Fire as special throat energy, Lotus Family, generation of Bliss. Vajra Tara and Jewel Family overall are protected by Ekajata, who doesn't really do anything else until Nairatma appears.

    Marici and Ekajata are both simple companions of the oldest Taras, neither one of whom does much prior to Completion Stage. If we look at Yoga accurately, neither "Green Tara" nor "White Tara" really represent the flow of the teachings; the Vajrayogini that one is also suggested to use, does, but again, this is a bit of a pretense in suggesting we can easily grab a Dakini or enter Akanistha. It seems much more positive that Prajnaparamita is the main text goddess who delivers a Binding and Muttering practice, or, circularly, Vajrasattva is non-dual union of Prajnaparamita and Karuna. She is in one sense inescapable, and there is no other deity that fills this role.

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

    Guhyeshvari

    Manjushri is the Adi Guru of the Chakrasamvara system. He learned this directly from Guhyeshvari who is Adi Prajna. She is also called Hevajri, and is the primordial teacher as described in Swayambhu Purana.

    Guhyeshvari and Vajradhara are both able to emanate Varuni. We have her operative details, except her hypostasis has been tricky to understand. We will describe its only form, which has pictures, but they have to be attached and may show at the end of the post, or be small and you need to zoom in. If we pick at her scheme a little bit, it underpins a piece of information to Varahi which begs the question of who Varahi's close retinue is. So then we will detail a view of Varahi that we have not used yet, because I missed the simple key statement that Varuni is Khandaroha.

    In a Nepali manuscript, Guhyeshvari uses the technique of appearing in the very middle of the book. She is a Blue 1,000 Arm form, whose right hands all support males doing anjali, and her left hands support similar females (they appear to have split white and green). Her hair is Mt. Meru and her multiple faces have all five jina families, crowned by Amoghasiddhi, since she is Prajnaparamita, Mother of All Buddhas. Her symbols are a kalasha vase of plenty, or an open spring in the ground. She is said to be conflated or confused with Nairatma, but, if she is Hevajri, or a female Hevajra, she cannot be much different.

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    Directly below her is Eighteen Arm Varuni (Khandaroha), flanked by White Sanchasani and Blue Yamini. Varuni is Sky Element and Undending Ocean; her role is to prepare the practitioner with "tools" for visualization and Yogic meditation, and for the efficacy and power of mantra.

    Below Varuni is Varahi flanked by Four Arm Khadga Yogini (Guhyajnana Dakini) and Naro Dakini (Vidyadhari).

    Below them are the Vidyadharis Phampi or Pharping Vajrayogini and Maitri Akasha Dakini; they do not explain this central figure, who may be recognized as Sukhasiddhi, showing us the downward triangle.

    Below these would be Eight Matrikas, or, it interlaces into the more standard scheme of cosmology and sacred sites. These are a jumble when you compare versions, but we will get ones from Varahi and Vajradaka Tantra. Genesis and Development is a major comparison study of sacred sites.

    Tibetan Art (i. e. Robert Beer's site) gives a form of Weapon Hevajra (special to Marpa) with "five tantric goddesses", Akash Yogini, Vajrayogini, Guhyeshvari Kali (centre), Khadga Yogini, and Khandaroha Dakini. We can quickly see Guhyeshvari plus the four yoginis of Nepal, with two clearly stamped as Sword or Guhyajnana Dakini (same as above), and then Khandaroha (Varuni) who effectively is in Naro Dakini's place.

    In the 19th century, a group of nine Nepalese commissioned this Varahi. They are at the bottom, praying towards the Dharmodaya:






    This is not otherwise identified; we would expect them to use the four dakinis important to Nepal, and here one of them shows up Blue, which is a bit unexpected.

    Normally, Khandaroha is one of the "Four Dakinis" who accompany Varahi; the Newari postcard is one of the few spots where she is singled out and placed amongst others, who are not so much four family dakinis, but Vidyadharis, or vessels of secret mantra or Speech Mandala.

    Varahi and her four dakinis, dark blue Dakini, yellow Rupini, red Khandaroha, and green Lama, are very important in Kagyu. In an ancient 1300s Nepali representation, only these four surround the central Varahi. There are many others outside, including both a Red and Yellow Cinnamasta:









    In Sakya and Kagyu, the Four Dakinis are also allowed a Four Arm Form: "Within the sphere reside the four close attendant dakinis, yellow Rupini, red Khandaroha, green Lama and blue Dakini. Each has one face and four hands holding a curved knife and skullcup in the first pair and an upraised damaru drum and katvanga staff in the second. Wearing the same ornaments and standing firmly with both legs, each is surrounded by a circle of fire." This is as in Sadhanamala Varahi 217.

    This is an even older 1200s Taklung Kagyu in amazing condition, which shows this kind in four sections of the white area, the other two filled by standard red dakinis:






    Black Cloak Mahakala is unmistakable there, and there are a few multi-colored and animal-headed ones. Here is another Taklung view where they add what they can of the cemeteries, where you can easily find Agni on fire and Isana on a bull:







    Another Taklung view removes the Dharmodaya and makes the cemeteries more distinct:






    We have hounded Varahi a fair amount because she really has no outer practices, and her Armor Deities redundantly include herself again, whereas Varuni has Six Armor Deities of distinct names. This 1800s Bhutanese Drukpa Kagyu version is going to mess everything up by giving Varahi a retinue of seven unidentified dakinis:






    Himalayan Art says: "She is surrounded by seven retinue figures all in the same posture but appearing in various colours." This is obviously not true because the little red dakini has her head cocked the other way. I do not know what it means, but I do know it is there, and would serve some purpose towards explaining just exactly what Varahi is doing.



    Vārāhyabhyudaya (Dvadasabhuja Varahi)

    The Vārāhyabhyudayatantra is an explanatory tantra on the Laghuśaṃvara, but its verses are largely extracted from the 10th century Abhidhānottaratantra or Abhidhana Uttaratantra. Twelve Arm Varahi apparently also gets the Mothers in a wonky order. Wisdom Library largely describes the mandala, split onto separate pages. Put together, it goes:

    Māmakī (मामकी, alternately Marani) is the presiding deity of the eastern lotus of the vārāhyabhyudaya-maṇḍala, according to the Vārāhyabhyudayatantra, Vajra Family (water, dark blue).

    Pāṇḍarā (पाण्डरा) is an alternative name of Ākarṣaṇī; south, red, and fire, retinue not given.

    Tārā (तारा, alternate Nartesvari) is the presiding deity of the western lotus She is the presiding lady (kuleśvarī) of the padma (Amitābha) family, green, air.

    Locanā (लोचना, alternate Patani) is the presiding deity of the northern lotus of the vārāhyabhyudaya-maṇḍala (Karma Family, space, yellow).

    Those "are" the Prajnas in a scarcely-recognizable condition that appears to have placed Earth Element at the center. They each have a retinue enumerated below. There, we will find Khandaroha repeated in a second place, much like the "two Gauris" of Hevajra.

    The "Four Dakinis" are described as if they are on the petals of Varahi's central lotus:

    Ḍākinī (डाकिनी, “lion-faced”) is the name of the goddess found on the eastern petal of the vārāhyabhyudaya-maṇḍala. Rūpiṇī (रूपिणी, “horse-faced”) is the name of the goddess found on the southern petal. Khaṇḍarohā (खण्डरोहा, “elephant-faced”) is the name of the goddess found on the western petal. Lāmā (लामा, “hog-faced”) is the name of the goddess found on the northern petal. The central deity of the vārāhyabhyudaya-maṇḍala is the twelve-armed Vajravarāhī.


    Māmakī has three faces of three colors (black, white and red) and is to be visualised as naked and wearing only a agarland of heads. The lotus upon which Māmakī presides has 6 petals and corresponding goddesses residing in pīṭhas (sacred site):

    Pracaṇḍā in Pullīramalaya,
    Caṇḍākṣī in Jālandhara,
    Prabhāvatī in Oḍḍiyāna,
    Mahānāsā in Arbuda,
    Vīramatī in Godāvarī,
    Kharvarī in Rāmeśvara.

    Tārā has three faces of three colors (red, yellow and green) and is to be visualised as naked and wearing only a garland of heads, dancing upon the four māras. She has six arms and her attributes include the cihnam (family emblem), the vajra, the double vajra, a red lotus and a wheel. The lotus upon which Tārā presides has 6 petals and corresponding goddesses residing in pīṭhas (sacred site):

    Śyāmā in Kaliṅga,
    Subhadrā in Lampāka,
    Hayakarṇā in Kāñcī,
    Khagānanā in Himālaya,
    Cakravegā in Pretapurī,
    Khaṇḍarohā in Gṛhadevatā.



    All the goddess of the western lotus petals are to be visualised as dancing naked and being half-male / half-female (ardhanarīśvarī) with their two sides being red and yellow. In their four arms they brandish a bowl and staff, with a ḍamaru and their familial attribute.

    Locanā has three faces of three colors (green, white and red) and is to be visualised as naked and wearing only a garland of heads, dancing upon the four māras. She has six arms and her attributes include the cihnam (family emblem), the vajra, the double vajra, a red lotus and a wheel.

    The lotus upon which Locanā presides has 6 petals and corresponding goddesses residing in pīṭhas (sacred site):

    Laṅkeśvarī in Devīkoṭa,
    Drumacchāyā in Mālava,
    Airāvatī in Kāmarūpa,
    Mahābhairavā in Oḍra,
    Vāyuvegā in Triśakuni,
    Surābhakṣī in Kośala.


    Tārā (तारा) is an alternative name of Narteśvarī: a deity to be contemplated upon by a practitioner purifying his correspondences (viśuddhi), according to the Abhisamayamañjarī. Narteśvarī is alternatively known by the name Tārā, one of the traditional consorts of the Buddha and a mother of the yogatantra system. The contemplation is prescribed as a preliminary ritual for a yogin wishing to establish, or reestablish the union with a deity.

    Tārā is associated with the element wind and the color green. She is to be visualised as assuming a kāpālika form, naked with loose hair and holding tantric attributes in their four arms.

    That division is similar to Sadhanamala Varahi 218, where apparently the same string of deities are split into Body/Speech/Mind, and for example, the first four in Tara's lotus are in Speech, and the last two begin Body, so this one is not directly explaining the sacred sites. However, there is only one element that makes the Buddhist Samvara version any different from a Shiva version--it is an addition which breaks the poetical rhythm and uses what would be nonsensical as a place name:

    Gṛhadevatā is one of the twenty-four pīṭhas, or ‘sacred-site’ (six lotuses each having six petals), each corresponding with a part of the human body. Gṛhadevatā is to be contemplated as situated in the anus. The older Shiva version was just saying what class of supernaturals are in what place: in Samudrakuksi Kampilis, in Saurastra Grhadevatas, in Pretapuri Mahakalis, in Himalaya Rupinis.

    Vajradaka is almost a pure copy of Shiva's Nisisamcara (Ucchusma tantra or Picumata), keeping almost the entire system intact, changing only four sites, Oddiyana, Jalandhara, Tibet, Malava. "...what they have in
    common is that they deviate from the pattern of the rest of the passage in that
    their presiding goddesses, Mahadevi of Uddiyana, Candalini of Jalandhara,
    Sahaja of Tibet, and Seka of Malava, are not assigned to one or other of the
    eight goddesses of the Picumata. Instead, in the case of the first three the
    redactor has filled in the text at these points by assigning them to the families
    of Guhya (guhyakhyayonisambhava), Soma (somasambhava), and Svayambhu
    (svayambhuyonisambhava)."

    (18.43): *odydyane *mahadevT (corr. : mahadevi Cod.)
    guhyakhyayonisambhava | vajrasrhkhaladhara devya sughora divyarupini; f.
    43r2— 3 (18.45): jalandhare tu candalini jneya mudra kattarikodyata | soma-
    sambhava mahadevi sarvaisvarya*pradayika (em. : dayika Cod.); f. 43r7-vl
    (18.55): bhotavisaye sahajakhya makaradhvajadharinl | svayambhuyonisambhava
    saumyasya divyariipini; f. 43vl-2 (18.57): malave tu tatha seka mudramud-
    gara*dharini (corr. : dharani Cod.)

    For instance, both Shiva and Vajradaka say at Kolhapur, the deity is Mahalakshmi, Agnika is the ksetrapala, and dandah is the weapon. The customary tree has been replaced by "on a hill" which is consistent with the Kubjika tantra description.

    At Nagara (Pataliputra or Kusumapura), Vettavasini is the deity, who is Vetada or Vetali, whom Subandhu independently identifies as "the Katyayani called Vetala" in Vasavadatta.

    Shiva says:

    12 jayantya<m> danturayoni<r> jvalamukheti visruta \
    khadgahasta sthita devi sarvasattvabhayamkari ||

    Or at Jayanti is Jvalamukhi.

    Vajradaka Tantra says about Khandaroha:

    18.7 pretapuryam trisakunau ca sthulesvarl khanda*rohika (em. : rohita Cod.) sthita

    It is an emendation or spelling correction which makes the last part of her name Rohita, which is usually a red deer or a red fish. Sthula has a general meaning of coarse, so it likely is used in the sense of sthula sharira or gross physical body, she is a Sthula Ishvari. Khanda has several meanings, "valley between two mountains" perhaps having relevance to sacred sites. If "Roha", it would be rising, ascending, growing, riding on, or possibly the generating cause. It is a very difficult name, at great reach, Khanda is Pali for Skanda--Mars, the son of Agni and the Krittikas (pleiades), or of Agni and Swaha. If I could force her meaning to be "the generating cause of the growth of Mars", understood as that esoteric teaching of Maya plus whatever reason of him landing at spot seven of Namasangiti with Red and Varahi, I would do that. I cannot find any explanation of her name aside from equating her to Varuni.

    The full Vajradaka passage is:

    sad yoginyas tu sadhakah mlecchabhasam tu
    bhasitam | 18.4 kulatayam tu marudese ca yd matarah || sindhau ca nagare *ca
    yah (corr. : carya Cod.) kulanayikah | 18.5 lampake saurastre ya<h> kuladevatah
    | himagirau *kahcyam yah sabalikah (em. : kahcayam yd balika Cod.) | 18.6
    pancala grhadevatayam yd kanya sahajarupinl \ kalihge *kosale (corr. : kausale
    Cod.) caiva vratadharinT *pisitasana (em. : pisitasina Cod.) | 18.7 pretapuryam
    trisakunau ca sthulesvarl khanda*rohika (em. : rohita Cod.) sthita \ *purnagirau
    (corr. : punnagirau Cod.) jalandhare candalajah striyah | 18.8 odre kamarupe
    ca mahakanyah devikote ramesvare ca yd kanya mata | *goddvaryam arbude ca
    (corr. : goddvarydmbude va Cod.) dakinl paramesvarl \ 18.9 suvarnadvipa<m>
    *yathoddistam (corr. : yathodhistam Cod.) udyayanam tathaiva ca \ etesu desesu
    yd kanya vlradvayavyapini | 18.10 sarvas tah kamarupinyo * manoveganivrttayah
    (corr. : manovegonivrttayah Cod.)

    "Genesis and Development" translates a major passage from Abhidhanottara to class Six Dhyanis with Six Bodhisattva Bhumis, each of which has a ring of Four Sacred Sites. It contains a similarly long Sanskrit passage about the sites from Vajradaka Tantra which it finds to be strikingly similar to the list in the non-Buddhist Kubjika Tantra. This original manuscript is in Oxford.

    Pramudita (Vajrasattva)

    (East) Pulliramalaya (North) Jalandhara
    (West) Odyana (South) Arbuda

    Vimala (Buddhadaka)

    (East) Godavari (North) Ramesvara
    (West) Devikota (South) Malava

    Prabhakari (Ratnadaka)

    (East) Kamarupa (North) Odra
    (West) Trisakuni (South) Kosala

    Arcismati (Padmadaka)

    (East) Kalihga (North) Lampaka
    (West) Kanci (South) Himalaya

    Sudurjaya (Vajradaka)

    (East) Pretapuri (North) Grhadevata
    (West) Saurastra (South) Suvarnadvipa

    Abhimukhi (Visvadaka)

    (East) Nagara (North) Sindhu
    (West) Maru (South) Kulata

    The remaining four spiritual stages are connected with the four magical female beings, who are not related to any holy sites:

    Durahgama, Dakini ; Acala, Lama ; Sadhumati, Khandaroha; Dharmamegha, Rupini.

    "Twenty-four sites" grows to thirty-two, forty-eight, sixty-four, and seventy-two in the Buddhist tantras. However, they quit caring about "actual places" and are really just using them for names for the nerves/channels. These all of course are handled by female deities. And so we can go up to sixty-four place names adding Kashmir and Maharastha and everything else, but the last eight, the channels of the heart, in Dakarnava (equivalent to Yogini Jala and the end of Samvara scriptures), are:

    (1) Prayagi (2) Devikoti (3) Ujjayini (4) Mahalaksmi (5) Jvalamukhi (6) Siddhasimbhali (7) Mahili (8) Kaumaripauriki.


    In the rite of Padmanartesvara--Vajravilasini, the sadhaka visualizes himself as the male deity. But Vajravilasini is evidently the central deity. She is the first to be described as a result of the generation from the consort's sex/ dharmodaya, and the mantra concealed within the extraction of the mantra (mantroddhdrah) belongs to her and not to the god. The female consort is also given a degree of independence from her partner in the worship that follows the consecration.

    In the widely-available Varahi ritual based on Abhisamaya-manjari, the yogin equates the four elements with the four goddesses Patani, Marani, Akarsani, and Nartes'vari, and the element space with Padmajvalini. They also assume a kapalika form, and are visualized naked, with loose hair, holding tantric attributes in their four arms, while the fifth goddess has three faces and six arms. The text states that the goddesses are also known as Locana, Mamaki, Pandara, Tara, and Dharmadhatuvajra, namely, the traditional consorts of the buddhas and "mothers" of the yogatantra systems.

    This Vajrayogini does in fact change the usual Buddhas and Skandhas drastically, such that Vairocana is Vedana--Sentience and at least two other peculiarities. But for the Elements it has:

    earth, Patani, Locana, yellow, wheel, chopper, skull bowl, skull staff

    water, Marani, Mamaki, black, vajra, chopper, skull bowl, skull staff

    fire, Akarsani, Pandara, red, lotus, chopper, skull bowl, skull staff

    wind, Nartes'vari, Tara, green, sword, chopper, skull bowl, skull staff

    space, Padmajvalini, Dharmadhatuvajra, grey, 3 faces: grey, red, & white, goad, Brahma's severed head, chopper, skull bowl, staff, noose

    Again, many Vajrayogini or Varahi rites do not explain or use the male Buddhas, it seems important to have both ways.

    Padmanartesvara is standardly with Vilasini. After a vasantatilaka verse of homage to Lokanatha (v. 1), and a saraulaviknatta (?) verse of homage to Vajravilasini (v. z), Saraha states that he speaks the following (s'loka) verses through the power of Lokanatha, concerning the bejeweled mountainous setting of Manobhanga and Cittavisrama where guru Karuna taught [the sadhana of] Vilasini, and where "I practiced it with [my consort] Sabari". Kamadeva holds the Makara banner. The idea of sex yoga is fusion of Nada and bindu.

    Vasanta tilaka more commonly refers to a poetical rhythm, but also simply means the tilaka of springtime and apparently refers to one of the tantric drops.

    In Dakarnavatantra, a thirty-seven-deity mandala of a form of Vajravarahi, with thirty-six animal faces (the central one of which is a boar) seventy-two arms, and (?) legs (Ngor mandalas plate 8,, listings p. 146) Padmanartesvara is also one of the armor gods.

    Yogini Jala uses the same system as Dakarnava, which is an extension of Vajradaka; Kalachakra does not. The Abhisamayamañjarī by Śākyarakṣita is a Buddhist tantric text closely related to the Herukābhisamaya by Lūyīpāda, which in turn is probably based upon the Yoginīsaṃcāratantra.

    Tara "is" the consort of Amoghasiddhi, but she is emanated into the realms by Avalokiteshvara, Lotus Family. Nartesvari refers to Tara in Lotus Family, who becomes more specifically called Pandara, and the names Nartesvari and Tara move North. This is exactly the same move that Sitabani makes, West to North, which caused the North deity to move South. This also resembles the mandala change where Touch was with Air--representing "pervasive or entire surface"--and gone to Purified Earth. That would be a northern deity going south.

    This seems to stem from "rotation of yoginis in Guhyasamaja" where Sparsha sort of hogs the center and has to be entreated away by other goddesses.

    This is the core of an Ngor mandala, called Mahesvari, being a Vajra with sub-mandalas:





    The upwards triangle is Mahakala, and the downwards triangle is Varahi with Dakinis of Four Families. The hexagram is Samvara--Varahi with Guhyasamaja--Sparsha, Hevajra--Nairatma, Mahamaya--Buddhadakini, and Vajrabhairava--Vajravarahi. The Vajra mandala is Vajradhara--Varahi with Dakini, Rupini, Khandaroha, and Lama.

    For comparison, Aryan Guhakali and Guhyasundari is close to the same as Varuni--Guhyeshvari, and their names are in the roster. That is a very massive, complex ritual, but we may note that "If one is unable to come face to face with the Mahāśakti through this, one does not continue with the krama, as the state of Advaita with the Great Mother has to be experiential and not conceptual or imaginary like in the case of jaḍa vedānta." The same author gives a more Buddhist Varahi witha piece on Jvalamukhi.
    Last edited by shaberon; 19th August 2019 at 19:39.

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

    Siddha Jalandhara, "Net Holder" and Khandaroha

    In the pith context, aside from the many details, what the Guhyeshvari does is to give us the entire presentation of Completion Stage that hooks right on to Vajradhara Guru Yoga and Paramadya. This gives us some ability to work on much that would be used in the Varahi and Nairatma lines, and likely Guhyagarbha when seen in its original format.

    At first, in Kriya-Charya, this re-cast Vajrasattva into the Androgyne Prajna-Upaya, which in deity terms is Prajnaparamita--Avalokiteshvara.

    Prajnaparamita in her basic form succinctly gets us to Binding and Muttering.

    Guhyeshvari is Tantric Prajnaparamita who emanates Varuni (Generation Stage), Sword or Guhyajnana Dakini (a potentially wild-caught result, shown opposite Naro Dakini or prominent initiatory lineage), and Varahi (an initiatory result). Circularly, Varahi relies on Varuni for support, and, according to Ngor, carries her to the point where Varahi enters Union with Vajradhara. Here, we would expect Vajradhatvishvari. This consistently follows the pattern that Marici fuses Varahi and Vajradhatvishvari, the last being an esoteric condition of Prajnaparamita, the method of Deathless or Vajra Body. Varuni in Aryan works is called Amara Varuni or Wine of Immortality, and her ultimate use or main intention is as purified nectar via a Guhyasamaja process. Drinking her Soma juice is for the union of White and Red Moons.

    Guhyeshvari is really crowned by Amoghasiddhi, but her primary emanations are Lotus and Buddha Families.

    If Varuni originally seemed in Jewel Family especially due to Nectar, scripturally, as far as we can tell, she is Lotus Family, and then she becomes Khandaroha, the Lotus Dakini, who even as a little Khandaroha Yogini, is on the west petal of the west lotus. She is used again as "Red Dakini of the west in the Great Bliss Wheel of the Chakrasamvara mandala, symbolizes mindfulness of natures" (Dakini--body, Lama--feeling, Rupini--thought). Here, they are all in Ratna Family, and are the first four of 37-point enlightenment as in NSP 12 (which follows with normal Citta-Akshobya--sky, Vak--Padma--on earth, Kaya--Vairocana--below earth). The same Four Dakini group returns in Abhidhanottara as the highest four Bhumis. In White Samvara--Varahi, they are all White, since this is Completion Stage producing White Mahakala.

    In Nepal, the Swayambhu Chaitya itself has an Eighteen Arm White Padmanartesvara (simultaneously identified as Chakrasamvara) surrounded by these four. I am not sure if this is Manipadme or Jewel Lotus, but what it is, is the Nepali version of Lotus which has nothing to do with Seven Eyed Tara (Atisha) or Padmasambhava. If anything, it could almost be called non-Tibetan Buddhism, i. e., Nepal, Bhutan, trans-Himalaya and Ladakh. It does extend into Tibet with at least some of the Sakya and Kagyu traditions which, as far as I know, lack Guhyeshvari--Varuni as a frame.

    This view of Lotus Family would still include Usnisa, Amitayus, and perhaps Manohara, Bharati, and Rakta Avalokiteshvara (source of Hindu deities). It unavoidably has Chakrasamvara as Padmanartesvara, and if one has Guhyajnana Dakini, she is with Jinasagara Avalokiteshvara. Lotus Family inevitably means something to us if we move to the stages of Bliss--Samboghakaya--Speech Mandala, and we should get something fairly close to this with Binding and Muttering. So at the far extent of basic or Sherab Prajnaparamita, there is a great need for Lotus energy, and the progress of Vajrasattva has to elevate him to non-dual union of Great Bliss and Unwasted Vajra. This is a main Buddhist practice, to invest Prajna with Bliss, otherwise, it is plain cold as death. Bliss, on the other hand, is the only way to pursue the Wisdom or Prajna to its highest aspects.

    The worldly vehicle of Guhyeshvari appears to be Sukhasiddhi, who is in the realm of Flying Dakinis. Varuni is the initial effort, which may lead to real inner results, during which period of time, one could have a Varahi initiation, and may or may not practice well. If one is doing Yoga, realizes how Varuni works, and reaches this condition, Sukhasiddhi defines Bliss and Guhyajnana defines the gnosis-being of applying it with skillful means. In other words, these are not like outer or preliminary beings that you overtly invite and bond with, they are a changed state of being with appropriate sadhanas. If we follow the teaching as inner meaning to awakening mind as closely as possible, these are not exactly Completion Stage but are necessary for it to happen, so, they are competent guides for what we may accomplish in Generation Stage.

    In simple terms, after 300 eons of uninitiated Bodhisattva-alike yoga, Buddha had no Sambhogakaya, and so when he went in, it flashed infinitely and he was perfect. So now its teaching and presence has permeated our world, and we have the means to do this in one lifetime. The Dharma itself has that quality even if we are unable to match it.

    Guhyajnana saya Ha ri ni sa, which is very Nyingma, although it is also found in the Kanjur in two modes, one attributed to Jalandhara:

    dpal thugs rje chen po'i dbang bskur ba'i man ngag rab tu byed pa zhes bya ba

    supposedly translated by a Tibetan, Prajñākīrti from the oral transmission by the Indian Vajrapāṇi of Matripa's hand written copy of the text. With his name traditionally connected the practice of Jalandhara-bandha and the invention of Hevajra tantra, it is told that he was the author of Śuddhivajra pradīp (the commentary on Hevajra Tantra) and Hevajra-sadhana (the commentary on Hevajra Tantra). He was trained by King Indrabhuti and Crazy Princess Lakshminkara, went to meditate in a cemetery, and was initiated into Mahamudra by dakini who called it “Hevajra tantra marg”. Jalandhara is both a Buddhist and a Nath Siddha. His catalog is:

    TOH 2173. Sri-cakrasamvara-garbha-tattvasiddhi.
    TOH 2278. Vajrayogini-sadhana-nama.
    TOH 2366. Hevajra-sadhanasya tippani-suddhi-vajrapradipa-nama.
    TOH 3240. Humkara-citta-bindu-bhavana-krama-nama.
    TOH 4627. Bhagavac-chambatra-stotra.
    TOH 4838. Sri-mahakarunikabhiseka-prakaranopadesa-nama

    Jamgon Kongtrul says his Hevajra Sadhana Toh1237 is the teaching of cemeteries as Asta Vijnana, their purification into the illusion-like states, going on to describe the environments. It continues to Hevajra's Eight Faces being the Emptiness of all the increasingly-subtle spheres up to Limitless Space, Nothing, Cessation within Perfect Knowledge.

    The Tanjur consists of over 4,000 articles such as the commentaries and sadhanas. Right now it has Tibetan and Sanskrit titles for everything, and about five English translations. Tibetan Buddhist Digital Resource works a little different, but is able to tell us Jalandhara's dakini mantra is in his:

    Sri Mahakarunika Abhiseka Prakaranopadesa Nama Toh 2139

    an explanation of the empowerment of the deity thugs rje chen po, Mahakarunika Avalokiteshvara, which is a blanket term for thirty-three forms of Avalokiteshvara not attached to a more "standard type". A great deal of those are Terma, and likely also Bhiksuni Sri's Eleven Face form. This, apparently, is where "Karuna" is understood as Avalokiteshvara, beyond him simply having compassion, to being named Great Karuna. Again, circularly, this has to meld with Prajnaparamita in order for Vajrasattva to have much useful capacity.

    Once we realize this, Mahakarunika is in Sadhanamala nineteen times, starting in the first sadhana, then Simhanadaya 17, Simhanada Dharani 21, Simhanada Dharani 23, Simhanada 25, Halahala 28, Dharani 41, is paired with Vajra Tara 93, 94, 97, 98, Arya Tara 108, Vajra Tara 110, Durgottarini 111, Parnasabari 150. Narthang Gyatsa reflects a Gold Parnasabari crowned with Akshobya, who, nevertheless, is in Lotus Family, that could be what is going on there. She uses Pandara's syllable all the time already.

    Even without knowing Jalandhara's specific initiation, in this original source, we see that Mahakarunika is mainly a Dharani associated with Lion's Roar Avalokiteshvara (Rinjung Gyatsa 55), who actually does far less on his own, than he is a constituent of Vajra Tara. In the later Tibetan Gyatsas, this title appears in multiple dharanis used by Avalokiteshvara (thirty-three or so forms), but it is a focused indicator to Vajra Tara repetitively. Why Durgottarini is White-robed which is Pandara-esque and has not much other identity other than saying Hrim a lot, and then specifically gets involved with Maha Karunika, is not exactly proof to say she is Durga in Lotus Family, Queen of Sarvadurgati Parishodana because that is the only other Green Four Arm Durga in the world, it is just the only information with no other explanation. She perhaps could be an Amoghasiddhi deity since what she does is fulfill Ten Directions by making the axis out of Kham (Amoghasiddhi) and Tam (Tara). We have found there is such a thing as a "dual" emanation--two Dhyanis at once--and a "transitional" emanation--arises one way and has a different type of crown.

    This Vajra Tara is never not Jewel Family that I am aware of, so, is this Manipadme, Vajra Tara and Maha Karunika, I am not sure, but it could be. I am pretty sure it magnetically pulls towards Lion's Roar and sets it to work for Vajra Tara, being the ultimate basket of Generation Stage as we are working on, and Durga or something who adds one of the finishing touches or vertical direction which would be one of the last things before Canopy--Pavilion--Panjara.

    Guhyajnana is Hrih-arising, "female aspect of Avalokiteshvara" who invokes him with Om Manipadme Hum, and has the Four Dakini retinue.

    In Tibetan Deities she is the same as in Rinjung Gyatsa, but is preceded by Venerable Lady with Skull Ornaments 209, which is a Red Four Arm Lion Face Blood-drinking Sword Vajrayogini, that is related because she uses the dakini mantra without emplacing a central "Vam". Instead, she perturbs it with Om, Ah, and Hum versions. It is not Body/Speech/Mind, but her oral insertion of life channels from beings in the three realms: Red Desire, White Form, Black Formless. These now appear to begin representing the Three Voids. She is drinking their heart blood as well as her own skullcup. Taranatha calls her Devi Shiro Bushana 117, and says the initiation was given by her to Nyan-ton, and says "dukha yegama" in her mantra. It is on her heart wheel, and she is supported by five unnamed goddesses. Jetsunma thod-pa rgyan is her Tibetan name.

    She has the unusual effect of "gathering clouds of dakinis". She is invoked as Dukhaye, which perhaps is a cleaner expression of Dhuma-Gaye that Guhyajnana says, without it meaning much. The closest actual word is "duhkhaya", to feel pain. In Newari, ma du khaya is "to disappear", somehow derived from khaya, "to open (a door)". In Devi Mahatmya verse 30, Dukhaya means "create sorrow", in the question, Why does my mind create sorrow for me? However Dhuma is plainly smoke, and if Dhuma-gaye, is something like smoke (house or property).

    Those are less likely in the same way that Gauri isn't the charnel ground itself, but is kye rim, Generation Stage.

    Khandaroha in Tibetan is called dum skye ma. This is in the canon at least a dozen times. I don't know how to pronounce it, but, it may well be the basis for the debatable invocations in those mantras recorded in Tibet in books that already mix the languages. If I am consciously using Khandaroha as Varuni to circumvent a lot of formal training, and gain a result that by definition is Guhya Jnana, I would not find a major problem in articulating her as a different form of Khandaroha. If I know that Varuni will lead me right into the voids, and, the previous deity 209 does that, and similarly appears to be a form of Khandaroha, nothing says this is proof, other than it is the only information with no other explanation. I would only doubt those names are really about smoke or pain and are likely an attempt to phonetically spell the Tibetan as is usually done. "Ma" is just like in Drolma or Jetsunma, the "female person of", and so the word or name is just dum skye in which case it just makes sense to stick Khandaroha there. The Taranatha version, dukha yegama, is really an interpretation of a live initiation, so again it looks like a broad attempt to record something heard, rather than scribal errors from written translations.

    "Dum" is a small plate or vessel, piece, or portion, and skye is the same as kye for Gauri, which is utpatti or Generation Stage (rim being Fruit like in Lam-Rim). In that case, Khanda would have its most basic meaning of a piece, part, or portion, and Roha is easily sprouting/germinating/growing. This fits, since Gauri is the full on generation of heat, here, we are looking at more of an inner bond to Dharmadhatu Ishvari which, itself, is like a driver and guide to Gauri. "Thod" is kapala or skull, "rgyan", ornament.

    Guhajnana is emanated by Varuni, Shiro Busana is a Vajrayogini which generally means Naro Dakini who is likewise emanated by Varuni. They are in her tentacles either way you look at this. Thod-pa rgyan or Shiro Bushana arises from Om and uses Om in her heart, so, perhaps, is the "Om portion" of Generation Stage. Guhyajnana's heart contains Hrih and Avalokiteshvara. So this is quite close to a Lotus Deity transiting to Vairocana to do something dramatic, to whom, changing the syllable to "Vam" for Varahi would be an implied next step.

    "Vessel of Generation Stage" = Khandaroha = Varuni, Guhya Jnana, and Shiro Bushana, "Generation Stage Fruit" = Gauri.

    Shiro Bushana has a nameless retinue, whereas Guhya Jnana is suuported by "Dakinis of the Four Families". One could argue if this means Vajra-Ratna-Padma-Karma Dakinis, or, since Varuni raises Guhyajnana, Dakini-Rupini-Khandaroha-Lama are probably appropriate. Rupini more generically means well-shaped nice figure, Lama is short for lamaka "lover" or lamate "enjoy sexually". If one was to conclude Guhya Jnana is Khandaroha, then it might make more sense to use "Padma Dakini" and so forth, the sadhana is not specific which way to do it, much like there "aren't" Twenty-one Taras and Chakrasamvara has no explanation. Or, it could also be said Guhya Jnana is "not" the Khandaroha form and so there is no redundancy, or, redundacy is allowed anyway since Khandaroha is used in two layers of Varahi's mandala. One could wonder what happens to Vairocana in this thing. It doesn't say, but this is generally for Subjugation, so it is Lotus power pre-empting the middle where a Buddha Dakini might usually be. That is what Varahi is for anyway.

    The text also informs us that Tinuma begins with a Samvara-Varahi sadhana, which confirms she is not an outer deity of any kind.

    According to Jamgon Kongtrul, at Grhadevata, the rectum, are Ratnavajra and consort Khandaroha (Samvarodaya version). We would have to look it up, but, I am not sure Ratnavajra is in Lotus Family, so this might be Manipadme or Jewel and Lotus in Union. We do not know how House Deity got there, but, it was an intentional move, and this is only a start, because Khandaroha is nowhere near over.

    I am not sure if anyone else besides Jalandhara could really be the tip of a three-way wishbone that next splits into Nyingma, Sarma, and Nath. There are four other less-famous Buddhist Naths. Jalandhara also had a large number of Mahasiddhas as disciples, likely including Krsnacharya and Kukkurija. The Nathas usually call him Hadipa and their writing tends to get swamped in Hatha Yoga and "futile magical powers", which are a veil on kaya-sadhana or perfection of body to attain immortality, along with maha jnana, which again, compared to Buddhism, gets murky by being explained as ideal solutions to mundane affairs.

    This is why we are not exactly Naths, but it should not be too surprising that the mantras and sadhanas reflect Shiva's influence.

    He, in some sense of the word, displays skill more than most:






    The other example of Ha Ri Ni Sa is termed an oral lineage from Siddhirajni, no listed translator. This means it came from Mandarava (pdf) who increases it a level to Vam Ha Ri Ni Sa for Five Elements and is a Samaya with Jnana Dakini (Sambhogakaya), Mandarava being her Nirmanakaya.

    'jig rten dbang phyug gsang ba'i sgrub thab

    is its Tibetan title.

    Yeshe Tsogyal is almost the same thing, but Tibetan lady and fairly particular to Nyingma; Mandarava is tied to the Indian Mahasiddhas and does all that is needed to provide this type of Lotus continuity for the Sarma tradition.

    If Abhayakaragupta has anything to do with Lotus, which has long been known, we see that his Vajravali is intended as "enough stuff" to train for a lifetime. If we neglect the majority of its Completion practices, and replace them with Jnanapada and Anandagarbha Yoga paths and a few other related deities, it reduces to:

    Kriya Tantra:

    41. Devi Marichi, 25 Deity
    42. Pancharaksha, 13 Deity (Pratisara)
    43. Mahavidya, 46 or 50 Deity (Grahamatrika)
    44. Ushnishavijaya, 33 Deity

    Charya Tantra:

    40. Guhyapati Bhutadamara, 33 Deity

    [Vairocana Abhisambodhi]

    The Three Yoga Tantras:

    37. Vajradhatu, 53 Deity
    38. Shakya Simha Nine Ushnisha, 37 Deity
    39. Manjushri Dharmadhatu Vagishvara, 221 Deity

    [Paramadya, Sarvadurgati Parishodana, Sarvabuddha Samayoga Dakini Jala]

    Father:

    3. Vairochana Mayajala Manjuvajra, 43 Deity
    4. Krishna Yamari, 13 Deity (Janguli--Parnasabari, Vajrabhairava, Vetali, Acala, Trailokyavijaya)

    Non-dual:

    13. Vajra Tara, 13 Deity (Prajnaparamita, Sukla and other obscure Taras)


    He is willing to accept the Yoga-style Vajra Tara as a top grade or non-dual practice. Vajravali does not classify, but contains, Sarvadurgati, Namasangiti, and Vasudhara.

    Commemorative Essays from the Royal Asiatic Society, 1917, for some reason, singles out Khandaroha In a Nepalese Dakarnava:

    The fifth chapter of this book treats of the worship of
    Khandaroha ; but what is most interesting is her mandala or
    mystic circle This consist of five concentric circles, the
    whole forming an expanded lotus, with compartments mark-
    ed out for petals. Each petal has a letter in it. The letter
    is the initial letter of the name of one of the companion de-
    tities (avarana-devata) of Kandaroha whose Mulamantra is
    at the pericarp or karnika. The eight petals just round the
    pericarp form the heart of the Mantra, those following the
    heart form the neck Those round the neck form the
    naval and those round the naval the head. The number
    of petals in concentric circles are altogether 8 + 16+64 +
    32 = 120. So Khandaroha is accompanied by 120 deities.
    Of these 60 belong to the outer world and 60 to the inner
    world the Maorocoaom and the Microcosoin The sixty
    spirits representing the outer world are deities presiding
    over different countries, districts and cities of India and
    the surrounding countries, not in any definite order, as will
    appear from the accompanying extracts containing these
    names. There is an exaot agreement between these names
    and their initial letters in the petals

    The interest of this mandala lies in the fact that the
    52nd name is Mumbani and the 52nd initial letter is Mu in
    the naval, showing that there was a shrine to Devi Mum-
    bani in the island of Bombay This shrine can be no
    other than the present shrine of Muinba-devi on the Mala-
    bar Hills, So Dakarnava in its fifth chapter speaks of
    the island city of Bombay and its eponymous shrine and
    deity.

    The 1917 collection translates the first three chapters separately since they are in a dialect utterly unknown to the world. The fifth chapter celebrates Khandaroha, whose mantra has thirty-seven letters. Sixty-four first initials form the navel or body mandala, eight initials form the heart, thirty-two form the throat, sixteen the head. This is also the first known appearance of "Mumbai" in Sanskrit literature.

    She quit copying Shiva, and possibly made the first Sanskrit use of Bombay, heartland of Dnyaneshvari. She has gone beyond Muttering and set up Four Chakras for the Four Joys based on a large portion of India. This somewhat justifies making a "place" out of "House Deity", in the sense of directing certain syllables towards certain petals, as probably was done overall by choosing these names in some kind of order other than anything geographical or anything else one might do to arrange such things, since nothing like that is apparent.

    She draws an extreme amount of attention to herself, and is with a perhaps unique White Padmanartesvara Chakrasamvara at Swayambhu Chaitya, or, the source. This is the area where the Self-existent is around the pitha of Sati's vagina, from where we still lack a translation of the "Buddhist Purana" which would explain much of this.
    Last edited by shaberon; 23rd August 2019 at 05:44.

  27. Link to Post #398
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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Varuni Technical Operation

    The Hindu Wife of Varuna may be called Siddhi, Varuni, or Gauri. Devi Siddhi is the daughter of Shukra--Venus. Their offspring include Bala and Sura--Varuni. Varuni has other epithets such as Amṛteśvarī and Sudhāmālinī. But the Wife we must say is consistently known for "doubling":

    Ganesh gains two wives, Buddhi and Siddhi

    There are two Gauris even in Hinduism, white and orange, and explicitly two Gauris in Hevajra Mandala.

    Varuni is a simple "feminized consort name" able to manifest, i. e. is a daughter of the Formless, very similar to "Samjna, daughter of Samjna". In practice she is Akash and also Waters of the Deep or Formless.

    "The Archaeology of Sacred Spaces" identifies one statue site as having three Maitrikas, Indrani, Gauri, and Varuni, and so in at least some minor offshoot in Hindu thinking, there must be a distinction between Gauri and Varuni as mothers, which is likely by using Gauri as a name for Lakshmi.

    So in just saying Varuni is also known as Gauri, or the Newaris call her Mamaki, one would still kind of respond: sure, but which one?

    The important thing is not that she is the wife, but is the Shakti or power of Varuna, King of the Formless World. A Ganesh-like collection of this shakti would be the equivalent of perfecting meditation without form, Nirakara or Animitta. At the same time, her daughter, or herself again in the planes of Maya, is the essential Nectar to accomplish this perfection. While doing this, she performs the most succinct scheme of the entire Path, the Inverted Stupa.

    It is the inner meaning that is important to us, but, like Kriya-Charya, the terms are also symbolized in external ritual.

    Flask Worship (Kalasa Puja) is what a Newari priest does at any occasion, after Guru Mandala and Tri-samadhi. For instance, a baby has a "first rice feeding ritual", and this would happen. On more complex occasions, they will add Fire or Agni Homa.

    Buddhist Sects and Sectarianism gives a table of Newari ritual implements and their associated deities. Brahmans use all of the same things except Alcohol Pot. So they have valid Hindu and Buddhist understandings, except Guhyeshvari is only Buddhist:

    It begins with the power of Kumari.

    The Power Container, Sinhamu, or Sindura Kumbha, has the identity of Lakshmi or Vasudhara, considered Gauri.

    Four Yogurt Pots may be Four Brahma Vihara or Vasudhara.

    The main Flask [Mu Kalas] is Five Dhyanis. If Alcohol and Khay Pots are used, it becomes Tantric.

    Cow's Mouthful, Cow or Five Gomata

    The Mirror also has the Identity of Lakshmi, and is considered Sarasvati.

    The Black Powder Pot is Chakrasamvara.

    The Alcohol Pot or Guhya-kalasa is Guhyeshvari or Varuni Mamaki [Bala Kumari].

    The Khay Pot, Sahaja Sukhabandha, is Bhairava, upaya, or Hevajra.

    The Lamp is Agni Vaisvanara or Surya, Ganesha.

    In the Flask rite, to summon deities into it, Khandaroha and Vajrasattva are invoked to purify and remove obstacles. Varuni--Mamaki is supposed to be in the alcohol. It includes Guru Mandala and Tri-samadhi. Conch Worship (likely Varuna) is included in Guru Mandala. Full tantric visualization is in the Tri-samadhi. Sometimes there is red powder for Varahi.

    This report has blown by the manifested or perhaps more tangible Varuni, and called the Secret Flask, Guhyeshvari. If this is Mother level, then, Guhyeshvari perhaps does equate to Mamaki. In that case, the emanated Red Varuni is Khandaroha, who can again be found in a leading role as a female Vajrasattva with respect to the Flask. Guhyeshvari means the Sarva or universal 1,000 Arm form. Khandaroha appears to be "setting the conditions" for Mamaki, much as if saying, "the two Varunis".

    Guru Mandala is the basic practice, what we would call Guru Yoga, based on Vajrasattva, Mt. Meru, and Offerings. For public rites, the other practices, Flask and/or Fire, are intersticed into it. Not being priests, we would do Guru Yoga, add flasks in the meditative sense, and maybe do an Inner Homa on great occasion. So we are primarily looking at how to add Kalasa--Flask to Guru Yoga. For it to be effective, one would previously need to Hook and make samaya with a few certain deities.

    After Guru Yoga, Tri-samadhi includes Muttering and runs all the way to Sukshma Yoga, the limit of Generation Stage. Nepal admits for example, Sarvadurgati, as a source of Tri-samadhi. Red Avalokiteshvara emanates Hindu Deities, this tantra appears to convert them to Buddhism, and it is perhaps the first Yoga tantra to have the intention of cleaning death, rebirth, and intermediate states. It perhaps is a valid use of Durgottarini. This makes it possibly the most important semi-esoteric practice, to which, Namasangiti and Sarvabuddha Samayoga are a more complex development of the Six Families.

    The way Newari Tri-samadhi works is:

    Adi Yoga: from meditation on Sunyata, White Two Arm Samvara is generated. Sacred Sites are applied to the body. Blue Samvara comes back in a nine-deity configuration not known from Indian sources, and Grounds, Fence, Canopy, etc., are done. Then the Samaya and Jnana beings unite.

    Mandalarajagri: Starting from the Four Brahma Vihara, then a major sixty-two deity Chakrasamvara is conjured. Cittachakra dakinis are Khecari, Vakchakra dakinis are Bhucari, Kayachakra dakinis are Patalavasini. Mandalas are combined and Four Abhisekas are done.

    Suksmayoga reverts to Sahaja White Two Arm Samvara, and releases all deities into the body. Then there is Muttering and Bali Offering.

    This is the right pattern, but is not quite linear. Tri-samadhi and Flask go inside Guru Yoga. In other words, main part of Guru Yoga leads to Tri-samadhi, then Flask, then Flask is dismissed, and then Guru is dimissed with Merit Offering, etc.

    To emulate it, we have to cut out Samvara and Canopy. From Void, one could place a deity on the Grounds and Fence, meditate Four Brahmavihara, do the relatively crude Abhiseka mnemonics or wishes, and Mutter. There, we would get to whatever Flask or Varuni we can use, Vasudhara and Mirror Sarasvati being relevant. So what that means is, before any Varuni practice, if I take Prajnaparamita as Sarasvati, this is the basic Muttering format. Then if I got to a more complex practice, I stash her as an actual or mental mirror, and Mutter a different deity. Following as closely as possible, it would be Pratisara, only other Sadhanamala goddess to emphasize it. Fortunately, she is a Mamaki Bodhisattva.

    Mamaki has appeared to begin in Jewel Family, then migrate to Vajra, in the meantime consorting with Vajrapani, which seems to be some kind of violation. Since Vajrapani is Master of Secrets, Guhyapati, putting him together with the Lady of Secrets, Guhyeshvari, seems fitting, aside from them being on different levels. I believe it is accepted that transcendent deities can manifest Sambhogakaya, which Mamaki would be doing there, and, even the manifested Varuni--Kandharoha seems to only "come down" to Sambhogakaya.

    Khandaroha's mantra turns out to be the All-Purpose mantra of Chakrasamvara. So she is not an outer deity, and one would probably have to have Sambhogakaya for her to work. This is circular; one generates nectar, it is Varuni--Kandharoha. We are just making a loop that gets more intense and long lasting, which is Bliss.

    I did not notice her previously although we found her sadhana. It is from White Conch, which is the work of a Gelug tulku residing in Wisconsin. It seemed non-descript since it is a Vajrayogini sadhana, however it goes right to Khandaroha. This of course is after summoning Chakrasamvara and self-generating as Vajrayogini, so, although this is available, we should totally not do it. At most we are seeing how Khandaroha is carried in Tibet in some other lineage. In her basic form, she joins Varahi's retinue. In her Varuni form, she does Generation Stage, the meaning of her name. That sadhana has almost everything we can think of in it, and would probably take two or three hours.

    That place is a good power and it is around the area where H. H. D. L. started the circuit of public Kalachakra initiations which I have really questioned, and, this Lama refers to the same issue. People will take empowerments as a blessing and not really do it. Or if so the practice may be weak. If you just want a blessing, for example a Newari priest would just come to your house and do a Flask ritual. It's that simple, but, we are seeking to replicate the ability that goes through Tri-samadhi. Instead of taking a real empowerment and not really doing it, or, taking a copy of the sadhana and attempting it without the training, this is more like a middle ground. It is almost simply in essence trying to get the entire Newari practice in the sense of its inner meaning to Awakening Mind, which is a Manjushri style of Nagarjuna. I won't go so far as to say Extreme Deeds is wrong or ineffective, just that it is not what we are doing. If this is closer to Jnanapada lineage, then we see he used a minimum of Kriya-Charya to start, and then mainly focused on Yoga. Attached to Kagyu Guru Yoga or Vajradhara, then, any Vajrasattva development, i. e. Paramadya, Samputta, etc., fits on, as well as Varuni, an emanation of Vajradhara, which Newari Flask hooks right onto. Then, perhaps, uncomfortably for some Buddhists, the culmination is Agni Vaisvanara, returning us to Sita and Brihadaranyaka Upanishad. Buddha said to use it.

    When used in the skullcup, Varuni arises from Mam. The Cup itself is Ah, primarily the throat, and hence mantra orienting itself to Bliss and Sambhogakaya.

    We can use Sutras, Mayuri is excellent and mentions Varuni three times, in a dharani, as the wife of Varuna/Matrika, and as a rakshasha in the entourage of Ekajata, who is the protector of Vajramrita Tantra. The teaching of Vajramrita tantra was requested by Mamaki. The Sutra is mediumishly-long, going through several rosters of classes of beings, and has a similar purpose as Janguli, first against snake poison and then against any poison. Varuni sometimes carries snakes and a lute. Mayuri is an assitant to Pratisara, who is Mamaki. In the Sutra, all the Historical Buddhas cast spells. Vispasi planted the seed that became Swayambhu; Kanakamuni sent the first disciple (ca. year 700) who became Vajrayana tantric master in Nepal that is said to sill live in the subterranean passages.

    If we review Mayuri's resemblance to Kumari Nirmanakaya, then, in place of all the Samvara work, the Sutra could take the place of "Power of Kumari". So you could do Mayuri Sutra, have something that holds the identities of Vasudhara and Mirror Sarasvati (Prajnaparamita) from prior bonds, meditate Brahma Vihara, use Varuni to Mutter Pratisara, and that would be Pranayama.

    Vajadhara does Varuni Armor Deities in his normal form, however, in the Khandaroha sadhana, he is Vira Vajradharma. Khandaroha is very Lotus, it is hard to explain how she could be Mamaki, aside from the fact Mamaki already changes Families. It could just be that her time in Lotus Family is this way. Prajnas almost always have simple Heruka forms, but Khandaroha leaps out as something more than "an additional retinue figure". She is really the liquid or Jaldevi rather than the Cup.

    The bigger Varuni or Khandaroha form does not have a Parasol, but does have a Banner, and so Dhvajagrakeyura also is a useful Sutra-based dharani.

    Here is Churned from the Ocean of Milk, the most recent 2017 Varuni study. It is the one that tells us in extract #5 about the Ah-arising skullcup and Mam-arising Red Eighteen Arm Varuni with Sword and Banner as part of Tri-samadhi or at least following Om Ah Hum. Ah is the standard red throat syllable, and the purpose is to consecrate the skullcup with mantras, the extract ending on Varuni's:

    Om namo devi Varuni amrte amrtesambhave
    Sarvasattvavasamkari amrte hrim akham praticcha svaha

    She appears to be invoked to the alcohol pot, and again to the skullcup when everything is mixed. Khay pot holds the "meats". The paper stops shy of really digging into the practices. Compare how Vajrayogini makes a three-skull tripod, and then uses a fourth skullcup with a "three-in-one" function. It is not the "real" Khandaroha mantra, but her name in a more generic or standard one:

    Om Khandarohi Hum Hum Phat

    (mostly followed by Purity mantra)

    Since by definition she is Generation Stage, she doesn't really have her own seed syllable, instead, it it the point or bindu of the stupa, defined as Sunyata. She herself is "born of amrita". And so if one meditates Emptiness well, and discovers Nectar, that is Varuni. By comparison, Varahi is a big glob of it that works properly, and Kurukulla is an oozing sweat-like saturation. A small taste that we want to begin cultivating, is Varuni. Ultimately, she is all of them, but has different names and forms according to one's degree of proficiency.

    From the Vajrayogini--Khandaroha sadhana:

    In the center, supported by eight great lions, is a jewel throne with varicolored lotus, moon, and sun cushions, on which is my kind root Guru, in aspect, red Buddha Vajradharma with one face and two hands, holding vajra and bell crossed at his heart, crowned with hair tied in top-knot, sitting with legs in vajra position. He has the youthfulness of a sixteen year-old, adorned by all silk, bone and jewel ornaments.

    [Vira Vajradharma should have drum and cup. The sadhana reflects this in his retinue members.]

    O Guru, whose body is like a jewel By whose kindness, great bliss state, Is instantly attained! Homage, Vajra Bearer, at your lotus feet! Offering goddesses emanated from my heart make offerings: OM ARGHAM PRATICCHA SVAHA OM PADYAM PRATICCHA SVAHA OM BEDZA PUPE AH HUM SVAHA OM BEDZA DHUPE AH HUM SVAHA OM BEDZA DIPE AH HUM SVAHA OM BEDZA GANDHE AH HUM SVAHA OM BEDZA NAIVITYA AH HUM SVAHA OM BEDZA SHAPTA AH HUM SVAHA OM AH BEDZA ADARSHE HUM OM AH BEDZA WINI HUM OM AH BEDZA GANDHE HUM OM AH BEDZA RASE HUM OM AH BEDZA PARSHE HUM OM AH BEDZA DHARME HUM OM GURU BEDZA DHARMA SAPARIWARA OM AH HUM Slender goddesses with glory of attractive youth, Masters of the sixty-four arts of love, Field, mantra and innate-born messenger hosts Of beauteous illusory consorts, I offer to you!

    OM BEDZA BHUMI AH HUM Great powerful golden ground OM BEDZA REKHE AH HUM Edge, iron mount[ain] surrounded, In center, King of Mountains, Meru, East, Lu-pag-po, South, Dzambuling, West, Ba-lang-chö North, Dra-mi-nyen, Lu and Lu-pak, Nga-yab and Nga-yab-shen, Yo-den and Lam-chog-dro, Dra-mi-nyen and Dra-mi-nyen-gyi-da, Precious mountain, wish-granting tree, Wish-fulfilling cow, harvests reaped though untilled, Precious wheel, precious jewel, precious queen, precious minister, Precious elephant, precious horse, precious general, great treasure-vase, Goddess of grace, goddess of garlands, song-goddess, dance goddess, Flower-goddess, incense-goddess, light-goddess, perfume-goddess, Sun, moon, precious parasol, banner of victory over all, In the center, god s and human s perfect wealth, Lacking nothing, pure and pleasing, all these, I offer to the glorious sublime kind root and lineage Gurus! Pray compassionately accept for sake of beings. And, accepting, Please bestow your blessings! Innate-born bliss-void wisdom s aspect: My elements, skandhas, and sources, As mountain, lands, wealth vase, sun and moon, Offered to You, Lord of Compassion! My cravings, dislikes, and confusion, Friends, foes, strangers, my body and wealth Offered without regret, bless me to Be freed from three poisons when they rise! IDAM GURU RATNA MANDALAKAM NIRYATAYAMI

    O Guru, embodying all Refuge, please! Grant your blessings, I beseech You! Please confer the four empowerments And grant state of the Four Kayas! (3x) From OM at the Guru s forehead white light and nectar streams forth. It dissolves into my forehead cleansing negativity and obstacles of my body. I receive the vase empowerment. Blessings of the Guru s body enter my body! From AH at the Guru s throat red light and nectar streams forth. It dissolves into my throat cleansing negativity and obstacles of my speech. I receive the secret empowerment. Blessings of the Guru s speech enter my speech! From HUM at the Guru s heart blue light and nectar streams forth. It dissolves into my heart cleansing negativity and obstacles of my mind. I receive the wisdom-mudra empowerment. Blessings of the Guru s mind enter my mind! From the Guru s three places white, red, and blue light and nectar stream forth. They dissolve into my three places cleansing negativity and obstacles of my body, speech and mind. I receive the precious word empowerment. Blessings of the Guru s body, speech and mind enter my body, speech and mind! O precious Guru, essence of all times Buddhas! I beseech You, please bless my mind-stream! (3x) Because of my request the encircling lineage Gurus dissolve into my root Guru in the center. My root Guru, out of affection for me, melts into red light and enters the crown of my head, mixing inseparably with my own mind

    DZA HUM BAM HO OM YOGA SHUDDHA SARVA DHARMA YOGA SHUDDHO HAM I am the nature of the yoga of the purity of all phenomena. At the places of my body on moon mandalas are: at navel, red OM BAM, Vajravarahi; at heart, blue HAM YOM, Yamani; at throat, white HRIM MOM, Mohani; at forehead, yellow HRIM HRIM, Sachalani; at crown, green HUM HUM, Samtrasani; and at all my limbs, grey PHAT PHAT, Chandika.

    Offering goddesses emanated from my heart make the offerings: OM ARGHAM PRATICCHA SVAHA OM PADYAM PRATICCHA SVAHA OM BEDZA PUPE AH HUM SVAHA OM BEDZA DHUPE AH HUM SVAHA OM BEDZA DIPE AH HUM SVAHA OM BEDZA GANDHE AH HUM SVAHA OM BEDZA NAIVITYA AH HUM SVAHA OM BEDZA SHAPTA AH HUM SVAHA OM AH BEDZA ADARSHE HUM OM AH BEDZA WINI HUM OM AH BEDZA GANDHE HUM OM AH BEDZA RASE HUM OM AH BEDZA PARSHE HUM OM AH BEDZA DHARME HUM OM OM OM

    That is about liquid or nectar. The Cup itself may be someone else:

    In Sakya's Virupa Samvara tradition, there is Red Jambhala with Bharati, who has a jewel that rains jewels on the practitioner, and a Cup.. Then there is Takkiraja with Sukha Bharati, who has Hook and Cup. Here they are in the business of generating Kurukulla over the Three Cups:






    Bharati "Eloquence" became confused with Sarasvati. Her older meaning of "Fullness" has much more to do with the cup. I cannot find such a sadhana yet, but the reasoning is:

    "Saraswati is not only connected with other rivers but with other goddesses who are plainly psychological symbols and especially with Bharati and Ila. In the later Puranic forms of worship Saraswati is the goddess of speech, of learning and of poetry and Bharati is one of her names, but in the Veda Bharati and Saraswati are different deities. Bharati is also called Mahi, the Large, Great or Vast. The three, Ila, Mahi or Bharati and Saraswati are associated together in a constant formula in those hymns of invocation in which the gods are called by Agni to the Sacrifice."

    So according to the Apri Hymn Format, Bharati is Mahi, who is Bhu, and these are the Lakshmis, Ila and Bhu. We usually call Lakshmi Vasudhara, and those minor forms as Gopali and Manohara--Bharati. I add Manohara simply because she is a more up-front or easily invoked Red Vasudhara. Since Vasudhara is Jambhala's consort, this Bharati form should be the Vedic, and not the later "Eloquence". There is a stand-alone Bharati, peaceful, but tantric with flame-swept hair. Wayman says the three goddesses "feed the form of Agni which is in the sky (sun)", and that Bharati was, in popular understanding, pushed out of the way by Ushas--Dawn, who became the inspiration for Pandara and her ilk.

    As Sakya has it, Bharati is in the "layer" of Red Bowl Vasudhara, Tinuma Vajrayogini, and Kurukulla (who is really Lakshmi--Tara--Kurukulla). Tinuma's mantra is a slight change of Four Dakini mantra. Taranatha says this group is from Nyan Lotsawa lineage. This almost certainly must be the same Nyan-ton who transmitted Ziro Bhusana, who immediately follows these three reds in Rinjung Gyatsa. Little is known of him other than being a student of Ngok Sherab and contemporary of Ra Lotsawa and traveled to Kashmir. Little is known about Bharati outside of Sakya, although she does show up in Nyingma and Mongolian pictures in the big Gyatsa sets. In Tibetan Deities, she has the unfortunate beginning of drawing a dharmodaya with goat's blood, which is not possible for a Buddhist to get for themselves. It is adorned with a bunch of red flowers in the middle, and twenty-one around it. You self-generate as "Varahi or some other deity". Her hair is yellow and she looks at you with pleasure. You offer her the twenty-one flowers, giving the mantra each time. However, just saying the mantra twenty-one times constitutes a praise. "Conferral by transmission" probably means by mantra. Although these Three Reds and the two secretive esoteric ones are Subjugation deities, nothing says Bharati subdues evil spirits or causes anything to happen. Nor-rgyun-ma dmar-mo is her Tibetan name (Red Vasudhara). But for most purposes this is Prithvi or Earth Element we are attempting to Purify and merge with Dharmadhatu awareness.

    This sadhana Bharati form has an ear of corn or wheat instead of a gem. It might seem out-of-context to take an exclusively Sakya deity for the purpose of having a bowl or cup to build into an exclusively Newar practice. However that puts them in the rub of being the only ones in a position to explain why they have the accurate memory of a Vedic goddess. Red Jambhala, Simhamukha, Black Manjushri, and Multi-colored Garuda are sometimes allowed to swap for some of the lesser deities (and there are alternates for Completion). Nyan gives us another Lion Face that is not Simhamukha. The more precise spelling for Skull Ornament Lady is Ziro Bhusana, meaning the same thing, skull ornament. She is the three voids, all three skullcups or types of cups.

    Bhu Devi of old was the consort of Vishnu Varaha. Wiki also calls her Varahi, Vasudhara, Bhuvaneshvari, and Padmavati (Hindu sources). Sakya sometimes shows her dancing, but the sadhana says warrior pose like Naro Dakini. In that case, we can see Tinu virtually identical to Varahi and Bharati is not:








    For another bizarre turn, this is also Red Vasudhara. Any deity may be colored yellow as a special type of offering thangka. So she has the proper items, but here it can be seen the wheat ear holds gems, and therefor could provide a shower of them:





    .

    This is how she was ca. year 200 in Hindu fashion:







    This may be the best one, Bharati as recorded in Mongolia where I do not think there are any Sakyas:






    While Khandaroha might be the only appearance of Mamaki in Lotus Family, there is also a Dharma Dhatu Ishvari also in Lotus:

    Dharmadhatvishvari has the obscure name Fire Lotus, Padmajvalini. Virupa's Vilasini is the chief of the following retinue, so, by correspondence, Vilasini equates to the Prajna (10) over Padmajvalini:

    pRithivi bIja: 1) pAtanI – chakra and kapAla; 2) lochanA – kartari and khaTvA~Nga; both are yellow in color.

    jala bIja: 3)mAraNI- kulisha and kapAla; 4)mAmakI – kartari and khaTvA~Nga; both are black in color

    agni bIja: 5) AkarshaNI – lotus and kapAla; 6)pANDAravAsinI – kartari and khaTvA~Nga; both are red in color, but the later wears white clothing.

    vAyu bIja: 7) narteshvarI – khaDga and kapAla; 8) tArA – kartari and khaTvA~Nga; both are green in color.

    AkAsha bIja: 9) padmajvAlinI – 4 hands, a~Nkusha, brahmA’s head, kapAla and daNdAyudha, grey in color; trimukhI- 3 heads, kartari and pAsha, grey, red and white color.

    This is a Yoga version; it is Guhya Vilasini who hops on Padmanartesvara. This Red Three-eyed one is holding a kulisha and a lotus, or a kapAla and a vajra. Her mantra incorporates the vagbhava, mAyA and manmatha bIja-s. This is the same retinue as for the more commonly-known Varahi or Vajrayogini.

    Padmajalini is Space element in Abhidanottara, which uses the full name Padmanarteshvari for 7. Abhidanottara iterates Vilasini's equivalent retinue with Varuni's Armor Deities. It defines Varahi's mantra as the Necklace, Seven Syllable mantra as Ear-rings, Armor mantra as girdle, Vairocani mantra is skull diadem. The mantra drinking vessel comes from yoginis of all circles, or from all thirty-seven heroines, or it endows hand emblems plus skulls in four intermediate directions (multiple Varunis). One should "radiate and gather" the emblems and then do recitation.

    All thirty-seven elements are muttered by Dakini Jala Samvara, who then uses

    Om [Name] Hum Hum Phat Svaha

    with Vajravairocani, Sarvabuddha Dakini Vajravarnani, then Dakini--Rupini--Khandaroha--Lama, and ends with something to Khandakapalina. The Four Dakinis continue to the core mandala of Varahi in Union and the Four Joys. The text also uses the Six Chakravartin mandalas in conjunction with Sacred Places.

    Sa, or Sam, is Manjushri as manas or male compliment to Dharmadhatvishvari. It also stands for Camunda. Red Charchika or Camunda should be the same deity as Candika, the unproduced direct emanation of Devi Chandi. In Black she is Mahakali (Lakshmi). Sam is also Sabari in the cemetery of manas or mano-vijnana. Samadhi derives from successful use of Dharmadhatu Ishvari.

    If Dakinis' mantra is Ha Ri Ni Sa, and the fourth is Bell or realization of the form of Prajna intended by the exercise, then to accomplish Sa is to achieve the real Dharma Dhatu Ishvari, namely, Guhya Jnana Dakini in the middle of them. So this is a resonance.

    White Dharmadhatvishvari's dharmodaya is white and points down. We have seen this with Vairocana Abhisambodhi, where it is with White-robed Gold Gagana Locana. Gagana ganja is samadhi of entry. Pandara is explained as the real or major element seen. And what we are doing now is a change in tantra class. Now Locana would be found to "see" Earth Element and through purification eventually Sparsha will Touch Purified Earth Element: Sparsha is the center in Guhyasamaja and goes to Purified Earth in Hevajra.

    Pandara does not seem to do much as herself, but has enormous Lotus Bodhisattva activity in terms of Dakini. And this may appropriately be said to be a Red Robe for White Vairocana, considering Varahi is the outcome. Vajradhara arises as Mahavairocana, the Sambhogakaya, meaning the Bliss experience is added to what may have been a radiant template or film in the beginning.




    The authors of Circle of Bliss have pursued this very topic much further, although the detaiils are not online:

    The Adi Prajna Guhyeshvari and the Beginnings of Samvara Cycle Tantra in Newar Buddhism

    John C. Huntington, Ohio State University

    Note: This paper is about the less publicly known Buddhist site of Puran (Ancient) Guhyeshvari and not the well-known Naya (New) Guhyeshvari in near Pashupatinath in Deo Patan.

    In our recent and ongoing studies of Newar Buddhism at The Ohio State University, we have found that the Svayambhupurana’s narratives of the emergence of Chakrasamvara enlightenment methodologies have been reified in a very strict interpretation. Contained within it is the story of the first teaching of the Tantra to Manjudeva by Guhyeshvari and his subsequent teaching of the practice to Prachandadeva of Gaur, who upon receiving initiation (diksha) became known as Shantikar Acharya, the founder of the Vajracharya linage of Chakrasamvara teachings in Newar Buddhism. The incorporation of Guhyeshvari into Buddhism, and her role in Newar Buddhism is little understood and there are several aspects to her role. First, as Adi Prajna, she generates Vajravarahi and the Yoginis of the Chakrasamvara mandala. She indirectly, via Vajravarahi, also generates all of the Buddhaprajnas, who appear as the female Armor deities of the generations stage meditation; she is the goddess Varuni, who is the goddess of the five alcohols (who is the topic of Dr. Bangdel’s presentation); and she appears as one of the five Yoginis of Vajravarahi’s completion cycle mandala in the Nepal Valley. In summary, she is the underlying fundamental "source" of all Tantric teachings, the pure essence of the transformative realizations of the Chakrasamvara/ Vajravarahi methodology, and is the ultimate primordial goddess of the Nepal Valley religions. This presentation will be extensively illustrated with digital images.

    Goddess of Purified Amrita: Varuni in the Chakrasamvara Tradition

    Dina Bangdel, Ohio State University

    It is well known in the ritual practices of the Anuttarayoga Tantras that alcohol and other spirituous substances are often used as the offerings in the skull cup. Through meditational visualizations, these symbolic substances are transformed into the nectar of transcendent insight (jnana amrita) that purifies the practitioner to effectively realize the attainments of the Tantric Buddhist path. Specifically, in the Newar Buddhism of the Kathmandu Valley, the visualization of the inner offering mandalas, using both red and white alcohol, are fundamental to the practices of the Chakrasamvara cycle. In this context, it is the goddess Varuni, referred to as Suradevi, "Goddess of Alcohol," who is contained in the inner offering and anthropo-morphically manifests the purified nectar.

    Although art as well as religious historians have previously overlooked her significance, Varuni’s role is central to the practices of Chakrasamvara and Vajravarahi. The aim of this paper is three-fold: one, to discuss the ritual role of Varuni within the larger Chakrasamvara cycle; two, to highlight the significance of Varuni within the Newar Buddhist tradition, in relation to other Tantric goddesses, such as Guhyesh-vari, Vajravarahi, and the Caturyoginis; and third, to explore the little-known iconographic representations of Varuni in Newar Buddhist and Tibetan art. In discussing Varuni specifically in relation to the practices of the Newar Buddhists, it is also my intention to bring to attention some core features of the Chakrasamvara tradition in Newar Buddhism.
    Last edited by shaberon; 28th August 2019 at 06:18.

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

    The Crescent

    This is the attempt to sequentially build half of Generation Stage, the "part", or "vessel", Khandaroha.

    Guru Yoga introduces the Three Syllables, but does not explain Generation.

    Prajnaparamita is the next level, or most meaningful additional deity, to begin using them as Muttering.

    This next part is aimed at Khandaroha--Varuni as the universal Generation method, with Pratisara as the new Muttering Deity. Both Varuni and Pratisara are said to be aspects of Mamaki, who is Guhyeshvari or Adi Prajna, Prajnaparamita. Nothing is really changing except more detail, more explanation, and a changed state of being, an attempt to secure Nectar or Sambhogakaya. Something of an actual Taste (Ghasmari--Samputa) so there is gnosis or atma vidya of what this is.

    There is no more Path until someone is able to accomplish the exercise here. A full description would run over three hundred pages like Generation Phase taught in Ann Arbor. We are doing almost exactly the same thing, except instead of it hanging as a pre-requisite for Completion Stage, it is more of a capstone on Yoga, and focuses far more on the Families and the Four Activities, than on the full set of all possible elements like would be done in Chakrasamvara. And, it is still the Noumenal Chakras, we are not saying "what they are", so much as "how to do it", keeping in mind this exercise is the foundation for any Completion Stages which may seem contradictory if they change the chakras, syllables, deities, etc. They all work, but not without this.

    The Sadhanamala Pratisara does not use the Protector or "Raksa" form of Pratisara's mantra. Instead, she is actually quite simple at this level, and then has a very amazing Completion ritual where she seems to change families and the retinue morphs. According to some, she may be freely included in Guru Yoga. This is basically what is happening here. If we stick to the basics and universal meaning, Vajradhara can operate a humongous amount of the Path with only a few deities. We are only taking them as required by the definitions as the Path is taught. Comparatively, most other deities are tangential, and so for example neither Khasarpana Avalokiteshvara or Astamabhaya Tara are strictly necessary. They may be useful and desirable, but are not the straightforward method of Generation Stage.

    This is a counter-point to saying it is ok for anyone to self-generate as Vajrayogini and do her rites. It is more like building her atom by atom. It will use the Newari tantric template, but instead of doing their full Completion Stages, it is just the relevant Yoga deities with some Sutra and mantra. It will stop at the Crescent, which is the mystery of life arising in space, conjoined with Binding, the restraint of life-wind from flowing into thousands of branches and animating unhelpful mental constructs, in other words, Pranayama at the Kriya-Charya level.

    If we can accomplish this for at least a season, then the Crescent could be reduced to the "quick glance" it usually gets and we could install the Triangle and perhaps use Vira Vajradharma and Ziro Bhusana. In standard Shiva symbolism, Crescent is Nada, the Bindu and Nada are in the head or ajna, followed by Shakti, represented by the Om glyph; bindu is silence and nada is "chanting" mark. This is similar in any kind of Yoga, but we are specifically going to Invert it.

    Instead of being non-chalant about Shakti, we are going to be slow and careful in the approach, and, much as Vajrasattva's Paramadya retinue majorly explains him, the Four Dakini retinue majorly explains the Completion Shakti called Varahi. The term Vajrayogini is supposed to mean Varahi without showing any pig feature, but this can be confused with Tara Vajrayogini, which was a Tara practice at a town of that name. The pig-less Varahi Vajrayogini is Naro Dakini.

    Against the convolutedness of Samvara tantra is one simple fact its Four Dakinis are also the Four Kinds of Women as are commonly known in India.

    Samvarodayatantra (Toh. 373), Chapter 31, verses 1-2: “Explanation
    of the Four Kinds of Yoginıs, the Arrangement of the Four Chakras and the
    Transformation of the Bodhi-Mind,”.

    The Path of Great Bliss of the Lower Door

    It is for someone who has stabilized the path of total liberation of the upper door.

    According to Jamgon Kongtrul:

    As explained in
    the Samvara Origin Tantra [Samvarodaya]:
    Now the characteristics of yoginıs
    And their authentic virtues will be explained.
    Dakinı is padminı (lotus),
    Lama is hastinı (elephant),
    Khandaroha is sankhini (conch),
    Rupini is citrinı (design or picture).
    The wise should examine partners to see
    Which of the four families they are.


    In this tantra they are correlated with the four retinue dakinıs, embodiments of the four elements.

    Forehead – body – the potential of the element of water
    Throat – speech – the potential of the element of fire
    Heart – mind – the potential of the element of wind
    Navel – awareness – the potential of the element of earth

    Nirmana Chakra is Earth, which, Sita-like, has to be immune to the fire or inner heat it will be filled with, from the First Fire or digestive/metabolic physical warmth produced in its region.

    Conch Shell is Varuna, but in tantra, Khandaroha is invoked into its water. She is considered Conch Woman in the overtly sexual sense. Varuna is also the Net, as in Dakini Jala or Maya Jala, a net of Prajnas or Dakinis to be awakened in their process of making illusory forms.


    Someone who has stabilized the path of the upper door refers to:

    (1) To develop what has not been developed is to perfect the yoga of
    approach through four practices: accomplishing the body of reflected
    form, establishing the ground of the affinity, the movement of the three
    secrets, and the dance of the water moon.

    (2) To stabilize what has been developed is successful attainment through
    evoking the activity of peaceful and wrathful candallı of the channels,
    currents, vital essence drops, and pristine awareness in the body’s chakras
    endowed with four hidden things.

    (It has a third stage, Enhancement.)

    One turns without bias the wheel of introductory instructions that reveal
    the real face of candalı, the great profound mystery that all phenomena
    are the utter inseparability of the ground that is to be purified, the path
    that purifies, and the purity of the result. By being skilled at gathering
    all phenomena of the path and its result in the essence of candalı—the
    profound appearance of the yoga of every phenomenon—then it is all
    gathered into the single sufficient pristine awareness of all appearance.
    That is the meditation.


    Sexual yoga is intended for those who are stable in stage two of the upper door. Two is Encounter with Peaceful and Wrathful Candalis. Water Moon from stage one is Illusory Body, the result of Sambhogakaya. Bliss is nothing other than a requirement for Completion Stage, so, they actually are recommending sexual yoga for most people at this point. It is not required, what is essential is Bliss-awakened Illusory Body:

    The supreme method that is distinguished by great bliss enables one to
    attain the body of Vajradhara, the state of union, in one lifetime. Union is translating zung du ’jug pa, which literally means “entering into a pair.” In this instance, it refers to the union of pure illusory body and actual luminous
    clarity, the highest freedom and realization. Kongtrul considers illusory body in a general
    sense to be the essence of all Buddhist practice and calls the following dharmas of
    dream and luminous clarity “branches”.

    Khandaroha has a gallant role and inhabits Varuna's symbol, the Conch, which also is any woman with a large vagina which projects prominently, vaulted like a tortoise shell, resembling a pair of curved cucumbers. In sadhanas, sex mainly becomes Padmanartesvara--Vajra Vilasini, and in actuality is an increasingly intense unreleased orgasm, which may include sex with a consort. If this is not intense it is not Mahamudra. I do not know if a female orgasm can be said to release something in the way of a male. It is the male that is described as Unwasted whereas the female simply is Bliss.

    Sambhogakaya produces Illusory Body (Svadisthana), then there are the Three Voids and Prabhasvara, and Union is the culmination. If we achieve Binding and Muttering (Vajra Repitition) in the Kriya-Charya fashion, then the root explanation of Completion Stage will fasten right onto it, because that is its starting point. We are trying to finesse an outer Yoga format to make one Cup of Nectar, and leave the Three Cups as done by Ziro Bhusana as the Triangle or where Candali is:

    The five stages in the Guhyasamaja Tantra are (1) speech isolation (ngag dben) or
    vajra repetition (rdo rje’i bzlas pa); (2) mind isolation (sems dben); (3) illusory body
    (sgyu lus) or self-blessing (bdag byin rlabs); (4) luminous clarity (’od gsal ); and (5)
    union (zung ’jug). Body isolation (lus dben) is included in speech isolation as its
    preliminary.

    1. Vajrajapa

    Sometimes translated as “vajra recitation,” although
    nothing is recited—rather, the meditation is performed again and again. In general
    it is a name for breathing practices associated with visualized syllables. There are
    many types of vajra repetition, but the general designation is of a way to practice
    mantra silently rather than an actual recitation. Here it is the stage of speech isolation
    (ngag dben) in the five-stage format of the completion phase in the Guhyasamaja
    Tantra. In this, the principal energy currents, especially that of the
    life-force (srog), are made to enter, abide in, and dissolve in the central channel.
    Essentially it is a practice to purify the energy currents.

    ...breath retention that holds the upper and lower
    energy currents in the abdomen, like in a vase. Here it is the way to practice vajra
    repetition in the isolation of speech.

    So in terms of Completion, Muttering progresses from verbal, to whispered, to silent or mental. It is not much different except that it swings to a subtle mental condition and achieves occult Pranayama. Then it uses the Magic Circle. If Vajra Tara is mainly going to be all components for mandala, she specifically uses "mental recitation". For occult Vajrajapa, the preliminary is Body isolation or Guru Yoga and Tri-samadhi as we may be able to do it, with Muttering at Kriya-Charya and perhaps eventually Yoga levels. That is the Crescent and possibly Triangle, and so, if you can manage these, you would be ideally prepared for Guhyasamaja Completion Stage.

    3. Svadhisthana

    In describing it as one of three main aspects of the causal phase of completion (with mandala circle and
    mahamudra), Kongtrul states that whether or not one is meditating on the actual
    central channel, it is the meditation where one visualizes usually either fire or vital
    essence drops or letters, etc., in the central channel, because wherever one focuses
    the mind, the energy currents will gather there (TOK 2: 686; SBT, 243-4). In this
    case, based on the Guhyasamaja Tantra, self-blessing is equivalent to the third of
    the five stages, the stage of illusory body

    When the energy current dissolves in the heart center and only energy-mind arises from special emptiness
    as the deity, it is the real illusory body. When just the energy current dissolves
    normally (rang gar) and only energy-mind arises as the deity, it is posited as the
    concordant illusory body. The way this illusory body is illustrated by the twelve
    examples is the same as [described] before. [In the Five Stages] Nagarjuna states: ‘A
    reflection in the mirror should be known as an illusory body. The colors are like a
    rainbow. It pervades like a water moon.’ The form is instantly complete, like one’s
    reflection in the mirror. The colors are clear and unmixed, like a rainbow. A single
    one pervades everywhere, like the moon’s reflections in water.

    4. Luminous Clarity

    [No Ego, Suchness, and Ultimate Meaning are the practical responses to the three voids]

    (1) The pristine awareness of nonthought: The appearance of inner
    heat’s blazing stops the movement of energy currents and the engagement
    with objects by the sense faculties. Once such emanating thoughts
    are brought to an end, one abides in total nonthought.

    (2) The pristine awareness of bliss: Blazing inner heat melts the bodhicitta
    and the joy that is generated illustrates the pristine awareness of
    bliss.

    (3) The pristine awareness of clarity: When all dualistic thoughts are
    purified within the central channel, the pristine awareness of the union
    of bliss-emptiness or clarity-emptiness arises through the progressive and
    reverse sequence of the three lights in the stages of visualization [Three Voids, Prabhasvara, and Reverse Order].


    The life supporting wind [Vajradhatvishvari] is connected to and supports the universal
    ground. During life, this energy current generates the conception of self and all
    conceptual constructs and is known as the afflicted mind [Klista Manas].

    So it turns out Vajradhatvishvari is literally directly intermixed with the seventh principle in practice since she is the life which it arises on.

    If afflictions afflict, the wind slips out of the central; or, if the winds slip, subtle and coarse minds arise. This is Vajra Ignorance.

    If not, one transits the stage of Impure Illusory Body and eventually performs the Highest Union of Pure Illusory Body and Luminous Clarity [clarity of the Great Void, Absolute Object, Paramartha, or Prabhasvara]. This is Yughanadda, Pair United, or Yoganiruttara Yoga, last of the Five Stages, or samadhi as intended by the Six Stage Yoga plus upeksa.

    To work with Khandaroha is a Newari elaboration, which, in Tibet, is usually just summarized as Inner Offering, written into the scriptures for Completion Stage. However, it simply attaches to a pattern we have already learned by doing Guru and almost any deity:


    1. Guru Yoga, which you don't finish, but you bring up Guru and Purify him to emptiness.

    2. Tri-samadhi: One's own or any deity. Currently, it is what one can make from Om Ah Hum in terms of Body, Speech, and Mind, where Om--Body (Maha Karuna Garbhodbava or MKG in Vairocana Abhisambodhi, or Buddha in Sarvadurgati) becomes Nirmana Chakra. The chakra becomes earth plane emanation of whatever sort, and in this sense, is governed by Ratnasambhava. Or, as Milarepa taught Rechungpa, six ascending chakras are Chaturpitha, Chakrasamvara, Hevajra, Mahamaya, Buddhakapala, and Guhyasamaja. With Samvara there, Nirmana Chakra is mainly for manifesting female tantra. Mahamaya is the Throat or the fire chakra and the burning quality of illusory body.

    The real Newari version is Completion Stage, so ours remains abbreviated. It could simply be White Prajnaparamita as already demonstrated in the first Muttering. If so, although this is not the same format as Apri Hymn, it will be using the same entities, Prajnaparamita (Sarasvati) now, Gopali (Ila), and Bharati (Bhu) in the specifically Khandaroha phase.

    3. Varuni

    She is truncated to next to nothing in most rituals and could be taken as a mere idea or image, but really she is also like a red flag in that her real meaning is actual changes to the body. That is why we are going to use all the Newari details. A priest's Flask ritual uses all the external items while he performs Completion Stage. We mainly want to get the inner meaning for learning Yoga, but, there is a chance someone may have, or decide to use, external items. So the process might be slightly adjusted if those are present or not.

    Much as Vairocana Abhisambodhi carries the implication of Sarasvati, Ila, and Bhu, one could use its permission request to Prithvi without referring to a mandala:

    Devi! You are a witness
    to the Bhumi and Paramitas,
    the special methods of practice
    of all the Protector Buddhas.
    Just as the Protector Sakyasimha
    overcame the armies of Mara,
    Likewise I shall be victorious over Mara!

    Much of the set of ritual items, Power of Kumari, Power Container, Four Yogurt Pots, Cow's Mouthful, and Mirror are relatively static. Power of Kumari could be Mayuri Sutra; if we do this, we are simultaneously getting a good sample of Pancha Raksha. Four Yogurt Pots meditate Four Brahma Vihara, Cow is Gopali and Kamadhenu, Mirror is Prajnaparamita. One could culminate with Bharati, ask her for her Cup, and dismiss her. The Cup itself would return. Voidness is like that; items can be arisen and dispelled as needed.

    Kumari is not necessarily identical to Kaumari, the female Mars, Peacock rider. Varuni herself is Bala Kumari. If you look at the items, it is grabbing a stash of Akash, making curds or yogurt and then projecting through five cows via a mirror. For the time being, Mayuri seems like a reasonable guardian of stashed power.

    Mayuri Sutra could be used until one is familiar with it, and then it can be compressed into her form:

    From Visva Padma and Green Mam arises Six Arm Harita Mayuri.

    oṃ āḥ māṃ huṃ

    oṃ mahāmāyūrī vidyārājñī huṃ huṃ phaṭ phaṭ svāhā






    Gopali and Kamadhenu, Four Brahma Vihara

    Light rays spread from between the eyebrows. From Alakavati, Vasudhara Vajra Samaja! Standing on the Two Vases with picula fruit [white on the outside, red on the inside] in right hand, grain in the other, her back rests on a bodhi tree. The Gomata are around.






    Om Vasudharini Svaha

    repeat:

    Om Jamdhi-Katha Manohara Sarva Bhana Patta-Ratno Hum Jrum Hum Hum Svaha

    Arya Vasudhara Nama Dharani may also be used:

    GANG NGÖN JIN-PA GYAM-TS’O’I GÉ SAK-PAY
    To the one who previously accumulated the virtue of an ocean of generosity,

    TS’É DANG NOR DANG T’U YI PËL NYEY SHING
    Thereby found the glory of longevity, wealth and power,

    DRUP-PA-PO LA YIK GI CH’AR BEP-PA’Y
    And rains down treasures upon practitioners:

    PËL-MO NOR-GYÜN-MA LA CH’AK-TS’ËL LO
    To the Glorious Lady, Vasudhārā, I deeply bow.

    NAMO RATNA TRAYĀYA/ OṂ GHATAṂ JHIBHASAṂ RAKṢANI/ PHALA HASHTI/ VĀSUDHĀRITE/ ŚIVAṂ KARI ŚĀNTIṂ KURU PUṢTIṂ KURU/ BHAYANĀSI/ SARVA DUṢTAṂ/ BHAÑCA BHAÑCA/ JAMBHA JAMBHA/ STAMBHA STAMBHA/ AMṚTE/
    UTBHAVE/ KURU KURU/ MAMAKA JYAIṂ SVĀHĀ

    KHYEY LA TÖ CHING SÖL-WA TAP-PA’Y T’Ü
    By the power of praising and supplicating you,

    DAK SOK GANG-DU NAY-PA’Y SA-CH’OK DÉR
    In whatever places I and others may dwell,

    NAY DANG UL-P’ONG T’AP-TSÖ ZHI-WA DANG
    Please pacify illness, poverty and conflict;

    CH’Ö DANG TRA-SHIY P’ËL-WAR DZAY DU SÖL
    And ensure the increase of Dharma and good fortune.

    Gopali is Vasudhara's Samaya. So we may invite her with luminous cows and use Four Brahma Vihara to make some magic yogurt. In Sadhanamala, Vasudhara herself refers to Manjari Dhyana and Akshobya (and is part of Khasarpana), so again we are creeping to an edge where a Jewel being tells us something about him.

    Brahma Vihara Bhavana or Divine Emotions:

    Metta (loving-kindness) is a soft, affection and care for others and yourself. It is not a hard, romantic type of love and not a love that includes extreme attachment or controlling feelings.

    Karuna (compassion) is like an open heart that cares for everyone. It includes empathy, being able to see the other person’s position and caring for and about them.

    Mudita (joy with others), sometimes is called sympathetic joy or appreciative joy. It is the ability to be happy when you see others happy. Their joy becomes your joy as you welcome less suffering and happiness of others.

    Upekkha (equanimity) is the balanced state of mind. It is the middle way state of mind that is neither clinging nor pushing away.

    Legends of the cow herself are many, and one of the most explanatory is that when she was stolen, Parasu Rama went berserk and killed almost everyone. Parasu is not gone, and will be the Guru of future Buddha Maitreya (Metta). We should defend Cow, and, especially if we do not have all physical cow products, are well off to think of taking the milk she provides and making yogurt by Divine Emotions. This is still hardly any different from most Hindu yoga. But we can see the point of Gopali is not really that she provides, but our gratitude is expressed by cooperation, in becoming protective of her, and pouring her energy into the Superior Abodes (Brahma Vihara).

    Get her going and use Emptiness mantra, "I", or the obscurations to the Divine Emotions, vanish, and this aspect of Akash replaces it. When finished with this part, Purity mantra is more like the fade-out, all dharmas and I are pure, like a reset to the uncreated universal Prajnaparamita or Om or white form of Akash.

    The real ritual would finish with outer items and proceed to Inner Offering. Since we are not in that environment and have to provide most of our own training, if Vasudhara Samaya is successful, then we need something from her that will be the Red Ah throat syllable, the container for the bliss deity from the inner plane.


    Bharati

    She has no given family or seed syllable, but she is Red with other Subjugation deities who are mostly Lotus Family. She is supposed to come after another or any deity, which we have just done. She is called Red Vasudhara. She has something we have to have, it is all she does. White on the outside, red on the inside. Goat's blood, of course, is slang for Agni, so we will have to draw her dharmodaya with liquid fire. Pleasure gaze and twenty-one flower mantras with her. Standing on a sun disc warrior pose like Naro Dakini.

    Here, she is still Bhu ("to be") the earth or the Prithvi who is permission for rituals, but in her appearance, it is like earth washed with Desire, like the coordination of Kamaloka to Form World, or Horizon.






    Ayabhibhi Bhuti Bhutta Kama-Rakkima Sama Vati Sarva Visiti Kurunire Caru

    We are asking her for a special vessel. Varuni will be removed from Varuna and transferred into this. It could be asking her to grace an actual one, or, create the mental one, depending on how we are doing this. So then we thank her and Purify her to emptiness. Next, Varuni will brew the concoction.


    [so far we just used Rg Veda deities in a Buddhist manner]

    Squatting is a rare pose done by White Pratisara (who is in Five Deity Tara) and Varuni. Here, an unusual Vasudhara is doing it in an unidentifed piece, but, it must be her because she is holding a vase and...someone's illusory body:





    Visualization of Flask

    There is Voidness with the Ah-arising skullcup and Mam-arising Red Eighteen Arm Varuni with Sword and Banner. Presumably these syllables are Red.






    Om namo devi Varuni amrte amrtesambhave
    Sarvasattvavasamkari amrte hrim akham praticcha svaha

    Summon deities into the water by using colored thread, rosary, etc.

    Essential Mantra of All Dakinis:

    Hri Vam Ha Ri Ni Sa Sarva Siddhi Samaya Hum Ja

    "Vam" is for Vajrasattva, Vasudhara and Varuni at this point. In the center of my heart phenomena source and moon cushion, the Vam letter, in nature of the four elements, separates into the four seed letters of the elements: YA RA LA and WA. They, in the nature of the four heart channel spokes such as the Desirous One, transform, starting from the left, into Lama, Khandarohi, Rupini and Dakini. In the center, the half moon, drop and nada of the Vam, in nature, the union of the extremely subtle red and white drops, the tigle of spring [vasanta tilaka]. Outside of them are the twenty-four channels like the Indestructible One, that go to the hairline, crown and so forth.

    Guhya Jnana Dakini could also eventually be used here. The water is holy when Varuni and/or other deities or mantras are applied to it. As long as it is based on Varuni and follows the teachings as closely as possible, you could cast whatever you want in it. The Completion formula casts all thirty-seven tattva into it. At a Yoga or Generation level, if we can come up with Four Activities and Six or Seven Families, that would be appropriate, since these are the major tattvas focused in Yoga.


    Conch Water into Flask poured three times.




    Nirajana (Making Bright, light offering) -- Purification of Flask

    Burning Coals with Flower and other Bodhisattva Offerings. If one has the actual items, that is one way to do it, if not, each Offering Goddess can be heart emanated, sent to do her thing and recalled.

    Offering goddesses emanated from my heart make offerings:

    OM VAJRA ARGHAM PRATICCHA AH HUM SVAHA (water for drinking]
    OM VAJRA PADHYAM PRATICCHA AH HUM SVAHA (water for washing]
    OM VAJRA PÜSHPE PRATICCHA AH HUM SVAHA (flowers)
    OM VAJRA DHUPE PRATICCHA AH HUM SVAHA (incense)
    OM VAJRA DIPE PRATICCHA AH HUM SVAHA (light)
    OM VAJRA GANDHE PRATICCHA AH HUM SVAHA (perfume)
    OM VAJRA NAIVIDYE PRATICCHA AH HUM SVAHA (food)
    OM VAJRA SHABDA PRATICCHA AH HUM SVAHA

    Sense Objects:

    OM AH VAJRA ADARSHE HUM
    OM AH VAJRA WINI HUM
    OM AH VAJRA GANDHE HUM
    OM AH VAJRA RASE HUM
    OM AH VAJRA PARSHE HUM
    OM AH VAJRA DHARME HUM
    OM VARUNI VAJRA DHARMA SAPARIWARA OM AH HUM

    Slender goddesses with glory of attractive youth, Masters of the sixty-four arts of love, Field, mantra and innate-born messenger hosts of beauteous illusory consorts, I offer to you!



    The hot dish touches the Flask, Khandaroha and Vajrasattva purify and remove obstacles.

    Om Khandarohi Hum Hum Phat (countless Khandarohis emanate from the heart, purify the world, and return--Activity Mantra)

    Inside the double tetrahedron at your heart is a moon mandala, upon which is a syllable VAM surrounded by the Khandarohi mantra rosary that is red in color. From the nada of the syllable BAM arise limitless Khandarohis whose two right hands hold a curved knife and damaru and the two left hands hold a skull cup and a katvanga. Imagine with conviction that they chase away interfering spirits who reside with the inner offering. When reciting the Khandarohi mantra, remove the lid to the inner offering [container]. Opening the lid when first blessing the inner offering is merely symbolic, and you don't need to sprinkle it. Also, when cleansing, if you emanate one Khandarohi, imagine it is, for example, like a hawk chasing away a flock of sparrows. It also acceptable to emanate ten going above, below, and in the cardinal and intermediate directions that chase away the obstructing spirits in the ten directions. Having completed the cleansing, you definitely must reabsorb Khandarohi back into the syllable VAM at your heart.

    Heruka Hundred Syllable mantra

    [This would be repeated with Khay and Alcohol to do Three Flasks in Ziro Bhusana format]




    Vajradhara Guru can easily emanate Varuni with her Armor Deities.





    Om Varuniye Namah

    Ja Hum Vam Hoh Om Yoga Shuddha Sarva Dharma Yoga Shuddho Ham (I am the nature of the yoga of the purity of all phenomena).

    The spoken mantra may use two syllables, but the visualized Armor is just the deity's seed syllable on a moon cushion:

    At the places of my body on moon mandala cushions are: at navel, red OM VAM, Vajravarahi; at heart, blue HAM YOM, Yamani; at throat, white HRIM MOM, Mohani; at forehead, yellow HRIM HRIM, Sachalani; at crown, green HUM HUM, Samtrasani; and at all my limbs, grey PHAT PHAT, Chandika.

    The Wrathful Prajnas are the Six Yogas and Six of the Seven Jewels of Enlightenment, with the male being Smrti Yoga and Sati Jewel. This is really a separate class from Gauris, it is a ring of Vajraraudris in Samputa and Hevajra tantras. The equivalents of the Samvara Armor and the Vajradaka Jewels:

    Red Vajravåråhï (lower right side); Vam is Varahi (Tathagata, Moha or Ignorance, Delusion), covering navel to sex organ -- Yellow Vajrabhairavi is Virya

    blue Yåminï (centre right); Yom is Yamini (Vajra, heart, Dvesa or Anger) -- Heruki is Dharma Pravicaya

    white Mohinï (upper right), Mom is Mohani (Lotus, throat/mouth, Raga or Attachment) -- Red Ghoracandi is Priti or Joy, Pramudita

    yellowish-brownish Samcålinï (upper left), Hrim is Sanchalani (Jnana, forehead, Sakkaya Ditti or Identity with Skandhas) -- Sita Vajradakini is Upeksa

    green Samtråsinï (centre left), Hum is Santrasani (Jewel, crown, Matsarya or Selfishness) -- Green Vajrabhaskari (Light Maker) is Prasrabdhi, relaxation, tranquility

    yellowish-brownish Candikå (lower left), Phat is Chandika (Amoghasiddhi, limbs and anywhere not covered, Irsya or Jealousy) -- Smoky Vajraraudri and her Activity, Green Vajrashrnkala, are Samadhi.

    So here, Amoghasiddhi or Successful Accomplishment paired with Samadhi is apparently said to release a spawn of Vajraradris, or, perhaps, classes of samadhis. In the Yogas, Smrti, or the male seed, Heruka, produces Samadhi.

    The syllables protect against the sins and skandhas, the Jewels are the Paths so protected.

    One can see that Yam or the lower life-wind we are seeking to Bind, re-appears as Yamini in the heart, and is Heruki and Vajradhatvishvari.

    "Sam" is also a prefix on Calani and Trasani. Calani is a filter or sieve, Tra "protect" is the Jewel syllable and sani "giving, bestowing". Mohani is rarer than it sounds, and occurs in a non-Buddhist lost epic from ca. 1070 about Vidyadharas including Gauri, and Mohani "bewitching", i. e. charming, beautiful, who is also a character in a Hindi version of the story.


    Here, the process resets because in the real ritual, it would be a switch from the items to inner work. Use Purity mantra to return to Emptiness, as between most segments. In other words, get a Cup from Bharati, Purify, invest it with Varuni, Purify, and then offer to Pratisara. It may seem a little weird that it is coming and going, however it is "running in the background" like Guru.




    Mutter Pratisara

    The mantra-consecrated Nectar as a whole could be offered to Pratisara, then we Mutter her and use Four Abhiseka and melt her into us. We dwell in what Dhyana or Samadhi we may reach, until slowly re-emerging back to Guru and finishing the service.

    Inverted Stupa will begin with bindu in the nada, or, our seed in primordial sound.

    There arises a Dharmakara triangular in shape. The outside is white, inside red, and set with a wide-open side upwards and a narrow, root side downwards. Inside of this, from a YAM arises a blue air mandala, in the shape of a bow. From the two ends, banners hang marked with a YAM, whose nature is the Union of Great Bliss and Emptiness.

    Borrowing Sanskrit from a Hindu source:





    Blue Yam arises, making a Blue Wind Mandala, which is the crescent shape, with white banners at the horns over two vases. It is a drawn bow, representing the lower center. The Banners are said to activate the wind. The Crescent is the legs, or a bow, a spring power we want to aim at the central at the triangle or solar plexus, and if there is an effect, these are fluttering Banners.

    At the corner of the edges of this bow-shaped mandala, there are two vases. Inside these vases, there are banners and the difference between these banners and victory banners as these are more like flags and also, victory banners usually have decorations at the top but there are no such decorations on these flags.

    Vajra Tara says:

    tatrādau yaṃkāreṇa vāyavyaṃ dhanvākāraṃ
    dhūmavarṇaṃ koṭidvaye calatpatākāṅkam

    [There or present] Yam Northwest [Wind or Vayu direction] in Bow Form, Smoky color two horns so as to move [Kankam]. This seems to refer to a hill, the river Ambaranadi flows off the slope of Meru and crosses it and a lot of other hills to reach the western ocean. Or, it means golden or refined, like an elision of kanaka.

    In Prajnaparamita Sutra,

    The wind arises in space and reaches the Mahābrahmā gods and the levels formed of the seven jewels [Kamaloka] which all rest on the wind.

    There is really no one in this mandala. It is a physiological stage we are trying to use and aim the Bow at Nirmana Chakra and have this going as a functional cycle. We will feel an air-like current rising and our core will become warm. While this happens we want to sustain the vision of Pratisara and mentally repeat Om Ah Hum, Emptiness mantra, and/or her personal mantras. Then we melt her into us and rest in the Shamatha of this stage.

    Blue Yamini Locana (Vairocana Family) uses this syllable; she is the armor of the heart chakra. In some Yoga systems, Yam is considered the heart syllable.

    Banner is of course Ultimate Victory Banner on Meru's summit, but here we have mini-banners and things like Kamadeva cavorting with Makara banner. So again without a full tantra, here is an untranslated Dhvajagrakeyura Samaptam including a dharani, and, from Nepal, just a Dharani. By comparison, in Sadhanamala it is a full sadhana. So maybe this can help the elevating and warming feeling. The version ending with "prahara" (removing) is used on flags. Tantric Dhvaja is Vetali, who follows next in the book.

    oṃ bhagavati dhvajāgrakeyūre parasainyavidhvaṃsanakari / svasainyaparipālanakari / ulkāmukhi / kha kha / khāhi khāhi / parasainyam anantamukhenānantabhujena prahara prahara / hūṃ hūṃ / phaṭ phaṭ svāhā //

    In that spelling, Ulkamukhi is Fox Face, ulka being a meteor or torch. She is crushing (parasainya) and removing (prahara) whatever is in the way of Binding the winds. Without using her form, we can recite the dharani in the blank wind mandala, which is like telling our mini-banner gates to open, and perhaps contemplate how Yam, wind arising in voidness, is also used to protect the heart chakra.

    Normally this would just run through into Completion Stage, but, since we are almost at our limit, then we just get the Cup back with Ah, and, instead of putting Varuni into it, we are going to give it to Pratisara. Instead of Red Ram coming above the Crescent, it will be Yellow Pam. A great number of Sadhanamala deities use Pam before their own syllable, as if Pandara were being revealed, but in most cases no color is given. It can be found to match the deity's color a few times, so, would generally be the same unless otherwise indicated.


    Yellow Eight Arm Pratisara

    Pam (Viswa Padma) -- Ah (Moon Disc) -- Yellow Pram

    Pram syllable will start spinning and she emerges. This Mongolian Dharmodaya says Khyai Pram, although bindu and nada should be above it:






    Pram is said to be prahvara, stooping, inclined, bowing to, or devoted to. In Navagraha, it is for Shani or Saturn. In the Vase initiation during "Opening of the Eye", two Prams are a vajra film on the eyes. Of course, it is also the entire Prajnaparamita.






    Om namo bhagavatyai aryamahapratisarayai

    Her Muttering is:

    om ah pram hum

    oṃ maṇidhari vajriṇi mahāpratisare huṃ huṃ phaṭ phaṭ svāhā



    We have to Bind her. Pratisara of course needs no help with this, it means when we are in her communion, the stability of watching her do it, transfers to us. It is something one can feel, but it is represented on all deities who wear jewelry. Blue Two Arm Samvara, bde mchog lhan skyes, cakrasamvara sahaja, innate (sahaj) sambara gives a general view of the ornaments:

    the five (pancamudra, phyag rgya lnga) or six symbolic ornaments (sanmudra, phyag rgya drug) are:
    1) circlet (cakrin, gtsug gi 'khor lo), a wheel on the crown of the head, symbolizing aksobhya and homage to the guru and deity;
    2) earrings (kundala, karnavatamsa; rna cha, snyan cha, snyan rgyan) amitabha and the deafness to evil words against one's guru;
    3) necklace (kanthin, kanthika, hara, grivabharana; mgul rgyan), a short necklace or choker symbolizing ratnasambhava and the recitation of mantras;
    4) bracelets (rucaka, kankana, kataka; lag gdub), vairocana and the abandonment of taking life;
    5) girdle or belt (mekhala, katibhusana, katisutra; ska rags; rked rgyan; 'og pag or 'og pags), amoghasiddhi and the service of the mudra;
    6) ashes (bhasman; thal ba); this is worn only by male deities

    We haven't spent all this time hovering around Chakrasamvara tantra like a moth in order to need an esoteric deity to tell my hands to renounce taking life. So to see how it really mixes with Generation Stage, H. H. 3rd Karmapa Rangjung Dorje explained that outer tantric symbols meant internal things:

    For instance, "tree" is the central channel (Sushumna or Avadhuti); "charnel grounds" are the doors of the senses. "At night" is thirty-two branches of the central (twenty-four divine abodes and eight charnel grounds); "an empty place" is again the central, where we mix wind and bodhicitta; "solitude" refers to not letting the winds go out the senses. This is "good meditation".

    "Consort" is the Ah syllable in the belly. "Akshobya's circlet" means the bodhicitta of the crown is unwavering; "Amitabha's earrings" that white bodhicitta is restrained and inner heat burns; "Ratnesa's necklace" that bodhicitta accumulates at the throat; "Vairocana's wrist bangles" that the ancilliary winds are bound; "Amogha's sash" that the downward winds are bound. "Five meats and nectars" means that preventing the winds from entering the left and right channels prevents aging and death.
    Dikpalas or Local Protectors represent the downward wind; Lokapalas or Realm Protectors represent the life wind of the heart (sok lha). Nagas are the cultivation of Paramitas. Innate or lhan skyes dakinis inhabit Akanistha and are meditation deities. Field-born are called zhang skyes and inhabit the sacred sites. Mantra-born are called sngags skyes and are in undetermined places.

    Amogha's sash, girdle, or belt, and Vairocana's rings, bangles, or bracelets are the main items that Bind, the others being more like an accumulation of the bound energy.

    One can also use regular Om Ah Hum and do soft vase breathing, rather than the Hatha Yoga Vase which is fairly extreme. Following Traktung Rinpoche, who also takes this quite seriously and repeatedly scoffs at fancy dress or dharma items paraded by popinjays, he explains:

    Breathe in through the nose and you can swallow it at the end and you push the air down. You don’t take a big huge breath. You’re not going to hold it for a long time. You tighten the perineum towards the end of the in breath and
    you hold and you push the upper wind down and draw the lower wind up and they kiss in the
    middle at the belly. That’s called the vase breath. The gentle vase breath just means that you’re
    not taking a very big breath and you’re not holding it for a long time. So, you breathe in and
    you hold like that and while you hold you also hold the movement of all conceptuality. This is
    the true recitation that accomplishes the deity’s mind stream because the deity’s mind is devoid
    of all conventional conceptuality. It’s empty and clear and brilliant vibrancy. That is the true
    manner of the deity’s recitation. One moment of Cessation Recitation is like a million recited
    mantras.

    Tara says if one fucuses on impure tigle, mind, and wind, and binds them in the central channel, it will slay hosts of enemies, the conceptual clinging ti impure sensual bliss. One will meet the Noble Lady whose wind and mind are the deity's pure form, inseparable from the wisdom body of co-emergent great bliss.

    Traktung Rinpoche says:

    When you do the Vajra Recitation you develop tremendous pliancy — subtleness in
    relationship to appearance and unborn awareness. So all of these are excellent. One can do —
    first the Vajra Recitation when you come to recitation time. You got the visualization stable
    here. You do a little Vajra Recitation and then Cessation Recitation and then do your
    Accumulation Recitation of the actual mantra, which is being repeated. And obviously that
    should take up the majority of your time because: (A) none of you are going to be able to hold
    the samadhi’s of the other two very well, and (B): you need to accumulate tremendous
    numbers. It’s not a question of coming to some number but you need tremendous,
    unimaginable numbers of recitation. And then when you tire of recitation in this fashion you
    can do Vajra Recitation again or Cessation Recitation. You can recite in this fashion
    throughout a period of practice, alternating between them or sometimes stop and go back to
    simply concentrating on the stable clarity of the deity.

    He says it is like dye, if we are going Red but we just do a small amount of weak mantra, then what comes out is pale pink. You do more, you go deeper, as much as it takes to make the cloth of ourselves indistinguishable from the deity's color.



    Pratisara really does not have much to say. However she also has meditation on Brahma Vihara, as Maitri, Karuna (Avalokiteshvara), Mudita (Joy, the First Bhumi or Gound, which is Vajrasattva), and on Upeksa (Vajra Dakini):


    maitrīkaruṇāmuditopekṣābhāvanā / oṃ śūnyatājñānavajrasvabhāvātmako 'ham


    In using Emptiness mantra there, it is no longer "empty of" something, it is Emptiness itself. "I" am Emptiness, so, the evoked Pratisara form of Emptiness becomes equivalent to me by direct transmission. "I" become replaced by this Divine Ego which has No Self. These emotions followed by Emptiness mantra are fairly common in Sadhanamala. The major retinue form of Pratisara is about the only place that says anything about them:

    tadduḥkhoddaraṇā karuṇā sukhapratiṣthānā maitrī sthirasukhatvena muditā tathatarūpatvopekṣā

    She proceeds to have the unusual characteristic that her Three Syllables are White, Yellow, and Blue (components of Green):

    evaṃ vicintya tataḥ kāyavākcittacandreṣu
    oṃ āḥ huṃ sitapītanīlatryakṣarāṇi cintayet

    She has another standard mantra formula, and goes on to say something about grhitva, "has taken" Akshobya initiation. If we refer to the formula, Akshobya Initiation is a way of explaining the next stage. She's not going through a retinue or anything like that, it is simply a Jewel Deity specifically referring to Akshobya:

    oṃ āḥ praṃ huṃkārān vinyasya etan mantroccāreṇātmānaṃ devīrūpam adhiti-
    ṣṭhet / tataḥ svahṛdayān nirgataraśmibhir akṣobhyādīn sañcodyānīya
    abhiṣekaṃ gṛhītvā mukuṭe adhipatim akṣobhyaṃ cintayet

    So we Mutter her quieter and quieter while drawing more downwards-winds up to the core. Meditate her meaning, ask her to try our Cup and save any Scraps, and go into Om Ah Hum and melt her with Four Abhiseka. Then the Shamatha.

    From an OM at her crown chakra are emitted white nectars and rays of light. They
    dissolve into my crown chakra, purify the unwholesome karmas and obstacles concerning my
    body, and confer the vase empowerment. The blessings of the Gurus’ bodies enter my body.
    From an AH , at her throat chakra are emitted yellow nectars and rays of light. They
    dissolve into my throat chakra, purify the unwholesome karmas and obstacles concerning my
    speech, and confer the secret empowerment. The blessings of the Gurus’ speech enter my speech.
    From a HUM I at her heart chakra are emitted blue nectars and rays of light. They
    dissolve into my heart chakra, purify the unwholesome karmas and obstacles concerning my
    mind, and confer the wisdom empowerment of pristine awareness. The blessings of the Gurus’
    minds enter my mind.

    From the three syllables at her three chakras are emitted white, yellow and blue nectars and
    rays of light. They dissolve into my three chakras, purify the unwholesome karmas and obstacles
    concerning my body, speech and mind, and confer the fourth empowerment, the word
    empowerment. The blessings of the Gurus’ bodies, speech and minds enter my body, speech and
    mind.

    We did not finish with Guru and so emerge slowly, dedicate the merit and tell everyone good night.


    We are doing shamatha or tranquility in stages. And so compared to Completion of the Six Yogas, we can find we are not quite doing the real Pranayama, but instead are really focusing on the first two with deified Sense Objects and Tathagata Families:

    Nagarjuna on Six Yogas as non-dual Prajna Upaya:

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

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

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

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

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

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

    Accordingly, Smrti can be found as a type of male seed embraced by a goddess in a Union ritual.

  29. Link to Post #400
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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    New France, Lotus Family and Sri

    The new land apparently will become a Deodar grove or type of Ashram.

    I was asked in a roundabout way for Mahamudra and Sri Lakshmi. I believe we all mostly want the same things, and it is mainly by foreknowledge that I personally just go there directly, without all the fuss, but so be it. This is a bit bizarre since the Parnasabari--Broom force that was needed here seemed to be something above and beyond me, so, it turns out she is just going to sweep the whole place empty of me so I do this next part of the work in another area.

    Part of the roundabout is that someone independently decided to place me under Prosperity magic, and so since this is the outer veil of the real Yellow magic, then what this means is that Lakshmi has more or less been asked to be the law. This means cleanliness, or, perpetual use of a Parnasabari-type force. If not, the magic will backfire.

    I have no experience with Yellow, it is something I have tried to bring naturally into life for a long time, and have not been allowed to do, and now it has become the definition if I am able to continue.

    I know everything about the Red magic in the Varuni operation, just from a more raw or wild-caught Upanishadic type Yoga without an in-depth comprehension of the Buddhist method. I could easily raise Guhya Jnana Dakini and do these things described as winds centering heat which melts the drops. which is a very awkward position since there are no meditations left that are not considered initiatory. However there is no other Path than accomplishing this. And so we have to resort to Guhya Jnana Dakini and allude to the fact that in Sadhanamala, as well as the expected ones, there are colossal occult rites for Vajra Tara, Marici, and Ekajata, that do not seem to be born out in studying most tantra as done in Tibet. During the Indian times, evidence strongly suggests that Mahattari also harnessed every wild-caught or other Yoga schools type of gnosis such as Kubjika and Matangi. Basically, where these practices are widespread, there may be many people who receive the teaching without really doing it, and in wastelands like this, a serious person who relies on these written fragments may perform really well.

    But through it all, we are able to find that Lakshmi actually is the major factor of Completion Stage, and if I look at the Newari tradition, it really has an ancient Sarasvati--Lakshmi beginning, a Buddhist Completion Stage that would almost certainly be Chakrasamvara and possibly other ones, and then an Agni Completion Stage or a Homa using Buddhist methods. Without Sita Lakshmi, of course, Agni can be rather destructive. Buddha said to use Agni and to mainly focus on Mahendra or Yellow Fire, normally associated with Indra, however the significance is not Indra himself, but the fact of him learning spells from Buddha which became his invulnerability. This type of golden effulgence could perhaps be described as Indra learning what Lakshmi does. Vilasini emits Golden light but is Red. Lakshmi is Golden but wears Red.

    So we have determined that Yellow Lakshmi per se indicates her tantric form Kamala, but has outer deities by other names that have everything to do with crossing the forests to Mt. Meru or the cemeteries to the Tree, and here again this can be described as a Buddhist adjustment or clarification to something that is almost identical in Hinduism. Yellow Thoth-Mercury, Budha planet or Androgyne son of Tara, is the Dragon Tree or One Initiator. That, so to speak, "is" Yellow, whereas Lakshmi has more if not all colors. Lakshmi--Vasudhara's worldly guardians Vaisravana or Kubera are also Mercury.

    Green Lakshmi is Dhanada--Mahalakshmi, Red is Vilasini, Dark is Kamadhatvishvari, if we think in terms of the name Lakshmi as mostly inner deities and Vasudhara(s) more as the outer preliminaries.

    In a Hindu Lakshmi Narayana Hrdayam or heart mantra, they are depicted as inseparable; if Narayan is present, Lakshmi will come. This is Gold Kamala Lion Lakshmi, also called Vasudhara:

    Sri Lakshmi kamala dharinyai Simha vahinyai swaha.

    Her effect is repeatedly invoked as a crescent, which wants to be Acala:

    Achalam kuru yathnena kalaam mayi nivesayath: When you make your crescent enter in me, make it very stable.

    Srim (Lunar) is her seed and Hrim (Solar) is her shakti:

    Srim Bheejam, Hreem Shakthi, iym keelakam,

    Sreem hrudayaya nama, Hreem Sirase swaha, Iym shikayai Voushat,
    Sreem Kavachaya nama, Hreem kanishtikabhyam nama,
    Iym kara thala kara prushtabhyam nama

    However she is not directly the moon:

    I salute the very pretty one who is the sister of moon, the Lord of the night,

    She uses it:

    I salute the Shakthi who adorns herself by using the moon,

    She resembles Conch--Khandaroha, which is probably because she manifests as Vilasini:

    And whose entire body looks like the newly emerging conch,

    Although there are repetitive statements on material wealth, it carries the same expression we use to harness Yellow as an occult color, step by step let me find all the [secret] treasures:

    Pade pade may nidhi darsanam syath.

    Nidhi is the same term used in basic Vasudhara mantra.

    Narayana only gets about fifteen per cent of the material she does, and so the main difference with Buddhism is that he would be over-written by Vajrasattva. Vishnu Narayan is Akshobya, and Vajrasattva is a hypostasis of Akshobya, so it is the same meaning at the most basic level, but the Buddhist Vajrasattva at a Yoga level of understanding is already a form of activated gnosis. It doesn't seem like we have any significant denial of Hindu Lakshmi, more like a refinement and extension, a prompter and more thorough move to her inner meaning.

    In another one of her Hindu mantras, she can be found with Four Activities, related to Manohara and Hooking, because it starts with Om (universal generation), then Hrim (solar power), then Srim, her effect or use of Lord of the Moon, ending on Klim, which is Akarshaya or magnetic or hooking syllable:

    Om̃ hrīm śrīm klīm mahālakṣmi mahālakṣmi ।
    yehi yehi sarvasaubhāgyam dehi me svāhā ॥

    Saubhagyam has connotations for almost any description of Yellow magic, prosperity, success, beauty, happiness, well-being, and so forth.

    Manohara, the second Vasudhara, mainly uses beauty as attraction, and so these sorts of mantras are great for building the first or Hook Activity, which when stable, is compressed into Jah, or Janguli syllable. Sita (Peace) and Manohara (Beauty) appear to be the main ingredients for this ability. It is something like Manohara Hook, Varuni Noose, Vajrashrinkala (samadhi) Chain, to attempt ringing a Completion Bell. Although Shrnkala seemed like a rare, arbitrary, or default name, it turns out she has a major Hevajra mandala, which blatantly stands out in the same way that Khandaroha is the profound example of the Four Dakinis. The Chain itself also works with Red Lion Face, so we can reasonably say at least three Activities have a functional preliminary in Red. The "Red Bell", however, is not even a bell, as we shall see.

    The minor amount of Red or Amitabha tantra is the Mahakarunika cycle, whose main vessel of transmission was Bodhisattva Candradhvaja (ca. 1100), who inhabited the Samvara temple of Nepal and was attended by a host of Dakinis. The Lotus tantra is Kulalokanatha Pancadasaka Nama with one similarly-named sadhana, also having Avalokiteshvara Padmajala, and Bhikshuni Lakshmi's fasting. One of Candradhvaja's disciples was Pamo Dru, and another important one was Nying Phug Pa, who did not really use anything from Nyingma, but used everything from Sarma or New Translation. That may be strange considering Mahakarunika made direct transmissions to Padmasambhava, and Padmajala is his Pure Land, however, Candradhvaja is unilaterally accepted as an emanation of Avalokiteshvara.

    The system of Mahakarunika has an "and" relationship with Vajravali and itself may be described as:

    There existed a method of taking a vow through the rite of the Mental Creative Effort towards Enlightenment, as well as the degree of transit meditation according to the Madhyamaka system written by the Bodhisattva Candradhvaja, an indisputable manifestation of Avalokitesvara. The Degree of propitiation Arya Avalokitesvara by performing the rite of fasting was preached by the nun Laksmi (dpal mo) personally blessed by Arya Avalokitesvara. She taught it to the pandita ye shes bzang po blessed by her. He to bal po pe nya ba, blessed by him. They all were saints. The Bodhisattva Candradhvaja obtained (the Doctrine) from him (pe nya ba).

    Therefor, a devotee of Lakshmi may accurately be said to have been a major transmission of Avalokiteshvara. who then becomes the same in Tibet as Manjushri in China and Nepal. Her personal fasting practice uses a fairly simple Eight Arm Eleven Face Lokeshvara, here in a Gelug view with Buddha at the top, Tson khapa on our left, likely Third Panchen to the right, and Bhikshuni Sri lower left. She is usually easy to find because her hair almost always has this mostly shaven look:






    Eleven Face Avalokiteshvara's retinue is quite simple: On the four petals surrounding the central figure are the four Buddhas, blue Akshobhya (east), yellow Ratnsambhava (south), white Vairochana (west) and green Amoghasiddhi (north). Sri has a Vase, a Blue Bowl with White contents same as Buddha, and a Gold upright triangle, and makes Dharmacakra teaching gesture like Tsonkhapa. This "simple" switch of Vairocana to the Lotus quadrant is replaced with something strange later.

    As for the eleven heads, in the Brihadaranyaka Upanishad there is reference to a group of eleven Rudras which represent the 'ten vital breaths with the heart as the eleventh'. Vishnu Purana is similar.

    Padmanartesvara widely-known from Mani Rimdu festival is Red, but, we have found a rare or special one in white. Tibetan Art is not sure whether to call this next one Padmanartesvara or Padmajala (Six Arms would be Samputa Vajrasattva). However, Swayambhu Chaitya itself has an Eighteen Arm White Padmanartesvara (simultaneously identified as Chakrasamvara) surrounded by Four Dakinis.






    What is bizarre is that this painting is part of what must be one of the world's most outstanding collections in Bod kyi thangka. Bod means Tibet and this is a highly-detailed, well-organized national history blended with the national deity, Avalokiteshvara, around twelve pages of everything from him to herbs and talismans. It will show the majority of things that are Tibetan and not Indian like Seven Eye Tara. This one comes up as the very first Avalokiteshvara. It is unusual that such a thorough exposition would be unable to identify the first appearance of the national deity. Either name is a Dancer.

    Once the arms stack up to Eighteen, they specifically call it Padmajala:






    Eighteen Arm form is Padmanartesvara 32 in Sadhanamala, standing between tārā--sudhana--bhṛkuṭī--hayagrīvaṃ (same as Sakya Pandita's Amoghapasha retinue, and Khasarpana). The difference, I suppose, is Jala, or Varuna Net of Dakinis and Prajnas, instead of this retinue, he gets these Dakinis of Guhya Jnana to really be Padmajala in Nepal.

    Padmanartesvara's Two Arm form (30) has according to GNB, on the East petal Vilokinī, white in colour and carrying the red lotus. The South is occupied by Tārā of green colour, holding the Palāśa and the lotus flowers. Bhūriṇī is in the West, is yellow in complexion and carries the Cakra and the blue lotus. Bhṛkuṭī is in the North, with white colour holding the yellow lotus. In the North-East there is Padmavāsinī, who is yellow in colour and holds the red lotus. The South-East is occupied by Viśvapadmeśvarī, who is sky-coloured and holds the white lotus. The South-West is occupied by Viśvapadmā, who is white and carries the the black lotus. In the Norh-West there is Viśvavajrā of variegated colour holding the double lotus.

    That is the only instance of Bhurini, a Yellow Earth goddess who has occupied the West of a Lotus-centered mandala, meaning it is probably Vairocana section. The mandala description from GNB did not observe that Pandaravasini is to his immediate left; in Sadhanamala, they embrace. This is also Pandara's only instance of use besides formulaic Prajna retinues. Nartesvara is also doing a Suci, or Needle, mudra, which has little correspondence other than Marici. GNB is also unclear because he does have three sadhanas, but the forms are Two, Eight, and Eighteen Arm. The first two are Red Hrih-arising, and the third is White Hrih, who is also the Amnaya and the Bhattaraka, heads a lineage and is able to directly emanate other deities.

    Padmanartesvara in some way is in Vajra Tara 94 and 110. So again she has simply absorbed a major explanation, and can consistently be found as the main one doing this all around. So obviously if we start getting into Lotus energy which primarily is sexual bliss merged with purified dharmic or mantric speech, she uses that as an engine for the assembly of all the fused knowledge of philosophies and mandala components we can stitch together.

    Padmanartesvara's consorts have been called Pandaravasini (in Samayoga Dakini Jala) and Mohani (Armor Deities) or Vilasini (karmamudra). This Mohani or Mohini has almost no significance other than a form of Lakshmi. Therefor it appears the first two are Peaceful and Wrathful Prajna or Mother level Lakshmi, and the last is a Sambhogakaya or Bodhisattva. Pandaravasini seems to be the "thing revealed" as, or within, the Dharmadhatu, which the various "Eyes" and "Degrees of Space" attempt to perceive. Most Sadhanamala practices start with Pam arising in Void, which then makes something else, which then make the deity's seed syllable. Most of these Pams are presumably white; however, Pandara arises from Red Pam without the other intercessories.

    According to Mahakala, Lakshmi is Kamadhatvishvari, or Goddess of Purified Element of Desire, i. e. something that generally moves from Red to White, like Pandara. Vilasini Erotic Play Woman is wired into an almost unique position which can be called an application of Guhya Jnana Dakini, then, there is Bewitching Mohani, if you have any hope of protecting yourself, and then Red Robed in White Pandara, akin to a skullcup or fruit. When these are real and not theoretical, the initiation for Completion Stage would, at this point, easily ignite Varahi, consort of Samvara, or, reveal Kamadhatvishvari, who is the explanation of Hevajra.

    If we are not Gelug, we are in a position to reject Karmamudra as being part of Completion Stage, and one could see it as an intensifier of Generation. If we do some Yoga and follow the teachings, the important Power that may be discovered is Guhya Jnana Dakini, who appears to pour directly into Ziro Bhusana, and she can also do Vilasini. That is what you will get if you put a lot of time into meditation or sex. There just aren't any pretend ones, you can't ask for this or imitate it, because it is Gnosis.

    In Kriya, Lotus Family has two Amitabha sadhanas, then Bodhisattva Avalokiteshvara as Amoghapasha, Padmajala, and Simhanada, Mother Tara, Wrathful Hayagriva, and its Messenger is right from http://www.chinabuddhismencyclopedia...-Lakshmi_Sutra. It is very brief, translated from Chinese, using her Tibetan names. One would have to go backwards to get them in Sanskrit. The only information given for the original version is that it is called Mahasri Sutra. So Lotus Tara has the Messenger Mahasri. As for the Tara, it pre-dates Atisha, is not a terma, and cannot be Suryagupta's Amoghasiddhi Tara, or Khadira. We are almost forced to concede this to Ravigupta's Seventeen Deity Reversed Green Tara, or possibly Astamabhaya.

    Without really grinding the Tibetan Mahasri names, it is easy to see they include Great Glory--Maha Lakshmi, a few kinds of Yellow Lakshmi, but there is also Karmo (White), a Lotus Rosary Holder, and Lotus Eye or Kamala Locana; Ozer Chenma is Marici, whereas Barwa Odchenma is Blazing Light, a Red Tara Friday love goddess, in standard lists they are distinct. Overall, this does not much intersect any Twenty-one Tara list by more than a few, if possibly Karmo is intended as the second. Great Glory--Maha Lakshmi is just an interpretation of Palden, the Tibetan name which makes White and Yellow Lakshmi almost impossible to discover, but they exist. White is Peaceful Protector who we have already heavily scrutinized. She rarely has any standard sire or normal relationships.

    A Prosperity Vase uses eight goddesses who are perhaps a Vasudhara retinue, Yangchenma, Norgyunma, Dhashelma, Jenjedma, Rabjinma ("Gives Gems"), Phagma, Bayma and Rabzangma, which includes perhaps two Mahasri names.

    As used in the Sutra, Chenmo appears to mean big, or great, similar to maha, as in the title, Bardo Tödrol Chenmo, or Great Bardo Thodol. So there is Od Chenmo, Pal Chenmo, Drag-pa Chenmo (Greatly Reknowned). Pal Chenmo is "Greatly Resplendent", whereas Pal Denma is "[she who is] Endowed with Splendor". In that case, Mahasri is probably the last name, Pal Chen Mo, whereas Pal Den Ma is Sri, or generally translated as Sri Devi. Actually the text says Palchenmo is Mahasri, so that is correct. Pal Tri Ma is "[she who is] Auspiciously Resplendent", so, Pal must be Splendor or Glory. "Sri" is generally wealth and prosperity, but can be interpreted as glory. "Padma Chenpo" is given as "Maha Padma", so, it is a favor to extend that to Lotus Eye in the translation. Maha Padma has a specific use we will see.

    "Gives Food" cannot be much different from Annapurna. In large Hindu lists of Lakshmi names, there is Padmamaladhara – Wearer of Lotus Garland, Bhaskar – Radiant like the Sun, Dhanadhanyaki – Bestower of Wealth and Foodgrains, Mangala Devi – Most Auspicious, Swaha -- Auspicious. She has sun and moon related epithets, and multiple lotus and earth references. It happens to include Karuna, and Kamalasambhava, which is identical to Padmasambhava. Further, she is Tilottama, and bewitching Mohini.

    Lakshmi is laksya, meaning “aim” or “goal”, also a "sign" or "mark" in Rg Veda.

    A better rendition of the Mahasri mantra, although it is hard to discern how it could be the names, is:

    SAYAD YAT’HEDNA:
    DZINI GRINI SARWA ART’HA SADHANI SHASHINA ALAKSHI MANA
    NASHAYA SIDDHANATU MANTRAPADAI SVAHA
    OM VIGUNI PARAMA SUBHAGEY SVAHA /

    It is more of a dharani, where Sarva Artha Sadhani means something like explaining the purpose of all sadhanas. Sugata, or Su Gata,"Thusly Gone to Bliss", is equivalent to Tatha Gata, "Gone to Thusness". and so near the end, she is Parama Su Bhaga, or Infinite Bliss Vagina, which must be where the Sugata went.

    Trying to get the twelve Mahasri names in a more common form:

    She Who is Endowed with Splendor [Sri Devi]/ She Who is Auspiciously Resplendent [Mangala]/ Possessor of a
    Garland of Lotuses [Padmamaladhara]/ Lady-Lord of Riches [Vasudhara]/She Who is White [Sarasvati or Cunda]/ She Who is Greatly Renowned / Lotus Eye [Kamala Locana or Maha Padma]/ She Who Makes Things Happen / She of Great Light / She Who Gives Food [Annapurna or Dhanada] / She Who Wholeheartedly Gives Precious Gems [Cintamani]/ She Who is Greatly Resplendent [Mahasri]

    In lists of 1008 names, Lakshmi is everything from Varuni to Kalachakra, which seems a bit over done. I can mentally process an array of six by nine elements or something like that, but not a linear list of that size. One finds the objection "it is ludicrous to limit god to 1008 forms", which is less the point, than to indicate how the main battery of forms works. It's not an attempt to come up with every little detail in the world of form; it is a noumenal process, or, that is how it is done in Buddhism.

    A couple of Lakshmi's other incarnations were:

    Dharani, wife of Parashurama
    Padma, wife of Hari (Vamana)

    There is also a Sukhavati Lokeshvara who is with Padma Tara.

    Dhanada 107 has "Four Families" Taras, starting with Blue Vajra Tara, and so includes Padma Tara with a Mala or garland. That is the only Padma Tara in Sadhanamala. Her retinue is some kind of trick if Ratna Tara really means Yellow Vajra Tara, the other one is some Blue Tara in Vajra Family, Padma Tara is debatably some type of Malini in the Fire area, Buddha Tara is Akasha Dhatvishvari, and Dhanada herself is not called Karma Tara, although she is Arya Tara. GNB says Dhanada holds a Hook and Noose, which does not match the sadhanas. It does match Durgottarini, who has Sita Vastra or white clothing. The confused Dhanada--Durgottarini is accompanied by Janguli and Mayuri. Based on that mistake, one would have to surmise that Durgottarini's form trickled down into Alice Getty's sources, and since no record of her can yet be found in Tibetan, she became attached to the only other Four Arm Green Tara.

    Durgottarini is Dhruvam Arya Tara. Centering is Dhruvam, or Pole Star:

    The Vasu of Star or Dhruva is space tattva. Queen of Akash is Mamo Botong.

    As Trailokyavijaya is a role that may be played by Acala, Vajrapani, or Vajrabhairava, Mamo Botong can be presented by Vetali, Durga, and others. I don't think it is saying Dhanada "is" this, but she has or is using it, she is a rather advanced step towards a full mandala, beginning the vertical axis or all Ten Directions, and so relies on a tamed Mamo Botong from other practices.

    Dhanada notably holds a book, which is called Aksa Sutra. This simply is the Devanagari alphabet; a rosary made from it should grant every kind of prosperity, according to Gautamiya Tantra. Sarasvati uses an Aksa Mala rosary, itself sometimes called Aksa Sutra (string). So in Dhanada's case, it may be her rosary, or book, or both. Actually it is her first item, a rosary, and a book called pustaka is her last. Rosary, Varada mudra, utpala lotus, and book would be correct. Vishnu Purana states this kind of rosary is time.

    Aksa Sutra is used by certain others, Akshari, Sitavati, Sukla, White Ekajata, multiple Maricis, Kurukulla, Varahi, Khasarpana, MayaJala Avalokiteshvara, Eight Arm Padmanartesvara 31. So it starts right there at Six Syllable goddess, the widely-known Om Manipadme Hum, attaches to several rare ones who are very explanatory of the Preliminaries, and never really goes away.

    As for Pandara, herself, her personal mantra (at least a close variant) is used by White Two Arm Simhanada Lokeshvara (Candragomin tradition, Sadhanamala 17, 21, and 25), who at first uses Sita's Sim syllable to evoke a White Lion with an Orange mane.

    The two similar mantras, Pandara and Simhanada, in fact are used one right after the other in another practice opening with Sri Malini. Jwala Malini Devi, Goddess Jwalamalini, or Jwalamalini Devi, is one among the numerous incarnations of Goddess Shakti. Also, Ganesh has an Elephant Woman consort, but, in other interpretations, the images are said to represent Malini, who was Parvati’s elephant-headed companion and Ganesh’s nursemaid. So that name legitimately has two sorts of uses. After Pandara--Simhanada, the sadhana moves to a section about Vidyadharas, does something with Vajra Kila who also happens to be in the Mahakarunika volume of the Tanjur, and ends on Agni.

    I cannot figure out what it is; Sutra spoken by Avalokiteshvara with the epithets Mahakarunika, Padmapani, and Arolik (Lotus Family syllable).

    Pandara is in the eighth chapter. Most of the text is just discourse, until you get to here, the apparent sadhana or mantras resume. When this happens, the thing being started is:

    OM- AMRTAM GAME ‘SRÌ MÀLINI SVÀHÀ

    "Gama" could be riding on, explaining, or intercourse. Malini is being addressed as the one who does this to Amrita.

    It has Vajrapani, Amrita Kundalin, Sruti Smrti Sarasvati, and others, and mentions Mohani:

    OM-HANI MOHANI JAMBHANI STAMBHANI SVÀHÀ

    This perturbs the similar words of a "Fury Pacifying" mantra. Mohani is first like this in Mayuri Sutra, but, the only other place in the world, and what would be widely-known about it, is that it is a piece of Maha Mohini Vasikaran mantra. Here, at least, is Chapter Eight in Vietnamese and Sanskrit. Chapter Nine, the end, has a few more recitations including Pandara; the eighth has the most mantra overall. Since this is the only real use of Pandara and Mohani, then, they certainly appear to be iterations of each other, or Peaceful and Wrathful.

    The Tanjur Mahakarunika volume also includes Samaya Tara Vajrayogini, most likely Tara as known in the town of Vajrayogini in Orissa; the volume has Jinasagara, Amitayus, Bhattarika Kurukulle, Cakrasamvara Avalokitesvara Padmajala, samaya-Tara Vajrayogini, Vajrakilaya of the Khon Lineage--who again, seems included in the sadhana above.

    Samaya Tara Vajrayogini's two tantras are titled:

    Samaja paramartha sarvakaramodaya

    The main Green Tara found under Amitabha is Eight Fears Tara. The "Samaya Yogini" has Eight Arms. At Dege Gonchen College, she is under Amitayus on a mural. However, she is usually under Vajradhara, her retinue is Twenty-five deities with the inner ring simply being Shanti, Krodha, Powerful, and Increasing Taras: Vajra Family is South and Ratna is North and so if anything, this is still an Amoghasiddhi deity:






    In the eastern direction, is Shanti Tara, peaceful, white, holding a lotus blossom while riding a yellow duck on the water. In the southern direction, is Krodha Tara, wrathful, blue in colour, holding upraised a sword and riding a blue buffalo on the wind. In the western direction, is Powerful Tara, semi-wrathful, red, holding a hook and riding a red horse in fire. In the northern direction, is Increasing Tara, peaceful, yellow riding a white elephant on the earth. Here is a full outline mandala where the riders appear correct and the gatekeepers are likely the normal Four Activities.

    The correspondences are horribly mutilated compared to what they are "supposed" to be. Red Hook Tara almost has to be Manohara. The Yellow one has Wheat and Vase, almost has to be Gopali or Vasudhara. There are two Samaya Yoginis on this page of Marpa Kagyu deities. The prettier one we used in the main Tara post possibly has Sabara's Padmanartesvara--Vilasini lower left. Samaya Yogini is Mother tantra which makes it rather odd to call her a Samaya being. The tantra title seems to mean samaya with Paramartha and the source of reality, which is vasly different from the basic request for Vajrasattva to make any samaya whatsoever. Her already-accomplished starting point is peace and Sarasvati, considering that should really be called a swan; and her goal is Yellow Elephant Ratna Tara, implying Indra and/or Lakshmi.

    Devi Khadgamala Strotam is a litany intended to bestow a Garland of Swords. What this does is to mentally guide one through Sri Yantra. Here are some "Malinis", or "Garlands" from it, with a few other names related to Lakshmi in Buddhism.

    Kameswari Goddess of passion

    Bhagamalini Goddess who wears Sun as garland

    Sarva Mangale –Goddess who is completely auspicious

    Jwala Malini-Goddess whose garlands shine like flame

    Ananga Malini- She who wears the garland of love

    Sarva sammohini- She who puts everything in stupor

    Maha bhaga Malini- She who wears the garland of prosperity

    Tripura Malini- She who wears the three worlds as garland

    The ones very powerful in the Yantra are Tripura Malini and Bhaga Malini, who is really Flower Vagina beside Kameswari. Malini then can be shown as a Sri Kula parallel of Vali as in Vajra Vali or the similar Buddhist "mental navigation" through the Oceans of Sadhanas, Sadhana Mala being the same kind of title. Sadhanamala has Tejo Malini in the first article, Tejo or Tejas being equivalent to Jwala, and no other place is Malini used like a name. The Jwala Malini Temple is located in Narasimha Rajapur, i. e. place of the Lion Man. Malini has fairly numerous uses in Hinduism, and almost nothing in Buddhism. Malini is accepted as a synonym for one of the Four Kinds of Women, which the Four Dakinis also are. Whether it would be Padmini, who may also be defined as an elephant, or, Hastini, the actual Elephant, is hard to tell, since the name has both aspects. Fire Malini seems to be her main use in Buddhism, which isn't either one, because the sadhana is about Lotus deities and Fire. It appears to be the only interaction that Pandara and Simhanada get. Tibetan Deities were the ones who noticed the mantras are similar (they are far apart), and Vietnam has a record of them working together. Fire Woman meets Lion Man, as in this sadhana, has a strange resemblance to Fire Woman temple being in Lion Man town, and here again, there are not really any conflicting or alternate versions.

    It is hard to see family information about Nagarjuna's White Tara, other than Cheating Death is generally related to Long Life or common Amitayus--Usnisa--White Tara practice, which is Lotus. One of the things she says is:

    vāgīśvarakṛtādeśāt mṛtyuvañcanasaṃgrahāt

    which is something like the male Lord of Speech has finished travelling at Tara's (Mrtyuvacana's) bundle of elements of reality. This is perhaps comparable to the difference between Vagisvara, or a preliminary form of Lord of Speech, and Dharmadhatu Vagisvara, meaning the Dharmadhatu itself has been realized in womb form and thereby imparted wisdom to Lord of Speech, who becomes a little different or is more effective with mantra.

    Sadhanamala Mahasri is a Green Amoghasiddhi goddess related to Dhanada. This makes it rather unclear why she is placed as Messenger of Lotus Family, except that Kriya was designed based on Three Families, and the rest are opened or bloomed from these. In the Sutra, Mahasri is sitting there in Sukhavati. In the sadhana, she is not quite a mandala, but has Ekajata and Green Janguli with a snake on her left, and Marici and Mayuri on the right. This is followed by major explanations of the first three of those. Since it can also be said that Sitabani distinctly moves from Lotus to Amoghasiddhi, it is similar to saying so of "Green Tara" generally, who was originally clearly emanated by Avalokiteshvara. So if we are looking at a Sutra Mahasri, the Lotus Messenger in Kriya, then perhaps she changes roles just as Sitabani from an exoteric format to Completion Stage. This remains similar to Lotus or Speech Mandala occuring before Amoghasiddhi or Accomplishment. The first Green Tara is supposed to be different from Amoghasiddhi consort, who can easily be due to an increase in Vidya or Prajna derived from the former.

    If Amoghapasha is a main Lotus Family sadhana, his name does not necessarily mean "Unfailing Lasso", because we have studied the similarly-named Dhyani, and so what it means is that Lokeshvara is Not Ignorant about Noose Power. In the common or Bari sadhana, he is a White Amitabha Lokeshvara, with Red Amoghapasha, Hayagriva, Ekajata, and Green Bhrkuti. However, according to Taranatha, the last is a White Amoghasiddhi Bhrkuti Dancer, wearing a white lower garment, with a staff, white lotus, rosary, and vase. In her mantra, she is Pandarani (White Robed Queen or at least White Queen).

    None of the available Amoghapasha retinues show a Green Bhrkuti. If she has to do with vibration, this is her dance, a bit less energetic than Dakini. She does not scowl or frown, however, she has green pants. This retinue is unusual because the Lotus deity is white, the red deities are forced into other families, and West contains Akshobya Ekajata:







    One could surmise that Amitabha has tinkered with Akshobya in some way to energize Ekajata, in the same way he appears to affect Vairocana to get Varahi.

    So this Lotus mandala is generally much less red than a Vairocana Varahi retinue:







    He is supposed to be looking to his left or at Bhrkuti who is supposed to have white pants.

    This is one of the oldest ones in the world, from India ca. 800s. It is a bit damaged, and has Four Offering Goddesses in the corners, but even if it were pristine, we would probably say the thing that grabs attention is Ekajata:






    None of the "Pasha" deities have a Noose and she does. This seems to indicate Not Ignorant about Ekajata. Later on, Kurukulla 174 will put Ekajata in Lotus Family (and use Vajra Gandhari). Ekajata protects the Completion Noose or Vajramrita Tantra.

    At the bottom right is the goddess Gandha offering scented water in a white conch shell. At the bottom left the goddess Pushpa offers flowers on a flat gold plate. At the top left the goddess Dhupa offers incense in a gold brazier with a long handle. At the top right the goddess Dipa offers light and holds a gold lamp with a small flame licking upward.

    The only White Bhrkuti in Sadhanamala is in Padmanartesvara 30. This part of the book does not include Amoghapasha. It is also pretty clear when the name is supposed to be an adjective, it will say bhrkuti-mukhim to mean scowl face. This goddess is regularly peaceful.

    Śabara’s form of Padmanarteśvara (with Vilasini) is red and two-armed.

    A later and more popular form of the deity by the Siddhā Siddharājñī (c. 1100s), who established her own lineage of this practice, is red and four-armed, and his consort is named Guhyajñānā (Secret Wisdom), who is essentially identical to Vajravilāsinī [this form refers to Jinasagara]. Jinasagara is 132 in Tibetan Deities, where he is "urging a dakini in her work", and personally combines the Four Sugatas, which is generally a Bon Phrase for Prajnaparamita, Sambhogakaya Buddha, Human Buddha, and whatever they mean by the Creator; Red Avalokiteshvara generally is credited with creation, emanating everything, and particularly the animate world.

    Sabara created the Vilasini practice before he had full realization, and it accompanies one or two levels of Mahamudra. It is the one we have the translation for.

    In this, Vilasini has the perhaps unique syllable Em with these correspondences:

    eṃ Amitābha--Perceptions--Fire--Discriminating Wisdom--Human Flesh
    āṃ Vairocana--Form--Earth--Dharmadhātu Wisdom--Feces
    rīṃ Akṣobhya--Consciousness--Water--Mirror-Like Wisdom--Urine
    raṃ Amoghasiddhi--Intentions--Wind--All-Accomplishing Wisdom--Blood
    brīṃ Ratnasambhava--Sensations--Space--Equality Wisdom--Semen

    She holds a White Noose and Red Vajra in Two Arm form. That is sexually backwards, and this Fire-centered mandala would hardly make sense without Guhyasamaja explanation of Purified Earth as a type of starting point. Just as Dharmadhatu Ishvari is an axis for that, now, Dharmadhatu Wisdom stands on Earth as the "first" or "prior attainment" part of the ring. In this case, we could only hope to say Water = Formless = Varuna, Wind = Prana = Life, and Space resides in the Fourth or Gnosis position, related to Ratna and Brim (similar to Cintamani and Bhrkuti).

    She uses only Five Armor Syllables in a somewhat exterior way (adding Sa for "Done!", i. e., complete, Sam), and although it has the techniques of Completion Stage, it stops short of having anything to say about Nisprapanca or the real dissolving of the Voids; it simply visualizes the Three Worlds being liquified. In terms of occultism, this is nowhere close to Vajra Tara, Marici, and Ekajata. In practical terms, it is an important, recommended stage of development.

    Rinjung Gyatsa 50 is Mitra's White Two Arm Lokeshvara with Red Two Arm Guhya Jnana Dakini [appearing in the aspect of Varahi], who uses "Dakini" in place of "Om". Both are crowned with Amitabha, and are surrounded by dakinis of Four Families. This Gelug view matches Lokeshvara 50 (or 118 in Tibetan Deities), although Guhyajnana should have a drum in her right hand, and this one looks like a piece of fruit:








    Four Arm Red Jinasagara 56 bodily contains Hayagriva and Guhyajnana Dakini. Similarly, in Guhya Jnana 118, Two Arm Red Lokeshvara is in her heart, and Hrih is the Concentration Hero in his. Those are their individual visualizations, and so we see Mitra has conjoined them. As much as he is a profound revealer of Sambhogakaya, Dakini, etc., he muffed his opportunity to attain the full Path because at first he had a bad attitude towards two consorts that were picking lice out of master's hair. If we learn anything from him, it's not to do that.

    Rinjung Gyatsa 48 is Atisha's Red Four Arm Wish Granting Jewel Lokeshvara (116 in Tibetan Deities), addressed as Om Bharata Padme Hum, and Om Padma Cintamani Jvala Hum. His retinue (all Red) is Vajra Pasha (Chakravarti), Vajra Ratna (Cintamani), Hrih-arising Ekajata with Lotus and Bell (Maha Padma), and Ta-arisen Bhrkuti (Tishta Jvala). That is the only way the mantra makes sense, if Bhrkuti uses Ta for Tishta, similar to Tishta Vajra "Stand up, Vajra!" she says "Stand up, Blaze!" The bells are in funny hands and she has a Crossed Vajra and holy water vessel, a Red Bhrkuti with the wrong syllable is here apparently telling inner heat to rise as the final note in this rite. In the Mahasri Sutra, Maha Padma seems to equate to Kamala Locana, and here, Ekajata seems to have taken the name Maha Padma in an unusual way while she is in the West, and we find the male Bharati. These appear to be dakinis of one family, Lotus. At Lokeshvara's heart is a moon disk with a vajra standing on it--same as Tishta Vajra from Abhisambodhi. At the middle of this vajra is a lotus with red Hrih. It would be difficult to make a more direct progression from Kriya-Charya Abhisambodhi to Lotus/Speech Mandala/Bliss/Heat than this design:







    In the later part of the 17th century Lelung Zhepa'i Dorje popularized an entire cycle of meditations and teachings focusing exclusively on the female deity Guhya Jnana Dakini. The tulku line of Lelung Rinpoche begins with one of Tson kha pa's teacher. The Fifth Tulku started as Gelug but became Rime' or non-sectarian before there was such a thing. He was also trained at Mindroling and by others. Several of these devotees were still being put to death from sectarian spite. The Eleventh Tulku has currently released an autobiography of these past lives. In 1680 on the Tibet-Bhutan border, Mahākaruṇika: Embodiment of the Sugata's Intention was found, which is Jinasagara and Guhya Jnana, with Lha Chenpo or Mahadeva (Hindu) as Protector.

    Kagyu accepts and uses terma related to Lokeshvara and Guhya Jnana, but hardly any others. So this brings in one of the most popular Sutra deities, the arch-Bodhisattva Avalokiteshvara, one of the most popular forms of bliss, sex, and simmers it all in Lotus Family, which has relatively few, and fairly simple, mandalas. Vilasini more or less is Guhya Jnana when partnered with Lokeshvara--Padmanartesvara. They "have the aspect" of Varahi, but, are not necessarily Varahi, since she is a Vairocana deity and an initiatory tradition, whereas Guhya Jnana could be obtained by anyone, and, of course, there are still things that would tell you to do the Vilasini sex practice with no real training. I think if you can self-train to where Guhya Jnana starts happening, then, you could probably do the Vilasini, which is "like" Completion Stage, though sparse in all the details Varuni gives, if you added in the extra components, then it would be about the same.

    Bodong Panchen Collected Works has Padmajala literally on the same line as Manjushri Namasangiti and is also a highly close match to our overall basket, and this is a rare lineage special for Nepal. Jamgon Kongtrul used a Chakrasamvara Avalokiteshvara Padmajala practice. In the Tibetan canon, it is in the volume of Mahakarunika Jinasagara, etc. Amitayus, Bhattarika Kurukulle, Cakrasamvara Avalokitesvara Padmajala, samaya-Tara Vajrayogini, Vajrakilaya of the Khon Lineage. Lotus Net Avalokiteshvara is followed by Amoghasiddhi Tara. When Padmajala appears in Vajra Rosary, it is during the explanation of the Rosary, which says the winds move through the six wheels in a nine-fold way, which is fifty-four, and doubling this is 108 or the beads on Rosary. That is why this is considered an auspicious number.

    The simpler Avalokiteshvara Padmapani sometimes accompanies the Dipankara Buddha, but he may himself have assistants to the number of four. In the latter case, the green Tara is always at his right, and he is accompanied by Prajnaparamita (or Marlci) and the yellow Tara, as well as by the god Hayagrlva (GNB). How this compares to Two Arm Padmanartesvara, I am not sure, other than Padmapani is absent from Sadhanamala. It is much closer to Sakya Pandita's Amoghapasha.

    The inner state of Pacified Mamos is as essential as the clean outer residence of Lakshmi. These can be roughly compared to legends of djinn, mischievously fulfilling wishes literally: they are going to do what you are actually serious about. Or, like summoning demons and having to compel them to submit to willpower or they break your circle. It is metaphorically similar but is happening on the inner plane. That is why Purification is crucial.

    So there is some amount of Wrathful rite that takes place on certain days, and then on auspicious days you would look to an extended Guru Yoga with some type of deity. If one is not really a monk with two or three hours to practice every day, it is fine to have a mini-format for regular use, and do longer procedures at particular times. But if this gains the Crescent, and this practice remains stable for a few months, sooner or later you will be at your Tapas and the heat will come and then we have to have the Triangle. That is when you need the Gauris in Wrathful rite, and we find the Solar power arising, mainly out of Om and Hrim, which with the initiation would become Vam Varahi, but we are just trying to circumambulate her, and by definition what we would encounter or use, is Guhya Jnana Dakini. The triple-aspected or triangular explanation is Ziro Bhusana Devi.

    Amitabha himself is purely simple and almost bears no mention, other than he is addressed as Prabhe Amrita, or light and life. He never does much of anything, which leaves him much as the source, much like Pandara seems to be, and then as a power which is somewhat hard to get, but vital in almost every sense of the word for anything spiritual.

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