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

[shaberon]

Dharmadhatu and Deities


Dharmadhatu is the source of all phenomena--nirvana and samsara.


Dharmadhatu is adorned with dharmakaya, which is endowed with [the wisdom of dharmadhatu]." This is a brief but very profound statement, because ‘dharmadhatu’ also refers to sugatagarbha or buddha nature. In other words, the Dhatu is the One Element, and the Kaya is its full development or manifestation. To completely penetrate (supravidh-) the dharmadhātu is bhutakoti. It is indivisible and eludes futile proliferation (niṣprapañca).

It is the source or residence of major elaborate forms of Vairocana, Manjushri, Varahi, etc.; in the ritual, it is a final or pinnacle moment of Generation Stage; and is the subject of several Sutras. So we are looking for a "bridging" role of what it is, and how itself is directly defined as a type of deity, so that it has an immediate use. I can't succeed in a Varahi rite using a Dharmadhatu that is a word on paper and a hazy concept, but if we work underneath and behind it, the thing itself will manifest and become accessible. This is what many of the Sutras and lower tantras aim for.

Like other aspects, such as Touch Sense and Touch Object, this is defined similarly, but works a little different.

As a deity, she appears to have two central roles.

In retinues of elements, Dharmadhatu Vajra is the fifth or space, and in retinues of senses, the sixth or mind. Both styles are important, the main difference is that in six, she has become operative and distinct, or, one could say, Vajrasattva has access to Gnosis. The package of five is in common with anyone, maybe even animals.

One thing about Indian music is that it is ultra melodic with perhaps a type of counterpoint melody, but little of chord progression and harmony found in western music and its "simpler" scales.

The details of this goddess are likely behind the following interaction.


Sinnett asked Koothoomi for the sevenfold division of the "fourth and fifth principles", i. e. Kamaloka and Manas. And in a few sentences, we see what he wanted from the west--HPB to be more coherent, and music--and afterwards, what he did not--the British bombardment of Alexandria. He then said that several Trans-Himalayans or possibly Sikhs and Druze had gone to help the Copts save whatever they were guarding--perhaps the other 36,000 books of Hermes. No one knows.

...it is curious that H.P.B. when subjecting poor Mr. Hume's brain to torture with her muddled explanations, never thought -- until receiving the explanation from himself, of the difference that exists between individuality and personality -- that it was the very same doctrine she had been taught: that of Paccika-Yana, and of Amita-Yana... I must be permitted to doubt whether with the desired explanations the difficulty will be removed, and you will become able to penetrate "the secret of psychic phenomena." You, my good friend, whom I had once or twice the pleasure of hearing playing on your piano in the quiet intervals between dress-coating and a beef-and-claret dinner -- tell me, could you favour me as readily, as with one of your easy waltzes -- with one of Beethoven's Grand Sonatas?

Pratyeka is the five lower principles, Amrita is the three higher; the fifth is shared or split between them. This is nearly identical to calling Dharmadhatu Vajra either the center of five elements or skandhas, or is the sixth element of mind or gnosis (and thereby attached to subtle mind or the immortal). There is a reason there are two groups. The first is mortal, periodical, and deluded. The fact that it perishes is harnessed and used in meditation. The explanation, itself, will not penetrate very deeply--that is what practices are for--nevertheless, the two vehicles or two souls is a very basic thing he would have liked Theosophists to employ, rather than Personality and Monad, or other ways.

Dharmadhatuvajra is called Padmajvalini in Vilasini and Varahi retinues, and is known this way in Tibet:


KHAM, Pema Drawachenma (she who has the net of lotuses) (Skt. Dharmadhatuvajra or Padmajvalini), she has three faces and six arms. It is from some notes which are a bit messy and inconclusive.

If we consider the translation, then it appears possible that an "error" of her name is correct, Padmajalini. The presence of a "v" would make it Fire Lotus, and, without, it would be Lotus Net. The variation can be found in Abhidanottara and Vajra Daka. For instance, in this table of correspondences, no v. The table also shows Rupini as the highest Bhumi and that these forms are ardhanarishvar. The apparent error has made it as far as Japan. The notes may be cleaner in 62 Deity Luipa Chakrasamvara. This large amount of deities is because Chakrasamvara's subject is not the elements or wisdoms; it is Thirty-seven Point Enlightenment plus Twenty-four Pithas.

Dra in Tibetan means net, network, lattice, so whether or not she is on fire, it seems more important and correct that she is Jalini or Net. It is this way in Sanskrit originals, and also accepted in Japan and Tibet.

She is not Pandara and not in Lotus Family. Padmajalini would make her a female Padmajala, Vilasini flows from Avalokiteshvara, but the center in all of these retinues seems to keep pointing to Ratna Family. Her consort is Padmanartesvara, but that does not mean they have to be of the same Family (Samvara and Varahi are not). In fact the name Padmanartesvari is stuck on Tara; and "almost the same" Green Tara works in Karma and Lotus Families; and either one of those could be Air.

In her Yoga mandala, Vilasini may be two-handed holding a kulisha (a Samudra fish, axe, or Vajra as Indra's Thunderbolt) and a lotus, or two handed with a kapAla and a vajra. The corresponding Padma Jalini is Six Armed and Grey.

Vilasini's Highest Yoga rite requires the grace of Tilottama:


vilAsinI and narteshvara are surrounded in their maNdala by two AvaraNa. In the first of them resides the highly erotic vidyAdharI. She has 3 heads and carries a kapAla from which she drinks wine [i. e. Sura Devi or Varuni] and a khaTvA~Nga. She is brilliant red in color and clothed in only a garland of nAgakesha flowers and bears long thick flowing untied tresses, with her youthful body excited with erotic pleasure. Her secret mantra is similar to that of Chinnamasta.

In the next AvaraNa are invoked the 10 vilAsinI-s as in the first vidhi of vilAsinI.

So Varuni is to the side of, or in addition to, the Five Dakini pattern (ten Vilasinis), and is not herself the central Union.



Vajravilasini is hailed in two stotras to Trikayavajrayogini by Virupa (GSS26 and GSS27). The note to this gives:

namolocanadi dasavajravilasinibhyah. namo yamantakadi dasakrodhavirebhyah saprajne-bhya

Locana has Ten Vilasinis or Playful Ones and Yamantaka has Ten Wrathful Ones. Or, it may mean they are "with" or "in" them, since Yamantaka is counted within the Ten Wrathfuls, he just arguably would be supreme among them, being the main Bodhisattva behind Vajrabhairava.

Although this Wrathful circle can be found anywhere, Vilasini for some reason is just a name of some derivative works. Sumangala Vilasini is Buddhoaghosa's commentary on Digha Nayaka, which explains Buddha would spend the Third Watch gazing over the world with the Divine Eye (presumably Locana), to see who had aspired under a former Buddha to arouse bodhicitta and had manifested the perfections. There is a Madhuratha Vilasini, and a Visuddhajana Vilasini, which is Dipankara predicting Buddhahood for Gautama.


The Four Mothers or Prajnas are also Vilasinis.

The four mothers are also referred to as vilasini (possibly in an adjectival sense) in the KYT ch. 16 v. 6cd (p. no): anandarupavilasinyah sarvabharana- bhitsitah, in which they appear as essentially kapalika goddesses in the intermediate corners of the outer mandala of the "great Heruka," Yamantaka. So then, if, as far as Yamantaka is concerned, there is such a thing as "vilasinis" which are not necessarily being used for sex, but have a close relation to wrath and death, then they are needed, because they are an active part of the human aura.

The Yoga mandala of Ten Vilasinis does show two sets of distinct goddesses, even though the "lesser" names are decided to be nicknames for the Prajnas. I get the impression this is trying to provide a "Dhyani Prajna Bodhisattva", a level that is accessible to us and transforms us; it is the Bodhisattvas themselves who get Buddha's teaching directly, or, perhaps, perceive the Prajnas on their own plane. When we are saying things like "Akshobya is the Buddha of Mirror Wisdom", then most simply, Mamaki *is* Mirror Wisdom, and we certainly do not get complete comprehension of this at its very root just by making the concept.

We might get closer faster if she has a playful nature.



Vilasini is not Pandara who is not Padmanartesvari. Vilasini may in fact be in Jewel Family and still be named Padma Jalini, who is defined as Dharmadhatu Vajra or Mental Sense Object.

Locana--and here, most importantly as Nirmana Cakra--is inveigled with the Vilasinis as a whole.

Locana does a weird transition as seeing or perception, from Vairocana to Akshobya and Earth, eventually to Karma and Space; Pandara in some instances is described as the thing seen, or Dharmadhatu; and yet her attributes partially go to Tara (Padmanartesvari) and Vilasini (apparently coaxed from Lotus Family to Jewel). Basic, original Locana is simply Prajnaparamita, and so her movement is consistent with changing names or forms of the central deity, but the movement is also how or why the central evolution becomes real. As recently as 2017, Locana initiation (or all Vajrasana initiations) requires nothing but Refuge Vow and a commitment to Bodhicitta. It would be sad if someone took refuge without the commitment; these hopefully are simultaneous and automatic. They say she cures pain and suffering. Several deities fight diseases, but not many are described as physical relief.

Pandara just means White or Yellow-White and is an ancient name related to Pandu or the Pandavas. Her meaning is closer to Vimala or Stainless, pure because immune to defilement. Pandara Vasini means she "dwells in white". Rinjung Gyatsa 161 says she is red, dressed in white, arising from Red Pam--which for some reason is how the vast majority of Sadhanamala exercises start. All kinds of them begin from Pam before using anything for a specific deity.


The plainer name of Padma Jalini, Dharmadhatuvajra, is in all the tantras:

In Kalachakra's Seven Chela Initiations, the Conduct Initiation is granted by Bodhisattvas purifying the Senses and Sense Objects. Yellow Sparsha Vajra is fifth in the genitals; Green Dharmadhatuvajra is sixth, in the heart with Samantabhadra.

Hevajra uses their same names. And in the rest of the system, she is White. However, according to David Gellner, in Nepal Guru Mandala, Dharmadhatuvajra holds Flask, AH, black. This one is last of Sixteen Offering goddesses. Guru Mandala repeated close to Agni Homa is called Rahasya Mandala. We will elaborate this a little further along.

So she is called Dharmadhatu Vajra like the others are Sparsha Vajra, or Touch Object, or by the intent of the procedures, the Object is or is being purified. Her identifying feature is usually holding a Dharmodaya, Reality Source, i. e. a triangular object, although it is Flask in Nepal.


Normal Offerings to Dharmadhatu Bodhisattva go with:

Om Ah Vajra Dharme Hum


Perhaps closer to her personal mantra is:

Om Dharmadhatu Vajra Svabhãva Ãtmako’ham



In Sadhanamala, Manjushri regularly uses a form of Dharmadhatu Svabhavatmako'ham, without any Vajra. Slightly beyond this is:

suviśuddhadharmadhātusvabhāvāmvajratārāṃ

or, the total purification of Dharmadhatu (or, the fifth Wisdom) is Vajra Tara.


Picuva Marici 144:

dharmadhātuśite caitye dhātuhṛd buddhavartmani

Dharmadhatu is her stupa and heart element.



There is only a limited way of her not being described as an Object:

Marici 73 in Drub Thab Gyatso is Dharmadhatu Ishvari, Red with Six Faces and Twelve Hands.

Oddiyana Marici 138 and 139 match this form, and 140 Svadisthana Krama Marici, or 143. These are the highest and most explanatory Maricis at the top of the big Ekajata.


Since Padma Jalini is not the only Dharmadhatu deity, but a particular rite of dealing with her, if Guhyajnana is also Dharmadhatu Vajra, she has a Guru, Ziro Bhusana, and an Ishvari, Marici. This is among the extremely few ways the generic names can be used as something other than "the consort". There are perhaps a few others, but, so far, this instantly ties together all of the obscure esoteric rites we have excavated, to the most basic definitions of common, critical terms about Dharmadhatu. Guhyajnana is exoterically almost a "flag deity", she is related to or transforms to Vilasini, but we can "catch her in the wild" by instilling a Quintessence with an aim towards Dharmadhatu.

Otherwise, the usual "abbreviation" Dharmadhatvishvari is applied to the consort of Vairocana (who could alternatively be Akasa Dhatvishvari), or to the consort of Vajrasattva, without further designation. Vajrasattva is depicted with different consorts, such as Vajrabhrikuti, the peaceful one Vajragarvi or Vajrasattvatmika, Ghantapani, Dharmadhatvishvari, the wrathful one Diptacakra, Vajratopa, Jnanadakini, Vajravarahi, and others.

It makes sense if generally Vairocana is the entity of Form, she is Space; if Vajrasattva is Gnosis, she is Mental. Of course, she has a definition as the center of either five or six.

An Object is anything you perceive, but an Ishvari means she can be Tattva Devata, or a reality goddess of highest enlightenment. So far, we find mainly Marici serving as Dharmadhatvishvari and Vajradhatvishvari, whereas Kama Dhatvishvari is Lakshmi in Hevajra.

Akasha Dhatvishvari is a standard name in The Great Chariot or with Chemchog Heruka, where she still has not much personality, mostly sounds like a placeholder. In the second, she is wrathful and dark and not with Vairocana; he is Wrathful Ratnasambhava; she is just part of the element of Space. Space Goddess is mostly the same as Dharmadhatu Goddess, except the second clearly states Six Senses, the former only Five Elements. An esoteric view of Five Dakinis stresses the importance of this fivefold element attached to the Three Channels.

She does not clearly have a deity practice, other than White Tara or White Prajnaparamita or anyone mainly about Space and Void; White Vajra Tara. But she is really a function, a power, perhaps similar to the Sherab class. In Dakini terms, it would be Maitri or "Raised Foot" flying dakini. Importantly, she sews the fivefold material, physiological apparatus, to the inner one.

Dharmadhatu also pertains to Ekajata and Guhyajnana in Karma Family. This Karmeshvari is from older Nyingma tradition, where she may be called kun tu bzang mo, Leykyi Wangmo, Nyida Ngodrub, Skt. Samantabhadri, and so those are not identical to our Guhyajnana practices in Sarma. Historically, Guhyajnana was used by most of the Mahasiddhas; since then, her transmission is rare. In all cases, Dharmadhatu is little different from Akanistha or Pure Land. In just a moment it will be stated why Ekajata and Karmesvari might be together.

The fivefold group becomes controlled by the sixth element, Mind, which opens to a seventh or what could be called Subtle Mind centered in the heart; these determine the course and fate of the Three Channels. In other words, Akashic or Mental Plane is Space related to Form and Perception, then Body-less Mental-only Space, and then Subtle Mental Space, and especially due to a virgin essence through the Sun. The direction this seems to be moving is into the Channels, not elsewhere. Mayavi Rupa is "incidental" compared to this.

Asanga explains that the Dharmadhatu is ten-fold because it is the Bhumis; or, each Bhumi has its own kind of Dharmadhatu. So, on the first Bhumi, the Tri-kaya is obtained, but it is not until the tenth that it is Suvisuddha or completely pure.


In the generic names, she mostly seems to "just be there" in most practices, like Matangi "just happens" to be in Shurangama Sutra. When we start looking at who or what is the Ishvari of a Dhatu, there are limited returns. In terms of Dharmadhatu, we mainly get Guhyajnana, Padma Jalini, Ekajata, and Marici. However there is also a weird Dharmadhatuvajra of Nepal.


Gellner's article is from 1991 and inside a subscription, making it difficult to see and impossible to copy. But it does have a few points to add to the other explanations of Nepal Guru Mandala.

Hodgson's Pandit Amritananda described Offering Goddesses as Sodasa Lasya or sixteen dancers, which was still not understood by westerners in 1948. Again, this is really Yoga--exoteric understanding would say it is all about Vajrasattva, but Yoga means it begins to be applied to the body in detail. If these sixteen are concentrated together, then, the primary consort for Seven Syllable deity is Lasya. Buddhism ignores this almost callously, but, in Hindu Yoga, she would be understood as the universal vibratory response to an awakened or enlightened Shiva.

This Nepali practice uses Pratisara and Pancha Raksha as protectors, especially against mental and "supernatural" forces, such as the witches called dakini-sakini.

In ordinary rites, a flower would be placed for each one. They are evoked by seed syllable, gesture, and mantra. The offering mantras are simple, and most take the form of Om Vajravine Hum, with exceptions listed. The seeds repeat the pattern Hum, Tram, Hrim, Ah.

Eight Musicians, Singers, and Dancers:

Vina
Vamsa
Mrdanga
Muruja

Lasya (or Hasya)
Malya
Gita
Nrtya

Eight Offerings:

Puspa
Dhupa
Dipa (Om Vajraloke Hum or Om Vajravalokite Hum)
Gandha

Adarsa
Rasa
Sparsha (Om Sparshavajre Hrim and possibly arising from Tra)
Dharmadhatu (Om Dharmadhatuvajre Ah or Om Dharmadhatugarbhe Ah)

After the cycle is a Vajra turn with:

Om Hum Svaha

and a Bell ring with:

Om Hoh Svaha

followed by three Vajra turns with:

Om Vajrasattvasamgrahat Vajraratnam Anuttaram.
Vajradharma-gayani Vajrakarma Kulodbhava.
Om Takkijah Hum.

"This, because it is held by Vajrasattva, is the ultimate Vajra Jewel. (The Bell) which sings the Vajra doctrine, is born in the Buddha Families of Vajra and Karma."

That is how they are related. Karmesvari perhaps takes importance from Tattva Samgraha; first, there is a method which places the Wrathfuls into a Suksma or subtle condition and makes a Rahasya Mudra Jnana. Then Vajra Family's Karma mandala begins with her in section 1121. There is Dharmadhatu, Akasa Dhatu, and Vajradhatu, and then Vajrapani does Karma Mandala. He uses Bhrkuti and Dhvaja and others.

In the Nepalese section on Vajra and Karma, we see some Red Vajradharas equivalent to the Three-in-One.

Next, there is a section of Bodhisattva Vow and Confession, and then, in Gellner's sources, two of them use exactly half of Inverted Stupa; they use the Triangle to repeat a similar Offering process, without going to the full Completion Stage tantra, but they say Muttering and Nyasa or body empowerments are used here. It goes to the Fourth Skull over the Three, filling with Five Nectars from Bum, Am, Jim, Kham, Hum, Lam, Mam, Pam, Tam, Vam, full of the Five Lamps (Prajna).

The fact of these being Luminous or Reality is something we are going to begin to understand and perceive and is the main basis to employ the "second half" of Inverted Stupa.

In Sakya, you have the Great Three with Hevajra Kurukulla, and the Small Three with Panjara Kurukulla Tara, whose associates are Red Vasudhara and Tinuma Vajrayogini (or the Activity of Vajravarahi). The Vasudhara is really Bharati, who associates with Jambhala, and then with Takki, as Sukha Bharati. Tinuma is a version of Guhya Jnana since she is mantrically similar. And this "Small" one is Heart Drop Kurukulla, born of Tara and Lakshmi. The overall "Red Cycle" begins with common Vajrayoginis, and in the second stage, compresses them into Tinuma, a form of Guhyajnana. This is in parallel with Bharati, whom we take to be Cup, or obviously the central item to the whole Varuni extension of Guru Yoga. This all goes into the first real Kurukulla.

With "Red Tara", there is Cunda, and then Manohara is Red Hook Vasudhara, and then she passes away the Hook and there is Bharati. That is a progression of Yidams which could be said to deploy some of the most important or crucial necessities. It encapsulates everything from dharanis to the highest combination we could use in outer Yoga.

Likewise, if we don't exactly do Heart Drop but use outer Taras and Lakshmis, and if we don't really use Tinuma but Guhyajnana and Ziro Bhusana, the top end of this outer Yoga training is an extremely close dovetailing parallel to the Sakya transmitted lineages. That makes three esoteric reds of Tara, Bharati, and Guhyajnana, for which we would have to say all of the big Red Maricis are Tara Bodhisattvas. Also, Vajra Tara is considered a close equivalent to Ekajata and Hevajra. This captures everything.

So the article explains that a public ceremony is done a certain way, and that there is a concentrated style when done as one's daily meditation or Guru Yoga. Particularly, the first way might make large and visible Outer Offerings, and disregard the Inner; but on a personal level, one may do both, or even skip the Outer (likewise, a Yamantaka commentary explains Seven Limb Offering done slightly differently with respect to Nirmana or Sambhoga Kaya). Either way, the end phase is to develop the Triangle, using its own Bali or Spirit Offerings.

The Bali Offerings are made to the Eight Realm Protectors, Indra and the rest, then Eight Offerings to Urdvha Brahma, Surya Grahadhipati, Candra Naksatradhipati, Adhahprithvi or subterranean earth, Nagas, Yakshas, Asuras, and sarvadigvidig lokapalas, or all collectively.

After Five Offerings, thread and such, the Dance Goddesses should be repeated; or in one version, used for the first time here. Eventually, Amrita Kundali is invoked with a form of "Kha Kha Khahi Khahi", and then Vajrasattva Hundred Syllable mantra. The piece concludes here.

Among other things, it shows that "half" of Varuni is a kind of stopping point to do a kind of Yoga that believes this is not sacrifice to Vajrasattva as some external agency that will go around doing good things, but that the deities pertain to the body.
It has Pratisara and Amrita Kundali framed around some Nectar; and so again, Pratisara as a Muttering deity is not a bad choice. The last is nearly meaningless until one is prepared for what it does.

Ekajata is the protector of Nectar Tantra or Jewel Family, which Amrita Kundalin will unleash. Siddharajni is shown holding a Nectar Vase over her teaching of Padmanartesvara in union with Red Guhyajnana. Vajra Amrita is just about the only male emanation of Amoghasiddhi. She is protecting Nectar Tantra and is mandatory for Hevajra; this is, so to speak, the main "call" for her.




Brian Hodgson recorded that from Suvisuddha proceeded Vairocana, who is earth, form, and color; Akshobya, water and sound; Ratnasambhava, fire and smell; Amitabha, air and taste; Amoghasiddhi, ether and touch (p. 299). This is describing the process of creation of the Aiswakaras.

Akshobya with Locana is almost always considered Water. But this is a Yoga Maya issue; it doesn't matter that much how physical matter was produced. The closest practical parallel is that, when doing a sadhana of dissolution, one emerges in reverse order. If one emerges strongly and stably, you will be fine, and if not, then it is not Buddhism or is an error, having dreadful consequences.

To go back through the Bhumis, Dharmadhatu is fairly universally described as found in or through primordial sound. There definitely is such a thing as this. It is Anahata, or "unstruck", part of one's heart that cannot be shared because it is internal. It is unstruck because no physical objects made noise to produce it. Because this is the glyph, Nada, it is also the Crescent base of Inverted Stupa. So this Crescent blends a reversal of nervous flow with attention to the Sound. It would seem to be the definition of Akshobya-centered mandalas: they either induce this, or work with it.

The sound is Matangi--Janguli.

Since Janguli is mainly, if not only, an Akshobya emanation, her shared symbol or "hydra" with Amoghasiddhi again marks a resonance from Vajra to Karma Families, related to Sound. Further, Sound, or Shabda Tantra, is an underlying point where Buddhism changed the "rigidity" of the then-Brahmanical system, and so is a sonic equivalent of the changing of mantras and different use of seeds, though similar. Janguli largely re-arranges the sonic applications associated with Matangi. Even a Sikh open-minded to Buddhism manages to quote the Book of the Dead on a Thousand Thunders in one's own inner radiance, and Shurangama where several Bodhisattvas discuss their samadhi in sound. There is an extremely esoteric song by Tsonkhapa which talks about sound offered to Akshobya when the Nirmana chakra is ready to burn. So at first, or generally in fivefold mandalas, the center is ether and the sense is sound, while water is taste.

But what happens in the standard Akshobya Guhyasamaja is that all deities are crowned with Akshobya; first is Vajradhara in Union with Vajradhara Ishvari, they emanate four pairs of regular Dhyanis and Prajnas, and then the central deity becomes Akshobya in Union with Sparsha Vajra. Or, in Jnanapada lineage, it becomes Manjuvajra with Sparsha Vajra, and Vajrasattva is elsewhere with Sattva Vajri.

This bizarre Black Brahmanarupa has Manjuvajra and Sparshavajra at the top:










Nagarjuna may be found, and also, Nyen Lotsawa (upper left corner), a great Tibetan translator, received two great gifts from Risula Dakini (top right of center): the Manjuvajra Guyhasamaja teachings and also the initiation into the Chaturmukha Mahakala. At the same time, she gave Nyen Lotsawa a dark-skinned Brahman as a servant, who was none other than Chaturmukha Mahakala. In Sakya tradition, where it is inappropriate to show the wrathful form of Chaturmukha Mahakala to the uninitiated, the tradition arose for painting this deity in his Brahamanical servant form.

In Ngor, Manjuvajra of Nyen is 42 in the Gyu de Kuntu set of mandalas.

Manjuvajra and likely Khasarpana with White and Green Tara are over Brahmarupa, who makes a Quintessence of Quintessences of the Dakinis:








The four dakinis are identical and always follow the colour sequence of blue, yellow, green and red. However in this version, at the edges of the pristine awareness wisdom fire are four dakinis, ghoulish in appearance, dynamic in posture, Dombini, Chandali, Rakshasi and Singhali Devi - black, red, yellow and green, although dominantly black in colour. They are naked with disheveled orange hair, each holding a curved knife and a skullcup. Or, according to the text, on the right is black Dombini, left green Chandali, front red Rakshasi, behind yellow Singhali.







The retinue names are personal to Mahakala. The name Singhali, however, makes no sense; not in terms of a lion; its only interpretation would be the Sri Lankan language or culture, Sinhalese. Perhaps it is an attempt to make a "candali" of such a woman. At any rate, the "human disguise" is over his Four Face secret form, which is actually Manjushri, as shown by the Sword:






Nevertheless, these Dakinis use a chopper, none have a sword. The only thing close is that here, some lower associated deities have it:









The Brahmarupa lineage goes through Ngor, and in the 1700s, this was offered to Ngor, saying:

"At the majestic Ewam monastic center, the teacher Kunga Gyatso offered this Shri Natha painting with pure intention in order to protect the teachings of the Buddha, and we the yogis, from harmful enemies and demons, and lead quickly to realize the dharmadhatu."








Again, it is for, or about, Dharmadhatu.

His option is to be under Manjuvajra, or, in the case of Gelug or China that may not have this lineage, it would be Vajradhara. But here is an exceptional offering version, where it is Vasudhara:






If the upper figure is a lineage teacher, Brahmarupa still usually had a vivid Dhamodaya, triangle and three skulls motif, here also with Seven Syllable deity, and dakini faces beginning to show fire:








So he is a disguise for a secret Mahakala we are not even supposed to know about, but from what we do know about, we must find to be a close male correspondence to Guhyajnana. He is the side companion of Sri as the dark female protector. Four Face is more or less so un-secret he has eight or ten varieties drawn in Tibetan Deities, but by comparison, here, we are the only ones who have identified the single image of Ziro Bhusana.

So there are several Nyan lineages, Black Manjushri, Brahmarupa, and Ziro Bhusana, plus one Guhyasamaja through Yogini Risul that gets Manjuvajra in union with Sparsha Vajra.

When this union takes place, Sparsha is considered Adi Prajna. What has happened is that Peaceful Vajradhatvishvari was the first consort, is dissipated, and Semi-Wrathful Sparsha Vajra arises in her place--she would be the first in an eventual series, but always the first. She also has the noticeable task of handling Zenith and Nadir deities, who themselves at one point re-emit the entire retinue.

Vajradhatvishvari is exactly what is needed, from Guhyasamaja through Kalachakra, which is because of her definition, the subtle body and upward wind, in consequence of having centered on Akasa and Dharmadhatu Ishvaris.

Dharmadhatu as a deity, Guhyajnana, can be emerged from Vairocana, Lotus, or Karma Families; Padma Jalini seems to be Jewel. Ekajata and perhaps "any Vajrasattva consort" are also her. In terms of "basic elements", this is Akasa. As a Noumenal or Mental Sixth Principle, Dharmadhatu links the space or center point of form to mind, and allows it to be un-elaborated, which is withdrawal, or Pratyahara, or Nisprapanca in full.


The idea with Bodhisattvas as extensions of Prajnas is comparable to Amitabha having a celestial emanation, Amitayus, in Akanistha or Sambhogakaya, and additional Lotus Bodhisattvas such as Padmapani, who are more closely projected to the material plane, or possibly may incarnate, such as Pandara incarnating as Mandarava. Or a human being could achieve Bodhisattva nature, which is in the Irreversible Bhumis, seventh and beyond. In other words, if I ask Amitabha or Amitayus to come, he won't; he is already there; I am just blind to the fact. If I deal with his underlings, they will help adjust the equation.

Hodgson or Amritananda handled Prajna Bodhisattvas as "Sangha Prajnamnayi", as Sita Tara, Ugra Tara, Bhrkuti Tara, Ratna Tara, Visva Tara. They deftly skip the "Six Families" version and give no bodhisattva for the sixth Prajna, Vajrasattvatmika, who is usually White with Varahi items, chopper and skullcup. Then, for whatever reason, it jumps from six families to nine.

"Dhyani Nava Prajnamnayi" includes the Prajnas beginning from Vajradhatvishvari (consort of Vairocana), plus Vajrasattvatmika, Ratnavajrini, Dharmavajrini, Karmavajrini; these correspond to Samantabhadra, Padmapani, etc., in other words appears to be bodhisattvas or perhaps celestial or sambhogakaya ones. That is because the next group appears to be Offering Bodhisattvas, or perhaps nirmanakaya.

Nava Bodhisattva Prajnamnaya is:

Bhrkuti, Maitrayani, Pushpatara, Sita Tara, Ekajata, Vagisvari, Dhupatara, Dipatara, and Gandhatara.

The name of the first group is Dhyani Prajna Family, certainly at least meaning meditative or celestial, which appears to correspond to Mahasri Tara/Sambhogakaya/the middle of Mount Meru. The second group, Bodhisattvas, has Bhrkuti, who is explained as preaching beneath Mahasri on the lower slopes of Meru. Although the first group mostly uses the regular names of the Prajnas, we also find for example Bodhisattva Vajrapani somehow cheats by joining Prajna Mamaki, who is supposed to be on a higher plane. But if, in the first group, she is allowed to be a Bodhisattva in her own name, this explains, for instance, Sahaja Vajrapani 158 and the next two in Rinjnung Gyatsa, where she starts as white with bluish luster and Varahi items knife and skullcup, is then Blue Vidyadhari or Rigdzinma, and then Sapphire Blue Dorje Lhamo. She apparently has emanated a Bodhisattva in her own name, related to Vajrapani.


"Nava Devi Prajnamnaya" means the Nine Dharanis.


"Misrita Nava Dharmamnaya" is the Prajnas plus Vajrasattvatmika, Vasudhara, Pratyangira, Guhyeshvari. So the highest three would correspond with three kinds of Vajradhara. Misrita means a type of grace made of mixed elements used to make elaborate ornaments. Like a three-tiered chandelier. Then these deities are not "in the family of prajna" but of dharma, and in Nepal, this almost instantly is Dharmadhatu.

These even have human Manushi equivalents, Yasodhara, etc.

Hodgson's roster has been used to describe the figures at Ellora, although whether this is strictly accurate is hard to say.

It is Appendix B on page 133 of "Illustrations of the Literature and Religion of the Buddhists" from 1841. Family of One or Ekamnaya is based in Adi Buddha and Prajnaparamita. The highest iteration is Guhyeshvari, whose Bodhisattva is Karmesvari, which may have something to do with why she is an Amoghasiddhi deity, but she is also Mamaki, who is Vajra, and so we have to look at Bell or Hoh syllable as this twofold meaning. It was just pointed out twice; it is primarily female and primarily a misrita or mixture of Vajra and Karma.

Here, Vajradhatvishvari is the consort of Vairocana. According to Bhattacharya, in Maitri's Samgraha, Locana is the consort of Vairocana. Vajradhatvishvari is in Jewel Family, and he was forced into the same reasoning we find with Padma Jalini:

Vajradhatvisvarl, according to a statement in the Advayavajrasam
graha is the deity of the centre surrounded by the four Buddhasaktis,
Locana, Tara, Pandara, and Mamaki She is said to be the embodiment
of the highest truth in Mahayana Buddhism which is named
differently as Tathata, Sunyata, Prajnaparamita and so forth.
.
Vajradhatvisvari thus can be taken as the spiritual consort of Ratnasambhava
only, with the yellow colour and the jewel as symbol.
Images and paintings of this deity are still rarer than those of the
other Buddhasaktis.

At this point, Vajrasattva has not been defined with a sixth family or element, he is "just there", and so this one is the basic look at five-fold form, with a standard Vairocana--Locana (Earth) in the East as Rupa, and Akshobya--Mamaki (Water) as Vijnana, Ether--Akasa, and Sound. Lotus is West, Hrih, Samjna; vital fluid, Sukra 'Atmakah, or the same name for Venus due to its whitish color can also be semen. Amoghasiddhi, North, Samsara, may have a Seven Serpent hood; Tara may be called Tarini. Ratnasambhava, South, Yellow, Vedana.

Maitri says that Vajrasattva's second name is Dharmadhatu, and he has the Varahi-like Vajrasattvatmika. To an extent, he may be saying that Vajradhatu is physiological and operates within one's form, whereas Dharmadhatu is only mental, because one is by name at the center of five, and the other is nebulously hinted at in a sixth "something".

Bhattacharya omitted any location for Akshobya, and Vajradhatvishvari is given the center. There is nowhere else for Akshobya to be. They are either together, or something is very obscure here (he could be Zenith or something). Correctly, the Prajnas are really the elements, Earth, etc., and the Buddhas are the Skandhas, Rupa, etc. Where Bhattacharya says "element" of a Dhyani Buddha, it is not a Bhuta, it is his Svabhava--in other words, Samjna is the Svabhava of Amitabha; Fire is the Bhuta of Pandara.

Nevertheless, Akshobya has Vijnana or consciousness aggregate with Akasa and Sound, and we have to find this primal sound, physically, to assist the philosophical Dharmadhatu, or the progressive manifestation of Vajrasattva. And then he has failed to say what Vajradhatvishvari "is" if she is the center of Four Elements. If it was Space, it would be Akashadhatvishvari; but this moreso seems to mean Subtle Body. Then if we follow her as technically as possible, she is the Upward Wind. So we are unable to sample her occult capabilities until passing the Triangle. Of course she already physically exists in everybody, but not in the completely functional subtle or tantric sense. A thesis from within Nepal finds Vajradhatvishvari in Jewel Family and Space Element and having at least three forms. It may be noted that on an image of Tara found at Khailkair two Dhyani Buddhas are depicted on the two sides of the goddess: on the right Ratnasambhava and on the left Aksobhya.

In a Hevajra mandala, Ratna is with Locana and Vairocana is with Vajradhatvishvari. Whereas Handbook of Buddhist Symbols simply says Vajradhatvishvari is Ratna's consort. Another place, Vairocana's mate is Marici (original statement from this paper. Patrul Rinpoche says the "face" on a Bell is Vairocana in the outer tantras, and Vajradhatvishvari in higher tantras.

There is not much doubt about the potency and centrality of the somewhat generic figure, Vajradhatvishvari, but since she is plainly, and probably singly, deified as Marici, then she is both the mirage-like shimmer as the first indication of burning Locana, and the ultimate universal dawn at the manifestation of a new Buddha.

There is one instance of Vajradhatvishvari plainly swiping Tara's place in the retinue of Khasarpana 26. Tara has not become or absorbed her, because Tara and Bhrkuti have special places right beside Khasarpana.

He also says:

locanādidaśadevatāṃ

Locanadi Dasa (Ten) Devata.

Suddenly he is the only example of apparently having hitched Vilasini retinue without exactly telling anyone about it, just as Virupa says in prelude to Tri-kaya Vajrayogini. This style is apparently an acceptable name for her, as in this Manjushri study, where she shows up shortly after Dharmadhatuvajraya Vajradhara. Indonesia accepts the spellings Wairocana Locanadi.


It happens to have been found there was such a place as Durgottara Vihara (monastery); however, in explaining Dhanada, Bhattacharya translates

Locanadibhir-devibhir-abhisiktam atmanam

as

The worshipper should further conceive himself as receiving homage from the goddesses, Locana and others.

"Bhir" is an extension on Locanadi and Devi. With this extension, it appears in initiations for Tarodbhava Kurukulla 176:

abhisṣekaṃ mahāvajraṃ traidhātukanamaskṛtam /
dadāmi sarvvabuddhānāṃ triguhyālayasambhavam //
iti paṭhantībhir buddhājñayā locanādibhir abhiṣekaṃ dīyamānaṃ
dhyāyāt / makuṭe amitābho vyavasthitaḥ

Four Arm Arya Tara 107 also has it; the whole ending "dibhir" is relatively common, i. e. devadibhir and other examples, which mostly seems to mean "with others". There are only a few where "di" by itself is added to names.

As a prefix, "di" would be like "dvi" or two, but it is a suffix, generally related to solar months or the day, as in:

The quasi-suffix dyus, from a case-form of div day

It has several meanings, perhaps the most suitable comes from Rig Veda:

1) To shine.

2) To please, be admired, appear good.

3) To bestow upon by shining; संददस्वान् रयिमस्मासु दीदिहि (saṃdadasvān rayimasmāsu dīdihi) Rv.2.2.6.

Otherwise I am not sure why "di" would be added to a name, like "ji" is a token of respect.

More material will not fit here and will have to be resumed.

[shaberon]

Dakini Jala and Manjuvajra to Ziro Bhusana Yoga Lineage


We have been going from the standpoint that in the west, deities such as usually Green Tara, and then eventually, Vajra Yogini have been available if not recommended for public consumption for a long time now.

But these are pieces of a system, which tends to say Vajrayogini is really a transmitted initiation you should not just use. However there is a certain form based on Guhya Jnana. And so we have found a little more about what this lineage really is, and it really does place us with a former Sanskrit system besides the known Tibetan one. This is what really teaches and works with the inner development from a cold slate to someone who might be suitable for a physical initiation, school, or teacher.

Since the main text is the basis of "Book of the Dead" as well as of Chakrasamvara, it sometimes has been called "the Samvara". But this is not distinguished enough, and if we call it Dakini Jala, this does several things. It has Dakinis, it is Net of Illusion literature like Maya Jala or Padma Jala, which generally means All Families, and the Net is in essence Varuna, Formless, or Buddhic Plane.

The commentary to it is called Rahasya, which means The Secret Doctrine.

This system will be found to be utterly tied to the career of Guhya Jnana.


It seems unusual to me that in an index of Tibetan Deities that is able to name its neighbors, Ziro Bhusana is only a number. This is Taranatha's sequence, and we see a basic idea that she and Guhyajnana closely correspond to Bharati and Tinuma.

Guhyajnana Dakini deity topic is assigned to empowerments and rituals connected with the form of the secret dakini, red, with one face and four arms, abiding in dancing posture upon a lotus; she combines the wrathful and amorous sentiments; her first right hand holds a knife, the other a sword; the first left hand holds a blood-filled skull, the other a trident marked khatvanga; naked and with hair loose, she has garlands of heads and bone ornaments. Dakinis of the four families hold up her seat in the four directions; she is subjugating gods, evil spirits ('dre) and human beings.

She is not exactly a secret, but her placement with her neighbors before a change of subject does mean something.

She participates in a type of thread of Dharmadhatu, which begins with the first text goddess or Prajnaparamita, and continues with her as the esoteric and tantric portion.

Guhyajnana is our "running parallel" to Vajrayogini; they are the same, but, in this sense, we mean Guhya Jnana as the actual personal experience of the Dharmadhatu, moving to an energized or blissful or dancing dakini state. She is not a samaya being or sherab; she is basically a definition, until realized.

Sakya Completion Phases generally begin with three red dakinis, and the next level uses their particular Vajrayogini, along with Red Bharati Vasudhara, whom we might say emerges or develops from a samaya being.


Bharati begins with a Skullcup, goes through some alchemy (which is Vasudhara and Jambhala), and returns as Sukha Bharati with Hook and Nectar Vase. This is who engages Takki Raja. H. H. Sakya Trizin:


The cup represents what in Sanskrit is called mahasukha, which means “the great bliss.”

They say it is not really Voidness or Deity Yoga that is the special characteristic of Vajrayana Buddhism; it is Bliss. And so that is why this Bharati and/or the Varuni flowing through her is really the aim of our outer Yoga as well.

Ananda is not too difficult to find in Hindu yoga, however, I at least find more with Buddhism's intent and application of it; or a stronger explanation of developing it. In Akanistha, Pure Lands, or Sambhoga Kaya, it is the basis of transcending Kamaloka and entering the Akashic or Mental or Manasic principle or plane, or Dharma Kaya or Citta Chakra.

And so at first, here is a stage where Guhyajnana's worldly interaction is through the Skullcups and Dharmodaya. In this case, Vilasini is in Union at the top and Takki and Sukha Bharati are off to the side:










Takki uses a Hook and Noose, to draw in the Three Worlds. Ziro Bhusana is similar.

But here, Takki and Sukha Bharati have entered the "bridge", and there are now the Four Dakinis and Sri:










Red is able to manifest twice here. So, Guhyajnana and her retinue are relevant even through this level with Takki. Her Guru Ziro Bhusana however remains almost a blank.

It is possible to find Bodong Lion Face Simhamukha initiation, which goes through Five Families, then she has a Kila form, and finally a Nectar Vase, but they always have Naro Dakini items, knife, skullcup, and staff in the elbow. Dzongpa Tradition of Lama Dampa does have a Six Arm form of Simhamukha with Sword. But she does not use a Bowl, so is not part of what we are looking at.

In China, Simhamukha is behind Four Face Mahakala:








And so in this case, we also know what other deities were provided by Nyan, the source of that Mahakala, and that is as close as it gets. Same guy has a secret Vajrayogini that has this one. While they say Four Face is a thing we are not supposed to see or even know about, it seems to me that Four Arm Lion Face is the one who suffers from the ban.

If you are observant, you will notice his items are the same as hers:






Either Nyan lacked creativity, or he is suggesting that these different characters have similar capabilities, except Ziro Bhusana is not a protector, she is a Vajrayogini Guru. And so her protector would tend to be Smasana Adhipati, who are right there. So she would be closer to the thing that is protected in the Hexagram.

She is a type of Simhamukha alternate who can handle the triple aspects of Takki and Cinnamasta and perform at roughly their power level; she will process all of the Guhyajnana activity we can muster. I do not know any tangible facts about Cinnamasta being an initiation of suspended animation. I do know, however, in Yoga, that Nirvikalpa can last twenty-one days, and if so, then it could go on for months or indefinitely.

We can identify a certain process or processes which would be the things used to achieve suspension, whether by another deity or even the yoga of a clot of mud.

So there is a universal sound, which we concentrate on by eliminating Vikalpa, or discursive thought. At the onset, this is not much different from Hindu Yoga; there are a few stages of "partial adjustment", before one mentally hits something quite similar to the annihilation of form by burning Locana and the others.

Samadhi is more or less "meditative equipoise" in a set of conditions, whether those may be the intricacies of a retinue or otherwise.

Buddha trained in the Dhyanas, and Nirvikalpa is Dhyanas five to eight. Even in a Hindu description, we find:

"Holding on to the supreme state is Samadhi. When it is with effort due to mental disturbances, it is Samprajnata [or Savikalpa]. When these disturbances are absent, it is Nirvikalpa. Remaining permanently in the primal state without effort is Sahaja.

It [Nirvikalpa] is a state where you are no longer the mind or the identity. You are no longer what you have been perceiving your whole life. That is why it can be shocking to some individuals. For how long can this state lasts depends on the experience of the individual. As each individual is an expression of the whole and the whole is expressing itself through him or her or it. It can last for minutes or hours or days or months where the individual lose consciousness as he knows it and remains subtly in the subconscious or the unconscious state. The desire to come back or not from that state is linked to the life experience of that individual. If he is here to maybe manifest something into the world. Or if he just wanted to reach that state and leave the conscious world.

However it is not the ultimate state of realization and it is not how it appears to be ‘of great significance’. It is like any other spiritual experience. It can be an awakening experience to some individuals who weren’t aware of that state.

While losing contact of the world in this dreamlike state of benediction and bliss. When coming back from this state the world seems differently. But as you come to meditate more in this world. Your life is no longer yours. You are now just an expression of divine...The state of self love, realization, enlightenment, oneness, divinity, whichever you call it it doesn’t matter. What matters is that you are in such a state there is no tomorrow nor yesterday nor today. There is only infinity within you. No fear no doubt no hesitation. Your whole expression as a creation is a spontaneous manifestation.

This [Sahaja] Samadhi could probably be placed between Nirvikalpa and Dharmamegha Samadhis. It is where the inner silence is maintained along with normal daily activities. It is being able to maintain the experience of Nirvakalpa Samadhi at all times. Here you radiate Divine Illumination, the Divine is perfectly manifesting through you at every second. You are filled with Divine Grace. It can, perhaps, be likened to the Unity Consciousness of the Shankara Tradition."

Dharmamegha is Jivanmukta--the end for them, or, for us, the Tenth Bhumi, where Tathagatas install Anuttara Samyak Sambuddha or Manifestation of the Absolute.

In Sadhanamala, Nirvikalpa is mentioned once in a very brief Halala 9, and then by Vajra Tara 110, right before Emptiness Mantra:

idam ucyate lokottaraṃ śūnyatājñānaṃ niṣprapañcaṃ nirvikalpam


Meditate on Formless World, Void Gnosis, Unelaborated, Unthinking.


So if we follow sadhanas even to Vajra Tara strength, then she, as the major explanation of "all mandala components" includes the lack of mentation that could cause us to lose our bodies until further notice. As novices, we may begin to sense it for a second, a few seconds, a minute, a few minutes, and so forth. During this time, Akshobya is primal sound, and then eventually if we have a Purified Earth Element, he will touch the ground, will unite with Sparshavajra. It is as if the sensation of touch is in union with the sound.

As an observance, Venus conjunction with a crescent moon is not far from a visible Bindu-Nada symbol.

"the root cause of the experience of the worlds is due that great lady, the goddess of the system (sparshavajrA), who is the experiential goddess of akShobhya " -- and, her Concentration Hero is Kham. That just sounds like associating the Touch Object with the Space Element; or that she came from Amoghasiddhi Family.

That is how Guhyasamaja works, and goes on to its clocklike rotation of a handful of things.

Samvara is similar, but has a larger assembly.

For the actual "Rotation of Yoginis" in Chakrasamvara, it is a series of clocklike behavior in each of the mandalas. Each major character will enter the middle as other minor ones move, until all combinations have been met. For Mahasukha Chakra, they use the term Jnana Chakra, and say this set is specifically for the major spinal chakras:

Centre Heruka-Cakrasaṃvara and Vajravārāhī, sarvapīṭha and mūlapīṭha, Uṣṇīṣa and Secret place

East Ḍākinī ātmapīṭha Heart
South Lāmā parapīṭha Throat
West Khaṇḍarohā mantrapīṭha Navel
North Rūpiṇī tattvapīṭha Forehead

Citta chakra and the rest only apply to parts of the body:

E Kaṇḍakapālin-Pracaṇḍā Pūrṇagiri Head
S Mahākaṅkāla-Caṇḍakṣī Jālandhara Tip of the head
W Kaṅkāla-Prabhāvatī Oḍḍiyāna Tip of the right ear
N Vikaṭadaṃṣṭriṇa-Mahānāsā Arbuda Back of the neck

Citta chakra is the heart, or these make eight heart nerves, which are not the central, but fan outwards through the organism.

So there are mandalas for four kayas, and also a cemetery mandala. The wheel of the body begins with:

E Mahābala-Cakravegā Pretapūrī Penis
S Ratnavajra-Khaṇḍarohā Gṛhadevatā Anus

And goes to familiar ones like Hayagriva and so forth.

In the Laghutantraṭīkā the ‘literal interpretation’ of the practice of
the yoginīsaṃcāra seems to be discouraged or, at least, not promoted.
In fact we should remember that, from an absolute point of view, the
deep meaning (nītārtha) of the union of female and male elements is the
union of Wisdom (prajñā) and Means (upāya), of emptiness (śūnyatā)
and compassion (karuṇā). This is clearly expressed by Vajrapāṇi when
he comments on the compound ḍākinīcakrasaṃvara: ‘If we interpret
“the union of the ḍākinīs’ wheel” adhering to the deep meaning
(nītārthena) [of the text], the ‘ḍākinīs’ are the thirty-seven dharmas
conducive to Awakening (bodhipākṣikadharma). The “wheel” of these
[ḍākinīs] is the group (samūha) that appears as the Dhammakāya
and has the nature of emptiness (śūnyatā). The “union” is the unity
between this [Dhammakāya, which has the nature of emptiness] and
the Svābhavikakāya that has the nature of the compassion without basis
(nirālamba-karuṇā)’.

Internal rotation, on the other hand, always refers
to the 62 divinities present in the maṇḍala, but it concerns the movement
of prāṇa through the nāḍīs existing in the human body.

The vīras [males], in the Laghutantraṭīkā, are considered merely as vehicles in the
form of corpses (śavāsana) for the female divinities. Other texts, such as the
Vasantatilakā, the Saṃvarodaya, and the Vajravārāhī-rahasyatantra,
identify the vīras with corporal elements (nails, teeth, pores, etc.) where the
nāḍīs end. The terrifying divinities that are placed on the square boundary
of the maṇḍalic circle become channels in the human body, near eight among
the traditional nine doors (dvāra, ie mouth, eyes, etc.).
The divinities of the jñānacakra, on the other hand, are positioned in the
centre of the maṇḍala as they are central in the human body, where they
reside in the six cakras along the spine.

The winter solstice (Capricorn, makara) is where the movement of the maṇḍalic circle starts.


It takes the full, major ceremony to enter the condition of Mahasiddha. Until then, our attempt at Generation Stage is rather singular:

Thus, having practiced worship, [muttering] of mantras, and
meditation for three years, when [muttering] of mantras is concluded,
[he has to perform] the oblation (homa). Then, for 45 days he has to
perform the “rotation of the yoginīs” in the “wheel of the group”.
Then, the sādhaka will always accomplish all the worldly perfections
before mentioned, following all systems. However, [following]
another system, that is to say performing only one rite—muttering
of mantras, meditation, oblation—[the sādhaka will accomplish] only
one perfection.

So our outer Yoga system is handcuffed; it is defined as only able to accomplish one goal. Then it has to surrender to a Completion Stage practice. This feedback matches the intent, as the outer Yoga is merely provisional, and seeks to compose a "single perfection" that matches the base or beginning of Highest Yoga. This will proceed to use Nirvikalpa and Prana in a way that is extremely specific to each rite, and so we are just seeking to establish their underlying mechanism.


Here, in this tantra, on a mountain he should
accomplish the perfection of the treasure (nidhānasiddhi), in a cave
he should accomplish the perfection of the jewel (ratnasiddhi), in a
grove he should accomplish the perfection of the elixir (rasasiddhi),
by the ocean shores he should accomplish the perfection of the
sword (khaḍgasiddhi), in the charnel ground he should accomplish
the perfection of the collyrium (añjanasiddhi). The yogin should
accomplish also the other perfections using the method explained
in the tantra.’


Lalita Mahatmya refers to the laukika or worldly siddhis.

As shuddha shakti mAlA is the most popular, and the siddhi associated with that is khaDga siddhi, people popularly refer to all the mAlAs as khaDgamAlA-s which is technically rather incorrect. It is only the first of the seventeen that is called khaDgamAlA. khaDga is used for defense and offence and the utility of the mAlA [shuddha shakti sambuddyanta] for both these purposes is detailed in the tantra. Khadgamala should never be chanted without initiation into Srividya. They say Kurukulla will destroy one and one's family. According to the Yakshas, Khadga Siddhi is from Malini.

Kurukulla Sadhana found in the Sadhanamala (No. 72), there occurs a list of eight great siddhis or magical powers acquired through her practice:

1. Khadga-siddhi (ral-gri), the power to be invincible in battle with a sword (khadga);

2. Anjana-siddhi (mig-rtsi), the power to remove ordinary lack of sight by using a magical ointment that enables the user to see Devas, Nagas, and other spirits;

3. Padalepa-siddhi (rkang-pa’i byug-pa), the power to be swift of foot by using a magical ointment that, when applied to the feet, allows the user to run with incredible swiftness;

4. Antardhana-siddhi (mi snang-bar ‘gyur-ba), the power to become invisible;

5. Rasayana-siddhi (bcud-len), the power of rejuvenation and long life through obtaining the elixir of life by way of an alchemical process;

6. Khechara-siddhi (mkha’-spyod), the power to levitate or to fly through the sky;

7. Bhuchara-siddhi (zhing-spyod), the power to move freely through the earth, mountains, and solid walls; and

8. Patala-siddhi (sa-‘og), the power to have command over the spirits of the underworld (patala).




By "worldly" siddhis, here, seems to mean "Form", or Nirmana and Sambhoga Kayas. If the first or Sword power is obviously not literal, it takes far less twisting to make the rest of them into pieces of psychism and the subtle body. This would still leave Completion Stage as the "other side" of the blade, or its own kind of talent.


Circle of Bliss is unable to explain Guhyajnana except by her sword; that it is of the Vidyadhara who holds the above knowledges. But in the case of Buddhism, the sword also includes transcendental Lokottara siddhis, Generation and Completion Stages. Handbook of Tibetan Symbols also makes sword the "leader" of the siddhis, and also that it is actually a Crossed Vajra of Amoghasiddhi. The basic name Khadga Yogini is mostly just meaningful in Nepal, where it is a Two Arm version of her with little meaning other than the Sword, or Sankhu Vajrayogini, with Baghini and Singhini, the Tiger and Lion-headed Yoginis. The Tramen are the top two suppressors of Bhairava.

We have listened to Khadga Mala Mantra and, at this point, Hindu Yoga becomes a bit threatening and, in some ways, more complex. Although they begin similarly, I tend to find Buddhism a more definitive guide, especially from around this point. Our main sword is of insight or Jnana slaying enemies within, which ought to be the same meaning as the many Durgas that extinguish all the drops of blood. This short list of Swords says that Cinnamasta has her own special kind. However, these pieces of Sabara's Cinnamasta from Sadhanamala say she is Yellow, armed with a Kartri (chopper). Apparently the Seventh Panchen's Cinnamasta from Rinchen Lhantab also uses Kartri. Sword Cinnamasta is evidently Hindu, although she does also use Scissors.

From what I can tell, Dakini Jala Rahasya also uses these "two edges" of laukika and lokottara siddhis, based from a series of Four Initiations or Activities. It does Six Limb Yoga, and, at the Samadhi of this, are Five Dissolutions: Dhuma, Marici, Khadyota, Pradipa, and Nirabhra Gagana: smoke, mirage, fireflies, lamp, cloudless sky. Then, in this, Maya Jala samadhi, Vairocana arises as Prabhasvara. This is not Highest Yoga because it does not go into the Three Voids and Great Void, but, it seems to be everything up to that point, including Union and dissolution of the elements or Mahabhuts.

It does not talk much about deities, other than Vajrasattva--Vajradhara, there is Vajrapani, and Acala, who are almost or possibly are the same.

Dakini Jala was imported to Tibet by Ratna Vajra. Indian opinion places its likely existence by ca. 650. That is an excellent summary article which plainly discusses seven Namasangiti mandalas by using Guhyasamaja Manjuvajra. And it is also plain that Dharmadhatu Vagisvara is Four Faced, which is very suggestive towards his Chaturmukha Mahakala form. That research also strongly suggests that Namasangiti and Dakini Jala are profoundly major backbones of the system, and that Tara, one time, was most likely similar.

Having known that Anandagarbha also promoted Dakini Jala, there we see that among his many works, he specifically adds a Marici sadhana, and then what looks like Vetali.

Marici is a major theme in Sadhanamala; average in other books; but Taranatha does not have much of her. However, it is perhaps Indian, since she has no pigs:

Six Arm Marici 167 in Rinjung Gyatsa has seven gray-green horses, and is a Muttering deity with Three Places. The mantra:

Om Mariciyai Deva Taye Namah

should perhaps say "Devataye", which would be an invocative form of Devata, which as we see is more useful than a deva. As a word, taye would invoke the letter T or syllable Ta, which hardly makes sense. Whereas Devata is easy to find in Lakshmi songs.


If I ask Nepal Vajrayogini about Dhyanis, she will add Vajrasattva and Vajradhara. This ancient manuscript was flourishing around the time of Bhrkuti. Dakini Jala must be the original Sanskrit system to have all Families and Bliss and the Encounter with Peaceful and Wrathful Deities and Prabhasvara. We do not have the full tantra or its art, but we have its Rahasya, or Secret Doctrine, which HPB said was removed from the Upanishads, and then taught by Buddha. Although common in India--Rahasya is a theme of at least thirty-nine works--its usage in Buddhism is extremely limited. This one happens to describe the entire Yoga program, and it salutes Vajrayogini. The Kamakoti translator believes it to be the precursor of Yogini tantras, whereas Samputa is for Father tantras such as Guhyasamaja and Vajrabhairava. And so those are just absorbed by default in the slightly more comprehensive Dakini Jala. Generally in Guhyasamaja only the central deity and the wrathfuls have union; in Dakini Jala, it is Dhyanis and Prajnas.

Dakini Jala's commentary has nothing to say about dakinis, only Vajrayogini. It is not really different or contradictory to Guhyasamaja, except it is rather the goddess that is found to be paramount and made into working wheels in all families. Vajra Yogini is firmly welded to Namasangiti, and both of these are the system of Seven. Manjushri can also do Guhyasamaja; the name Manjuvajra covers or applies to Vairocana Maya Jala, Namasangiti and Guhyasamaja specifically. Guhyasamaja is something like a starting point, a physiological indicator, the one way in; and so once one has resolved this ability, it is then applied to various deities which are each some aspect of subtle wisdom, and no longer itself really the subject. Sparsha kicks off the new experience, and mostly this causes Vajradhatvishvari to activate and grow.

If we do this in Shentong philosophy, in the footsteps of Taranatha, well what did he do, combed for all the Tara history and practice he could. But this is incomplete; and we can basically show that the Sadhanamala or Ratnagiri Tara system he lacks is also an entry to Yoga. The two main "syncretic" (or Buddhist and Hindu) deities are Mahacina Tara and Cinnamasta; the first being of Assam, and clearly placed in Nepal as identical to Vajrayogini. Tara is in fact very easy to commune with on a non-tantric basis; so rather than showing "only tantra" like Dakini Jala, she could be said to be all of the feminine aspect, in all levels, all families. In Nepal, her main public face is Vasudhara--who is both Prajnaparamita and an outer form of Varahi, yet also has her individual contribution that should not be neglected.

Lion's Roar Sutra appears very plainly Shentong, saying the Tathagatagarbha is empty of the false, but that it is full of its own dharma. And to that it quite plainly gives Refuge of One or Ekayana. It repeatedly explains the limitation of Pratyekas. It expresses perfections up to Prajna Paramita. It is perhaps similar to Voice of the Silence, although it has no mantra or practices, it sounds like the right attitude. It comes down to "one noble truth": the elimination of suffering.


Local dialect about Sankhu Vajrayogini says:

Gubajus (priests) accompany the idols of the two big idols Mhasukhwamaju (literal translation: yellow faced goddess) and Chibadya (the chaitya/stupa shaped idol – husband of Mhasukhwamaju) while two small idols Singli and Byangli (Singhini: Lioness and Baghini: Tigress, children of Mhasukhwamaju and Chibadya) are carried in smaller chariots by the children of the community.

It is possible "Singali" just means this, due to the accents; even singhini just means nose. The stupa uses Namasangiti.

Sankhu itself has Red Guhyajnana (or gilded) as the first deity, and then an "identical" Ugra-tara (bell metal) manifesting as Ekazati (or Mahacina). The site is from the 5th century, before the Mahasiddha times.

So the Mallas constructed this Singhini as a top-tier guardian of Siddha Lakshmi pagoda, Nyatpol:








This same name, Singhini, is considered to flank Khadga Yogini, who, rather than a trident, has a Lotus:








While the temple arch appears to have a hypostasis of the Red and Blue yoginis with an Eight Arm form:








So those Tramen attendants are perhaps due to local influence or Hinduism; they do not connect to sadhanas that I am aware of. But Sankhu must be the main spot where most of the Mahasiddhas are said to have spent time.

This has a stupa to Vajrayogini relationship similarly to how Marici may be considered "Vairocana's mate" because it is his stupa she wears on her head.

Keith Dowman agrees with Maitri Dakini as Akasa Yogini, and hit a blank spot for one name: Devi Bhagawani Vidhyadhari Viramante (?) (rJe-btsun bcom-ldan-'das rig-pa-'dzin-ma rnam-par-rtsen-ma). The answer to this question may be Viramati, the fifth yogini, in Citta Cakra right after the main four. Near her (in Nepal) is a powerful form of Durga, known locally as Swobar Bhagawati, and known to the Tibetans as Ekajati. Mahamaya is an epithet of Durga as the Mother Goddess who is the Creatrix, the Universal Illusion, and the Nemesis and Destroyer. The Pancakayaraja made from Jhekshi(?) is most probably a stupa representing the Five Buddhas. [Here, Pancha Kaya can easily be a doctrine of five kayas, as known in Tibet.]

He also says that on the banks of the Vakmati (Bagmati), the gSung-ldan-ma, is Guhyasvari, which means the Secret Goddess, (gSang-ba'i dbang-phyug, where 'Secret' means 'Private' as in 'Private parts'). That is not too surprising since Guhya is also the word for cave. Guhjeswori is also the Bird Headed Dakini...In the tantra and iconography of the Four Dakinis as found the Bidjeswori Bahal, Guhjeswori is the Two Headed Vajra Varahi; she is also Nairatma. Apparently, Karmacarya Srestha priests are the custodians of the shrine and strictly enforce the exclusion of non-Hindus.

Nepalis also say Ekajati and Devi Candika (Durga or Gauri) have one essence. And:


while the exotericists understand the gross symbolism of the lingam and yoni as the passive and active symbols of power, and worship them as Mahadeva and Uma (or Parvati) and are their slaves, the esotericists understand the ultimate nature of the symbols and worship that as Sri Cakrasambara and Vajra Varahi in indissoluble union (yab-yum) and so control Mahadeva and Uma (this is a nice non-sectarian interpretation, as surely the Nath yogins, for instance, are esotericists). The Buddhist tantrika who takes refuge in the symbol rather than its absolute reality breaks his SAMAYA. Thus Guhjeswori must be realised to be either the Vagina of Vajra Varahi or the Dakini Queen, the Bird-Headed Yogini (one of Cakrasambara's protecting yoginis) who is the spirit of the earth, a dance of thoroughly enjoyable material illusion, accompanied by her vast retinue...In metaphysical terminology, the fundamental, dualistic principles of existence, Siva-sakti, passive and active, male and female, are dominated and controlled by the realisation of the essential Emptiness (Sunyata) of all phenomena, and in the consequent unitary reality, passivity becomes skilful means (upaya) and activity becomes insight (prajna) - compassion (Heruka) and wisdom (Varahi) coincident (yuganadha).

It does not say which bird or explain this.

To describe Adi Buddha, Hodgson used Namasangiti exclusively. Then to explain Adi Prajna, which is the same as Adi Dharma, he mainly used Ashta Sahasrika Prajnaparamita. But somehow at the end, he got something from Sadhanamala:

World Yoni, Triangle with Bindu

He even names it Dharmodaya Sangata Kamarupini. He did not explain this much, but, somehow, a Cyclopedia cribbed him almost entirely for their definition of Prajna, it clarifies this means Kameshvari at Guhawati, Assam, who also uses the same Triangle. The plagiarism is so bad, they stuck the next subject about Amitabha into the definition.

But if any of the scholars really knew the One, a single glance at the beginning of that list would make it fly off the page. Next simplest thing would be to see what Namasangiti and Guhyeshvari are.

It is odd that Hodgson was always well-known, and no one ever really set him face to face with HPB, except to think about Svabhava. Aside from whether Svabhavika is actually a type of school, HPB and Koothoomi both insisted the term was ancient and correct. But this is extremely un-obscure; Svabhavika Kaya is a basic tantric concept; svabhava is contemplated in many sadhanas. It is defined as the elemental ground of a Dhyani Buddha, or, his skandha, among other meanings.

It has been reported in neo-Theosophy that the Mahatma's Tibetan house was on the River Nyang near Shigatse, which is not physically possible:








They have also tried to say he was a type of Buddhist called Shiva Bhavika, which means nothing to me.

Jean Fuller only said the architecture "could" be Nepalese, but what she did say, is that it was never said they lived in Shigatse. She and Mrs. Cleather took it to be closer to Tashi Lhunpo. The Panchen in Cleather's time told her that his predecessor knew HPB very well. In 1920 Cleather was one of five Europeans to take Buddhist vows at Buddha Gaya under the auspices of Geshe Rompoche at the Donkar monastery, Chumbi Valley, the first Europeans so to do. At the end of 1925 she journeyed to Peking and met the [Ninth] Tashi Lama, who endorsed a re-printing of Voice of the Silence--or, it was done at the direct request of the Tashi Lama, who endorsed it as a correct exposition of the Mahayana Buddhist ethics. Annie Besant for example deleted parts about Pratyekas. Alice Cleather was hardcore and still tried to hike into Tibet when she was seventy-nine. Between the two of them it went something like this:

Annie Besant published an article in Theosophist magazine titled "Who Will You Serve?", where she claimed that Leadbeater had been "one of the closest and most trusted students of Blavatsky and that Blavatsky woke up Leadbeater’s powers."

This outraged Alice Cleather who challenged Mrs. Besant to present some document confirming what she had affirmed, and Annie Besant never presented any proof because the reality is that Leadbeater was never a disciple of Blavatsky.

Annie Besant lied (as she did so many times).

Cleather "woke up" when Sinnett was trying to "send her to another plane". She let the London Lodge go to bits. She was a devout Buddhist who tried to be fair but would not support anyone found to be "making a version". With her, there was no going back to England to start a lodge; if there was anything to be found, it was in Asia.

The Eighth Panchen was confirmed in 1860 at age five. HPB's last visit to Tibet was from Darjeeling in 1882, and it was only a few miles for a few days. The Ninth Panchen is much closer-sounding to her adventures, except it was to Aghavan Dordjiev he gave secret teachings useful for Shamballah and Kalachakra, noting the Buriats believed Russian royalty were incarnations of White Tara since Catherine the Great. He started large public Kalachakra initiations in 1932.

But the Kalachakra is losing followers; it is too consuming. It probably does have the best detail on cosmology and the subtle body. But at the same time, if Cinnamasta is the major initiatory process, there is not really such a thing as a "Cinnamastia tantrika" that would be separate from the overall Vajrayogini.

If HPB was near Shigatse around 1868, her Panchen would have been quite young, but still the Panchen. Although almost nothing is known of this person, it was prophecied that Tashi Lhunpo would be weakened by Shugden, and he created a constitution to ban such things. So her "crusade" to pluck sorcery and superstition out of esoterism is not any different from what he was doing. In fact he forbids "mediums" which was what HPB was doing in America, or tried to.

There is not much to add about the Masters' house in "A Ravine in Tibet", other than Tibet is a plateau that does not have ravines. For the most part, they would be near the Sikkhim border. The picture is a Djwal Kul precipitation, and he was fifteen when he became a chela. Koothoomi came out of suspended animation on Dec. 24, 1881, and Djwal Kul was the one to write Sinnett about it. In letter 37, he is a humble chela; and it was around September, 1882, that he is no longer Koothoomi's chela. But Ledbeater used the picture to say that at these houses is also Master Djual Kul. HPB said it was in Kashmir or Ladakh (Little Tibet). Djwal Kul was sometimes called "the boy", so, exactly when he was fifteen is hard to say, but it does sound like he was born ca. 1860. And so a likely early-twenty-something to go from "humble chela" to "Master" sounds impossible. At least, in the sense of Mahatma, it means well-known for a long time.

If we can be pretty sure River Nyang is not its location, it would be more accurate to say Shigatse is near Tashi Lhunpo of Panchen Lama, as well as Sakya Town, Ngor, Bodong, and Jonang:









The Panchen line, at least, seems to claim some involvement with the first two western groups brought into Budhism, HPB and Alice Cleather, separated by fifty years. However they had more actual traction in Russia and Mongolia. But the Chinese disrupted everything. Since then, converts apparently include Anton Lavey's daughter Zeena.




The translator has researched our manuscripts to exploit any weakness or show why it is Nastika or undesirable. From what he finds in original Namasangiti source, he does get something about each mandala, although we presume this order to be backwards:



1) the maNDala of the 4-faced dharma-dhAtu-vagIshvara or ma~njugoSha. The faces of ma~njugoSha, here, are suffused with the sentiment of shR^i~NgAra, the first hint of the future developments towards the incorporation of the yoga of maithuna. Interestingly, this maNDala also tries to completely incorporate the Astika devatA samUha by placing them as a peripheral outermost ring. Here are also placed the pA~ncharAtra vyUha-s of vAsudeva headed by balabhadra.

[it has all these elements because Buddha projected it as the ceiling while Kalachakra with Meru Mandala was the floor. But the main Hindu pantheon of Thirty-three was already absorbed in Sarvadurgati.]


2) The vajradhAtu-maNDala with vairochana in the center, but in the tradition of this tantra he is identified with the 3-headed ma~njushrI.

[Jnanapada seems to explain this further as Vajradhatu arising as Maha Vajradhatu]


3) The maNDala of a-ra-pa-cha-na sadyonubhAva who is accompanied by the male attendants jAlinIprabha and chandraprabha and the female attendants keshinI and upakeshinI.

[Sadyonubhava is "sudden experience"; mantrically, this also merges with Prajnaparamita, based on "Dhih"]


4) The maNDala of trailokyavijaya, which features the primary deity vajrahuMkAra or trailokyavijaya, who, through lateral interaction with the shaiva world, developed into the deity vajrabhairava, who was to emerge as a major deity in the tantra-s that were to follow.

[Vajrahumkara is a more fundamental explanation because using the gesture which subdues maras or defeats death]


5) The maNDala of vAdisiMha or ma~njushrI as vajratIkShNa. Here the ma~njushrI is single-faced and two-armed. The Tibetan tradition of this ma~njushrI depicts him in the company of devI sarasvatI.

[or, with Wrathful Blue Sarasvati]


6) The maNDala of vAdirAj in which ma~njushrI is accompanied by two deities sudhana-kumAra and the ferocious yamArI. He is the mantra-devatA of the famous nAstika mantra: OM dharma-dhAtu-vAgIshvara-muH svAhA ||

[there is also Om Vagisvara Muh.]

7) The maNDala of ma~njuvajra, where the ma~njushrI is with three heads. This ma~njushrI embraces a 3 headed praj~nA, which again points to the beginning of the yAmala of the deity and the praj~nA which were to become dominant very soon. He is shown associated with 10 ferocious deities who surround him on the vertices of an octagonal bipyramid arrangement.

[this also has a Yoga version where for instance Cunda is highly important]



A more extensive Guhyasamaja Manjuvajra lineage is:

Manjuvajra, Buddha Jnanapada, Shri Deva, Vimala Gupta, the two Rinchens, Risul Yogini, Nyen Lotsawa Chogyan, to the Five Masters, Dampa Kunga Drag, Tashi Pal, Kunga Sonam Shap, Do Pal Kirti Shri Khanpa, Sazang Kupon, Ngorchen, Muchen, Gyaltsap Kunkhyen Je, Ratnavardha, Konchog Lhundrup, Sangye Senge, Namkha Pal Zangpo, Chog Leg Khupon, Sempa Chenpo Khyenrab Tendzin Zang, Drowa Sempa Chenpo Khyenrab Tendzin Zang, Drowai Lama Khyenrab Champai Pal, etc.


All Schools of Tibetan Buddhism, new and old, practice White Tara. Within the Sarma Schools there are four famous lineages: Bari Lotsawa, Jowo Atisha, Kashmiri Pandita Shakya Shribhadra and Nyen Lotsawa Dharma Drag. These forms are all Cintamani Chakra Tara, and the main difference is: Atisha's is Seven Eyed. Bari's has two, Nyan's has three, Sapan's has two. So here is where Atisha has something new that is not in the Indian heritage, which either the two or three-eyed ones are.

And, it is said that Atisha's "true" form only has two eyes. So there is chiefly one version which has Three Eyes and appears to be the same who can Reverse Amitayus or other consort and is almost indistinguishable from Three Eyed Reversed White Vajrayogini. It seems that Mrtyuvacana and White Vajra Tara have two eyes; the first Sadhanamala form that has three is the Four Arm White Tara of Ngor; and this is the only one that actually has the name, Sita Tara, and, she carries a Cintamani. Sita has Four Arms, and Sukla Tara has six, and these two almost unknown forms are the only thing that could possibly be translated as White Tara.

In addition, Jonang says:

Six-Limb Tārā in the tradition of Nyen Lotsawa (Gnyan Sgrol yan lag drug pa, 9 in Tibetan Deities). This is the standard green Tārā as she is commonly known, with one face and two hands. Her name implies a connection with the system of the ṣaḍañga-yoga. She is in this contents list which places Nyan White Tara at 6. This is correct; White Tara is an Amitabha goddess; Green Tara is an Amoghasiddhi goddess, whose role is to "summon her likeness from Potala"--and since her name is Sadanga Tara, and she is really invoking her Sambhogakaya, the meaning of this one is quite clear. It is not quite like Avalokiteshvara and Guhyajnana, who simply "are" in each other's hearts; this one uses seeds in her heart to draw forth the higher power. It sounds like the Potala Tara is front-generated with a host of Buddhas and Bodhisattvas, and there isn't a culmination to it. This would have the effect of building her power for a long time prior to another sadhana which would establish her as Mahasri, or something close to that; or install her heart gnosis being. It also uses a Tara Mahakaruna dharani, and 108 names of Bhattarika Arya Tara.

After this are the Three Reds where Sukha Bharati is rendered as Sukha Vardhani.

The index re-names Ziro Bhusana to Bhattarika Kapalika, which is fairly close in meaning.

And in an esoteric explanation, it was relevant for Ra to have slain many people before he and Nyan defeated each other.

Nyan is behind Guhyasamaja Manjuvajra, "secret" Black Manjushri as Brahmarupa and Mahakala, Ziro Bhusana, Three Eyed White Tara, and that Green Tara which invites her Akanistha form. It only says this in a different spot for each deity, and little to nothing about Nyan, much like it is not explained how his name graduates from "hearer of dharma" to "hearer of esoteric doctrine". Each of those deities has something like a special samaya that can be reached by following the inner meaning, which is what the Yoga lineage of his, Profound View, emphasizes.



It turns out that "ardhanarishvar" with respect to dakinis and Taras is not necessarily dual-sexed, but two colors.



China uses the phrase:

sapta-rṣi-tārā (七星/ursa major) daivata

or Seven Sages Tara, immediately identifiable with Marici, Dipper Mother.


A Dutch study of Sadhanamala tells what is in the part we don't have, which for the most part is familiar and expected higher tantra deities, until it ends with:

Rajasrï-Tara en Pïtha-Tara

The last is the first we used in Twenty-one Taras, who has a retinue of Twenty-four Pithas. For her, there are other sources; Rajasri, golden with a blue lotus, seems to only be known here.

In India, Rajasri would be recognized as Raja Lakshmi, the power of kings, or of royalty--who at least as early as 1868, we are told we should understand as "tutelary genius". And so then in 1994, she is the theme of a diatribe against the Indian government which lumps it in with most governments in an appropriately scathing manner.

Raj Lakshmi is depicted with crown, throne, scepter of kingship, flag and bow.

That is fairly close to Golden Light Sutra, the Four Kings, and first Kamaloka. However, since we can say to a close approximation how the back half of Sadhanamala works, its "mysteries" are in the part we already have, being a few obscure Yoga Taras such as Sukla and Janguli, along with what appear to be comprehensive tantric practices on Vajra Tara, Ekajata, and Marici.

[shaberon]

There are two main Guhyasamaja lineages, or two branches of the root tantra from Asanga's time.

The first, or, how it is in the actual text, is based on Akshobya. In these, the Dhyanis and Prajnas are usually not in union.

This is a 1600s Nepali Akshobyavajra. Usually the goddess is the lighter colored one; here she is darker. Also, towards the lower left is an aura split between maroon and orange, which looks to be a Reversed Vajrayogini, since the figure holds a knife and skullcup:







Donor-commissioned works usually have the people themselves included, and often show a nuance or individual twist that is different from how it would look if directly done by the books, as most of the school works are. So the above is quite close to the main Guhyasamaja that is used in most of the schools.

However, in Yoga, Manjuvajra comes into prominence. He is Manjushri in the nature of Vajrasattva, used in a smaller Guhyasamaja lineage. And we also find that Manjushri becomes Mahakala, which is not well-known, and is rarely seen. Some of the Manjuvajra mandalas have the Dhyanis in Union with Prajnas, as in this 1600s Sakya piece, which puts together a few things that represent someone's personal practice, which reflects Manjuvajra lineage of Nyan:








The lower central figure is Kurukulla. Beside her is Brahmarupa. Finally is someone I would have just taken for Black Cloak Mahakala for some reason holding a mongoose, but it turns out to be Ekajata; with one hand, she eats a heart, and with the other, holds a grey wolf. Some people have tried to say there is a Grey Wolf Ugra Tara or something like that, which probably comes from this Ekajata, who is not, herself, a wolf, but has one.

Both schools or lineages are doing basically the same method or technique in Guhyasamaja, which, at least at first, is a concern of Vajradhatvishvari or upper prana and the subtle body, with Sparshavajra, the sanctified Touch Object which is now experience or contact to Gnosis or Adi Prajna.

At higher levels, one would think the deities are more elaborate and replete with doctrine, but this is not the case. The elaboration is almost all on Yidams or sadhana deities. Therefor, there is hardly such a thing as invocation of Adi Prajna; instead, she operates within or through Sparsha and others.

Iconography of Nepalese Buddhism also decides that sources of images or practices on Prajnas are few and rare. They are in Guhyasamaja, and discussed only a little bit in Panchakara of Advayavajra, meaning the same as Maitri's Samgraha, or part of Maitri's collection of scriptures and explanations. The special characteristic of Locana is Suvisuddha Dharmadhatu Jnana, or Dharmadhatu Wisdom. That of Mamaki is Three Flasks (Anti wine, Khayakori yogurt, Thapin beer). Pandara is passion, lust, or pleasure. Tara is Activity of All Tathagatas. Vajradhatvishvari is the center, yellow, space element, Ratnasambhava consort. "Because of her role as the embodiment of Tathata or Prajnaparamita she is also called Nairatma, Vajravarahi and Jnanadakini. In Sadhanamala she is identified with six headed and twelve armed Marici whose lord is Vairocana."

So again that makes her second-tier. Prajnaparamita is the first text goddess, and, it may take her some time to really have an "embodiment", or, be nested in a human being whose body is purified accordingly. Then, Vajradhatvishvari plays a role, which, equivalently to the listed names, is Guhyajnana, who demonstrates the way in to either the Nairatma--Hevajra, or Samvara-Varahi systems. Marici is some kind of hypostasis of all of this. This basic principle was published in 1994. And to this we could only say "yes, but" the consort of Ratnasambhava changes, and the Vajradhatvishvari changes.

According to Manjuvajra, the first mandala in Nispannayogavali, prior to the union, Sparsha Vajra and Dharmadhatu Vajra occupy special places. Then, in this tradition, Sparsha will be a golden, saffron, or orange color. This is more reminiscent of Yellow Nirmana Chakra and the noteworthy behavior of this color. At this point, you have Five Families, but the nature of Jewel wisdom is to use all families equally, and thereby making a type of nectar exchange from the Jewel centering of the Prajnas, to a hypostatical sixth family more subtle than the great elements. That type of training is protected by Ekajata. At this point, it is started, tantricly, by Vajradhara or Vajrasattva operating through Guhyasamaja and gaining experience.

The article considers the important Taras to be Green and White, Bhrkuti from Manjushri Mulakalpa, Vasudhara, and Tarodbhava Kurukulla.

In the Nepalese method, one does Tri-samadhi where Guru Mandala becomes Rahasya Mandala when used prior to Agni; and this non-Buddhist deity receives Buddhist treatment of having a Samaya and Jnana form:

Samayagni is yellow-colored with one face and four arms. He has a staff (danda) and a water jar (kamandalu) in his two left hands, and a rosary in one right hand. His other right hand shows a boon-giving gesture (varadamudra). He wears a yellow garment and a crown decorated with the image of Vajrasattva.

As a samaya being, Agni is yellow, with no fire pot, but a water pitcher (initiation).

The Nepalese employment of Agni was still not fully understood by scholars in 2001.

Jnanagni is present in Bhavavad Gita as the replacement of working for desire. In Yoga Vasistha, it is the light from Shiva's third eye. In Krishna Yajurveda, speaking of Three Agnis, Jnanagani is Mind; this system is quite close to ours, speaking of five elements, six senses, and seven dhatus. Maha Jnanagni is the red aura around deities such as Samvara and Vajra Tara.



The phrase from Vajra Tara 93 has been translated as:

"she is born of the consecration-water of Vajra and Surya"

vajrasūryābhiṣekajām

But there is no form of "born" or bhava like in Tarodbhava Kurukulla. There is no consecration or water. This is after having said "she is crowned by five Buddhas", and seems to mean "she is initiated by Vajrasurya".

Vajrasurya, or Secret Sun, is a title of Ratnasambhava (with Mamaki) as used in Anandagrabha's time, when a yogi called Gambhiravajra propitiated Vajrasurya by means of Sarvabuddha Samayoga Dakini Jala tantra in Sitavana cemetery. He obtained the vision of Vajramrita Maha Mandala and the sadharana siddhi.

He was then sent to Dhumasthira (Steady Smoke) to find a blue (utpala) woman with an emerald-colored tikka. She conferred to him the initiation of Catuh Vajra Amrita Mandala. She taught him the rest of the tantras, he meditated on Heruka, until attaining Mahamudra siddhi.

What little we know of Vajramrita tantra is that it is among the oldest and main explanations. Blanket Guru was in Dhumasthira, traditional main town in Oddiyana. Amrita is the source of all siddhis, including Vajra Kaya.

The Guimet has the Vajramrita mandala from Ngor. In this, the six-armed god Vajramrita is portrayed seated in the centre of the composition embracing the goddess Svabhaprajna. Bright green is used to convey the “priyangu flower color” of his skin. The couple is surrounded by eight other goddesses within the petals of a centrally placed lotus. The overall layout of the composition is constructed around the shape of this flower. Two male and two female guardians protect the access to the divine sphere: blue Bhrikutitaranga to the East, white Bhayabhisana to the South, red Hayarupa to the West, and green Gananayaka to the North.


In Sarvadurgati, the Sun, Surya, is the deities male Vajrakundali and female Vajramrita.



On "luminous universal curds", HPB says:


To begin with, the whole pantheon of mysterious objects, ‡ every one of them having some definite Occult meaning, extracted from the allegorical "churning of the ocean" by the Hindu gods. Besides Amrita, the water of life or immortality, "Surabhi" the "cow of plenty," called "the fountain of milk and curds," was extracted from this "Sea of Milk." Hence the universal adoration of the cow and bull, one the productive, the other the generative power in Nature: symbols connected with both the Solar and the Cosmic deities. The specific properties, for occult purposes, of the "fourteen precious things," being explained only at the fourth Initiation, cannot be given here...





The same Ekajata from above is under Queen of Bliss Dechen Gyalmo Vajrayogini:









And even more directly: Three Eyed White Tara over Yeshe Tsogyal over Grey Wolf Ekjata.








On the right side, the similar White Tara is Bhrkuti with a conch. Under her is Marici, and Hayagriva with "a consort"; near them are Krsna Yamari and Krsna Varahi. To the lower left are Dechen Gyalmo and Manju Nagaraksha. Here, Ekajata is protecting Longchen Nyintik tradition, and Guhyajnana is blue. Although these are Nyingma forms, the same group is apparent here: they have Lion Face and Vajrayogini of their school, together with Kurukulla; so it is a slightly different practice of the Sakya Three Reds, or of starting from Lion Face Ziro Bhusana and Guhyajnana Vajrayogini. The systems all work towards Kurukulla.

Although she is frequently given some kind of outer "magnetic powers" function, her important definition is distributing nectar throughout the system. Tson Khapa talks about this in his obscure commentary from Sichuan.

He includes this strange symbol: Fiery Water (contact with which in harmony is achieved through certain forms of yoga) that protects against both heat and cold.






The rising of heat is not the same as using the central channel; and so he is trying to insure that happens. Then, the distribution of nectar, or the process of bindu, is very different from Hatha Yoga or identifies Buddhism as a unique process. It seems to be the actual Kurukulla. He makes an odd comment about the fourth bliss in the base of the spine, where the quote puts it at the navel; he has described them as "moving"; the text says "in the head", but he uses "from head to throat", and so on. But his book is from an advanced stage with full Vajra Kila and Amoghasiddhi. He is trying to review various patterns that tantras have been found to cause in terms of prana, consciousness, and bliss.

If we focus on the main, basic way, the goddess called Khandaroha in tantra is used in Generation Stage as Varuni, in combination with multiple Vasudharas. And so if Nyan revealed certain rather mystical deities, they are perhaps related.


This is a Brahmarupa where the red dakini, or Khandaroha, is close to a Triangle that has too many triple aspects to mention:








That is all more or less honed in Nirmana Chakra balancing heat and wind into the central. Tson Khapa is very correct about this having to work properly.

At first, one has to develop an operational Cup as a hand item, offering, source of nectar, etc. And then it becomes Three Cups, or the Triangle; the Three plus the rest of the rite make a synthetic superior one, and then there are Four Cups.

A quick review of Chakrasamvara will show he fails to explain this, and simply requires it as a basis for his own function. This is a spectacular 1800s Nepalese Chakrasamvara:








One can easily see the inner ring is Mahasukha Chakra with Four Dakinis in various colors, and four Vases and Skullcups. Then the next ring is Citta Chakra with blue deities, Vak Chakra with red ones, Kaya Chakra with white ones, ardhanarishvars which means females in two colors, Tramen Gatekeepers, and Cemetery Chakra.

The ability to use these Cups appears closely related to the performance that will be obtained from the dakinis. They are not a square, they are Triangle plus raised point or Bindu, similar to "creation", except this is not for ordinary matter, it uses mental matter.



Vilasini Sadhana is like Lokesh Chandra's Sadhanamala; not the actual thing, but a chimera of similar things. It mixes Hevajra terms, whereas Vilasini appears more related to Samvara. For fifth chakra, it says:

Secret Cakra (Guhya Cakra) – Also called the Secret Place. It is located at the perineum, and
includes the area of the base of the spine and the genitals. It is red and has thirty-two subsidiary
channels. Its seed syllable is a red hā. It governs the state of dreaming (as it does along with the
throat cakra), the sensations aggregate, and the space element. For Buddhist subtle energy yoga
systems that use five cakras (most use four), its activation achieves the dimension of ultimate
reality, the Svabhāvikakāya (lit. Dimension of Self-Existent Being), which unites all the
dimensions. Its presiding buddhas are Ratnasambhava, and Dhātviśvarī.


But at times, it belongs to Amoghasiddhi--which may be wrathful or Armor versions. Also, this book generally says there is no way to pass the stages other than sexual karma yoga, which is not necessarily true. It does have mostly valid information, but seems to need to be better organized.

With Armor Deities, Ratna is usually at the crown. And the Heruka which emanates the "dawn" of Wrathful Deities is Ratna. So, starting in Kriya and Yoga with Three Families, they are not very obscure, they have a lot of members; upon reaching a fourth family, it is tough to say what Ratna "is"; it is derived from Paramadya into Yoga, and then in one sense is utterly peaceful bliss, and on the other, is everything wrathful. There is no translation of Vajramrita tantra, and probably no other source that helps with whatever is going on here.

Because it has samaya beings and Vajra Tara, it is not inaccessible. If it is also the Paramitas themselves, it is not completely foreign.

Consorts of Vajradhara, of Manjuvajra, Rakta and Krishna Yamari, have been called Svabhaprajna or Svabhadhatvishvari, who is chiefly that of Vajramrita. So in the sense of Svabhavika Kaya, which is a product of Gnosis and Bliss, this seems to be the underlying theme to the apparently contradictory mix of Amrita and Wrathful Deities. Gnosis and Bliss already more or less are Jnana and Sambhoga Kayas. And so the Svabhava intended here is a compound of a compound, or a synthesis of a synthesis.

Aspects of Dharma Kaya have been described as:

The first is the 'Knowledge-body' (Jnana-kaya), the inner nature shared by all Buddhas, their Buddha-ness (buddhata)
... The second aspect of the Dharma-body is the 'Self-existent-body' (Svabhavika-kaya). This is the ultimate nature of reality, thusness, emptiness: the non-nature which is the very nature of dharmas, their dharma-ness (dharmata). It is the Tathagata-garbha and bodhicitta hidden within beings, and the transformed 'storehouse-consciousness'.


It appears that Ratnasambhava offers away the Vajradhatvishvari he has to start, and resides with something more like Svabha Dhatvishvari, if this is the correct consort name in Jewel Family tantra.

These are within or pass-through Dharmadhatvishvari or original Gnosis deity.

[shaberon]

Amrita Tantra and Ratna Family, Dakini Jala



These have been almost entirely missing, but possibly the most important to understand Yoga.

We do not have a fully-translated version of either of those tantras, but, it turns out, their sadhanas are right beside each other in Vajravali.

With the first, or Vajramrita Tantra, we can attempt to trace relationships and bits of meaning; in the second, we find the whole Six Family system accepts being used with Varuni like we have studied in Nepal. Ultimately the Rahasya Secret Doctrine would apply to it.


The teaching of Amrita by no means originates from Buddhism. This is its concept with Shiva:

In the spiritual Panchamakara (five M's or forbidden substances), mamsa is the tongue. Matsya is the breath, and eating fish means holding the breath via pranayama. Mudra means eating grain that is the holding of the body in a certain posture to encourage free movement of Kundalini within it. Madira indicates the `wine` of Amrita Guna, which drops from the glands within the head into the body and Maithuna is the union of the Kundalini Shakti with Lord Shiva in the Sahasrara.

Amrita is Sattva Guna. Rajas is something like a devi which may or may not be controlled; Tamas is a watery poison or Visada; most of the body's ailments are rooted in tamas, e. g., naga disease or waterborn disease.


In Buddhism, Vajramrita appears at first in Sarvadurgati as a female deity, but is male in the tantra named for him.

Paramadya is important to Vajramrita; Vajramrita is explanatory for Secret Treasury (Guhya Garbha). Samputa Vajrasattva is Vajramrita (or, Samputa has four kinds of Hevajra). The teaching of Vajramrita tantra was requested by Mamaki.

Ghasmari or Power of Food is Samputa Tantra (Seven Secrets). Ghasmari mantras are used by Nairatma.



Amrita tantra uses the longer and shorter texts of The Display of Nectar, the tantra of enlightened qualities, and the deity Amritaguna (Wrathful Vajrasattva or Ratna Heruka).

Its characters are Vajramrita, Vajrahumkara, Vajraheruka, and Amritakundalin.

This is a bit like Varuni, in that it may have a sort of outer, familiar way, since an Amrita Kundalin mantra is regularly used by many sadhanas, for clearing purposes. A decent explanation says Vajra Amrita is nectar; Amrita Kundali is the wrathful deity itself as you emit it from the heart. This has always been unclear, it cannot be seen as talking to one deity or the other, since the word Amrita is only once, but evidently, the understanding makes two phrases:

OM VAJRA AMRITA KUNDALI HANA HANA HUNG PHAT

This is almost its own thing, a bit like Vajra Daka fire seeds, and does not seem to be involved with Vajramrita itself; if so, it is certainly not the main thing.

458 Vairocana Maya Jala 43 Deity Manjuvajra with Vajradhatvishvari begins using Amrita Kundalin mantra. He is called Manjukumara if without consort. In Kagyu, 1,000 Arm Avalokiteshvara is usually accompanied by Amrita Kundalin. In Japan, this seems to be considered just the equivalent name for Ratnasambhava.


From a large Nyingma transmission, one day of "intensive retreat" empowerments consists of Amritakundalin, and Agni, for fire offering, and Fire version of the Four Activities (pacify, enrich, magnetize, destroy) from Mingyur Dorje. Their basic system is the same, starting with Peaceful Manjushri and Wrathful Yamantaka as Body, and so forth, at least for Five Families, including Amritaguna. Then it uses Mamo Botong (Jnanadakini, Simhamukha) and worldly deities, and from there it is different superficially, at least, with all the wings and so forth.

Amritakundalin from the tantra is "black like the newly split antimony". He has a retinue of Eight Wisdoms, including Amrita Locana, which should be the same as Prasanna, along with a male-sounding Varuna, and Sukhasadhani. They start placed with the Gatekeepers, and move onto the petals. In Vajrayogini, he may be found consorting with Cauri in the navel; and in the Tibetan there, Khandarohi is Sordang - individual liberator. In The Great Chariot, he is a Green, apparently Amoghasiddhi, emanation.


Tibetan Deities 488 starts the Vajramrita mandalas; all of these deities have the red Jnanagni aura. In this first, his seed is Hah, and his consort Svabhaprajna is Ghri. He is Yellow-Green like Priyangu fruit, similar to perhaps Janguli and a few others; if the consort was lighter-toned, she could just be yellow. At Swayambu, he is in Amoghasiddhi Family, along with Mahasri Tara; Vighnantaka and Humkara are both Vajra; Prasanna shows up in Jewel. It is possible "this" Vajramrita is the female; it is just a name before some Taras, and Amoghasiddhi has few male emanations.

In the tantra, he is also called Mahasukha; so he is sharing a name with Vajrasattva, or with that Vajrasattva experienced in Jewel Family, or Paramadya or Samputa.

Chapter 7 starts with a praise of Vajrāmṛta sung by Māmakī, who is still involved in the love play with him, while joining her hollowed palms in reverence. This song contains a description of Vajrāmṛta, who is defined as a hero encircled by other heroes, who is joined by the group of Mudrās; he emits a sound similar to that of kokilas and bees, he is goodlooking, and he experiences the pleasure of love; he is omniscient and friendly towards all beings; his body hair is bristled; and he makes love to the 24 Great Wisdoms (Tārā, Vitārā, etc.) in all three spheres of existence.

The praise ends with two Apabhraṃśa stanzas, which read: “You, dark like a petal of a blue waterlily, are the Tathāgata, the Vajra-holder. Oh Pleasure of Sexual Delight, love me! By means of that you accomplish [your] duty in the three worlds. You are empty, pure, the supreme stage, the unchanging Vajra, beginningless. The living being—either moving or unmoving—who meditates on you, how can he be born again in the saṃsāra?”.


Next is dark Vajrahumkara who embraces Mamaki in an unusual way, from behind, lifting her breasts with his lower arms. He has Concentration Hero Hum, is crowned by a Vajramrita text, and her syllable is Ghi. Vajrahumkara is a type of Trailokyavijaya; he is encircled by four mudrās (Kelikilā, Vajrāstrā, Vajragarvā, Sparśavajrā), Umā, the Vidyās (Puṣpā, Dhūpā, etc.), the door-guardians, and the eight Bodhisattvas (Maitreya, Mañjuśrī, etc.). 481 Humkara is the same as Vajrahumkara.


Blue Vajraheruka is crowned by a Vajramrita text, but has no consort. This is a difficult name since it would usually come across as "Heruka in Vajra Family", but, like Vajradakini, it may just be "of a secret nature", since vajra is a wider term than Vajra Family itself. Vajra Tara is in Ratna Family. His mantra uses Jvala and Bhyo, and among other things, he holds Entrails and a Rakshasha. Dorje Khrag-thun is his Tibetan name: blood drinker; he does have a Skullcup, so this is a possibility. But it does not seem accurate to the Sanskrit derivation of Heruka, and a source of confusion when interpreted that way.


Then there is dark Amritakundalin also crowned by Vajramrita tantra; he is alone but has a consort in 214, which is Vighnantaka from Guhyasamaja, identified as Amrita Kundalin, with more mantric details. It is from Buddhajnana Pada, or, i. e., same Jnanapada lineage that uses Manjuvajra. He is Ganesh, but 491--fat, dwarfish, and pot-bellied-- is supposed to be standing on Ganesh. He does not use his normal mantra, but has syllables given as A Am in the sadhana, Ma Mam in the tantra.


These Vajramrita mandalas have special visualization features which are "too long to be included". In the tantra's contents, the final results are Vetala and Five Nectars.

The deities are not yellow, and are based from Vighnantaka, Anger, Remover of Obstacles. When we first heard of this, it turned out to be Ganesh, and so he has forced his way in. The last three deities have the unusual feature of being crowned by their own tantra, and Concentration Hero Hum. So there is no shortage of Vajra Family color and syllable. Ghri is a whole word that means to sprinkle, or to distill, either of which is relevant to Amrita. Ghi is a variation of ghee or clarified butter, often used in lamps.

It is difficult to see how that group pertains to Ratna Family. It is not at all difficult to see how some samaya goddesses do:

In astrological mantras, Brim and Bhrim are distinct. With the "h", it becomes the seed for Rahu. In a basic format of Seven Planets, Brim is Jupiter (Brihaspati); when the nodes are added, it becomes Jrim, and Mercury is Brim. If we invoke Brim--Jupiter--Cintamani first, then, with evolution, Yellow, and Brim, move to Mercury, whose consort is Ila, a slight progression of Cintamani. Taranatha's Cintamani Tara 62, fruit picker, is Brim; Tibetan Deities Cintamani 138 says it is of Ratnaraksita's lineage, and emanates countless replicas. Bhrkuti is Bhrim. Bhrkuti 445 conjoins Bhrim and Hum to make Bhrum.

Ila is the wife of Budha and mother of Purūravas; she is also called maitrāvaruṇī as the daughter of mitra and varuṇa, and is in Varuni Yajna. As the cow, Ila also has a dual existence, Heaven and Earth, and has milk of Rta (Jupiterian). She is also Ghritapadi: she whose foot drips with ghee.


"Manu sought whatever upon earth was fit for sacrifice. He found
butter poured out. He said, ' Who has power to employ this in sacri-
fice also ? ' Mitra and Varuna replied, ' "We two have power to employ
the cow.' They then sent forth the cow. Wherever she went forth,
butter was pressed out. Hence she is called the ' butter-footed.' This
is her birth ... He calls upon Ida. Animals are Ida. He calls
upon animals. He calls upon them four times. For animals are four-
footed. He says ' Manav!.' For Manu first saw her. He says ' Butter-
footed.' He says so, because butter was pressed from her foot. He
says ' Maitravaruni.' For Mitra and Varuna sent her forth."



" Ida, the daughter of Manu, was a revealer of sacrifice. She heard,
' the Asuras are placing fire.'. Ida said to Manu, ' I shall so
place thy fire that thou shalt increase in offspring, cattle, and twins ;
thou shalt be firmly established in this world, and shalt conquer the
heavenly world.' She first placed the garhapatya fire. It was
through the garhapatya that she produced for him offspring and
cattle."

Garhapatya is one of Agni's three faces, and the permanent household fire, used to light fires for sacrifice. "Svaha" always offers something into this.

According to the British Museum, in her mandala, Vasudhara is accompanied by Buddha Ratnasambhava, goddess Ila, Jambhala, the Buddha, Dhyani Buddhas, Sucandra, Manjusri, and Vajracarya performing the homa sacrifice. The overall nineteen deity scheme is standard enough in Nepal, it is easy to find ten examples. Ila is something like her earthly observer while she is in Tusita paradise, or Alakavati.

326 is Vam-arising Ratna Vasudhara from the dharani, with corn and gem shower. 451 is similar; this one arises from Vam, then her syllable invites Hum. That is rather strange and perhaps unique.

Jamari's version has fruit and grain and stands on two vases, similar to Gopali, but no cows; instead, a white umbrella manifests.


Jamgon Kongtrul explains Twelve Paramitas exactly as they appear to work in Namasangiti which places them in Jewel Family:

The differentiation into twelve stems from tantras such as the Samputa
and the Ocean of Dakinis. In those tantras, the first of the twelve stages is that at which
a practitioner is still an ordinary being, known as conduct based on aspiration (mospa
spyodpa). The next ten stages correspond to the ten explained in the way of the per-
fections, from joyful to cloud of teachings. The twelfth is the stage of Vajradhara. This
last appears to correspond to the all-luminous stage spoken of in the way of the per¬
fections.





482 is Six Monarchs of Samvara from Abhidanottara; but their mantras all use Dakini Jala Samvara. It is the Peaceful version, centered on Vajrasattva, and its all-purpose mantra is that of Khandaroha. Just as Amritakundalin is a widespread, universal banishing mantra, Khandaroha is similar for Generation. Aside from Vajrasattva, the Dakas are all heart beings of Hindu deities such as Vishnu. Ratna Daka is Aditya the Sun; Amitabha is Mahesvara on Peacock Throne, suggestive of Mars; Amoghasiddhi is "the moon god", or possibly Indra or something that looks like Indu. Vairocana is Brahma.

The alternate form is that Vajrasattva is black, which presumably would be Wrathful arrangement. Red (or White) Varahi and Jnana Dakini are other names for Dharmadhatu Ishvari, Vajrasattva's consort; or Vajradhatvishvari. She is called Vajra Varahi because she holds a Vajra, like Vajra Dakini, instead of a knife. None of them have knives, just emblems. How they have gotten blood in their bowls is not described.

The Six follow the same pattern as suggested for Namasangiti: Vajrasattva comes first, so Amoghasiddhi comes sixth. Then, they follow all patterns: they may be seated or standing, or have two, four, or any number of arms. So that is why, currently, we are able to "layer" three versions:

The sadhana is mantricly identical to the tantra.

The NSP mandalas are instructional towards Chakrasamvara.

The tantra is instructional towards Hevajra.



The sadhana's main symbolism is:

Vajrasattva or Jnana Daka's crown includes a Crescent and Crossed Vajra. He drinks from the consort's bowl. If you think of the name Vajrasattva, he can arise from Vam, otherwise, Om. He is also Sri Maha Sukha.

Tathagata Family has Bhrum for its seed. Ratna has Am, and also mantricly uses Tram. Lotus has Hrim and Hrih, Vajra has Hum and Phat, Amoghasiddhi has Kham and Hoh.

Om Kham Hum Phat

then shows up as the short Khandaroha mantra. Otherwise it is:

Om Khandarohi Hum Hum Phat


This is in Ngor and at least two other lineages. It mainly works in Peaceful and Wrathful versions, but, it is an adjustable template where anyone could be lord of the rite. And so with its generic names, it can work one way if my Ratna Dakini is Two Arm Cintamani Tara, Ila, Gopali, Pratisara, Vajradhatvishvari, or Mamaki, another if it is Six Arm Vasudhara, or another if Eight Arm Vajra Tara or Sixteen Arm Prasanna. Whatever is used is stoked by Khandaroha. She operates the whole mandala complex. That is why this is Samaya Yoga to All Buddhas, clandestinely driven by Nepal's Varuni (Khandaroha, Amrita). But this is not the case if we follow the NSP mandala, the retinue is set a standard way.

The real Yellow Vajrayogini is the one who does Cinnamasta. She self-arises or is ekavira or solo in yellow. In most Tri-kaya sadhanas, she will pass the color to her attendant Vairocaniye, who herself was more like Red Varahi or Naro Dakini.

Vajravali just takes the three colors of Varahi (Red, Blue, and Yellow) as Padma, Vajra, and Ratna Dakinis. In Vajravali, between these forms and the Six Chakravartins is Vajrasattva-crowned Humkara from Abhidana, wearing Eight Nagas, who, mantricly, is Kha Vajra, and Vajra Kundalin.

But those Varahis are her large Thirty-seven point mandalas, and if we are not that advanced, Guhyajnana can do something basic.

Three Varahis and Humkara from Vajravali:







So it suddenly spits out a major Varahi in Yellow for no reason. It would be a frivolity, an excuse to use more paint, unless the meaning of the Families is applied to the colors. But with proper use, Yellow makes both Cinnamasta and Higher Kamala, or that Golden Lakshmi who is a sort of tantric reversal where it is no longer entering the inner state, but expanding it.


This comes before Six Chakravartins in the Vajravali set; the following four Vajramritas have never been found. How this deity became apparently male after Vajramrita being the Sun Shakti in Sarvadurgati with Vajrakundali as the male, I am not sure. The male apparently is Humkara, or Vajrahumkara, due to using Vajrakundali mantra. Aside from other meanings, Humkara is likely the most important gesture to learn, with Vajra and Bell. If one had any ritual paraphernalia at all, it would be this. It is true that Bhutadamaru is probably a more powerful gesture, and that one is even weirder, trying to explain it would be nearly insane, it makes you say, Vajrapani, you are way out there, almost inconceivable.

Two almost identical assemblies of Six Chakravartins are known:














Cinnamasta is easy to find there.


Sotheby's had a white-centered Six Chakravartins which, to them, appears "random". That is just the lack of basic information saying Akshobya is "above". Their on-site image has highly zoomable detail; this is the thumbnail view:









The mandala can only match the sadhana because the sadhana says the forms are adjustable.

NSP describes Six Chakravartins starting with Vajrasattva on a white lion. Around the central couple are the Four Dakinis and Khandakapala, Mahakankala, Vikata, and Damstrin as gatekeepers. The other chapels just have couples as gatekeepers; their corner objects are Vases--Skullcups. It is a bit puzzling to find Amitabha and others subsumed there; but for instance Akshobya has Ratnavajra and Khandaroha, so these are the minor branchings of the nadis as used in Chakrasamvara Sacred Sites, where some names are repeated on their minor emanations. Amoghasiddhi has been described as able to operate four sub-mandalas in peaceful form; which is perhaps necessary because he contains Heruka, Padmanartesvara, Vairocana, and Vajrasattva.

The whole complex's gatekeepers are Kakasya, Ulukasya, Svanasya, Sukarasya, and the corners have the messengers Yamadahi, Yamaduti, Yamadamstri, Yamamathani. In Varahi Completion rites, this would be Amoghasiddhi's Samaya Chakra.

Tibetan Deities does not explain that retinue, but, this system is actually simpler than Pancha Daka or Five Family version which uses Gauris. This method iterates Chakrasamvara Sacred Sites as retinue deities, or as mandalas.

For Six Chakravartins, the action of Khandaroha is affirmed by both sources; and Guhyajnana and retinue are equivalent to the center chapel. Abhayakara Gupta was behind NSP and Vajravali, so, this is just assembling pieces from the same origin. That is normal. If I follow Shiva, the mantras and forms are separated in Kubjika and Satsaharanama. The versions of Six Chakravartins are slightly different; NSP has them on mounts, whereas the sadhana is mount-supported thrones.

In other words, the sadhana and the mandala may not even be the same lineage, they do not seem to be using the same forms, but the mechanics and the inner meaning is the same. And if the forms are stated to be variable, this is like Ziro Bhusana having "classes" of Dakinis: any specific form that is appropriate will work.

A student design of the basic formula was mistakenly filed as Chakrasamvara, but is really Six Chakravartins:








The NSP naming cycles makes Ratna and Lotus chapels Vajravarahi's Speech Mandala for her major form by Umapati. The difference with Varahi is that in her rite, this lotus is actually ruled by Tara; but here it is Amitabha as usual.

Ratna's chapel begins with Airavati, ‘descendant of goddess Iravati-Viraj’, and ends with Vajrahumkara with Surabhaski, Sura or Wine Enjoyer. The first is a feminized form of Indra's elephant; in fact he is the Laotian flag. Iravati is Rich in Cheer and an aspect of Viraj, while she enters roles of Household Fire and Cow of Plenty. In Vajradaka, their site is referred to as Kamarupa. Ankurika cannot be understood; possibly Ankus, plus karika, male elephant; or, ankurita is sprouted or born. Or, ankur-ika, first shoot.

Some of these deities are so obscure or local or ancient that nothing can be said about them. But from the locations and the Puranas, we are especially looking at Swayambhu Purana.

Speech Circle includes Khaganana in the fourth slot, who, at least there, is Red and Yellow Bird Face. Their Sacred Site is Himalaya, Mount Kailasa, Penis, and, the couple, Virupaksha and Khaganana, are important enough in Nepal to merit an entire subject in Japanese.

An old look at Swayambhu Purana says it is rich in details about Manjushri and Khaganana, and then brings up the Nagas and Cina. A Nepalese article on their importance of song and dance and using Bodhisattva Path to run welfare explains Khaganana as Guhyeshvari. A Nepalese critique of Circle of Bliss hints at why Bird Face is like a Penis God because bird face is suggestive shape of a clitoris. We simply lack a full Swayambhu Purana, but, a study of a major one indicates that Khaganana is the tantric goddess used to explain the Chakrasamvara--Varahi cult.

But actually in some old typewritten article about Nepal appears a translated Swayambhu P. where her first appearance is clearly named Guhyeshvari Khaganana who is Saffron Nine Faces Eighteen Arms, on a Lion in Pratyalidha. Her tunic is checkered. Her primary items are Bindu and Patra, which is a bowl, either begging or blood-filled. I am not sure how you hold a Bindu. These are human faces on this form. So recently, we could not tell if Bird Face meant Crow or Owl because it isn't either one, which is Guhyeshvari in a Tramen form of some kind of bird that looks like a clitoris.

Amitabha's chapel has in its final accomplishment spot, Virupaksha who is both a Naga and a King of Kamaloka, with Bird Face, who is Guhyeshvari, and this can be a penis and clitoris physically, while still being esoterically similar to "lingam" or striving. Virupaksha is thought of as a pre-Aryan--i. e. Naga or Kirat type of Shiva. Due to the strange name, capable of various interpretations, he is considered Shiva's third eye, or the fire from it; in Buddhism, his gaze is harmful, so he carries a stupa to focus on. He is in the West, or Varuna direction. Virupaksha's temple in Hampi uses the unusual technique of a pinhole to project an inverted shadow inside one of its neighbors.

Although older mandalas were based on "three" and Vajrayana Buddhism is thought of as originating the common five-fold mandala, Brhadaranyaka Upanisad III.9 describes the gods and their supports as occupying the centre and the four compass points: Agni occupies the centre, with Soma, Aditya, Yama, and Varuna occupying the north, east, south and west respectively. The list appears in a longish discussion between Yajnavalkya and Vidagdha Shakalya about how many gods there are. In our "format", it would be described as Agni with Aditya, Yama, Varuna, and Soma. This is only slightly different from Shiva's three eyes as Sun, Moon, and Fire.





Vajrasattva's Gatekeepers with Vairocana's chapel are the Mind Mandala, and Akshobya and Amoghasiddhi have the Body. In this case, Circle of Bliss does have a well-drawn write-up, and shows us that Khaganana is Guhyeshvari, the only thing in the list that gets a set of parentheses. The closest Prajna to her is Mamaki; but she is crowned by Amoghasiddhi; and so here, we have Vajra and Karma Families united in some way, Body Mandala, which originally was the sole property of Tathagata Family.

Six Chakravartins does not actually make that into a body mandala, but, its assembly is nothing other than the same parts. The sadhana does not make much sense if thought of as chakras, except in the way it gives Vajrasattva part of the Mind--Heart--Dharmakaya, as well as Bliss--Crown--Svabhavikakaya.

The sadhana says nothing about retinues, but says Vajrasattva emanates Akshobya, the source of the rest. Akshobya, or Body Manadala, begins with Erection, which is Mahabala and Cakravega, Joy, before Ratnavajra--Khandaroha, who are the Cathartic, Prasrabdhi. This is followed by Analysis of Doctrine, which is Hayagriva and Saundini; but this name has no particular meaning, the only word that has a common stem is saundaraya, or beauty, which as a verb, is to perform a drama. Then there is Akashagarbha with Cakravarmini: Chakra Clad in Armor, and they are mindfulness, or Smrti.

So, Six Chakravartins presents these as a deity aspect, not part of the body; they can be learned as entities before "applying" them in a Chakrasamvara rite.



The full tantra, similar to Sadhanamala, Heruka 241, is an expanded Paramadya retinue, having six families of twenty members, except Paramasva has twenty-two. Paramadya has no Paramasva Family; in Dakini Jala, he copies Heruka's family and adds two members. Because Paramasva is Accomplishment, the addition plausibly suggests Completion from a "Supreme Original" or Paramadya preliminary. 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. Anandagarbha's Heruka is Four Face Eight Arm, with Gauris and so forth. So this does run all the way to Hevajra level or is equivalent to one Hevajra or Heruka. The naming convention at this level is:

Heruka + Isvari, Vairocana + Locana, Vajrasurya + Mamaki, Padmanartesvara + Pandaravasini, Paramasva+ Tara, and Vajradhara + Samvari

Paramadya changes the Three Families of Kriya into Four; Paramasva or Amoghasiddhi must come in from somewhere; and so here we reach Six. Akshobya has managed to get overwritten by Vajradhara who sounds like he has the mistress of the rite.

Samvari is also mentioned in Vajrasattva's retinue; at first, this would sound like a female Chakrasamvara, but grueling looks at all possible Shakti Pithas gives:

Samvari Devi/Vimala Devi

Kuruksetra — Kubjika; Nila, x Prana (Siva — Sthanu) ; Prana (Aruneksanii, Ita-
Ueksaiia) ; Pltha (Daksinagulpha — Savitrl — Sthanu) ; Siva (Mahapltha ; —
Daksinagulpha — Samvari, Vimala — Samvarta) ; near Thanesar in
the eastern Punjab.

That one means, at Kurukshetra, Kubjika resides, and then the various Shiva/Shakti combinations said to function there. Right Ankle is home of Savitri. Right Ankle is Samvari, or Vimala and Samvarta.

Sam Vari is "full water" or high tide. Yet also appears to be Vimala as understood by Kubjika at Kurukshetra. She is also a Tamang Poultry Farmer who started Boudhanath Stupa in Nepal, is addressed as a Dakini in prayer, and even has her picture in a Lama Chopa article. She for some reason had Kasyapa's relics. There are multiple versions of the stupa's history, but these are the only real meanings of Samvari.

We can listen to Manasa Maha Mantra and get:

Namo Kasyapa Kanyayai

or, daughter of Kasyapa. I don't know exactly how a chicken lady came to have some or all of him, but, Kasyapa is generally considered Tortoise or the entire evolution of the planet up to human times. Where most other traditions have creation stories usually with floods and so forth, Buddhism pretty much loads it all onto Tortoise.




This Nepali Chakrasamvara in Krsnacharya tradition has a form to the upper left that suggests Vajradaka to me; but on the left of the top central figure is a rare Vajramrita with consort just a slightly lighter shade:








This Ngor Dhutaguna version from Lawapa or Kambalapada, Blanket Guru, has Yellow Cinnamasta:









This is one of the oldest existing ones from the 1100s. It is very close in style to the Seven Syllable Deity (also mistakenly called Chakrasamvara). It has a Blue--you can't really call her Cinnamasta yet--Trikaya Vajrayogini:









She is more or less between White Tara and Vasudhara, with Green Tara to the upper right. To the upper left is either Guhyajnana or "some kind" of Four Arm Red deity; too old to see if she has a sword.


Varuni--Khandaroha governs the outer-to-inner process which would evoke Guhyajnana and Seven Syllable Deity, who, himself, is the way or the only way to know Khaganana--Guhyeshvari--Adi Prajna; Khandaroha is Generation, Seven Syllable is Completion, Guhyeshvari is more like Perfection.

And so as taught in Rahasya and repeated from many authentic sources, especially at first, a four-fold rhythm is vital. Such as Four Activities and Four Initiations; elements of Form are always Four. This is the Square; symbol of Earth or Nirmana Chakra. We are not conquering the "dense element" or our mind interfacing with the solid state of matter, it is more like the opposite; Noumenally, it is taking over the earth plane. Or ruling manifestation from another abode, unearthly. Then what we mean by Yoga or Inner Fire is to bring this into the Three Channels, and, eventually, One Channel. We may not be entirely sure what a "Cinnamasta tantrika" is, but, it does seem to be intended as a correspondence to this practice, despite hardly being in any books or schools.

From those basic rhythms emerge the Four Chakras, Four Dakinis, Four Joys. This will not exist if you have used other means to force effects onto your subtle body. This is why you really cannot cheat with any of the information. It only works the way it says it works, and that's all it does. I would have to call it something like a skill; something like a Chinese acrobat theater with fireworks that does a brilliant performance without the slightest error. The gulf between feeling some inner heat and what this teaching describes is vast. In my experience, I think with Laya Yoga that I had something that Buddhism might call a first, single, or One Joy. But there were no resources to develop it; there was no praxis or Path, so to speak, beyond some inspiration. And then an attempt to fix the lack of training with Completion Stage rituals was not a remedy.

However, Guru Yoga with the slow modulation of Samayas and Yoga deities combined with the other symbolism in the teaching is reliable. We have to tune it now where Triangle attaches to Ziro Bhusana to Dakini Jala. That is why we do not simply copy the Vajrayogini process out of Circle of Bliss or other books. You can study it, but we are really only doing the first part, and mostly based on outer deities, in a transition to inner meaning in terms of Pranayama and Muttering.

With Ziro Bhusana, her description means that she would be like Akshobya chapel: Zenith or Above; Guhyajnana would be centered, similar to Vajrasattva. Then there would just be Four Dakinis. However, Ziro Bhusana attracts clouds of them; and so for example, whatever was in the Lotus section could gain an attendant or retinue and eventually do its own Four Activities in that Family. That is the difference--Vajrayogini is set to certain specific ways, but, Ziro Bhusana is just a broad definition with available use of whatever it needs. It is like a tutelary towards being able to do the very specific lineage practices.

This would confine Vam syllable to Vasudhara.

Vasudhara invites "Hum", Bhrkuti uses it to make Bhrum, which is Usnisa Vijaya, the pinnacle or accomplishment of mandala from Sambhogakaya, and the crown of Pitheshvari Tara. And she just returns us to the same Pitha definitions and chakras. So the Tara system holds more that is practically useful than the Completion Stage. The Vajradhatu has to be populated a certain way; Tara just follows a general scheme as you start to understand her.



Russia has something using Vajrasattva, Heruka, and Varahi Dakini Jala, and the Four Dakinis.



Introduction to Tantric Buddhism accepts the interpretation of navel as Manipura, that inner heat has many meanings but primarily as focused in Nirmana, and say:

goddess Locana in the
Nirmana-cakra represents universal compassion
(karuna), Mamakl represents
universal brotherhood ( maitri ) and concentration
(pranidhi), Pandara represents self-contentment
(mudita) and Tara represents absolute indifference
( upeksa ).

Or alternate summary. The author understands everything except why the chakras are not in 1-2-3 order, in other words, he cannot understand why Dharmakaya is in the heart instead of the throat. This is not linear, it is Noumenal. If I manage to activate Great Bliss in the fourth chakra, chances are, it is Ksara or unstable and will go away; Dharmakaya is much more vast. The Heart Center has more knots and the Indestructible Drop, and so it is, more or less, the chakra that takes time to blossom; and there are Six Chakravartins, or Chakra Turners, so Four is a provisional stage. Heart is Bodhi, has a lot to offer, takes a long time, compared to which, the rest of the subtle obstacles will fall like dominos.



136 Day-Night Tara emanates from Avalokiteshvara, and does have a crescent crown with Amitabha, just like in the song verse twelve, which it says to sing. This is one of few that specifically says to do so, and is the only one with this particular feature. It would be difficult to imagine this is not the one meant.

If anything, this song is the main exoteric rite to be done daily, or more than once daily. In almost any style, it ends on Marici, who has personally captured several of the Chakrasamvara aspects of Completion Stage, or is made of them.

[Peter UK]

Posted by TrumanCash (here)
I do not know if the Law of One or the Course in Miracles is MKUltra or not. From my own experiences I came to the realization that most--and maybe all--of channeled material is created by the manipulative ETs, i.e., Anunnaki, Mantids, Grays, et al. I also think that some of these channeling programs are actually ET AI.

I observed firsthand how these channeled entities (whoever or whatever they are) create religions that divide people. I observed this in the Yelm, Washington area regarding JZ Knight's "Ramtha" (who went through a personality change) and Barbara Marciniak's "Pleiadians". There are many divisions in the "New Age" religion, which is Anunnaki-based.

The programming is what I call the "package deal". They deliver an attractive, sweet message that "feels good" while injecting disinformation into the mix. People buy into the whole package which then includes the disinformation. It is the disinformation that people take literally and that is what creates the divisiveness.

I found the above very interesting and probes a slightly different angle vis-a-vis Alice Bailey and what has previously been discussed.

One of the truly perplexing things about Alice Bailey's outpourings was the volume of material which seemed to have no end in sight and was systematically produced, that always bemused me because I couldn't account for it. There was always something machine like about it and in the light of the above and it's reference to either alien influence or more specifically ET AI, I think the possibility has to be considered.

[shaberon]

Paramadya and Dakini Jala


Paramadya has survived in only a few recensions, and we are not in any kind of a position where we are going to "do" it, but, what we want is its explanation of Vajrasattva and also Jewel Family. Both Paramadya and Dakini Jala refer to multiple mandalas and different forms of the deities, so it is a bit like talking about several things at once, but it stems from how Paramadya develops the fourth or Jewel Family, and then Dakini Jala grabs the rest.


Paramadya uses Three Paramitas.

It is physically beside Vajramrita Tantra in the canon, is considered Ratna or Qualities tantra, and the basis for Dakini Jala.

Here, a Five-pronged Vajra is the great reality of five secrets, five goddesses who are seals--mudra arising from the Body, Speech, and Mind of Mahavajradhara. The first "goddess" is Vajrasattva. Anandagarbha states the four goddesses bestow the Diadem Initiation of the Families: Ragavajra--Akshobya, Kilikila--Ratna, Vajrasmrti--Amitabha, and Kamesvari--Amoghasiddhi.

This is more commonly called Crown Initiation, which is second in the Kalachakra method. According to Mkhas-grub-je, it produces Usnisa Siraskata. At Buddha's Enlightenment, it was the last initiation before Abhisambodhi. People are not sure how to interpret siraskata, it is a Laksana or mark of perfection, which is not on Brahmanical Mahapurusa, but is a Buddhist feature, the Crown Protuberance, the Great Coronal Dome.

Although it may look like it is at different "degrees" according to which classification is used, it generally is about the same thing at the same place in the pattern. It has to do with being the recipient of a Five Buddha Crown.

Non-dual Blissful Vajrasattva uses Four Activities to develop Usnisa or Crown in a Buddhist manner, which is the mark of Jewel Family. Even if Jewel is not emphasized in the beginning, it becomes the definition of the crown center. Usnisa and Mahasukha Chakra are the same. The first, Usnisa--Tathagata Family, is perhaps its emanation or presence, Om-like, primal radiation, the second, Mahasukha or Jewel, being our use or recharging it with Amrita.


Vajrasattva becomes Androgyne because he is made of Prajna and Upaya into Great Bliss, Mahasukha.

Mahasukha Vajrasattva is incorporated into Sadhanamala's Six Syllable Avalokiteshvara 6 and 12, and, moreover, along with Four Activities in the mantra. As explained in a Rime' view, this produces Surata Mudra or Seal of Exquisite Bliss, which is the explicit statement of this mantra--which is really a Mahavidya.

This is a standard Avalokiteshvara with Manidhara and Sadaksari, who, "likewise, is on another lotus" (aparapadmastham), although the lotuses did not seem to make it to Tibet. It is based on Emptiness Mantra, Six Syllable, and Hundred Syllable; the Mahavidya or Adhisthana Mantra adds the Mahasukha part.

oṃ mahāsukha vajrasattva jaḥ huṃ vaṃ hoḥ suratas tvaṃ alalalalahoḥ aḥ aḥ aḥ aḥ

and when combined with sva- or self, Svadisthana, it is not necessarily so much the single chakra, but a stage of Self-blessing which is yogic and subsequent to outer purification.


That makes a total of one (one) exercise which is relatively exoteric and specifically adds a single esoteric principle on this subject. Vajrasattva cannot possibly avoid Lotus Family (Avalokiteshvara) from a fairly early stage. Moreover, it is Sadaksari Mahavidya, the esoteric counterpart to one of the most famous mantras in the world, Om Manipadme Hum. It is not named for any Lokeshvara--he is just the central figure--and a Mahavidya is usually a feminine mantra considered to have its own transformative or revelatory effects when used properly. The goddess is able to become Yellow and do the unusual Virasana, complete kneeling similar to zazen. In Karanavyuha, they have a full mandala with Gatekeepers.

Therefor if you cannot feel what Nectar or Amrita is, then, this may be one of the best ways to seek it. Since manipadme is one word, JewelLotus, we see their respective retinues are the ones that combine into Speech Mandala in Chakrasamvara.

The Paramadya Tantra harnesses and converts the Tri-murti Hindu deities:

Pramoha, who, as we have seen, has the boar face of Visnu's Adivaraha incarnation, is invoked as Vajranarayani, Cauri as Vajracandesvari, and Ghasmari as Vajramahesvari.

Visnu, Rudra, and Brahma (Narayan, Candesvara, Padmodbhava) and their consorts Vajrasri, Vajragauri, and Vajratara, join
Akasagarbha and Khavajrini to form the retinue of Vajrasattva in the central section of the abridged Mandala of the Yogatantra Paramadya.

Illustrated History says that Prajnaparamita is considered to express eighteen mandalas, and the most important is Paramadya, or Vajrasattva Seventeen Deity, with a male-based version as used in Japan. The males are largely unfamiliar to me, except Kilikila is a common name with the female version.

In Precious Lives, Jamgon Kongtrul says Kilikila is a dakini who transmitted the eighty-four Mahasiddhas' teachings. Kilikila is noise or shouts of joy, as used in Samvarodaya, or in this copy. Visuddhi is the general process of replacing defilements with deities. The goddesses there are Rupa, Sabda, Gandha, Rasa, Lasya, Hasya, Gita, Nrtya. This basic stamp used various deities or names to transport the main seventeen Visuddhipada throughout tantra.

Prior to Union, Vajrasattva's consort is called Lasya, whom we understand as in Union with Seven Syllable Deity.

The Four Activites of Paramadya are the same as the deities in Five Mysteries of Shingon. They use the main portion of the same mantra. It is like an elaboration of the basic Avalokiteshvara just mentioned. Surata itself would generally mean intercourse for Radha-Krishna, or, generally by Tilo as well. He says enjoyment is not the problem: attachment is.

Non-attachment is extolled as Vairagya.

Raga or Attachment:

There is in the mind a gummy substance which is like a mixture of castor-oil, glue, gum-arabic, mucilage of tragacanth, gluten paste, honey, glycerin, jack-fruit's juice and all other pasty substances of this world. The mind is glued, as it were, to the objects of the world with this mixture...Jnanagni or fire of wisdom will consume all fruits of actions in toto.


In other words, working "for" something just makes watery poison. Jnanagni refers to working to expend one's best efforts with no regard for reward and so it does require Karma or Action.

It is possible the Dharmadhatu could at first arise as Knowledge, Existence, Emptiness, the Mind, and so forth, but the meaning of Lotus Family is that it must arise as Womb of Compassion, or Buddha Nature, Tathagatagarbha, Sugatagarbha, and other names. This produces Karuna, or Compassionate Means, a form of Upaya, or virtuous action. It is precisely these Means which generate Bliss and start melting the glue with Jnanagni.

Fortunately, Lotus is replete with manifestations.

Pandara is full of attachment; her Nirmanakaya is Mandarava:








Om hrih vam jnana dakini mandarava ayu siddhi ja hum


Mandarava is also known as Machik Drubpai Gyalmo and Pandaravasini.

In the thirty-eight chapters of this revelation [‘The Lives and Liberation of Princess Mandarava‘ is a treasure of Padmasambhava], one comes to know a nirmanakaya (emanated manifestation) dakini who chose numerous times to enter the world as an aristocrat.

The purpose of this depiction is not to show us that only those of high status or wealth are fortunate enough to have such opportunities, but to reveal that Mandarava was able and willing to renounce that which is most difficult to renounce, namely attachment to the so-called pleasures of worldly life.

In each of her lifetimes, she unflaggingly forsakes fame and pleasures to work for the benefit of others through example and skillful means. Her abandonment of the temporary pleasures that steal away precious time and opportunities for spiritual development mirrors the struggles facing modern-day Dharma practitioners.



Mandarava is Pali for Sanskrit Mandara: the coral tree, Erythrina fulgens (considered also as one of the 5 celestial trees). The blossoms mentioned fall from the next world. This is found happening to Buddha for instance in Lotus Sutra ch. 16.








Five Trees have a habit of showing up in Gnosticism, being something that some believe means Jesus spent time in India.

Later it is held she reincarnated as Siddharajni, a guru of Rechungpa for her long-life practice she obtained directly from Amitayus. Rechung and Tiphupa are tied to the story of Ra, or, the murderous yogi who ended in a stalemate with Nyan. Miranda Shaw writes of her.

When asked by Yeshe Tsogyal, Guru Rinpoche recalled the Lives of Mandarava. At one point:

From the five places of Pāṇḍarāvasinī, supreme consort of Amitāyus,

Light flooded the pure realms as the fivefold form of Dhātviśvarī, Queen of Space.

When she attained rainbow body, this is considered her becoming Guhyajnana. And her hypostasis at the end is Pandara in Sukhavati, Nartesvari in Khecari, and White Conch Medicine in Zahor.

So in Guru Rinpoche's time ca. 750 she was Mandarava, and in Sarma time ca. 1100 she was Siddharajni.

White Conch in Wisconsin appears to be a very valid Gelug retreat center; the Conch item is sound, once given to Buddha by Indra to represent right speech or Buddhadharma.

Mandarava is also said to be Body, or, the first of Guru Rinpoche's Five Consorts who are Five Families or aspects of Varahi.

Form is Sambhoga and Nirmana kayas; and so hers are the wrathfuls Simhamukha and Jnana Dakini, or, alternately, Ziro Bhusana and Guhyajnana Dakini; a peaceful example is Mahasri and Bhrkuti. None of that just "sits" in Lotus Family saying it is everything, it uses Five Families, it climbs to Accomplishment, which is why a Karma Family Tara has to be attached.



I am not sure how many mandalas Paramadya actually contains; one of its more complex forms, a retinue of twenty, is passed to the characters of Dakini Jala. It is generally Eight Offering Goddesses and Four Gatekeepers, along with a ring of eight that is unique to each individual. However, Dakini Jala may also start with simpler forms and smaller retinues. But what it is looking for is Mahasukha Vajrasattva and Four Activities, the basis of recurring initiation cycles. This is indispensible from the beginning of its Rahasya or esoteric explanation.


The reason Dakini Jala is not arranged as Body/Speech/Mind is because instead, it is the standard Ten Paramitas:

"...the twenty-four holy sites are grouped into six lineages and the first six of
the ten spiritual stages [Bhumis] are assigned 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."

They are not related to worldly sites, but to Atma Pitha and so forth.

It gives the six Bhumis, then, Acala is a divider to the four magical females such as Lama, Khandaroha, Dharmamegha, and Rupini.

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.



So to get any real use of it, one must study the first Paramita in all its tantric aspects. All of its theories and systems here go into the crucible to become the actual thing. There becomes a system of Prajnaparamita or Six Paramitas as Six Families, with the remainder being a definable, if abstract and magical, entity. Then suddenly the Prajnaparamita deity is at the far end of something majestic completed by Amoghasiddhi or Visvadaka, Abhimukhi Bhumi.

It can be done, roughly, with Vajrasattva and any authentic style of Four Activities, with any Yidam for Tri-kaya. In the full Chakrasamvara, that all becomes one deity interlaced into the physical body, but in Yoga, it is something like a handful of routines. We might carefully move to one chakra.

That chakra becomes governed by Locana, which causes yoginis to move. It is hard to pin down, but, in the "two additional families", there is a type of flow between Jewel and Vajra, and then a type of echo from Vajra to Karma. It is Buddhist esotericism because Vajra has taken command of the explaining, and if that is not enough, he has taken command of the whole Hindu universe.

The mystical movement is shown by the goddess because she is the experience.

Mamaki and Vajradhatishvari do various maneuvers. Pratisara is something more than a Protector. Vilasini seems to be in Jewel Family. There is a Yellow Vajrayogini that is not mentioned much, who is the basis of Cinnamasta. There is a Yellow Vajrabhairavi that emerges for the retinue of Seven Syllable deity. Jewel and Yellow seem to have a very concealed/revealed nature, of things that are self-secret, of the treasure of the unknown or Yaksha or subterranean kingdom or i. e., in the body. Because this is after or more subtle than the Dakini kingdom, one typically turns to a Red Dakini first, Blue and White are not incredibly obscure, and Yellow is not generally known for anything.

But if you go back through it, she is an incredibly sly, entire outer-to-inner path if you think of Yellows or Jewel Family. For instance there is Yellow Janguli; she is an Akshobya emanation, but Yellow is more or less her ultimate or Vidya form where she becomes the only Tri-kaya goddess in the majority part of Sadhanamala. If we look at these gingerbread crumbs, there are really a whole lot of them, compared to the other varieties. Like Blue Tara would imply Wrathful Sarasvati, Ugra Tara, Mahacina, and Ekajata, and then you are about done, and those are all so similar, many people believe them to be identical. And overall, there is a minor amount of sadhana for them. And so most of the groups are not that big, but Yellow or Jewel is almost inexpressible without a long chain.

When one finds Ratna in Dakini Jala, Ratna's chapel begins with Airavati, ‘descendant of goddess Iravati-Viraj’, and ends with Vajrahumkara with Surabhaski, Sura or Wine Enjoyer. Almost as pure play, one name of Cow of Plenty is Surabhi; and this is Vak Viraj of whom HPB spoke much, and she specifically enters the Household, Ahavaniya, and Dakshina fires. Her additional names in Hinduism are rather indistinct; but Surabhi has to do with being fragrant, including spiritous liquor. Vrindaban is full of them; the Cow is either the source, or first product of, Ocean of Milk; is born from the Humkara or sound of Brahma, or from Kama; is the proper name for Kamadhenu; Surabhi lives in the seventh world beneath the earth i.e. Rasātala. And so if one might surmise her "descendant" could be Varuni, as in Samjna daughter of Samjna and so forth, the end of the circle gives us Wine Enjoyer, or Varuni, with Humkara, she lives at the core of the earth as the embodied radiance of Sesha--Ananta.

Om is primally radiated solar energy; Hum is it, at least mentally, reflected from the earth's core through our personal system of individual manifestation; and Ratna is certainly doing something with Vajra Family by accessing sound of Hum here.

If I had to conceive of a descendant of Cow of Plenty, it might turn out to be Cowherd Gopali; and then could we generalize that a good samaya to her could go through four stages and then manifest as Varuni, or discovery of nectar in one's self, yes I think it would work like that. This one chapel shows keeping Agni, Viraj, and Varuni, who will all be the same in Speech Mandala, and the "rank of the lesson" is not learning the material, it is living it. So this takes a Samaya and makes it a real Varuni or Nectar.

That is more or less the theme of Yoga, in taking the so-called theory and making it real in experience, especially as inner meaning.

There is a visible turning point which appears to mark the transition of "outer to inner" to "inner".

Here is a specific use of Yellow Varahi where it could have been someone else:

below (east) is white Moha Yamari embracing the consort black Carchika, to the left (south) is yellow Matsarya Yamari embracing the consort light yellow Varahi, above (west) is red Raga Yamari embracing the consort white Sarasvati. To the right (north) is green Irshya Yamari embracing the consort light green Gauri. In each of the four intermediate directions above a pink lotus is an initiation vase tied with a silk ribbon and topped with a skullcup.

This has been copied for all descriptions of Rakta Yamari. However, it is incomplete--it is also stuck on this one, which is prior to embracing, and it cannot possibly be true, since there is no Yellow Varahi--instead, someone, Mamaki-like, has been sent southwest:









This is this case on both mandalas that show this "state of affairs". However, on the ones that show Union, then you do get Yellow Varahi:








So the medieval art is fairly self-consistent with some kind of dark Mamaki-like delegate being turned yellow by intercourse, which, itself, is more like Bliss that is Aksara or stable and can withstand the feeling of death. It gives me the impression of something "sent" by Akshobya, which Ratna processes through an alchemy lab or a kaleidoscope to make many fine things. It visually compares to what was just explained about Humkara, the sound of Hum, which happens to be tied to possibly the most important mudra in Buddhism.


Vajrasattva is or creates Svabhavika Kaya because:

The yogin has no ‘own-being’ or ‘self-existence’ ( svabhava): it belongs to the adhideva or Knowledge Being (Ista Devata or Jnana Sattva).

And so we have to find what it means to conjoin our Vajrasattva to our Yidam. It has to make a deep Samaya through fourfold initiation.

Filed as "Vajrasattva", this appears to be the Peaceful version of Dakini Jala:









Guhyeshvari is considered "all of these goddesses", Hindu or Buddhist, and so for instance by propitiating Siddha Lakshmi, the Malla kings believed they were also dealing with Guhyeshvari. But to get closer and closer to her own name and form is Buddhist. It happens to be Saffron, like Manjuvajra, which, as reported in Lucifer, is used in water of Amitayus; is in the Amrita Vase; which is all described by The Monist as The Eucharist.

Amitayus is normally what you would get if you ask Buddhism about a Vase. He is most commonly used in Long Life Trinity, but also has a Nirmanakaya which has been called Orange, which is Rechung's version. But Rechung Lineage is almost an unfair name, as, the first human is Siddharajni.

Amitayus has limited application outside of the Trinity, which is here in China with Chakrasamvara in Sahaja or Heruka form, as well as a dominant Pratisara with--Pratisara, what are you doing with a White Conch?










This Bhutanese embroidery has him between Varahi and Simhamukha:







Jetari has a Five Families Amitayus, except Vairocana is gone, kicked out, and Lotus is doubled in the retinue, very much how Varuni--Khandaroha appears to work. Although Varuni is a gem or a jewel in her own right, when she goes to work, it is heavily with Lotus Family and Speech Mandala.

This seems to specifically originate in Sarvadurgati as Amitayus Speech Mandala. It does have a standard version, but this variety is rather strange:








A somewhat normal Amoghasiddhi type, perhaps Amritakundalin, is outside; in the north is someone Blue with a Crossed Vajra, someone green is east, it is all a bit altered.

Sarvadurgati does not have a very technical description, but, according to it, only a very simple group is with Bhrum-arising Amitayus:

in front/East, Vajrapani, Hrih; to the (presumably his) right/South is Akashagarbha, Tram; behind/West is Avalokiteshvara Abhayamdada, Ham; and left/North is Krodha, Trum. It should have five or eight vases with mantra of the Chakravartin (its name for Buddha Family), incense and the rest, and gatekeepers, and items blessed with "wrathful mantra for all the rites", presumably Amritakundalin (later, Amritakundalin mantra is called common in Three Families). Vidyas are to the left of their partners; in front is Sakyamuni, Vajradhara, or Avalokiteshvara. One recites Amitayus mantra, and Om Bhrum Svaha, etc. It aids in reaching the "other shore" of Prajnaparamita, defeats Mrtyu or untimely death, takes away the path of evil destinites and fear of samsara.

This comes right after the mandala converting Brahma, Vishnu, etc., and they offer their support in all these works.

It is followed by initiation of the pupils, and Vajradhara says he cannot really explain the intricacies of this mandala full of the power of all Tathagatas: meditate on its fruition. It is followed by Four Activities. Vajrapani is called Vajrasattva Samantabhadra, and Tathagata.

The final major mandala refers to Seven Families; it has more detail, and explains the Sun deities Vajrakundalin and Vajramrita as Red, with a Vajra and Lotus in their right hand, Sun disc and Lotus in the left. Vajrankusa and Vajramukhi have boar heads. Sarvadurgati conveys Seven Paramitas, the first six plus Aspiration.

At any rate, Speech Mandala does not focus on speech; there is little "my speech is poor because", or "help me learn how to talk better", and the main advice seems to be that boiling down all the meanings and visualising success is what works. Sarvadurgati seems to be dropping the mantric promises that say "this makes it rain" or "snakes can't hurt you", and instead has started referring them to inner conditions, which heavily purge the Bardo and Rebirth minds. It remains for the highest class of tantra to strengthen the Clear Light awareness.

This is extremely important; by far, the biggest challenge to Clear Light is not in learning about it or the practice, it is the arising of Karmic Wind. And that is what is being diminished here; it can barely go into words, it is very subtle, hard to tell if it is mental or physiological, so it is basically both. This stage is to clean it. Much like one's "personal" karma, it still happens, but is clarified of personal coloring, is not imputed with personality, and resorts to being formless with no effect.

So Sarvadurgati Speech Mandala and Guhyajnana Siddharajni Amitayus are the main prior applications of him aside from Long Life Trinity. From that point, it appears that most of the Lotus Family Bodhisattva Activity is done by Avalokiteshvara; and one of his most immediate abilities is to osmose Mahasukha Vajrasattva. If I follow Yoga and Guhyajnana starts making sense, the procedure will aim us into Lotus Family Speech Mandala. A very detailed chronology of Sanskrit Buddhism imported to China shows that one of the earliest translations in the 500s was Six Syllable, Amitayus, and Marici.

Sarvadurgati clearly uses the basis of Tri-kaya or Tri-samadhi with Seven Families. Janguli uses Tri-Kaya with Seven Rays, sort of, they are not really rays with her. She is preparatory for Krsna Yamari, or, a full death rite that Sarvadurgati could be considered preparatory for, since it is about cleansing and becoming aware of the planes. Sarvadurgati is based on Maha Vairocana; Janguli appears to be an Akshobya equivalent. She has Bhrkuti with her, and brings in Shrnkala, an Amoghasiddhi goddess who is a samadhi chain to Hevajra. Vajrapani with Eight Naga Kings that is in Sarvadurgati is a quite close male complement to her. Janguli seems to vanish into the Underworld when her turn is over. Or, by definition, she is not a Completion Stage Yidam. She is Manasa; a representation that outer practices are being converted to purely interior and mental versions. She is Matangi; a blend of inner sound and nectar.

If we review Davidson's translation of her from Krsna Yamari:


So now, I will pronounce the ritual meditation on the Noble JaNguli. By
merely visualizing her, one could cross over water.

Visualize her with three faces, and six arms. She is yellow, and forms
from the seed mantra Phuh. She holds a snake in her hands and is of enormous form. She loves to ride on her peacock vehicle. To the east, paint Mayuri, with Bhrkuti to the south. To her west is Parnasabari, and VajrasrNkhala to the north.

Peacock feathers, a gourd, a branch and a chain—visualize these (for the other goddesses) and their colors: yellow, red, dark, and blue. The intelligent one will visualize them thus, and recite the mantra:

om phuh jah


Place (visualize) Mudgara, etc., at the doors (in the cardinal directions) and Puspa, etc., in the intermediate directions. Then, by the Noble JaNguli yoga, you can always cross over water.

She removes poison; water poison comes from Tamas. Jnanagni is what obliterates these substances from the aura. So Janguli is a precursor or inspiration for Jnanagni. In referring to Janguli, it is possible that as early as 1917, an English speaker has figured out the "Tara series" is intended to emanate "He of Seven Syllables".

A study from Cambridge associates Parnasabari with Sitala, "She who cools" (breaks fever or Jvara), the wrathful form of Katyayani, who sometimes carries a cluster of medicinal Neem; on Wiki, she is at least found in Buddhism as an attendant to Parnasabari. She is the cause and cure of diseases and ghouls.

Parnasabari is more powerful than Janguli, and yes, Pisaci or Tramen is like this, the cause and the cure of maladies through Asta Vijnana or the consciousnesses. Those people who consider these deities to be Protectors have not got the full story; Janguli is a Mahavidya. Parnasabari legitimately shares Pandara's syllable Pam; she is born from nectar, Amrtodbhave; is over Janguli and "is" an Akshobya deity, except she emanates in Five Families. She must be something like the "last" outer deity; if she goes in Lotus Family as the source and cure of mental and physical diseases, this would seem to be a mental and physical gate to Pandara Bodhisattva. Passing it would seem to result in long life by default.

When she does enter Lotus, she appears with Avalokiteshvara, and changes Mahakarunika Dharani a little bit in order to say:

mahāsthāmaprāptāya

Which, in Manjushri Mulakalpa, is in a paragraph for Amitayus. The name is archaic and relatively rare, but is used about the same way in Dharani Samgraha.

The sense of this name is:

Sthama, strength or power, similar to bala and virya

Prapta, acquired, attained, arisen into

Namaḥ samantabuddhānāṃ, jaṃ jaṃ saḥ svāhā

Mahasthamaprapta is "usually" male (as in Surangama Sutra), "sometimes" female or changes into Kwan-yin. Of for example a Chinese male version, the Met says, "...the figure on the left, wearing the symbol of a vase, is Mahasthamaprapta. The latter bodhisattva...is not found as an independent icon in Buddhist texts and art. Instead, he is usually part of a triad that includes both Avalokiteshvara and the Buddha Amitabha..."

He is also in Prajnaparamita, and somehow also associated with Vajrapani. Compared to Manjushri--Wisdom, Avalokiteshvara--Compassion, Vajrapani may be considered Power. In Nepal, Vajrapani is depicted holding a vajra supported on a lotus with its stem held in the right hand while the left hand is shown in a posture of "charity and argument". His paintings are in white colour.

So it may be that Parnasabari 150 is invoking two Bodhisattvas, being herself the third, or more likely a gate thereto.

Mahasthamaprapta is addressed in China with:


HUM VAJRA PHAT

OM VAJRA CHANDA MAHA RO KHA NA HUM PHAT

Looks like Chanda Maharoshana to me, which is extremely fierce, and also very sexual. With consideration, this Parnasabari is perhaps from two Dhyanis, as her mantra uses Hrih Hum. It does not state her form, other than Arya Parnasabari Tara; it is a samaptam, meaning there is more to it. She for example has the only mention of Candali outside of Kurukulla and Nairatma. Pure Land Womb Realm or Garbhakosha assigns Avalokiteshvara several of the female names and seem to be unconcerned with how he or she manifests; so you get a Parnasabari Avalokiteshvara that looks male.

It is a bit strange, but on a set of Amoghapasha Dharanis, his main retinue is repeated on each page, but each page has a different pair of deities surrounding them. However, they are all other forms of Avalokiteshvara--except there is one Parnasabari. She is like a Concentration Hero in Yuthog Medicine Buddha.







TBRC has a half-Tibetan index of Deities of Tibet, and we see Red Parnasabari's primary item is Vajra, and she is crowned with Amitabha. Its articles are not as good as the book, but for instance, it informs us the Sanskrit name of Day/Night Tara is:

divasanta ratrikruddha tara

Mythology of All Races states that Parnasabari "is called" Pukkasi, Pisaci, and Gandhari. So if we are able to emend her mantra to the standard spelling, then Sadhanamala seems to be stating her in Five Families as:

Gauri Gandhari Candali Matangi Pukkasi

Although these seem to be of Vajra Family. It is hard to say. Parnasabari currently still rides along as a minor mention in cases where well-being and longevity prayers are requested for the ill. The main Yellow Parnasabari is Vajra Family. The Lotus/Vajra version is also called Namasyami, as is Brihaspati Sarasvati, Mrtyu Jaya Mahakala, and Lalita. It is not necessarily a name (also used by Marici, Kurukulla, etc.), but can be found possibly as nocturnal worship, or, generally, "salute".

148 is a Kharvari or pot-bellied demon:

kharvalambodarīṃ



and in 150, the two Bodhisattvas:

vāmane tvāṃ namasyāmi vāmane tvāṃ bhagavati

With the "e", it is probably closer to the verb of vomiting, otherwise it is close to vamana, or dwarf. It may, perhaps, be, "offering fire oblations". This is the only time this is done to a deity in Sadhanamala. It is not impossible they ejaculate her. Then, she specifically uses Noose and Axe; the noose may relate her to Amoghapasha. There is a similar word, nivarana, about the hindrances, but this Parnasabari is the only one in the book who is savarana, concealed, secret, if not closed shut.


You tell Parnasabari several "kurus":

This “kr" (“कृ”) dhaatu and “Bhu” (“भु”) dhaatu are the 2 most important dhaatu in Sanskrit where one should get familiar with all the verb forms of these 2 and also 20 gerund forms — approximately 500+ words.

The word “kuru" is nothing but the “lot-lakaara" (order or request tense/mood), “madhyama-purusha" (second person), “eka-vachana" (singular) “kriyaa padam” (verb) of the dhaatu “kr" (कृ).

Nirvignam kuru (do obstacle removal), Karma kuru (do the duty), Namaskaram kuru (do prostration), Bhojanam kuru (do eating), Vandanam kuru (do salutation) — all these sentences are some examples of request/order in Sanskrit conversations.

It is the same root as kri-, or Kriya.





Paramasva is described by Bhattacharya as an Akshobya emanation; he has four legs, and the faces of angry erotic sentiment, wrath, and Brahma (which is four faces), over which is a Green Horse Head. Also, his main item is Crossed Vajra. He fails to mention the third strange Parnasabari. The only male Amoghasiddhi emanation he suggests is Vajramrita; but seems not to be aware that Paramasva is an equivalent name for Amoghasiddhi in Yoga tantra and Dakini Jala.

Similarly, the only male Ratna is Jambhala.

In a very basic mandala description from The Great Chariot, Amritakundalin is the north gatekeeper with Amoghasiddhi. The gatekeeprs' consorts are described as:

Embracing these above four deities
Are Shemo, Gyaljema, Tamdrinmo, and Khyilma.

It may mean all deities, but seems to be mostly for the Gatekeepers:

They stir up the continuum a little so that it will unite.

Similarly, in the personal Vajrayogini saga, it is Indicized, and Amritakundalin of the north has Cauri for consort, they are the navel.

Robert Beer finds Blue Amritakundalin as the Dharmakaya face on a Phurba--Kila, which would generally indicate Vajra Family.

Originally, Amritakundalin comes from Vighnantaka which is Ganesh. In the roster, he usually comes after Hayagriva. In the full Agni Homa, we have the Horse Head Rite combined with something like Ganesh acquiring all the shaktis, but then really having nothing for himself, being cashed in for a type of sattva or samaya with the Sun. Tara is found to have quelled vighnantaka as a class, krodha-vighnantaka, near Mathura. A Nepali Vighnantaka description also shows him being used to shoo away Ganesh. The apparent paradox of a type of Ganesh being used to defeat Ganesh resembles Parnasabari as the source and cure of woes.

Amoghasiddhi makes a fair volume of Tara emanations; his only male form or forms are hardly independent at all, but are heavily tied to Vajra Family as per the Krodhas, and to Ratna by being used in Vajramrita Tantra. Tara is heavily tied to Lotus, as two virtually identical Green Taras are conceived as the source of Twenty-one Taras, from Amoghasiddhi as well as Lotus Family; and almost the same, Nyan's Six Limb Amoghasiddhi Tara has Two Arms and teaches the Six Yogas, but sometimes is translated as Six Arm. Amoghasiddhi has done something like cast a fishing line hard to detect, but if we get a good hold on the lure, it is Vajrashrnkala, which will zip us away to some other place, Sambhoga or Akanistha-based samadhi.

In Dakini Jala, Paramasva or Amoghasiddhi's basic retinue has goddesses of little notice, whose names mostly duplicate male names; Suvira can not be found as having any independent female existence. Mahavirya is a name of Sanjnya the wife of the sun; Chakravartini is a name of Lalita. With Kubjika, Mahabala is in the Soma Chakra, also known as Mahāmbikā according to the Ṣaṭsāhasra-saṃhitā...Each deity (including Mahābalā) is small, plump and large-bellied. They can assume any form at will, have sixteen arms each, and are all mounted on a different animal. This is all a bit vague or underwhelming, considering that they are shaktis of Dhyanis he houses.

In current Nepalese production, he is shown as a Laughing Buddha and Medicine Buddha. Himalayan Art concludes:

"The majority or paintings depicting Amoghasiddhi are predominantly understood within the context of dozens or hundreds of surrounding figures. These compositions belong to painting sets of five or more compositions that depict all of the deities described in the mandalas of the Vairochana, Tattvasamgraha or Sarvadurgati Parishodhana Tantras of the Charya and Yoga classifications of Tantric literature. The Yoga Tantras were popularized in Tibet by Rinchen Zangpo in the 11th century and have been maintained up to the present day primarily in the Sakya and Sakya related traditions such as Shalu, Gyantse and Jonang. In general the Charya and Yoga Tantras fell out of popularity in the 14th and 15th century and gave way primarily to the texts and rituals classified as Anuttarayoga of the Sarma Schools and the 'Revealed Treasure' Traditions of the Nyingma Schools."

But they are silent on how he landed under Seven Yellow Buddhas or who the Bodhisattvas are. In most compositions where he has attendants, there is a Yellow and a Multi-colored Bodhisattva. Circle of Bliss here has another useful article, based in the Yoga tantras, Visvakarman works through Amoghasiddhi. This Family attempts to offer Karmaparamita to Vairocana. They show an example of Ratna's "gift offering"; each Family makes an offering of a Paramita goddess to Vairocana, and he reciprocates with Offering Goddesses: Lasya to Akshobya, Pushpa to Ratna, Gita to Amitabha, and Nrtya to Amoghasiddhi. When the Offering Goddesses make their offerings, Vairocana gives "something" to the Gatekeepers. Paramasva is considered a form of Vajradhatu mandala in Namasangiti. In Dakini Jala, he gains the unusual companions Citra Padma and Citra Vajra. Citra generally means painting, or variegated color, but is also the top of the central channel at the brahmarandra or crown aperture, and is only another deity with Buddha Kapala, his consort. STTS uses four paramitas of the families.

Amoghasiddhi "is" Shiva, especially as Paramasva; of Shiva, little can really be said, and little can be done about or with Amoghasiddhi directly; he is mainly the success of a cycle or process, little else. Amitabha partially co-opts the Mahesvara name of Shiva, which can be found adjoined to Virupaksha, or western king. Paramasva has perhaps been confused for Hayagriva or an Akshobya emanation; but even for Completion Stage, Abhidanottara continues the Dakini Jala naming convention, using for example Padmanartesvara and Paramasva.

Ratna and Amoghasiddhi are capable of only the briefest of introductions; Ratna is found to employ Vajrasattva and Four Activities, and Amoghasiddhi is something like a perfection of it. The Yoga texts themselves are large and complicated, whereas a large number of Taras can perform most of it. There certainly is a big "scoop" of Yoga that has been left almost to whither; but this is what would be needed as an outsider with an interest in samadhi and little access to a full Sangha that can personally train one in Highest Yoga.

In Sarvadurgati, Amoghasiddhi is called Vikasita Kusuma. There are nine of those in a Bhu Devi verse. Vikasita has the meaning of fully expanded, as a blossom, and Kusuma is blossming. Because Vikasita is fully expanded, it comes up reflexively as a definition for Buddha. In this case it is not the color sita, but a blend of Vi Kas, to pervade, and to move, appear, or shine.

In Surangama mantra, just prior to Sitatapatra Pratyangira, it invokes:

Namo bhagavate ratna-kusuma-ketu-rājāya,

There is also an old triad comparable to Amitayus composed of Samantakusuma Tathāgata with Mañjuśrī and Susthitamati. Compared to the triads, Samantakusuma is transformed into Ratnasambhava and Śākyamuni, too, is replaced by Amoghasiddhi. Kusuma is found in Forbidden City.

In Sarvadurgati, Vairocana is Sarvavid or Omniscient, Akshobya is the Raja or king of the rite, Amitabha is Sakyamuni, and Ratna is Ratna Ketu, along with Vikasita Kusuma. So chronologically Kusuma appears at first to emerge in Ratna Family, and becomes full or Vikasita in Amoghasiddhi Family.

It seems fairly straightforward to accumulate families, starting from Manipadme, jewel lotus, then blossoming, and full bloom. You have to be pouring Nectar in; if Manjuvajra is Saffron, Sparsha can be Saffron; and there is Orange Guhyajnana, part of the Kagyu symbolic yoga:

(1) Jinasagara Avalokiteshvara. At the left side (right of Jinasagara) is a wrathful red (2) Hayagriva. On the right side is a four-armed orange (3) Guhya Jnana Dakini. Above Jinasagara is (4) Siddhirajni, an Indian female Tantric siddha, representing the lineage (usually Padmasambhava is depicted). Below the central Jinasagara is (5) Bernagchen Mahakala.

The five figures represent the (1) Ishtadevata (meditational deity) placed at the center. Representing wrathful deities is (2) Hayagriva on the proper right side of the Jinasagara. Representing the Dakinis is (3) Guhya Jnana on the left side. Representing the lineage Gurus is (4) Siddhirajni placed above. Representing the protectors is (5) Bernagchen placed below.

Siddharajni will point us to Orange Amitayus or Orange Guhyajnana, either way. I personally would probably not deal with Hayagriva or Mahakala without the empowerment. Because this is symbolic and fluidic, you could for instance replace them with Parnasabari and White Sri, who are more approachable. In one transmission of Guhyajnana, it recommends looking for a flow of orange-ish water. Guhyajnana is still addressed as Sambhogakaya in recent compositions even though it is really about Goma Devi. She has also been invoked with Vimala Guru. He would be thought of as Vimalamitra, an instructor and contemporary of Padmasambhava, thought to have gone to Wu Tai Shan in Mahacina, and to have handled the Dakini Jala by profound teaching in Jewel Family. The above Mahakala has to do with Jewel; Ekajata also protects it specifically. She is "very similar" to Mahacina Tara, who also is generally of the Mahacina culture in Assam, Kamarupa.


There apparently is a Wolf Head Medicine Buddha Dakini. I am not sure if this has anything to do with Ekajata.

[shaberon]

Posted by Peter UK (here)

I found the above very interesting and probes a slightly different angle vis-a-vis Alice Bailey and what has previously been discussed.

One of the truly perplexing things about Alice Bailey's outpourings was the volume of material which seemed to have no end in sight and was systematically produced, that always bemused me because I couldn't account for it. There was always something machine like about it and in the light of the above and it's reference to either alien influence or more specifically ET AI, I think the possibility has to be considered.

There was a thread possibly here on Avalon which stated Bailey's channeled Master is a "Velon", some type of ET. I personally claim relative ignorance in these matters. Buddhism accepts axiomatically that all worlds are inhabited, but, the only real commerce we discuss is almost the same as how Vaisnavas talk about Krishna on Vrindaban; in other words, these activities are all divine. The cosmology allows for no end of demonic tricksters, of which the Planets and Signs themselves may also be.

On the subject of "other beings", it seems they can basically be considered Tamed and Enlightened, or not. And in that sense, we would use an enlightened demon, but not an apparent holy angel. Most of the most powerful Devas are still worldly gods; they may be essentially immortal, but have not achieved liberation. They are still affected by Desire, whether for sense objects, or even mental desires like bliss or infinite consciousness.

"Twenty years' work" was planned, as an amanuensis, a psychic scribe. The whole thing smells too Jesuit to me to guess of any other source. But then, it could be reasoned, perhaps Jesuit is more knowledgeable about "Velon" than me. Either one, we will do whatever is needed to it. I think it is slightly after Bailey and more from Guy Ballard (1930s) that channeling, per se, became a "thing". That is the guy who really started harping on St. Germain.

[shaberon]

Horse Deities, Parasol, Vajramrita, basic Taras


Looking at deities from a premise of not turning to it until it, so to speak, forces its way in, or plants itself in the teaching, Hayagriva appears to do this if one uses Amitayus or Long Life. Hayagriva does not quite seem to have a standard personal consort, which has on occasion been suggested as Marici or a few others, and of course we expect Varahi to be used with Chakrasamvara, but he has her too. And so Hayagriva is also less of a static "is", and again looks like more of a "does" that involves some kind of process or formula, maybe his consorts are all loaners.

Hayagriva has a compound form with Vajrapani and Garuda. RG 121 Black or Green Amrita Kundalin is an Akshobya deity who is the essence of Vajrapani.

"Secret Accomplishment" Hayagriva has three horse heads; most of his forms are distinct and easily identifiable.

Marici in one case was said to have "gray-green" horses. In art, when Hayagriva has a consort, they generally call her Varahi. But usually it looks like he has a Green Horse Head and she has a Gray Boar Head. This is often the same from the most ancient examples with typically Red Varahi up to a Modern Nepalese that also has one of the few portrayals of One Eyed Ekajata:











If we look around, there is a persistent rumor that Hayagriva is with Marici. In some cases, his change of consort can be pinned to a mandala or sadhana, but in her case, no one seems to have specific evidence of that kind:

Hinduism has Lakshmi Hayagriva or, a Hayagriva with a small Bhu Devi on his knee. But they also consider him the horse of the rising sun, or life essence, which they attach to Marici as his shakti.

Jamgon Kongtrul: Hayagriva as Padmantaka embraces Bhrkuti

Wrathful Deities: Hayagriva in union with Shrnkala

Matam Ruta: Hayagriva and Varahi produce offspring

Statement: Three Headed Marici is the shakti of Hayagriva

Statement: Five Headed Sixteen Arm Hayagriva is with Marici

Statement: Hayagriva's shakti is Marici

Pharping Monastery shows Hayagriva or Palchen Tamdrin with consort.


Hayagriva's symbolic mandala uses a female triangle; but here in person, Amitayus is the uppermost figure, and repeats in four sub-mandalas:










Access of Amitayus will eventually involve Hayagriva. But out of a dozen Hayagriva forms, art is unable to detect Paramasva anywhere among them. Here is another example where Bhattacharya's definition of deities by color is likely wrong. There are numerous examples where a deity is blatantly not the color of its sire or Family. A red deity does not have to be in Lotus Family, and a horse feature does not mean it has to be Hayagriva.



Taranatha's Hayagriva 82 is like a simplified Paramasva, having a small horse head on each of his three heads, and subdues four dog-headed Shvana tramen. It means dog, bitch, and also sound in general; its most general combination svanavaikhari "dog voice" would be angry snarling. Dog Face shows up in other places, so, part of the purpose of Hayagriva must for some reason be handling Dog. Hayagriva's own horse head seems to refer to Horse Head Rite, i. e., it is artificial, like a surgery, and its original meaning would certainly be along the lines of immortality, which Buddhism can only "re-iterate" as Amitayus.

Even in quick sketches, Hayagriva always has a big wrathful head, and a small horse head like a ghona. Paramasva is not like that:








He is Red, but his primary item is Crossed Vajra. The name of Supreme Horseman does not exactly mean Horse Neck like Tamdrin--Hayagriva; there is even a "horse ears" Chakrasamvara Yogini, Haya-karna. Paramasva does not necessarily have a horse face, but, "an upper face distorted like a horse", which is not necessarily that different from Donkey Face Vajrapani.

Bhattacharya says that in Dharmadhatu Vagisvara mandala, Mahabala is called Paramasva. This is correct, in Ten Wrathful Ones, it uses Paramasva in the Vayu, northeast, or final direction of the horizontal trajectory. These Ten Wrathfuls have varying formats; Vajrakila places Mahabala in the Nadir, but Vajrabhairava and Hevajra place him eighth, where otherwise it may be Amritakundalin (who may instead be fifth).

Red Mahabala is an Akshobya deity; Green Mahabala is of Amitabha. And so we should not be too hasty, since it may not be the case that Mahabala "is" Paramasva, it may be he "is replaced by".

The DDV format is:

1, Yamantaka East
2, Prajnantaka South
3, Padmantaka West
4, Vighnantaka North
5. Trailokyavijaya Isana
6, Vajrajvalanalarka Agni
7. Herukavajra Nairttya
8. Paramasva Vayu
9. Usnisacakravarti Above
10. Sumbharaja Below


Asva generally is a noun, horse, but occasionally adjective, equestrian. In Vedas horse has deeper meaning. “It is an image of the great dynamic force of life, of the vital and nervous energy. It is a force, a figure of prāṇa, the universal life energy (prāṇāyāma is based on this principle)” and “he who knows the summit of intelligence of the horse, becomes illumined and fit for the sacrifice.” Asvamukha or Turanga Vaktra is a name for part-horse kinnara.

Paramasva is fairly obviously not "a horse", but again more like the Rider on the Winds of Brihadaranyaka Upanisad. No one else has Brahma's face, except for holding a severed one. Here again, DDV or Namasangiti has preserved something ancient and unique that seems to be forgotten in Tibet. The Nepalese song for DDV mandala uses the spelling Paramesa, which is Param Isa, this being Vishnu, Shiva, or a celestial sage. According to Panjara, Paramasva should be Amoghasiddhi of Pancha Daka. Genesis and Development of Tantra full text has Paramasva in Dakini Jala or Six Chakravartins.

Both are correct if we think Paramesa is Shiva and in a Paramasva role related to samadhi as cultivated by our goddesses.

Seems to me that calling him Hayagriva is a mistake. Hayagriva is either a separate one of the Ten Wrathfuls, or, without a horse head, would be Padmantaka; or they can over-write each other.

Herukavajra is Akshobya or Akshobyavajra. Vajra Jvala Anala is the fullest blaze in a mandala, but also an Akshobya deity. In many cases, the Ten Wrathfuls are all emanated by Akshobya.

In Chakrasamvara:

In the Paranirmitavasavartin [heaven] he disciplined crimi¬
nals as the Fierce One Trailokyavijaya; the obstacle demons
(vinayak) were disciplined in the Nirmanarati [heaven]
by the Fierce One Vajrajvalanalarka, in Tusita by Vajra-
garbha, in the Yama [heaven] by the Fierce One Vajra-
humkara, and on the peak of Sumeru by Vajrapani. Then
Mahavajradhara established himself as the manifestation
body Sri Heruka, who is inseparable from the Four Bodies
[of a buddha].

So that is actually a type of scale; Humkara is equivalent to the main, or Yama, death in Kamaloka; the "full blaze" burns up the fifth plane, Trailokyavijaya conquers the sixth, or completely purifies Kamaloka outside of Akanistha. It goes on to Nine Moods.

DDV then uses Paramasva, who we do not know if is intended to look like the standardized wrathful ones, or be less wrathful like the illustration, and does this resolve to the Dhyani Amoghasiddhi, who has almost no Bodhisattvas. Vajramrita 7 as given in NSP is a close match for Paramadya and Dakini Jala twenty-deity retinues; he has eight largely unique to himself, eight offering goddesses, and four gatekeepers--to the west being Hayarupa. This is the one at the Guimet who does not want to get a good picture of it.

It has been said that Prajnantaka in Vajrahumkara's mandala is Vajrakundali. Our NSP says in Vajramrita, Vajrakundali is the new name for Amritakundali; Analarka is Prajnantaka. Vajramrita's "old" style is similar to Hevajra, which has Humkara at the top, but this is not recognized. In the "old" format, Amritakundali is already substituted for Vighnantaka--but these are the same.

In Japan's Womb Realm Five Wisdom Kings, Amoghasiddhi is counted as Vajrayaksa:

Acala
Trilokavijaya
Kundali
Yamantaka
Vajrayaksa

This system would be difficult if we conclude the first three are the same. In Nyingma, Amoghasiddhi would generally be Vajrakilaya. In Vairocana Abhisambodhi, he is in the South, and has a name based on Kusuma or Samkusuma or fully-bloomed.



Capetadana or Yellow Slapping Aparajita with a worldly god holding her umbrella:



Pratyangira is the full Maha Sitatapatra, or else, a Six Arm Sword deity. Six Arm Sitatapatra Aparajita has no umbrella. Her most complex mandala using Ten Wrathful Ones is titled:

Arya Tatagataoshnisha Sitatapatra Nama Aparajita Pratyangira Mahavidyarajni

According to the actual Pratyangira Temple, she is also named Aparajita. She has an Eighteen Arm Lion Face form, and a Lion Chariot. In Hinduism, there is not a normal or human-faced Pratyangira. In Buddhism, there is not a Lion Face one. In the Dharani translation, she is Bhrkuti; Pandara; Arya Tara Mahabala, and:

Supreme Vajra Chain (rdo rje lu gu rgyud gzhan, presumably Shrnkala),

And Youthful Vajra, Female Knowledge-holder (rdo rje gzhon du rig ‘dzin ma, presumably Vidyadhari),

Holding the Golden Garland of the Vajra Family (Vajra Gaumari Kulandhari),

Lady Adorned With Saffron and Jewels (Kusumbha Ratna Cheva)


Tara seems to only be Mahabala such as on p. 56 of a comparison of Nepali and Khotanese manuscripts of Shurangama. In Vairocana Abhosambodhi, where the epithets of Vajrapani are distinct deities, Pandara is followed by male Mahabala and Hayagriva. Here also we find "Aparajita and Aparajita", and Manjushri's messengers Kesini, Upakesini, Citra, Vasumati, and Akarsani, a Wrathful Water Pandara. Some of the names and forms will make more sense if we can find out the "augmentation", since that cannot be simple Water, but must be Watery Fire. Vasumati is Mahalakshmi, and Citra is starting to make sense. Himalayan Art still only recognizes themale Aparajita, although they give it the female description, followed by images that clearly do not match.

Sadhanamala's Prasanna 114 is described as:

jagattrāṇāṃ mahābalām

World Protector of Great Strength (Tra, or protection syllable). It is more an adjective than a name, and is used this way in a few places; otherwise, male Mahabala can be found in Usnisa's retinue, and the female as a Sacred Site for Varahi. So in this case, the Sacred Site appears to be using a deity that only has one instance as a name of Parasol in Shurangama.

Here is another version of Parasol where arguably Amoghasiddhi is represented by another Vikasita Buddha. Sanskrit Buddhist Literature of Nepal has many good summaries, but not for this. In the Digital Sanskrit Canon, she is Vimala and Viraj, and is the only other thing to become Vikasita.

Pratyangira is the caster of Hero's March or Surangama samadhi. Tson Khapa uses Hero's March and Spring Drop or Vasanta Tilaka to emphasize the teaching that one who aspires the Ultimate does not neglect the beginning or Generation Stage.

Her name generally refers to being spawned by Angiras.

There are many tales of Rishi Angiras; the only explanation of his name seems to be:


Born in vāruṇi yajña by an oblation in the aṅgāra (fuel) from it, and hence the name. Agni therefore claimed him to be his son, and so Aṅgirasas became Āgneyas. Bhāradvājas and Gautamas belong to this line; performed penance at Amarakaṇṭaka, praised Soma and spoke on the śrāddha kalpa to his son Śaṃyu at Dāruvana. Married Surūpā, daughter of Marīci and had ten sons. That is a male Marici; Angiras is generally the father of Jupiter--Bhrihaspati. However we see a really close correspondence to the name Angaraka of Mars. Also Surupa is called daughter of Visvakarman. She is one of the eight wisdoms (vidyās) described in the ‘śrī-amṛtakuṇḍalin-utpatti’ of Vajramrita tantra and means "Well Formed".

The Vajramrita tantra is not the same as NSP retinue. What we can stitch together of the chapters and the Vidyas of the tantra:


The explainer or Bhagavan is called Vajrin, Vajrāmṛta, and Mahāsukha.

First chapter (guhyamaṇḍalakaraṇābhinaya-nirdeśa)


The first chapter begins, in the fashion of the ‘explanatory tantras’ (vyākhyātantra), by stating that the actual teachings have already been imparted; the Goddess (Devī) Māmakī then asks for insights on the means to achieve (sādhana) the supreme Nectar of the Vajra (vajrāmṛta) [...] Afterwards, the text describes the door-guardians (dvārapāla) and the eight Wisdoms (vidyā) [viz., Manojñā, etc.] which are located in the eight leaves of the lotus.


Manojna:

That captivates or gains the affections; lovely, beautiful, pleasing, agreeable; manas the mind or heart, jñā to know, to get.

1. Red arsenic. 2. Intoxicating liquor. 3. The daughter of a sovereign, a princess. Gandharva, Yaksini.

Saumya is also in chapter one. Saumya is the Moon or Mercury; gentle.

Second chapter (tattvayogajñāna-nirdeśa),
Third chapter (mantrotpatti-nirdeśa),
Fourth chapter (homavidhi-nirdeśa),
Fifth chapter (karmaprasara-nirdeśa),
Sixth chapter (vajrahūṃkārasādhana-nirdeśa),
Seventh chapter (geyanṛtyābhiṣekatattvāvabodha-nirdeśa),
Eighth chapter (śrī-herukotpatti-nirdeśa),

Vikaṭā (विकटा) refers to one of the eight wisdoms (vidyās) described in the ‘śrīheruka-utpatti’ chapter of the Vajrāmṛtatantra: one of the main and earliest Buddhist Yoginītantras. Chapter 8 contains the description of how to visualise Śrīheruka [...] The great Vajra-holder should summon the Glorious form of Heruka, who is devouring the Devas together with Indra, Brahmā, Viṣṇu, and Śiva. Then the text lists the eight Wisdoms (vidyā) [viz., Vikaṭā], [...], expounds the words that the practitioner has to mutter when he is pushed by these wisdoms [...].

Ugra is also in chapter eight. Vikata has meanings similar to Ugra, and others. She is a bit slippery. as the dictionary derives this usage: A female divinity peculiar to the Baud'dhas. E. vi implying separation or expansion, kaṭ to go or be. Similar to confusion about the word Vijnana: separate consciousness, or expanded consciousness. In this case, perhaps we still have a "separate reflection" or samaya being, that witnesses "fullness or expansion" as the jnana being. That is more or less how the mirror should work.


Ninth chapter (śrī-amṛtakuṇḍalyutpatti-nirdeśa),

Chapter 9 begins with the visualisation of Amṛtakuṇḍalin [...] The practitioner should visualize a sword in his hand; afterwards, he should visualize the eight Wisdoms [viz., Aprameyā] along with the door-guardians; eventually he should project the eight Wisdoms into the petals.

Aprameya (अप्रमेय).—a.

1) Immeasurable, unbounded, boundless;

2) That which cannot be properly ascertained, understood &c.; inscrutable, unfathomable (of person or thing);

3) Not to be proved or demonstrated (as Brahman).

Amrita is in chapter nine; Surupa; also, Varuna; it has the long mark over both letters a. I believe female Mahabala is written this same way, or at least has it at the end; seems to be feminine way of ending anything with a.

,
Tenth chapter (vetālasādhana-nirdeśa),
Eleventh chapter (pañcāmṛtasādhanopāya-nirdeśa)





We can find a White Amitayus with Red consort in several paintings.

RG 94 White Amitayus with Red Padma Kundali uses five chakras. In China's Womb Realm where they are oblivious to male or female of the deity, "he" is around Avalokiteshvara, and introduces the syllable Bram. Although the name does not quite appear in Laya Yoga, they talk about Chitrini, or what we called Chitra, and explain a type of pericarp, whereas the ordinary crown center points "down" or into the head, this one is upward, like Isana face of Shiva. They mean it as a nadi, nerve, or the whole sushumna, but the important part is the upwards tip.

The syllable is generally Mercury (bram brim braum) if using Nine Planets; otherwise, Jupiter if using Seven. The seeds are simply based on their first letter: Budha or Bhrihaspati. But in this instance, there is now a bit of Mercury that is like Bram Padmakundali and Brim Cintamani Tara.



So there has been a tumult of argument that Aparajita is a different entity from Sitatapatra and so forth. It seems to me a better case that they are different forms of the same Parasol goddess, who simply is able to shed her umbrella and turn yellow anyway. Aparajita is a specially-invoked partner of Bhu Devi, similar to any Earth Ritual promise. In this case, something like a Buddha-inspired Usnisa taking over the earth plane.

Then it follows that the distinct entity is White Tara; in other words, Sitatapatra Aparajita is not Sita or White Tara, because she is Pandara. White Tara may be emanated by Amitabha as a distinct entity, or by Akshobya as Prajnaparamita. The reason of saying Sita and Parasol are distinct means training in them polishes different aspects of existence. There is only one goddess, but, these phenomena of her are Aksara or stable, resolute. For instance, one could say that Sitatapatra enforces samadhi like a law, but does not, herself, explain Generation and Completion. And so if we say, Vajra Tara, does, then a powerful Parasol is required to make her work.

Because she does, if we overlook all of the well-known Seven Eyed Tara and Long Life Trinity, it is apparent White Tara must have been known differently in India. If a person does Kagyu, at least, then we use Prajnaparamita Heart Sutra pretty much immediately. If one looks at her main form with the deities and human lineages, Prajnaparamita begins in the Assembly as a Four Arm Three Eyed Yellow Akshobya deity, and reverts to an esoteric form, which is a basic two-eyed White Tara. Ramayana Sita is also accepted as White Tara. White Mahasri is a Peaceful Protector version. Then, for some reason, Nyan's White Tara fills a niche in a very basic progression of this deity as found in Sadhanamala.

The first two White Taras seem very meditative and peaceful and likely have two eyes if it is not found otherwise.

Mrtyuvancana 102-103 seems to have Varada and Utpala, meaning the wheel simply is "on" her chest. Bhattacharya uses the word "bears". She has Vajra Feet. Her name has to do with explaining, but is relatively well known as Cheating Death. Vancana if not specifically towards Death is Deceit or a mundane poison in Prajnaparamita. 112 is an extension of Mrtyuvancana, a samapta, or upadesa, advice, reasoning, possibly initiation, adding Emptiness Mantra, sunyata vajra svabhavatmako'ham, in other words is the beginning of an exchange of the devotee's hindrances for entering Voidness. She has the name, Sita Tara, equal to her own. A section is copied in all three Sadhanamala pieces:

'ryatārāṃ hṛdaye tasyāścakraṃ sitadyuti //
aṣṭakoṣṭhakam aṣṭābhir akṣaraiḥ paripūritam

Tasya appears to be "thrown upwards", or, this is a vertical wheel seen like the face of a clock, having eight quarters or treasuries, shining white, the eight syllables illuminating the eight fears. So it is quite similar to the Wheel item normal for Vairocana Family, common Buddhist symbol. The version in Tibetan Deities does not describe Tara having a wheel, only the Yogin, and it is a little different.


93 White Vajra Tara has Vajra Feet, Varada, and Utpala. She is not very complicated, mixing in a few basics like Four Brahmavihara, Emptiness Mantra, and Three Worlds. The rationale of her practice seems to be:

sarvasattvārthahetunā

Sarva Sattva (All Harmony) Artha (explanation or upadesa) Hetu (cause)

It is a Nagarjuna Tara, described much as Mrtyuvancana; although there is a white lotus base of her moon seat. Her characteristic is Shanti.

śrotavyaṃ parayā bhaktyā paṇḍitena mahātmanā

She gets a song of devotion as a Pandit Mahatma.

She places her syllable on a white heart moon disc, that of the yogi. It is Atyanyta or Endless Emptiness of Sukha Asana (enjoyable seat) Upavista (sitting near) which uses a ray of light to attract Bhattarika Vajra Tara via a plethora of lunar symbolism. She subsequentially uses:

svahṛdi sitam aṣṭāracakraṃ

an eight-spoke heart wheel which swiftly reflects eight syllables. It is not yet Ten Directions since the "Svaha" syllables are for Above and Below. So her form appears the same, and she has a similar wheel to Mrtyuvancana; or, here, it may be like in Tibetan deities, the wheel in one's own heart and adding "Ha" or "I".

These very simple White Taras: Ramayana Sita, Mrtyuvancana, and Vajra Tara are the basic White Taras in the Sanskrit system that appear to have been lost and replaced in Tibet by others. However, those are more or less her most basic or Samaya Being aspect. This special example of Vajra Tara is the basis for saying, she is a seed, who will bring more and more Taras, more parts of the system, and start integrating various mandala components, up to around Thirty-seven; and this, combined with a functional Quintessence, or Activities and Families as expressed by a retinue, becomes the major esoteric Vajra Tara. The Sadhanamala blends most of the "known or popular" deities with a few minor, obscure, or missing ones, but it is a fountain if not a volcano of Vajra Tara, Marici, and Ekajata.

A recent Kagyu transmssion begins with White Tara, having Taras of All Families, enabling you to use them all. It soon moves to 108 Names of Tara and has a Four Face Tara who Shakes the Three Worlds.


As her form acquires attributes, like Green Tara, White Tara is somewhat "split" between Amitabha and Amoghasiddhi.

Tibetan Deities 6, Nyan's Sita Tara, gains a third eye. She is an Amitabha deity who uses Hum and Bhrum and manifests the physical world as a palace of moon crystal. The book thinks she looks like Atisha's Tara, but Sakya seems to say three eyes. She uses Ten Syllable, and the White Tara mantra. It is not necessarily the ultimate, but for Generation Stage purposes, Bhrum is "the" syllable that seems worth meticulous assembly by Usnisa Vijaya. Obviously, these are related, and so this type of Tara would go right into Long Life Trinity if one would wish. Or, Day--Night Tara is an Amitabha deity--the only one in Rinjung Gyatsa with a Crescent on her head.

In Sadhanamala, the next two Sita Taras are Four and Six Arm Amoghasiddhi emanations with three eyes. Four Arm Sita may be with Mayuri and Marici. This is Ngor Sita. Both are really Sukla or Moonlight.

Chapter Eleven translates that Six Arm Sukla Tara's crown is not dhyanis or skulls, just five severed heads. In Sadhanamala, it is made of "munda". This seems to be the only one in the book; Marici has a Pancamunda Mala or Garland. There are only a few more "munda" implements ever seen. Usually, as with the prior Four Arm Sitatara, it is Pancatathagata crown, Five Buddhas. The skull is usually kapala or kapala ziro, for Emptiness; munda are fresh wet heads, or, the elimination of defilements. Sadhanamala uses munda a limited number of times, versus kapala which is five times as frequent.

This is a Gelug Seven Eye Tara, but somehow they seem to have brought in Six Arm White Tara on the lower right. It is nearly identical to the Sadhanamala version, with two distinct flowers, although Sukla should be in Ardhaparyanka, have a Rosary on her raised hand, and a different crown:








We find her to be noteworthy because her task is to sit in the Cemeteries and cast a Fence; she is a transit or parallel to Acala and Animitta or Yoga Without Signs.

For her pose, Nisanna usually means "seated, sitting", although it could mean "upon"; what she does is:

ardhaparyaṅkaniṣaṇṇāṃ candrāsanacandraprabhāṃ

which apparently moves to Candra Asana or "moon pose", but there does not seem to be one of these, other than the Crescent,
Ardha Candrasana. Asana can however just be "seat", and, this phrase is common to many deities. Bhattacharya translates it "on the moon"; but he says she sits in ardhaparyanka. He explains:

The Asana prescribed in the Sadhana is the Ardhaparyanka. This
Asana may have two varieties ; the ordinary, which is also called the
Maharajalila, as in the cases of Vaglsvara and Simhanada, and the dancing
variety, (ardhaparyankena natyastha) as in the cases of Heruka,
Vajravarahi and others.

Ardhaparyanka becomes a "variety" of postures, and includes the sitting at ease, or normal Tara pose with one leg out.

The Crescent is her major feature:

ardhacandrakṛtaśekharāṃ

Sekhara means "crest", or, the crescent moon is the peak of her crown. Marici has Buddha, some others have Amitabha or a skull, she is the only one with Crescent Moon at the summit. Bhattacharya's student sketch also failed to do her crown properly, and it was done specifically to demonstrate her. So she's still out her headgear, which shows transformation of five skandhas under Amoghasiddhi under the Crescent. So this is also a close parallel to a Wrathful version of the Crescent as used by Varuni. She is like a halfway point in two dimensions, so to speak, the whole Ground or flat plane, with at least four directions and a few other things installed and accomplished with it. Almost every other wrathful practice is going to use a dark or angry looking deity; Sukla seems to be a calm, cool moon in the middle of the entire wrathful cosmos. She has semi-wrathful features of a third eye, dreadfalls, and some severed heads, but no terrible aspects to her appearance, and is a Bhagavati. Not everything on the page is accurate, but Himalayan Art equates Peaceful mainly with Bhagavati, in the way that Wrathful is mainly Dakini.

Four Arm Sita in the picture is not quite the Ngor version, and it is not Cunda or Janguli. Like Parasol, these have white forms, but each is a separate experience, so they are not called or do not work like Sita.


The series from Rinjung Lhantab shows the various lineages of White Tara; the site will grant Nyan some kind of equal stature with Tara: The lineages of practice arise predominantly from Jowo Atisha, Bari Lotsawa, Nyen Lotsawa and Shakyashri Bhadra. In the illustration, there is Nyan's Three Eyed Tara with ordinary creases in her palms, Two Eyed Tara with a small Tilaka, and Tara with Eyes in her palms:








As per the book, next is another similar White Tara, then Sarasvati, then Nyan's Six Yogas Amoghasiddhi Green Tara:








This Green Tara uses a multi-stage arising from Pam, like most of the Sadhanamala deities. The mechanism repeats itself in her heart, and invites Venerable Tara from Potala with Buddhas and Bodhisattvas. She uses Ten Syllable and a Tara version of Mahakarunika, and 108 names of Venerable Arya Tara. Here, Nyan's exercise has eliminated any confusion about Green Tara: there is a type of minor sattva samaya Tara, who is inviting a Sambhogakaya or Akanistha version, through activity and prowess in the Six Yogas.

Potala is taken as a name for the Dalai Lamas' area, as discussed in an article about Chohans (except they are not the "highest authority"). The article also explains a tradition of revelation by catalepsy or suspended animation.

Potala is the Pure Land of Avalokiteshvara and Tara. Its main theme is Sandalwood Forest, i. e. Khadira Tara and Mahasri are almost the same as the "two Taras" in Nyan's sadhana. Amoghasiddhi is Tara's guru from a prior universe; Avalokiteshvara conjured her into our world.

According to Bokhar Rinpoche, "...a pure land is attributed to Tara. It is a particular domain, called "Harmony of Turquoise Leaves."" So her real Akanistha is lush with vegetation, which is fairly unique; most of them are treasure and gems. And, since it is less about artistic creation that actually experiencing this state of being, Tara's Pure Land is described as experienced by yoginis who leave the body for a few days or a few weeks and experience the after death state (Bardo consciousness).

Despite it being a Tibetan experience of Tara, it is said the Sanskrit language is used there, both by trees, and Twenty-one Taras song. That is bizarre, we can find troves of the song in Tibetan, one would think it would be difficult for a Tibetan to even find this in Sanskrit, but she says it is that way in the actual Pure Land. The celestial form is a simple Khadira or Mahasri blue-green Tara. She is "sister of the Bodhisattvas", i. e., Sambhogakaya. So the article reads a lot like praise and sadhanas and so forth, but, is the real "out of body" experience as attested by a Gelungma ca. 1925.

I cannot say much about Cinnamasta cult in this regard, and we cannot directly train her, but this type of Tara, we can. It is stable, Aksara, or works the same now as it did when first reported over a thousand years ago. That is why it may be claimed the meditative techniques as described are effective as they are.

There are, of course, other Pure Lands, such as may not be visible until the Eighth Bhumi. This one happens by shifting Nyan's sadhana from outer to inner to occult. Because the Pure Land has much Five Colored Light, we know it may not be as simple as one monochromatic Tara to do it, and especially since Twenty-one forms remain important. Hence the metaphors of "separate projections", a mirror, and so forth. We make a mental image of her that is not really the real thing, but does, so to speak, invite the actual permanent or pure one.

If you know how to read it, this Chinese version--which is similar to Salvador Dali's Metamorphosis of Narcissus--could just be filed under Eight Fears, but is something far different. The person in the shed near the middle is of course dead, but, this is simultaneously a meditation guide, so, it is Bardo consciousness and the Tara copies are Eight Dissolutions of Death. In the soul's progress, he leaves his body, is harassed by a demon, invokes a Wrathful Protector, and then the demon converts and honors him. This takes place under a Sambhogakaya Tara. The soul goes through various scenes and wraps towards the upper left, where he finally passes a Lion and goes to Dharmakaya Tara:










This could also be filed under Eight Fears, but, what the site does not seem to recognize is that this is also a system of Twenty-one Taras:








More specifically, it is about Tarodbhava Kurukulla; those are mostly forms of Kurukulla in the upper portion, there are Vajrasarasvatis and a few others. But this is not a "system" of Twenty-one Taras like Atisha or Suryagupta. Someone has selectively tied together pieces of the teaching which are related. It is significantly into Completion Stage, so, we cannot really use it, but again see that if you stick to her original meaning, you cannot really go "wrong" with Tara's forms. Everything we have would simply feed into this version.

Tara in Warrior Pose or Pratyalidha is generally Mahacina, who must be considered an older, underlying, Blue Guhyajnana; Ekajata might do a reversed Warrior Pose, or Dance; Dancing Tara is generally otherwise Pitheshvari. Ekajata is caught by Amoghapasha along with Hayagriva. His retinue are all Lotus Family: two Lokeshvaras, Hayagriva, and Bhrikuti, except for Ekajata; this may make the tantric Maha Padma. Ekajata is the first Rakshasha to dispute Sita about accepting Ravana. She has a Hindu Rahasya and is adjoined to Akshobya, so again they have a pretty close copy of Buddhism. Her Wiki page calls her Blue beside a picture that is reddish-brown, which is also correct.

She is said to have Wolves for Messengers, and has a convoluted relationship with Lakshmi. According to Getty, in one of her previous lives, Sridevi was married to the King of the Demons (yaksas) in Ceylon (Sri Lanka). She vowed that she would convert them to the Dharma or wipe out the royal race. When she failed to interest her husband in the Dharma she 'flayed her son alive, drank his blood, and even ate his flesh'.

So they are demons, raw hunger and desire, which must be converted to Dharma, much as Parnasabari is the cause and cure of disease. And so if some of the deities are thought of as harming or even killing their followers, this would be correct. If you approach Parnasabari in a solemn manner and then turn around and contradict or violate her principles, it is the definition of how you, mentally, increase your susceptibility to disease. One would not want to directly perceive the real Parnasabari without the Six Arm Tara ability to sit calmly in all cemeteries and fence out interferers. If one were to slip under the non-wisdom or normal worldly activity of these "beings", there is nothing but destruction. It is not exactly a "being" because it has never not been present, just hidden.

Wisdom Library has updated Bhattacharya's image plates with many rare examples such as Gauris, Four Dakinis, and numerous Namasangiti deities from the set in Forbidden City, China. It includes Vetali. Alex Wayman encountered Vetali in Samputa Tantra as one of the eight forms of Jnana Dakini. There, since the elements are in "extraordinary" locations, he says they must be re-interpreted in a new way, such as Ambrosial Water. Compared to similar texts, he concludes, it is not really the individual seed syllables themselves that are important; the critical thing is to use them consistently as a set in a practice. So if we are able to find a Watery Fire Pandara in Vairocana Abhisambodhi, and then an Ambrosial Water Vetali here, it means that Vairocana and Jnana Dakini work differently. You wouldn't shuffle their parts or explanations. Vetali persists as a daily chant along with Ekajata (described as emanating wolves) in Kagyu-Nyingma fusion as translated by Nalanda Committee.

Similarly, one will quickly find the "Four Animal Faces" are not consistent from mandala to mandala. And so if Dog really does mean a thing which we are normally unconscious of, that has the potential to arise after death as a tormenting nightmare, and it is a strong point for Hayagriva, then one would not necessarily expect or fault another deity about it. The updated example was for Nairatma, who has Hayāsyā, Śūkarāsyā, Śvānāsyā, and Siṃhāsyā, Horse, Hog, Dog, Lion. So she "snuk" in some Varahi power by using a different word, Sukara. She has something of Hayagriva and Varahi and then somehow Dog has managed to kick Lion Face out of her usual spot, to the end. Sukarasya is also the Western gatekeeper for Twelve Arm Varahi.

They may have two or four arms. With two, they are like Naro Dakini with chopper, bowl, and staff. With four arms, they use attributes of regular gatekeepers. They may have an animal face, or, a human one, with an animal excrescence like Hayagriva and Varahi. The example however is Lion Face from Hevajra:

four-faced and four-armed, and as similar in appearance to Vajraghaṇṭā

and also called Simhavaktra.

She will, of course, resemble Vajraghanta when placed as an ordinary North Gatekeeper. But one should note the four faces. There is such a thing as Four Face Tara, and Four Lion Face Simhavaktra as the Bell, gnosis, possession, or accomplishment activity, or perhaps just Completion Stage.

[shaberon]

Yulokod and Khadira


The root of color means "concealed", and a major one is. Not invisible, but, mysteriously silent from description.

We are looking at a technical vocabulary problem for a color that could be in many tones. In the end, it will have a fairly simple explanation that is vital for Yoga in a Tara system. There are a few tangents, a bunch of deities have to sort themselves out, in pursuit of the missing color.

What is puzzling is that almost all, 90% or so, of Green Tara thangkas show her with Amitabha. But there are few if any sadhanas like this. In the case of Day-Night Tara, she is an Amitabha deity; and further, she is the only one who matches one of the few verses in the song that refers to form, even though no one seems to connect this. And none of those thangkas are said to be part of this form, which is rarely seen.

In Rinjung Gyatsa, Green and Blue-Green are different colors, for instance there will be Green Tam followed by Blue-Green Tara. I cannot tell what Tibetan words they use for the difference. But then if we keep looking, there is almost no such thing as Green Tara, let alone an Amitabha one. Part of this is the separation from the Three Families of Kriya into the total, which moves Tara from Amitabha to Amoghasiddhi.


RG Green Tara 3 uses a Tara-themed Mahakarunika dharani, but has no symbol or sire. Nyan's Tibetan Deities 9 is an Amoghasiddhi Tara that does a similar version of Mahakarunika. These are most likely the same; the first Green Tara in either book. Only Nyan's specifically also invites Venerable Tara from Potala. Since a specific color is not given for Potala Tara, one would be allowed to interpret it as Blue-Green, especially once we look at what a Potala or Khadira Tara is. Names of Tara is clearly about Potala Tara. Here is a fairly clean version of 108 Names, and one with a small amount of commentary. And so even here, you have to pick the 108, by maybe combining or splitting things. Hardly any of the names besides Ugra match any Taras, it sounds more Hindu. Rishi Agasthya is on one hand a discoverer of Ugra Tara, yet he is also important to Pothigai, and a damsel emanated from a garland of red lotuses. It is not an island, but in the bluish western Ghats, home to a pre-Dravidian people. And it does not look like the main habitat for khadira, however, if we look at Kani traditional medicine, they use seeds of khadira (Acacia Catechu) in toothpaste.

In Sadhanamala, Khadira Tara is Harita, a general term for green, or pale, leafy green, or yellow-green. The possibility that it may be something else is that Haritazmaka means turquoise (Asma being of stone), or emerald. The following Mahattari and other Arya Taras are Syama or dark. Dhanada and Shrnkala are Harita Syama; Mahasri is Syama. Mayuri, Janguli, Sitavati, Jaliniprabha, Karmavajri, and Parnasabari are Harita.

In some cases, the Harita deities are "like priyangu fruit", which is yellow; if not, the same word could mean emerald or turquoise; sulphate of copper or blue vitriol. Lexicon gives Haritasva as having reddish or bay horses, the Sun. Even Marici explains that Harita is a vague color, but means her greenish horses. Green Horse Marici is part of Maya Jala Tantra.

In Tibet, Green Vausudhara is "leaf green"; when this type of color is meant, it is obvious. Blue-green on an Ardhanishvar would mean the two halves of their body, and, on a lotus seat, would probably mean alternating petals. So in some cases, it would be two distinct colors, but in others, a mix.

The modern dictionary has no word for Blue-green, besides combining Harita and Nila. A blue or cyan lotus may be pale, or red, but isn't cyan or has no greenishness. Verdigris is Kamsyamala, which has nothing to do with Syama, but with Kamsya, bell-metal. There are even Buddhist Kamsya deities, but they are dark blue.

Blue-green says nothing about lightness or darkness; turquoise comes in all shades. The fact that Blue and Green are not distinguished in worldwide languages the way they are in English does not even mention a Blue-Green color. A typical Tibetan palette does not have it. It is, however, auspicious in China, where it is the Element Wood. In Tibet, it may be a Snow Lion's mane, or Jambhala's dragon, or for the hair topknot or dragon of Tekar Drozangma (a Tseringma attendant).

Sky-blue is synonymous with white, and nila or dark blue is midnight sky. In one view, turquoise is light blue and lapis is dark, even though they refer light blue to Akshobya and Medicine Buddha. Here, they realize he should be lapis, and that Tara should be honored with a turquoise rosary. A tiny statement on a crystal page says turquoise honors Tara and that she is blue-green.


Blue-green may be Emerald, but, commonly in the teachings, Blue Green is the turquoise color of Tara's Pure Land, which is still a khadira grove around Potala. "All kinds" of trees and flowers are there, so it is not monotonous, but mainly is blue-green.

The color is hard to narrowly define in Sadhanamala; in this case, some of the Tibetan descriptions seem to more specifically place a Bluish Green Tara with Amoghasiddhi:

RG 69 is Venerable Blue-Green Amoghasiddhi Eight Fears Kapali Tara, who lacks any skull symbolism, despite the name. It is the most basic Amoghasiddhi Tara, as Cintamani is for Yellow, Cunda for Red, all of whom use Ten Syllable Mantra. Cunda, however, is a Vairocana deity, most of her other forms being white. Red is at the foot of a khadira tree. Alice Getty says Cunda may be a Vajrasattva goddess, and, following Beale, says Four Arm Cunda is Red. Cunda is useful for Manjuvajra and Kurukulla. In Roll of Thunder from Void, she is consort of Mahabala. Here is some background about Red Tara in Lotus Family. But it is generally White Tara that starts in Lotus Family in general sadhanas. And then in Lotus Family, Bhrkuti is a White Tara, who appears completely peaceful in the Indian sources. Although the historical Princess Bhrkuti is thought to be a nirmanakaya of Green Tara, there is no Green Bhrkuti deity. Whenever it means "distorted face", there are more adjectives with it; the root word meaning "furrow" is rather strongly suggestive of Sita Vaideha's means of birth. The exception is if she moves to the center of Amoghapasha mandala, she becomes Blue-Green; along with that is Peaceful Bhrkuti drawn from the sadhana, and a scowling one that follows the interpretation. There, it even says "both legs relaxed" which would be Bhadrasana, but she has Vajra Feet. She remains yellow or white if in the retinue.

RG44 is Bari lineage Amoghapasha (Tibetan Deities 105 adds from Amoghapasha dharani), where Bhrkuti is a Pandara, but there are unusual crowns: Red Amoghapasha, Vairocana; Hayagriva, Ratnasambhava; Ekajata, Akshobya; White Bhrkuti, Amoghasiddhi (Tibetan Deities says off-white, dkar sam); the central White Lokeshvara looks at her; ; it also uses Lakshmi's Avalokiteshvara Stotra. We have recently seen the Amoghapasha Dharani written out with its retinue that manages to attach Parnasabari. 2002 Sanskrit from Chinese with attempted English from Indonesian. Short form:

OM AMOGHA SHILA SAMBHARA/ BHARA BHARA/ MAHA SHUDDHA SATTVA PADMA VIBHUSITA BHUJA/ DHARA DHARA SAMANTA/ AVALOKITE HUM PHAT SVAHA

According to Circle of Bliss, Amogapasha Sutra is seventeen chapters, and Bhrkuti is overall insignificant in iconography. According to Sakya in the 1400s, she has violated everything by turning an unusual color, even though she makes this an Amoghasiddhi mandala:









That means she has kicked a White Amitabha deity into the north final accomplishment spot. The beginning is a Red Vairocana Lokeshvara who uses Noose. Potalaka or Pothigai is in Tamil Nadu, and Lokeshvara with Tara and Bhrkuti has been found all the way in southern Kerala. In Nepal, Amoghapasha is the main tantric deity used to draw in the public. Ruthless Compassion also calls her Vimalajnana (?). This mandala would make no sense by any normal standard of colors and families. Bhrkuti is on the slopes of Potalaka, she is Nirmanakaya and therefor the preliminary stage of access. She is Peaceful with matted hair like Sukla. The related Ekajata-centered Amoghapasha is in worse condition, but also has Blue-Green Bhrkuti.

Here, much as the first activity, Hook, is corralled into Janguli and Manohara, this is the second activity, Noose. Its real use is an attempt to draw the public into influence of tantric deities. A decent deities article that starts with Prithvi goes on to have Kurukulla with a Noose of Lotuses. Yellow Janguli has a noose, as does Parnasabari. Also, Mantranusarani and Pratyangira, Dhvaja, Vidarani, Marici and attendants, Usnisa, Parasol, Pramardani, Four Arm Varahi, Cunda, Shrnkala, Gandhari, Vajra Tara, Pratisara, Slapping Aparajita, Prasanna, Sumbha, Sitavati, Durgottarini, Yellow Cauri.

In the case of Aparajita, Noose is her only item, since she is attended by worldly gods like Marici is, holding her umbrella. And so one of the rarest and most esoteric finds around Ratnagiri is that Buddha's Enlightenment is witnessed by Bhu or Prithvi as in the article just mentioned, as well as by Aparajita. If she is associated with Parasol, then she has a specifically Buddhist meaning as might not be found with the common images with only Bhu. The Noose or rather Snake Noose is the sole item of Sumbha--this is from the series where she is considered an extension of Four Activities, and Usnisa's item is a Discus (Chakra). Since Vajrapasi is already Noose, then it is basically doubled here.

Sumbha is semi-advanced and probably subsequent to Janguli, and so it would appear the most basic and universal Noose goddess is Aparajita, who, arguably, is Parasol and Pratyangira, who continue to have it. Kurukulla's Four Arm Yellow Aparajita is a Jewel deity with Staff, Hook, Noose, and Bell; Kurukulla is a Bhagavati (Peaceful) in this version that comes from Indrabhuti. RG 164 Two Arm Yellow Aparajita and Aparajita are crowned with Vairocana. They are Krodhanvita, Wrathful Indisputable, use Seven Historical Buddhas as a body mandala, and do a "swing recitation", which as far as I know means the mantric exchange during union. According to Jamgon Kongtrul, in Hevajra,


"...One then repeats the mantras of the different deities in the manner of the swing recitation (khyogs kyi bzlas pa) or the wheel recitation (’khor lo’i bzlas pa) (i.e., with the string of syllables of the mantra turning like a wheel, from the mouth of the consort to one’s mouth, from there to the secret place, and from there into the lotus of the consort, rising to her mouth, etc); in the manner of the ball recitation (gong bu’i bzlas pa) (by visualizing the syllables within a big ball of light, positioned on a sun disk at one’s heart); and in the manner of the pledge recitation (dam tshig gi bzlas pa) (imagining that the main figures and retinue are reciting the mantra at a slow pace) (a vajra recitation done silently and synchronized with the breath). This is the step called “mantra recitation” (a summary of Jalandhara...)"

In Great Bliss, different syllables might go the other way. But there is a type of spectrum from active sexual recitation to silent mental or Manasa Japa. For some reason, the distinctive Buddhist witness of Enlightenment is doing the same thing as in Karma Mudra or sex yoga. As she grows in power, with Kurukulla, she has all the usual activities items except Chain, which is Shrnkala, which appears to be the samadhi basis of entering Hevajra.

The three principal forms of Durga worshiped are Maha Durga, Chandika and Aparajita. Of these, Chandika has two forms called Chandi who is of the combined power and form of Saraswati, Lakshmi and Parvati and of Chamunda who is a form of Kali created by the goddess for killing demons Chanda and Munda. Maha Durga has three forms: Ugrachanda, Bhadrakali and Katyayani. Like Sita, Durga Aparajita emerges from the Earth and has to do with Purified Earth Element, which is what Sparsha or Touch moves to, leaving Amoghasiddhi and Air. Because she has a distinct origin, it may be more accurate to say that Parasol fuses to her, in the way that Tara and Lakshmi fuse to make Kurukulla.

RG 46 is Sakya Pandita's "row" version of Amoghapasha where Bhrkuti is red-yellow (Orange in Tibetan Deities). 48 is another type of deceptive Cakravarti Cintamani Lokeshvara--who has no wheel or jewel. All his retinue is Red; Bhrkuti is in the north, arising from Tam, with a Crossed Vajra and Water Pot. Mantricly, the main deity is Bharata; 52 is a solo version. 50 is Mitra's Secret Accomplishment Lokeshvara, who sneaks in Amitabha-crowned Guhyajnana as consort; she has a bowl, but instead of a chopper, a drum. They have the Four Dakinis, and many other deities, including Kurukulla; it also uses Lakshmi's Avalokiteshvara Stotra.

Bhrkuti has for some reason weaseled in this weird color she's not supposed to have, and, subsequently, there is barely any such thing as Amitabha Green Tara because they are all this kind.




RG 58 is Kashmiri Pandit's Blue-Green Tara who has Concentration Hero and is crowned by guru in aspect of Vajrasattva. This form is Tibetan Deities 134, said to come straight from Tara, but is crowned with Amoghasiddhi. 136 Day-Night Tara calls her peaceful aspect Blue-Green, even though she is a Lotus deity. 275 Suryagupta's Amoghasiddhi Tara is Blue-Green, intended to be the same as Khadira.



RG 67 is Blue-Green Amoghasiddhi Five Deity Tara with Pratisara, Marici, Varahi, and Ekajata as her Four Activities. The first two are peaceful, the others wrathful, all in Vajrasana or have Vajra Feet. She has kicked Vajra Family to the north, and the other deities are in their "alternate" families. All the retinue are three-eyed. It is a Nagarjuna Tara transmitted through Atisha.

Himalayan Art only refers to Blue-Green Four Arm Yakshi Tara. Yakshi pre-dates Buddhism, and is usually earthy or yellow. It has nothing really to say about this color. If we look at their page of Green Deities, the one that looks like an exception is actually Kalachakra Green Jambhala with Blue Vasudhara--and she certainly is not the plain blue of those below her. In one example, Green Jambhala is an Akshobya deity and the images are rather plainly blue. In another commercial example, they are not exactly lime green. Wiki recognizes Akshobya Green Jambhala and says he is blue-green; in that tradition, he is the chief; but in others, Amitabha White Jambhala is. In some cases, Black over-writes Green. Ironically, their source is the same art blog that says Green is an Amoghasiddhi deity and uses a blue picture. Tibetan Deities 321 equates Kalachakra Green Jambhala to Akshobyavajra.

Article on Wrathful Green Tara as Samaya Yogini. There, and in art generally, one can distinguish a green from a dark green Tara; but it is rare to be able to say she has a bluish sheen, or anything to do with Amoghasiddhi.

In the Khenri set of Suryagupta's system, this is the "additional" Green Tara or Khadira:







She looks pretty good but lacks Amoghasiddhi. In Sadhanamala, her companions are Jnana Sattvenas, with whom she is vyagra:

eagerly occupied with

And they are described as Digbhagam. In Agastya's terminology, this is South. The word is made from Dis and Bhaga. Dis and Ambara is Space Clothing, i. e. naked. The fuller sense of Dis is Ten Directions and explanation or making known. Digbhaga generally comes out as "in the direction of". As all Ten Directions in Space, it may be discerned by the Ear. Bhaga may be used to mean "a potion or direction", such as twelve portions of the sun and moon. Tara must be looking in two directions at once, or, she is concerned with the ebb and flow of solar and lunar phases.

If Blue-Green and Orange are opposites, there is nothing in the wording of Khadira's sadhana that would prevent one from using Blue-Green Khadira and Orange Marici. Although Fig Twig Marici is almost always Yellow, she perhaps is Orange in a Gelug version.

Receptacle of the Sacred visually finds Orange Kalpoktam Marici in their esoteric manuscript. The term used in Sadhanamala 134 is Gauri, which is primarily white. But she is also Turmeric, Kunkumena, Vermillion powder made into a Tikka with Mercury
and Lime. Similar Maricis may be Orange with Green Horses, or have a Boar's Head and drive Boars (mostly called Sukara).

This has a good article on Tara, Ashoka tree, and Nepalese craftsmanship, and uses different colors for Amoghasiddhi, Tara, and Samayayogini:







Also it has Dhanada, Three Eyed White Tara, Mahacina, and Vajra Tara.

With Amoghasiddhi and a bluish tint:









Almost blue:






















Green at least is not the same as vegetation:











Tara uses a certain color that has a special connection to a certain item.

Turquoise and Lamp were perhaps particularly combined in Tibet:

Padmasambhava first submitted Turquoise Lamp. Later, she appeared to Longchenpa. Part of her rant is that she is not just mantras and mandala imagery--she has always been a seamless part of his continuum.

She becomes Yudronma:







In this relatively recent vision, she used a Turquoise Mirror.


Gyu, pronouced Yu, is Tibetan for turquoise; green is jang ku. In Tibet, it is the most precious or most desired stone, everyone has it, seconded by red coral.


Vetali is also a genre of "stories told by corpses" purveyed by Nagarjuna. Ayurveda respects Nagarjuna as the founder of metals-based medicine, but nothing seems to bear special connection to the mineral, turquoise. Mercury or Rasa science tends to use other names for turquoise--but they are both Persian (for victory, or for Turkish stone). The Indic name is basically Harita Stone, which does make some sense; both are more of a "range" than a specific hue.

A 1961 pilgrimage to Tibet calls itself "Tales of the Turquoise".

Dipa Tara is a standard Offering Goddess, moved into the higher ranks of Nepal's Nine Bodhisattvas, Dhupa, Dipa, and Gandha--incense, lamp, perfume. In Pancha Daka, four goddesses of Light are named as Sūryahastā (sun holder), Dīpā, Ratnolkā, and Taḍitkarā (lightning maker). Vajra Tara's Dipa is Yellow, Pancha Daka's Dipa is Nila Blue, Kurukulla's Pradipa is Red. So these sadhanas don't say much about Blue-Green or Harita.

There is little difference between the words Dipa and Pradipa, although the first leans more towards an offering or ritual item, and the second tends to be used as "illumination", as in the titles of commentaries like Karma Pradipa. Just by letter extraction, the name, Pradipa, has the color Orange (Saffron) and the stone Turquoise. Buddhism did not invent orange as a solar or pranic color, but uses it on only a few deities; it perhaps is the opposite or compliment to turquoise. Darker blue is more opposite yellow, and green is more opposite red.

Yudronma may be particularly Tibetan, but Lamp is something more than only an offering.

Dakini Jala does not elaborate the Eight Dissolutions of Death, but uses five; it does Six Limb Yoga, and, at the Samadhi of this, are Five Dissolutions: Dhuma, Marici, Khadyota, Pradipa, and Nirabhra Gagana: smoke, mirage, fireflies, lamp, cloudless sky.

Sky is for subtle elements, after dissolving Earth into Water--Dhuma Smoke, Water into Fire--Marici Mirage, Fire into Air--Khadyota Fireflies, Air into Space--Pradipa Lamp. Pradipa Tara is with Kurukulla, who seems intent on making a Lamp of Five Nectars, and is in Hindu Tantra that uses Tara and Akshobya.

Pradipa can be described as dissolution into space, Akash, or ether, the deterioration of Amoghasiddhi's Samsara skandha. Physically, the first three stages were "weakening", and in this stage, a person would be considered physically dead. There is no sense of touch; they are flatlined. Bob Thurman says the fireflies are blue-green. The Lamp is really the coalescing adherence of all the fireflies into a big flame--and so if you did that, you would get a Turquoise Lamp.

In the Secret Doctrine of Yoga, Turquoise Lamp is like a cutoff point, defined as realization of its inner meaning. Beyond this is Completion Stage of Highest Yoga. The Lamp, potentially, could be other colors, but there is a reason or motive to get Turquoise. Khadyota alone is incomplete, is the left eye of manas, to which in Upanishadic Yoga must be merged with Buddhi. Lamp, itself, just leads to Sky or Space or the domain of manas.

Lamp is before the Gnosis of Voids, or Activities of the Red and White Drops. Or Lamp is made of these additional lights or wisdom lights. Tara's paradise has many rainbow lights. From here, initiation is in a Manokaya or Mayavirupa, provided one stabilizes Sambhogakaya and enters Dharmakaya.

Yoga of Pratyahara, or withdrawal, at first is likely to be accompanied by shimmering and hazy signs. As you dissolve form, or the four gross elements, you go to Turquoise Lamp. In a meditation, this would correspond to a Turquoise Forest and Deity. The fireflies or sparks may not start in this color; they must become "cooled", as Air replaces heat and activity, and eventually lets go of itself. At this time. an ordinary being might panic, thinking its body has burst into flames. This is like confronting the Queen of Space and Dharmadhatu, or Ekajata, on her own plane. If the Mamos are Pacified, it will be fine, and the Pure Land is coming up.

Guhyasamaja mandalas appear to portray this as Amoghasiddhi giving up Touch or Sparsha Vajra and eventually Air. Pancha Raksha mandala moves Sitavani from fire to air and turns her green. Sitavani or Cool Grove Cemetery suggests a peaceful resolution of Sukla Tara in all cemeteries.

In Kalachakra Sadanga Yoga, the four dissolutions are called "night yoga", or take place in an enclosed space or darkness. The four are in its mandala corners as described in NSP. Kalachakra starts the same, and then does its own thing.

Tara however quite closely conforms to the basic, universal understanding of death, as imported to Sadanga Yoga. She represents Amoghasiddhi-type Success because this Blue-Green form means the fires have been properly cooled and one becomes situated in Sambhogakaya.

Lion's Roar made a very basic Green Tara exercise that is really in the right direction. First of all it says to front-generate the deity, which is what we mean by "Yoga deity". It then says that Green Tara is blue-green, and the visualizations use this and turquoise. Further, it maintains the standard that Tara's light "fills you with Buddha qualities", or is about opening Buddha Nature, or Tathagata Garbha, etc., which is the real reason we do this; the ability to navigate death or the dissolution of form simply being a major art along the way. Tara characteristically opens Lotus Family and Speech Mandala.

Green is the most compound color, which takes all Five Activities to make, and then is described as unpeeling and melting into its components, as visual form is lost from the lower worlds. Although Yudronma is something of a localized White Sri, like Tseringma, we can find an inner meaning she emanates from, which is close to Dissolutions done properly and the Pure Land of Tara.




That's it for the color. Esoteric cooling and regulation of inner heat continues to mesh with the use of Agni.

Agni is a difficult subject, but, looking at the Homa, we would think it takes Hayagriva to really do it, along with White Tara and Amitayus. The main Three Fires would seem to be the Gnostic Lights or Voids. It correspondingly discusses pre-cosmic or formless conditions. Agni takes into consideration a "heatless white fire" of the sun, and that heat occurs due to rays striking the form elements on the planet, which leads to geological heating and cooling, and so on. So the lower aspect of the fires are really all related to water. So much so, that what has been called Electric Fire is really Ocean Fire, and, reciprocally, if one had any talent at magic, the electric Vajra generated in one's hand is also via Water.

Sitayana is an attempt to say Ramayana is about her; in any case, she definitely means a cooling aspect because is the daughter of Earth--Bhu who is immune to Fire--Agni due to Purity. The right name for her is Sita Vaideha which has a literal and an esoteric meaning.

The main fires are related to the three Gunas and Maya. The types of illusion are Maya, Yoga Maya, and Maha Maya: common maya, maya to devas, and maya to the human soul. The ordinary maya can be removed rather rapidly by spiritual practices; Maha Maya encompasses the Path, but on the other hand, deva maya does not seem to be a pursuit.

"Above" this triple group is Mahalakshmi, and "below" it are worldly, re-married goddesses, and so this level presumes we have dispensed with Form and are facing what is called the Three-in-One. Again with Buddhism, after emanating six or seven families, they are likewise condensed back into a trinity. The Hindu Puranic associations are:

Sarasvati, Rajas Guna, Primordial Sound. Pingala, Right Channel. Basic Maya related to form, which is more powerful in Kali Yug. Fire by Friction (mantra, Nirmanakaya). This is Bhutadi or the root of Ahamkara or the production of variety of elements.

Lakshmi is Sattva Guna, Watery Fire. Sushumna, Center, light. Mahamaya is the goddess that destroys the upholding of illusion. She is the one that creates and destroys maya. She is controlled by Yogmaya and hence subordinate to YogMaya and senior to Maya. She emerges as seven mothers. Lakshmi swells and Breaks Kushmanda, the cosmic egg, a re-telling of this trinity and its permutations.



Parvati, Solar Fire, is same as Yogmaya also known as Tamasi Devi, Ida, left channel, heat.

Solar Fire generates other fires upon being churned in the Arani (by Friction); this fire is taken from one place to another; this lord is known by the name Ayus (Aerial Flame).

Fixed Rtudhama Aerial Fire, or Sujyoti. Tara's first husband Brihaspati, Angirasa son of Angiras, Brahma Jyoti fire is also called Vasurdhama. In this case, Dhama seems to be to blow a fire. Audambari is "a place of Rtudhama", which is Odambari, poetic for jugglery, conjury, snake charming, Explained by readers of jñānēśvarī (Dnyaneshvari) by the word rākṣasīmāyā, or Maya of the Rakshashi class or black spirits, demons, Tamas.

Brihaspati is seven-rayed like the Sun. His sister is Yogasiddha, who marries the eighth Vasu, Prabha or light, and from them, Viswakarman is born. In Mahabharata, Yogasissha is the first woman.

Cool Forest of Brahma Jyotir Vasu: Swayambhunath Adi Buddha Brahma Jyotir Rupa is the full name of Nepal's main stupa. Vasu is Gold Water Kubera, with wife Angirasī (Yogasiddha), and son Viśvakarman. He is not even listed in Eight Vasus, but using those symbols, Agni is Yellow Manipura Chakra. So this is his seat of activity towards the body and we have given it Yellow Earth Fire of Dadhyan. Mahabarata names this Anala, meaning the Pavaki Fire in the stomach, also wind, and Krittika Lunar Mansion; father of Skanda by Svaha, and of Sanatkumara; also called Vasudeva. Ganga incarnates physically to give birth to physical vasus.

Search for Atharvan as Vital Air and enter Cool Forest, withdrawing the heat made from Ayus contacting Water. Light, heat, and moisture as we know them are from the blending of fires on our plane. We are unmixing them and going to Mother level Purified Elements. Ayus has to be restrained, if he detects mental suggestions of forms, he will arc across them producing karmic wind and distractions. Once stable in the cool forest with Sita Mahamaya Gauri we can offer the seed or grain (Dhumavati).

By using Dadhyan (Horse Head) and Jnanagni, stage one of the Gnostic Lights is present as Kubera--Mercury at Vasu Fixed Fire. Kubera is not Vaishravana or many others attributed to him, but is King Appearance.

In Tibetan he is called Dzam bha lha. Lord of the Hosts of Treasure; the Dharmadhatu is the Treasure Tower. In temples as a Door Guardian, he can be with Vasudhara Tara. Apparently, both literally and esoterically, Gatekeepers of Shamballah Chapel. She is Ganga, source of Eight Vasus in the Form Worlds. Vasudhara's earliest Nepalese depiction calls her Vasudhara of Kanchi.

Tamas in tantra is Black Void. I am not sure we really "illuminate" this; the intent seems to be to "hit it harder" in order to punch through to the fourth or Great Void, Prabhasvara, or Clear Light. Tamas, cosmically speaking, is Pralaya, and again following HPB, it is a question of spending these Seven Eternities in Paramartha, or absolute consciousness, versus collapsing with everything else that was destroyed.

[shaberon]

Noose, Kurukulla, and Turquoise


The male Noose is the publicly-performed Amoghapasha and there is not much question about him. The female Noose or Vajrapasi really has no basis or origin and is "just there", unlike the other Activity items, who have some fairly set correspondences. However, it only takes a brief consideration to find she is mostly identical to Aparajita, and no other goddess seems to come anywhere near as close.

Aparajita only does a few things in her own name, and, just as Marici Vajradhatvishvari is defined as a compound of multiple deities, we can find "different" Sitatapatra and Aparajita deities ram together in one name which is exceedingly odd since there is no Parasol present.

Sitatapatra Aparajita, who is three faced, six armed, and has three eyes in each of her faces. She is of white colour. Is a Vairocana deity, wrathful destroyer, but still a Bhagavati, i. e. basically pleasant with some angry features. This one has no trace of an umbrella. Basic Two Arm Sitatapatra has it; Two Arm Aparajita has a Noose and is being sheltered by an umbrella. These deities are different in origin but they seem destined to fuse. Sitatapatra Aparajita carries in her three right hands the Cakra, the goad and the bow, and in the three left the white Vajra, the arrow and the noose with the Tarjani.

Pratyangira is an advanced deity that has no less than Six Arms, who then appears to make this into a triple hybrid, Sitatapatra Aparajita Pratyangira. In her own name as Pratyangira, she has one face. She shows in her three right hands the sword, the goad, and the Varada mudra, and in her three left hands she holds the Tarjani with the noose against the chest, the red lotus and the trident; she originates from the syllable "Hum", bears the image of Aksobhya on her crown, is decked in all sorts of ornaments, and is young and beautiful. In Nepal, she is called Maha Pratyangira, also having a form with innumerable heads.

Hariti is a hook and noose goddess, and Sumbha uses noose, and so those are also the next increments or distribution of noose power.

The mysterious Padmavati is perhaps a Noose goddess.

Jain Padmavati in multiple forms mainly displays serpent and noose. Similar to Sumbha, or Varuna, or such a thing as a Serpent Noose.

In Buddhism, the name has more to do with chiliocosm:

“when the Buddha Śākyamuni transforms the Sahā universe, he gives it a resemblance (sādṛśya) to the Padmāvatī universe. This is why it is compared here to the Padmāvatī universe” (of Samantakusuma) or of a Devaputra at Buddha's Enlightenment, which can be seen as Emerging in Reverse Order, he descends through the planes of Kamaloka. Then he is on his way to Kashi. In Japan, this devaputra is in the heaven of the fourth dhyana, bodily cessation. To the Bodhgaya Enlightenment story, the addition of Aparajita with Bhu and Buddha is unique at Ellora as a southern site, but has also been found at Bodhgaya and East India.

The Transformed Saha Universe compares to Padmavati because other Pure Lands such as Sukhavati are weaker. Samantakusuma is then re-iterated as Samantabhadra. So it is roughly accurate to think of Pure Lands as appearing at various Bhumis. Buddha happened to be on the final one. If we can get on any Bhumis, we might be able to attain a lower-voltage experience of it.

Longchenpa refers to all the Dhyanis' Pure Lands and their Sambhogakaya appearance, and that each wisdom really has each other wisdom in its retinue; or each is a Quintessence able to let the others take center. That is basically how Dakini Jala works; it is not even "a" mandala, or even a "set" of mandalas, it is the syntax of how they all start, relate, and are able to change.


Aparajita entered Tibet in an unusual fashion, the part in Rinjung Gyatsa that, after anyone may have thought Cinnamasta was weird, this is really weird. Sakya Pandita brought several things to Tibet; a fair amount all come from the Indian Pandita Purnavajra.

Among its other members, Pandita Purnavajra's speech uses Cunda of the Dharani in her massive form found with Manjuvajra. Then the Vairocana Aparajita and Aparajita couple. Then White Hayagriva Play of the Supreme Horse with Ekajata, then Red Acala with Tummo ga je ma Candi having five dhyanis in five chakras, then Orange Marici with Green Hoses who makes the entire pavilion and net and an asoka grove. The two couples must be some of the most sexualized deities. Aparajita in her same Jewel-appearing basic yellow form is a Vairocana deity doing the Swing Recitation method from Vilasini which is also related to Jewel. The Hayagriva couple emits deities from the tips of their jewels, which means from their penis and clitoris. All of them do many other things, except Aparajita. She has this, and a small paragraph in Sadhanamala. She is super important and has almost no teaching. One would have to figure out her inner meaning, and see that she gets submerged in other deities, until ultimate enlightenment conjures her with Bhu. In other words, Buddha goes in his Mayavirupa to a Pure Land where there may be some more spectacular vision, and then simple Bhu and Aparajita are there upon return to earth.

How does lightning work...well activity over the surface of the earth causes friction, which makes an electrical charge in a cloud, and the earth simply makes a corresponding mirror charge underneath it. As far as we can tell, we cannot place a limit on how much "imaginary electricity" the earth can make in response to the atmosphere. Once the frictional charge becomes powerful enough, it breaks the air to touch the ground. And so if we were to say, Aparajita "is" Sitatapatra of a different origin, the first is a response from the earth in response to the second, which is a "frictional" or mantra-born cause above it, this is indeed a similar process. Vajra, or lightning, is the major explanation for a special earth goddess who will testify to an infinite flash of light produced by full Bodhi, the rainclouds of the cemeteries.

Tibetan Deities 268 then explains that Dhvajagrakeyura is Vetali. That is why they look mixed up in Rinjung Gyatsa, due to being the same. Solo Vetali is a four arm sword deity similar to Guhyajnana; she also uses a single-pronged vajra, and is black, where the previous was dark blue. So Vetali does continue along with Varnani or they are the Lunar Nerve conquered by Banner. One pointed vajras are rare but held by Ekajata and Turquoise Lamp in their Fleshless guises, or something close to that.





Like Cunda or Marici, Kurukulla is hardly ever shown sexually (none that I know of), although she is popular since she is considered a Love Goddess like Venus, whom, we would also say, is certainly not strictly or only this. Maybe it is a Maya of hers used to lure beings onto the Path. If I was trying to cast a love spell, I would be suspicious of some un-coupled deity in the midst of all the amourusness. But if I try to follow her inner meaning, it is something spectacular, which would have this effect towards all beings, and could only help a love interest as well.

White Kurukulla is an Amitabha deity; it is possible she does not come in other families. Sabara's Sukla Kurukulla 185 is a fairly simple White Four Arm Three Eyed Amitabha deity. White Kurukulla 180 is a multi-page explanation where she certainly has a lot to do with Vasya or Enchanting.







Bhattacharya translated a decent chunk of her samapta:



The worshipper should think himself as the goddess (Kurukulla),
who carries the rosary and the cup of Utpala full of nectar in the
right and left hands respectively. She is three- eyed and is offered
bathing water by (the Bodhisattvas) Padmapani and others, by all the
Tathagatas and the sixteen damsels beginning with Vina. She wears
the Jatamukuta which is decorated with various flowers and the
miniature figure of Amitabha. She displays the sentiment of passionate
love, and other sentiments, and turns slightly to have a look at the
rosary which she carries in her leaf-like hand. She sits on an animal
and rests on the nectar- like lap of the white lotus, that rises from
the ocean of milk. She is decked in bracelets, armlets, ear-rings,
anklets, pearl-necklace, and is clad in celestial garments. Her hair
is tied up by the serpent Ananta of blue colour, her necklace is formed
by the milk-coloured Vasuki, and her prominent ear-ornament
(Kundala) by red Taksaka, her sacred thread is the green Karkkotaka,
her girdle is the white Padma the lord of serpents, her Nupura (anklet)
is the serpent Mahapadma of the colour of the lotus stalk, her
bracelet is the yellow Sahkhapala, her armlet is Kulika of the colour
of smoky clouds. She is white in colour, and seems to diffuse nectar.
She possesses a heart which is melting with compassion.

In other parts of the samapta, she takes Twenty-one mantras, Manjushri, and Kurukulla Vak Vadini, uses Seven Syllable mantra, gets a Naga Kanya, and proceeds to Tara Kurukulla; in other words, almost exactly the same procedure as White Heruka, a purified completion stage emanation based from the samaya and practice of the antecedents. Vasya looks to be applied to Mahakala and Hariti, resulting in a Candalika who is svasukrakam, Venus or semen white.

Kurukulla is pottalikam, which is a parcel or bundle, not quite the same as potala, either partially disemboweled, or pot bellied. Khasarpana is the only one in Sadhanamala who mentions Potala as an abode.

This "is" a basic Amitabha Three Eyed White Tara like Nyan's, except she is not any kind of invocative preliminary stage. This is more like Guhyajnana run through a mill.

Kurukulla over Two Arm White Kurukulla:









The standard form of Kurukulla rides a corpse. It is similar to Kurukulla Born from Tara. who is used five times in Sadhanamala, but she rides Kamadeva and one of his wives who ride Rahu. Tarodbhava Kurukulla has a Jnanagni aura, and only carries bow and arrow; she is said to reside in a cave on Kurukulla Mountain, which, according to one inscription, is in Lāṭadeśa (i.e., Gujarat).


Maya Jala of Krsnacharya is her Six Arm form where she rides Taksaka and carries the water pitcher for initiation.

Eight Arm Kurukulla's retinue has a "doubling" of Aparajita, as also happens with Khandaroha under Varahi. Sadhanamala is a trove of sixteen of her, with this particular mandala being what Bhattacharya found to be explanatory:

Kurukulla's first Tara is Prasanna, then Nispanna (Completion Stage), Jaya, and Karna. The last does mean "ears" and is a tragic character in the Mahabharata; son of the sun Surya and Kunti, Karna was delivered by ear birth. He has a problematic discipleship to Parasurama. As a devi she is unknown, but, perhaps related to the sun and sound, will make sense in a moment.

Jayatara is a common Hindu epithet perhaps even related to Mari, or is Jayamati in Trikandasesa. It is a lexicon from the 1100s with a modern Sri Lankan commentary, only available in Hindi. In Padma Purana, Jaya is at Varahashaila or mountain of Varaha; she is also a Hora in Vajradaka, and is in Buddhakapala's mandala. It is a terribly common title impossible to narrow down.

Vijaya has to do with external obstacles, whereas Jaya is victory on the inside.

In an old collection explaining in Vishnu Purana, Varuni is with Sesa at the bottom of the Talas, it then finds in Nepal a Nag Kanya riding a tortoise, that it says is common in India, named Vijayavati. On one of the oldest historical objects, a coin from year 484, Manadeva's daughter is Vijayavati. From medieval Ocean of Story, Vijayavati is a Naga King's daughter who has an interesting adventure becoming a Gauri devotee in Kubera's Curse. Moreover, in the Kanjur section of Wrathful Lotus deities, there is Arya vijayavati nama pratyangira. More visibly, Vijayavati is Kanaka Durga in Andhra Pradesh, a Swayambhu or self-arising temple in an area where Shiva worked the river to make it habitable.

Kurukulla's second ring of Taras has Northeast Cunda, then Aparajita, Pradipa, Gauri, in the corners.

In the mandala those are all virtually Kurukulla in form; it is only the Gatekeepers who are different. All of the Gatekepers have hook, noose, and bell; there is no chain, which is the normal western magnetizing device; each has a personal item:

Fat Red Akshobya Tarjani Vetali
Yellow Ratna Staff Aparajita
Fat Blue Amitabha Vajra Ekajata
Fat Golden Amoghasiddhi Sword Gandhari; or, Kanaka Syamam, dark gold or green gold. On a woman it is understood as golden. And since it is Gandhari, it is celestial sound.

This is a rite whose "beginning slices" are Prasanna, who might be thought of as pretty and happy, and Vetali, who might not. The conclusion of it is a type of golden light and some Purified Sound Object. For whatever reason, Indrabhuti, who probably knew more details of Indian deities than anyone, ran out of inspiration and had to employ Aparajita twice. On the "outside", she ostensibly is Yellow Ratna Noose goddess, but then she is strongly affected by Kurukulla and gets "sucked in" to the middle ring. In Sadhanamala, she has a brief Two Arm solo exercise near the end, as a Raudra mukhi or ferocious, and otherwise, is known by Pandita Purnavajra as Zhan gyi mi t'ub ma having tantric sex with her "male half", who does not get a name in the mantra. The Tibetan corresponds closely on Rigpa Wiki, and is repeated in the long title of Parasol Aparajita Pratyangira dharani, to the name, Aparajita.

In four known medieval Aparajita stoneworks, the noose and parasol are not always present. One time, however, Lalita conjured from her noose, a devi on a horse named Aparajita.


Kurukulla's is not the or a terrifying Gauri. Most of Suryagupta's Taras are his own, but, the second is the same name as the single use of her in Sadhanamala. Gauritara is intended as Radiant Moon, Tara Two, Sarasvati or Cunda, in a Guge style Twenty-one Taras. It has a particularly wrathful Bhrkuti. If Gauritara "is" Cunda, then Cunda is also stated twice in the mandala. Again we would have to presume slightly different modes of her. Even if mandalas copy their principal many times, it is just split into aspects, like Eight Fears Tara, each copy is an individual fear. If the deities are intended to be the same, the teaching will say something like "space is filled with billions of Kurukullas".

In Kurukulla's retinue, Pradipa is not quite "at the end", and the final realization is Gandhari. It is not a normal offering group. This is meta-Matangi or celestial music and similar sounds that can follow the Lamp stage while mind of form dissolves into bare space. It is not an attempt to access Ekajata, it is a swift crossing over her. It is worth attention since the practice is from Indrabhuti and Lakshminkara.

It comes after Golden Drop Lakshmi; beginning with Prasanna, has increasing use of gold, and an upgrade to primordial sound; Akshobya's "original" hearing sense is at least somewhat imparted to Amoghasiddhi here.

If we see Tara Two, then we would think the only Kurukulla Ngor mandala on Himalayan Art is actually surrounded by Suryagupta's Taras: Pravira or One in the upper left, followed by Gauritara or Cunda or Two, and so on. Tibetan Art Twenty-one Taras"]Tibetan Art Twenty-one Taras[/URL] would be one way to compare it.

Indrabhuti's Kuru would have Eight Arms, and the gatekeepers would not be copies, but the individual Aparajita and so forth.

Kurukulla continues in Panjara and Hevajra, wherein Circle of Bliss considers her a "hypostasis of Nairatma". They tend to look like red and blue alternate mandalas of copies. This is likely why a 1700s Sakya piece shows her under Akshobya, basically the same as usual.

This Kurukulla is over Citapati skeletons or Smashana Adhipati, which means she is protected as if she were Vajrayogini. She is also over Red Jambhala with Mongoose, whose consort is supposed to be Bharati, but somehow he has gotten ahold of White Sri:









This is a modern Nepalese Nyingma, where she has got a Drum, Bharati has got a Noose, and the topmost deity is not a Dhyani, but some kind of Red Tara with Axe and Bowl:








The standard Kurukulla "love goddess" has no consort, she has no Chain, which to me makes it look like she is particularly unprepared for the task. If the "real consort of the Mahasiddhas" is not external, but is Vasanta Tilaka, or, at least, successful operation of the winds in the central channel, then Kurukulla's external metaphors start making sense.

Kurukulla Practice Manual begins with Manjushri and Tara. It is a translation that was prepared, corrected, and established by the Indian preceptor, Kṛṣna Paṇḍita, and the lotsāwa monk, Tsültrim Gyalwa...the text declares that it is a direct literary descendant of the Tantra of the Arising of Tārā (Tārodbhava). These Kurukullā teachings, as found in our text, were given by Lord Avalokiteśvara on the Potala mountain, in response to a plea by
a female audience consisting of different classes of semi-divine beings. It makes them become orgasmic.

The Tibetan has five chapters. And she very concretely is following important themes introduced from outer deities. In Shaktism, and here, it relates to Garuda.



Chapter Two starts as:

Now follows the practice method of the wish-fulfilling tree:
One should visualize, arising from the syllable vṛm,
A wish-fulfilling tree.

In "full form" this syllable is Bhrim, or what we planned on getting with Yellow Cintamani Tara and Ila Devi. The tree produces and works with Seven Jewels. This means that Kurukulla is a fairly useless concept without having these yellow samayas first, and the factors necessary for enlightenment.


Chapter Four starts with the kunkuma or tikka powder:

The mere seeing of the colored powder
Quickly brings about the attainment of buddhahood,
As one progresses through the stages of perception of the
maṇḍala.
That shall now be explained correctly

It goes through a lot of powder with several forms of enchantment. And on the one hand, this would have to be described as a very Hindu tradition, and hardly mentioned in Buddhism except by Mahamaya Vijayavahini. It is the goddess or female alternative to male ash smearing, which has to do with the same thing, continuity into the Dharmadhatu and a changed relationship to Air--Touch. And so it actually is the "color" of Kurukulla. If kunkuma is taken to mean strictly saffron, which, itself, could still have various hues, as a color in India, saffron specifically means the lighter type of orange which is supposed to be the top bar of the Indian flag. Here, orange or prana must have to do with increasing perception of mandala or magic circle.

Sadhanamala at least a few times uses Gaura for Orange, on the principal Pratisara 206, Rupini in Varahi 217, and Pasi (Noose) in Vajra Tara 110. Usually Pasi is Yellow and only carries a Noose, like Aparajita. It is a Noose and an angry gesture.

Vajra Tara with eight goddesses is called Navatara in Dharmakosa Samgraha. And so she put some special orange note on Pasi, which is only otherwise found on an esoterically evolved Pratisara, or, on Rupini, the highest dakini in Chakrasamvara. Bhattacharya thinks it is noteworthy that the similar or noose-carrying Aparajita tramples Ganesh, who seems to be a collector and enjoyer and ultimately a sacrifice to the Sun.

Padmavajri is Raktagauram, or red-orange, by which is likely meant a bolder tone than saffron. In practical terms, for someone making powder, it would probably mostly be cheap alternatives, as pure saffron would be insanely expensive. So a pure saffron color has a "value scale" built into it, sort of like gold.

Technically Gaura can range from white, to pale, yellow, red, orange. We are only saying it "means" orange since specific terms would be used for a different blend. The word is versatile and among its definitions are:


1. The filament of a lotus. 2. Gold. 3. Saffron f. (-rā-rī) 1. A. name of the goddess Parvati. (-rī) 2. A young girl, eight years old. 3. Any young girl prior to menstruation, a maid, a virgin. 4. The name of a river. 5. The wife of the deity Varuna. 6. The earth. 7. Turmeric. 8. A yellow dye called Gorochana. 9. A plant: see rocanī. 10. A plant bearing a fragrant seed: see priyaṅgu. 11. One of the female energies or Saktis of the Bauddhas.

Five is obviously Varuni, but, not the daughter Varuni, which we seek as a drop or taste of nectar. The higher or "first" Gauri has her own Hindu tantra and seems to be Completion or full unity in the Buddhic plane. As to why a dictionary would follow a water definition with earth, that, itself, is similar to Ratna generally being water element, and then being important to earth in terms of Nirmana Chakra.


The color is not specific until placed in context, which would not generally concern Kurukulla, but if we find reason to see it possibly does, she uncannily will manifest like Orange Guhyajnana. There is a clear difference in two Kurukullas here, where her rare shade is matched by Bharati and Amitabha in a 1700s Ngor commissioned by the disciple on the lower right:










Bharati is like a liquid version of orange powder Kurukulla. And so the Generation Stage Varuni is like a firestarter for Bharati, as Guhyajnana is to Kurukulla. Whatever we are doing with outer Yoga training would simply be absorbed into the above.

Varahi and Kurukulla are the white and red bindus of Sri Yantra. And the Kurukulla that is in the Ambrosial Pond there may be called Tara Devi. So I think the difference in Buddhism is that Varahi conjoins a male deity to begin producing purified white Heruka forms for Completion Stage; or, there is a white male seed which is conditioned by female touch, so we would not typically say the white seed is Varahi on her own. In fact she would more unleash the red female seed, which will not be left alone by males. Each is a non-dual androgyne, which, like all manifestation, has a preponderance of one thing or another.

There is also a concept that Sveta Kurukulla merged with Rati and Cinnamasta to produce Sodashi or Sixteen or the fully-formed Shakta cult.


Cyan and Orange are sort of like small spectrums, the first, arguably necessary for the second, if Kunkuma Kurukulla is born from Cyan Tara. Because she is, this is quite close to occult color, from looking at one color, then its opposite manifests in occult light. I am not sure what name to use; teal, cerulean, or celadon could also apply. But if I stare at the one color, I will begin to subjectively perceive its opposite.

Trying to explain Blue-Green Tara's color by her origin will not exactly link her to the land; her name Khadira is about one thing, and the land is something else.

Blue Hills or Nilgiri are just a small part of the Ghats, named for kurunji, a flower that blooms every ten to twelve years, but is purplish. And they are split from the southernmost mountains of Pothigai. Although Blue Hills is a fascinating subject in its own right, that is not where she is from, and that blueness has nothing to do with it.

Her mountain range is physically separated from there. The main thing said about it, is that it is an extreme "rain shadow", having regular monsoons hit it, but it blots them out, and the eastern side is somewhat arid.

The place is as ancient as Blue Hills and has its own indigenous people.


Agastyamalai is thought to bear a striking resemblance to Mt. Kailas. There is a Naga Pothigai, as well as Ainthuthalai Pthigai which is a Five-Peaked Mountain similar to Kanchenjunga and Wu Tai Shan.

Acacia is noted for inhabiting the eastern slopes of the Western Ghats. But there is nothing bluish about it. Tara's preference for the tree is not really its color, but its fragrance, which, even the Perfume Society will tell us was used as a favorite of Isis and Osiris in the theme of resurrection.

For whatever reason, the name Pothigai associates to the color green and the stone turquoise.

When China destroyed the Tibetan Medical School in Lhasa, it demolished a turquoise Tara (Drolma) statue. The bridge to Potala is called Yuthok because its roof is tiled with turquoise.

The usually-drumming Siddha Niguma is usually dark red; but, even in that guise, sometimes the stuff in her bowl is blue. Here, she is re-done in an appearance more favorable to turquoise:






Shangpa is a close contemporary of Sakya. Its founder, Khedrup Khyungpo Naljor, went to India, and trained under Niguma and Sukhasiddhi. It is no longer a separate school; lineages continue in the Kagyu and Sakya sects. It is famous for a streamlined Ngondro and Tantra mainly based on Red and White Celestial women; but has not said much about a light green sword couple under its founder:






The five days in Yulokod were published as Journey to Realms Beyond Death. She did this at sixteen and only lived to her early thirties in 1941; her surviving son went to great lengths to obtain and smuggle her account out of Sichuan, where it had been taken by the Chinese. She is described as cold and breathless during her journey. So far, no name is provided for any school, sadhana, technique of catalepsy, nothing much other than she was White Tara wiser than the lamas. She faced Yama and recognized him as Dharmakaya Samantabhadra, saying without recognition, there is the wrathful lord of death. Again, this "mental difference" is largely the same as saying Parnasabari is the cause and cure of disease, or that the pacified and uncontrolled Mamos are pretty much the same thing in different mental states of the perceiver. However, her guru is a famous Nyima associated with Mindrolling, whereas her consort was Gelug, with whom she had an almost as famous son, who was cremated at Pharping. He had the ability to tie swords in knots, and was thought to be in trance for six days before dying. A dissertation on the types of Red Tara refers to him. Delog is accepted as an occurrence in Tibet, where they strive to detect any fraud related to it. Apparently, if they do not know you are doing it, they think you are dead and you might think your body is a pig cadaver. To be Buddhist, the journey first of all has to be lucid, and secondly, may not have any hindrances.

Delog Dawa Drolma as rendered by her publishing company:








Such Delogs seem to be recorded at the rate of about one or two per century. So if Sukhavati is easy to enter, then Potala is probably easier than that, and Turquoise Leaves probably the easiest--not that it is easy. Therefor it may not require the highest perfections, may not be as powerful as something that could whisk you away for three to six months. Hard to say. What we can tell is that the "newest" such experience remains fairly consistent to the ancient Khadira Tara. Delog means was dead and returned to life, and hardly from a technical medical standpoint of five minutes, but a complete journey to forbidden worlds, which in one sense is death, but actually is beyond death.

Aspiration to be Reborn in the Land of Turquoise Leaves is by Sera Khandro who is almost the same and at the same time as Dawa Drolma, about ten years older. Sera Khandro's self-explanation has her remark, in loneliness,

"out of his kindness,
my Lord of Refuge, the wish-fulfilling jewel,
actually had regarded a miserable dog like me
as a “lion with a turquoise mane”; and when I reflected on that,
the sadness in my mind never lifted."

Array of Turquoise Petals is used in another modern prayer. Similarly, Varanasi is described as in a mandala of turquoise meadows. H. H. 16th Karmapa uses Turquoise Leaves in a song; and in some English interpretations, Green Tara is called blue-green like emerald. Same Pure Land is also mentioned by Patrul Rinpoche.

I am not sure exactly what vegetation at Varanasi or Pothigai may have inspired this, whether it should be realistic, or, more likely, resemble the stone. Tibetan turquoise tends to be blue-green; India may not even have the real thing; the sky blue turquoise is Persian.

On this relatively modern Tara, a few of the leaves are growing to match her color:










Lakshmi's Seven Branch Tara Offering is available. It would probably be inappropriate to think of the female Mahasiddhas as our personal guru or protector, while quite beneficial to acquire their philosophies and sadhanas. We are not able to say exactly how Koothoomi may have used Cinnamasta to go in trance for three months; we do have the means to pick up this Tara system and find out almost everything about it, including that it works as an equivalent which for most people would be a once-in-a-lifetime achievement.

If we conclude that HPB was at least training in Vajrayogini, and was in the perhaps impossible position of justifying naked, violent females in the Victorian era, the main thing that supports this is her remark ascribing the highest knowledge and practices to what she called Himalayan "Cinnamasta tantrikas".

Bumping into a few things from Voice of the Silence, one sees that the Hindu Dnyaneshvari is several times called supreme or the best mystical doctrine outside of Buddhism; section one concludes with the invocation Om Tat Sat, which is Hindu, which she has well explained. She describes the Hall of Wisdom as "surrounded by the shoreless waters of Akshara, the Fountain of Omniscience". This is what we find as the yogic transmutation of Ksara--temporary unstable bliss--into a stainless imperishable form. Section two mysteriously ends by invoking Om Vajrapani Hum. She just throws it in there with no explanation; and he is not generally known for dealing with individual Paramitas like she is trying to teach. The closest he seems to come is that in Burma and Cambodia, there is a medieval trinity of Buddha, Prajnaparamita, and Vajrapani. Usually, Prajnaparamita is an Akshobya emanation, so in a basic way, this is still accurate, and breaking them down to entities of Jewel Family is perhaps subsequent. Even though HPB uses a twist to employ seven paramitas, she still describes them as being six, "ten for the priests". She also describes Mars and Mercury as former Nyima or suns, particularly important for handling new or transformed fires in the disciple.

So although she didn't say much in actual Buddhist tantric terms, putting one Buddhist invocation right in the middle of her last book is at least some kind of a marker. Why not Avalokiteshvara, or Prajnaparamita herself? Why would she slag Parasol as a personification that degrades symbolism? After all her fuss, she could have just put Namo Samanta Buddhanam or something neutral or sterile closer to Lotus Sutra or something celibate and more "Mahayana light" and less tantric. No, she threw in the guy that operates in many stages as Trailokyavijaya, Acala, Bhutadamaru, Canda Maharoshana, that are all dark, difficult, and sexualized. If I wanted to make a picture of White Lotus or Light on the Path or most of the other Theosophical presentations of the purity of Buddhism, if I was trying to discard "historically known" Asanga and/or risky sorcerous tantra and so forth, I would feign total ignorance of Vajrapani. Here, it is, perhaps, consistent with the view of Kalachakra as the ultimate tantric system.

Vajrapani is an important explainer of Sarvadurgati Parishodana, which, in Yoga, is really the entry of Kamaloka, or death. It is a specific exercise, but is also a template; Tibetans say "the object of refuge does not have to be a yellow oriental man in a robe". In other words, its purposes of Body Mandala are really any body mandala; Manjushri Vajrabhairava could handle some of Vajrapani's tasks; so it is partly adjustable in terms of mantras and sadhanas that may accomplish the purpose. But for the most part, Sarvadurgati is the underlying definition and structure of practice in an unavoidable, inevitable way. It could perhaps be called a lower tantra of "turning off" the Kamamanas, so that in higher tantra, the Kamadhatu itself may be used. This is a necessary wrathful equivalent of what we would describe peacefully as entering Sambhogakaya in order to perceive Dharmakaya.




A couple of other historical deity locations are mentioned in Chapter Five:

Marici of Uddiyana, identified with the village Vajroyogini in Dacca: Mss. of Astasahasrika Prajpaparamita, No. ADD 1643 of the
Cambridge University library & no. A.15 of the Asiatic Society of Bengal.

Cunda at Pattikera. Pattikera is identified with a place in Tipperah district. This is a sixteen armed figure of the goddess, while an eighteen-armed representation(9th century) of the goddess was found from Niyamatpur (Rajshahi). The site of Sixteen Arm Cunda also shows a land grant in favor of Durga Tara or Durgottarini. There is also another sample from Pattikera of Four Arm Cunda without a bowl. Durgottara appears to be part of Sahaja. There is some mention of this name in Shiva Agama. She perhaps also derives from the Bengal Mother Goddess Sarvani. Even native researchers come up with nothing about her besides one instance in Sadhanamala, to which we could perhaps add, Sarvadurgati Parishodana uses Hindu deities and particularly Green Four Arm Durga which is not Hindu, but is similar to Durgottarini. There is a Green Meenakshi "Fish Eyes" who has three breasts, although this is in Tamil Nadu and she is a form of Parvati. It has something to do with Shiva's third eye and its ability to incinerate the extra appendage.

[shaberon]

Generation Stage ending section; Aparajita, Janguli, Sumbha, Dakarnava



Generation Stage has a group of mantras that would appear to put goddess Sumbha in close association with Pasha, but, this is not the case.

Guide to Dakini Land suggests self-initiation into Vajrayogini mandala with triple Om mantra. We are seeking to avoid this. In it, we can find a variation on a mantra which is not really explained, in a section called Recognizing the Secret Dakini, which we would argue is Guhyajnana. This is partly because Guhyajnana means "secret" and can be denied existence out of at least a conceptual definition of Dharmadhatu, reaching some kind of Gnosis, secondly, because she is the living definition of this, she has no need for empowerments, thirdly, her core retinue works through Completion Stage, and, by definition, she also has a guru, Ziro Bhusana. Second Dalai Lama describes White Buddhadakini using Guhyajnana's mantra.

She has no mandala, and we are just trying to learn the parts that make one. This could perhaps be described as enhancing the syllable Bhrum from the outer to the esoteric plane. Or, I can read about Bhrum, or Bhrim plus Hum, and use Usnisa mantra any time, which is far different from its proselytizing inner experience. According to Kukai, exoteric is a mass of words to derive one meaning; esoteric is when every letter in a dharani is abundant with multiple meanings. So that is similar to saying a lot of study and practice goes into making one single, actual, Bhrum, and when successful, it begins radiating something on its own.

So although those books, like Evans-Wentz, are a useful springboard, Guhyajnana is only "similar", and we would reason that Varahi has another, independent arising; Guhyajnana is not intended to "be" Varahi, but to make her accessible. It is correct that Guhyajnana is a Dakini and a Vajrayogini.



If we compare the books in terms of Entering the Mandala, which is the end of Generation Stage, it is a bit of a mess. There is a blindfold, or Black Pram syllables on the eyes, and after this, one is supposed to see the actual mandala plainly. Here, in Yoga, it would be a front-generated deity. What we find in the mantra is:

Om Vajra Netra Apahara (vajra eyes remove) ending with:

Guide to Dakini Land p. 373:

Patra Lam Shi


Heruka Body Mandala p. 434:

Patra Lam Hrih

Heruka continues to Vase Empowerment using Khandarohi; Dakini Land does something different.


Vajra Tantra:

Patalam Hrih

which makes sense, with patalam meaning "veils", followed by the seed of Lotus Family, seeing all details at once. You remove a blindfold or syllables, and then it means remove the veils of vajra ignorance from my eyes. Vajra Tantra says you can do this for free, it is a Rolang or Vetali tantra, which can use a visualized guru. And so it has Eye Medicine, Mirror, Bow and Arrow, and Bhrum. Therefor, the apparently correct version of the mantra, that makes sense with its original use, Eye Medicine, is there in Indonesia. If we go back and check, it is Kurukulla's first Gatekeeper, Vetali. That means we cannot possibly do anything with Kurukulla unless we can do this with Vetali.

The two books close the section with another mantra:

He Vajra Pasha

If this is not the Hevajra deity, He by itself is like Tibetan Kye for Generation Phase. Vajra Pasha is then obviously a deity name. There is not much of a way to give it a meaning like the removal of the blindfold or opening of the eyes that is being done here. Hevajra Pasha is not a name or a meaningful phrase. The correct way is in Consecration of Images and Stupas also for Entering the Mandala and says:

He Vajra Pasya

and then, it not only means to look or to see, it also means a net, as in plural of Pashas laced all together. Having the correct letter "y" there means that it makes sense as written, in a writing on the same subject. "H" would not make any sense there, and no one has attempted to say how it does or what it means. Now one could surmise Dakini Jala or Net is a fractal replication of a single Noose Dakini. This is a bit like Tara whose pants are roundels of mini Taras.

Om Vajra Netra Apahara Patalam Hrih

He Vajra Pasya

are the mantras that should be being expressed and explained in a book that does not, but, suggests you should unite with a subtle wrathful dakini this way. Vetali or Vajra Tantra is more of a base symbolic method leading to open eye visualization.

Alex Wayman shows the corrected version in The Buddhist Tantras, which is perhaps copied into Yoga Nidra. I am not sure what to say other than I figured out the mistakes by finding the popular books first. And so even the one that has the correct version suggests self-initiation to Vajrabhairava. But again we are really just trying to creep our way incrementally into Sarvadurgati Parishodana. John Huntington from Circle of Bliss has a paper on Mudras which shows forms of Sarvadurgati Vairocana, such as Vajrini, Vajrasattva, Namasangiti and Prajnaparamita, on Alchi murals.



Vetali gave Vajrabhairava to Lalitavajra or Vilasavajra, around the eighth century. Among the students of Vilāsavajra, the most prominent were Buddhaguhya and Buddhajñanapada, who both studied the cycle of the Web of Magical Illusion. Mahamudra seems to show the lineage the other way around. The name is likely multiple people. All textual sources say Vetali revealed Vajrabhairava tantra to Lalitavajra. "Vajra Tantra" above is someone's independent telling of Vajrabhairava, or why it is "a Vetali tantra".


So that disputable mantra is probably not really about Pasha or Noose, who we think is based on Aparajita, who also has Gatekeeper guises, and increases her noose power by multiplying it across other deities, like Tara's song does. In Kurukulla's terms, she comes right after Vetali. At one point, Vetali seemed to be a basis of Marici, or, another name for her, Vajravetali (Rolangma, Blue Sarasvati), holding a Double Vajra, and a Noose instead of Cup. That is because on p. 214, Bhattacharya says that the names of Six Face Twelve Arm Marici are Vajradhatvishvari, Oddiyana, and Vajravetali. In the Sanskrit version, there is Vajradhatvishvari, then two or three plain or vanilla Odiyana forms, until 140 is called Srimad Odiyana Marici; and here, her Japa, or Muttering mantra, is Vetali, and, it is her Svadisthana or yogic or tantric absorption as Vajrasattva Ishvari. 143 is a brief Six Face form who has a pig face and is fat, and has no specific name. In the same area, while denying Marici is Varahi, he says that Varahi uses Vetali mantra; or, this plus Triple Om mantra. If we are not using the second one, then Marici has more to say.

Marici has pig face devis whose names are all plays on Vetali and Varahi; and Noose or Pasa is also pig face.

A Hindu black noose goddess is Ratri (Maha Kali, etc., but ultimately Agni). Verse Twenty-four is about Kakini who is a Yellow Four Arm Noose Nectar goddess, relevant to Dadhyan or the curds for Horse Head rite, and to Varuni.

The thing Noose is usually asked to do, Pravesaya, is simply entrance or to enter (i. e., entry of a mandala), to appear, to usher.

In Kagye, Sow Face Pasha is in union with Yamantaka; in Generation Phase, it is Mahabala. The Kagye article is not quite sure if its first male Gatekeeper is Acala, Vijaya, or Mahabala. Pasha is always in the same place, and she could partner swap, so it would be legitimate for the male to vary in different rites. Luminous Emptiness follows the Book of the Dead and places her with Yamantaka.

Jamgon Kongtrul lists the second couple as Aparajita and Aparajiti. Both Aparajitas are in Vairocana Abhisambodhi.

Mahabala is second, with Pasha, in The Small Golden Key by Thinley Norbu, as shown in a set of deity flash cards:








The Generation Stage outline is based on The Small Golden Key and Longchenpa. It is Nyingma and uses a lot of Tibetan, but, also, has written commentary in an English conversational style. It is the same thing we are doing, in terms of the outline and its main meaning, but we are patching in Sanskrit methods. Generation Stage as a whole is Vase Initiation, which is actually Entering the Mandala, along with the yoga of vase breath.


Lord of the Dance compares a few sets of gatekeepers, and, when Sow Face is used, it is on Pasha. Only in NSP and Sadhanamala do the gatekeepers get human heads.

It also says Blue Raven Kakasya and Green Owl Ugyasya are Four Arm Drum Buddhadakini-class tramen on the curtains of secret chambers in Nepal.

This observer also noticed Sow Face on Marici and Pasha and tells us that Cauri holds a boar. Marici sometimes has two sow faces on opposite sides; they found a Kalpoktam Marici, that is a little different, seems to have one sow face and a whole Varahi on her head:







That page is about animals, and, Snow Lion of Tibet specifically has Turquoise Mane:







Snow Lion is a part of Wind Horse, which, on a deity basis, uses:

Brief Windhorse Practice of Tarā by Patrul Rinpoche, which calls upon the goddess Tara and other deities to grant their inspiration and blessings, so that the practitioner's lifespan, merit, prosperity, renown, good fortune, magnetism (Wang tang) and 'windhorse' (rlung rta) may all increase;

and:

Prayer to Gyaltsen Tsénmö Pung Gyen by Mipham Rinpoche
A short prayer to Dhvajāgrakeyūra (rgyal mtshan rtse mo'i dpung rgyan), a female deity whose dhāraṇī is particularly treasured as a method for enhancing windhorse (rlung rta).

Dhvaja is Vetali; and her main dharani application is Wind Horse, whereas Tara, in general, has it but does not specialize in it, being part of her overall qualities. Hers is miniscule and would do almost nothing without Tara samaya and, most likely, some smoke or prayer flags. It could be argued that the Dhvaja verse really just averts damage to whatever Tara provided, but, this is at the same time that here dharani is not on temporary flags, but on permanently fixed signs. At any rate, she casts an additional spell which is Armor that Indra got from Buddha. The flags are usually Parasol mantra, although Zopa Rinpoche prints some with Dhvaja--Banner. If Banner and Parasol are the two main "Victory" items for a successful mandala, then we see why they are both a main component of Wind Horse.

Black Vetali has Sword, Skullcup, One Pointed Vajra, and Staff, is surrounded by a hundred thousand matrikas or mamos, sending snake messengers to either side. She uses six unique body syllables.

Aparajita is Pasha, who takes on the aspect of Varahi; Varahi originally is Bhu; and Bhu is the source of Aparajita. Varahi is in hell; Varuni is its core, through whom, solar life energy as Hum reflects through the mind and aura of a person. There definitely is a Serpent Noose as soon as the Nadir direction is considered. The first Noose is south, and, the meaning of right hand path is a shield against the south, the ordinary malevolent influences. In order for any of this to be useful, we have to protect ourselves from ourselves. The main metaphorical process is releasing Varahi so she flies towards the Sun.

Noose is a Request to Remain. If I ever want to generate a full Yidam, I must make it stay by being serious, otherwise I will slip into the grasp of fiendish entities. So for instance I am telling Tara, I like you, don't go anywhere. If those are weak, meaningless words, then she just leaves, and if I try to fake it on some of the others like Dhvaja, worse things may happen. I have to actually be trading my old worldly fetters to a new divine set. If I cannot enter Tara's full presence in Khadira Grove, I might be able to enter a few of her qualities; done properly, it will grow, increase, and enrich (Paustika, her second Activity).

The Hindu Aparajita Mahavidya Stotram is very close to, and in a few places identical to, Buddhism, and uses seven worlds and Seven Dhatus. It also begins with Brihaspati.

Indrabhuti contributed

Aparajita-meruvarabhadrankara-ratnasadhana
Aparajita-ratnabhadra-sadhana

As well as three Sarvabuddha Samayoga texts; Anandagarbha and Ratnavajra are its main other contributors. So the only two Aparajita scripts known to Taranatha are from the fellow who put two Aparajitas with Eight Arm Kurukulla.



This is an unidentified 1300s Nepalese piece in the Cleveland Museum of Art. It is almost certainly Hindu, from the long look of the pig face, and it is Matsarya Varahi, i. e., Fish is her main item, with a bowl and serpent, and doing Prithvi Mudra, or, self-charging of Purified Earth Element:










The only Buddhist alternative is Arthasiddhi, which is Varahi with a complete pig face.


Page 259 is a comparison chart of Vajra Tara's retinue formats in NSP and Sadhanamala. Form-wise, Sumbha is almost just a Blue Pasa.

In Vairocana Abhisambodhi, Sumbha is the Vidya Queen before Mamaki. She has the perhaps not too surprising syllable Sam; not far away is Amritakundalin, who is Mr, they say this is a letter.

One could describe that in a two dimensional plane, Janguli uses snake and noose individually, and Sumbha combines these, at a lowered point underneath. Janguli "is tantric Sarasvati" but she lacks a ferocious form; however by leading one into Yamari tantras, those come from Vetali, which is Wrathful Sarasvati. Something like the missing blue and black Janguli that you would expect to find since she is in Vajra Family. Janguli's colors are exactly "wrong" for it. Sumbha and Vetali make up the rest.



Bhattacharya's Nepalese Two Arm Janguli with Fly Whisk and Snake:










Her White and Green forms have the snake; Yellow does not, it has a noose. As a Dharani, her personal item is buds of poisonous flowers, but these forms are all something like a team uniform.



Arthur Avalon picked up a Sumbha mantra that seems to be generating Khandaroha at zenith and nadir; have not looked in to this. Dakini Land has Kakase in two places and Khandaroha in nadir. Heruka Body Mandala calls it Mantra of the Four Faces--mantra of Sumbhani or Four Hums. In "Illumination of the Hidden Meaning vol. 2", Tson Khapa calls it the Sumbhani mantra, this being an alteration of Nisumbha.

Lokeshvara uses them to banish vampires; Vajrasattva uses it with Ksitigarbha; Vajrapani Yaksa General has it; Akshobya explains how different rites use it with different endings; Vajravarahi distributes it around her retinue of Tramen--but only in Eight Directions--in reverse. And so Rigpa is probably slightly incorrect, because it does not matter if Sumbhani means purify, since here, most of the rituals have confused the way it really is, Sumbha Nisumbha.

Sumbha and Nisumbha are famous demons that can only be killed by girls.

Analaysis of the oldest Skanda Purana and Nepali Devi Mahatmya on the etymology of the male equivalents shows that in Buddhism, their names mean "destroy" and "destroy totally". In Hinduism, they are though of as Ego and Attachment, or, the targets of Buddhist destruction, much as in Hinduism, they are just demons killed by Durga one way or another. In one Markendya Purana, they are killed by Tara and Cinnamasta. So from an orthodox view, it wouldn't make much sense to employ some apparently dead demons. However, on a close look, their story is supposed to be accompanied by an Aparajita hymn. If this becomes a unique Buddhist goddess, then, perhaps she has the ability to reverse the polarity on the evil twins, making them attack hindrances.

In Guhyasamaja, Buddha simply takes on the aspect of male Sumbha after Usnisa; it leads to a samadhi that is samaya to all wrathfuls. Illlustrated History of the Mandala covers the male aspect.

In Vajra Rosary, using a hypostasis of Akshobya, Vajradhara, and Anger Vajra, Sumbha submits the worldly gods to the wrathful deities, uses stakes, Vajrakila, the stakes can then identify with Amritakundalin or Vajramrita. Tson Khapa shows their mantra used with Humkara deity. So the male aspect is definitely ritually significant and a blend of pretty powerful stuff.

Aparajita is the Shakti of Candika: Chandika lances the demon, weakening him, while Chamunda laps up his blood before it can reach the ground, thus ensuring his death. So then it appears Chamunda is meant by "the Shakti".

When the devas sing Aparajita's praise, Parvati appears, wondering who they are singing to, and, from her body (kosha) emerges a beautiful devi (Kaushiki -- Ambika). Ambika incinerates the first demon by a mere heave of her breath (humkara). This is a standard scene in Devi Mahatmya. The Hymn is Chapter Five, which is not the same as the Stotram. Aparajita's syllable is Hr, such as Hrim. It is a difficult text, because it will speak of the Shakti of Candika, or just of Candika, or Durga, or The Invincible, it slips around and is hard to say where it is exactly specific. The Hymn is less informative because it says nothing about Aparajita.

Varahi 221 or Jvalamukhi is Guhyeshvari and Bhagavati Vajravarahi Arya Aparajita. She uses the normal Sumbha--Nisumbha in her dharani.




Janguli 120 is:

āśīviṣasumbhalikā dṛṣṭiviṣāvataṃsikā

Asivisa is serpent venom or a snake; Sumbhaka is the Buddhist begging bowl--although the word is not found anywhere else other than in Mahavastu, possibly as an adjective. Therefor, sumbhalika is questionably related to "bowl" as in perhaps a bowl of venom. That is the dictionary's only guess, since this sadhana, and the monk's bowl, are the only singular existences of the words.

An article on Evil Eye shows that asivisa is common for cobras, etc., and drstivisa is "poison glance", or evil eye. Avatamsika is close to "employ as a flower garland", similar to Avatamsaka Sutra.

A Subhakara or Sumbhakara was a guru of Sakya Sri. If these names are interchangeable, sometimes the words may be. In one view, sumbh- is equivalent to subh- which is Subha or bright. Similarly to Bhusana, the Sumbha root and/or Sumbhali has to do with to adorn, to decorate, to arrange in the appropriate manner. Sumbhali is similarly found in Pali. In Janguli's sadhana, between Sarpa Mandita Mekhala "serpent adorned belt" and the Evil Eye Flower Garland, the context suggests to me that sumbhalika just means adorned, asivisa sumbhalika, adorned with venomous snakes, rather than an attachment of the name Sumbha.

Japanese research suggests a country called Sumbha.

A Nepalese dharani wheel with fifteen spells including Sumbhaka and Aparajita has been found. It is a litany of goddesses, so, here, presumably, is the only known use of a female Sumbha deity besides with Vajra Tara and Vairocana:

om-sumbhaka-ram-hum

The wheel also uses Sum syllables; Sumbha "is" Sam, however, Sum is only a slight twist; here as usual it means Sumeru, or Mt. Meru. The depths deity appears to be mantricly related to the top of the peak.

another edition describes the mantra as:

om-sumbhakaram-hum (Sumbhaka)

These are two renditions by the same person. But the deity should not have "ka" to give it the name of a bowl.

In Nepal they write with an accent so Bam is Vam, but Ram is a syllable hardly ever used except with the chakras, and Sumbhakaram would make sense as an epithet, from Kara, a hand, maker, doer, or action of. She would mean Destructive Activity. And in the original text, it is hyphenated at the end of a line, so that is really not part of it. Or, the meaning is Sumbha Karam, not another way that would mean Alms Bowl, Rama. The wheel's central Vam syllable is dedicated to Jewel Protectoress Manidhari, surrounded by Hum syllables. Pratisara is Manidhari and Vajrini (as at Alchi). That means Pratisara is basically doubled in the middle of the list of deities.

These titles Manidhari and Vajrini are also found in Narada Purana in Bali offerings along with some kind of Seven Syllable Vajradaka mantra and Tara. Narada praises Buddha in chapter one, similar to the praise of Buddha in other major Puranas such as chapter 49 of the Agni Purana, chapter 2.5.16 of the Shiva Purana, chapter 54 of the Matsya Purana and various minor Puranas. It is a Vaisnava Radha text that is 80% travel guide; Narada is speaking to Sanatkumara.

In Aparajita's mantra in the dharanis, "rawitra" is most likely ravitr, "screamer".

Part of the point of the male-based Sumbha Nisumbha mantra, as it applies to Ten Wrathful Ones, is that Nisumbha merges back into Sumbha. Then he becomes an aspect of Trailokyavijaya Vajrapani. Correspondingly, it could be construed that something total or outer, such as Janguli, merges into female Sumbha, who exists with Vajra Tara and on this amulet. If, similarly to the male, she is the samaya to wrathful tantra, then she goes right to Vetali.




Ocean of Dakas

Dakarnava has Sumbharajni in the Heart Wheel or Hrdayacakra, which, suddenly, Dakinis are first, "with consort", or, the male is just a masculine version of her name, so there is Akshobyi with Akshobya, and so forth. They are reddish-yellow or Orange Buddhadakini-class deities, Laghu "light, not heavy; swift". Vajracakra is much like Samvara's Sacred Sites, having Nayaka, Heros or Leaders, Ardhanarishvar or two-color deities. Gunacakra is whitish-red very obscure ones. It has Padma Herukas.

This is the giant Heruka (the Bindu, half black, half green, like Guhyeshvari) with the first three rings like Mahasukha chakra, and then for example it has as Dharma Kaya comprised of Space, Air, and Earth, as if it were waiting for us to wonder what happens to Amoghasiddhi and Sparsha Vajra, when the "old" sensation of Air--Touch is shifted to Purified Earth. Its beginning or core is Bindu or Tilaka, within Sahaja Kaya, its name for Mahasukha, or in other words it takes at least the non-dual unity of Wisdom and Bliss in Four Activities to activate it. It is Samvara--Varahi in probably their latest, most elaborate display.


In its Dharmakaya, Akasacakra is partially recognizable with offerings and dancers, Blue Khecaris. Vayucakra has Garudi and Mayuri and all birds, who collectively are Akashagarbha. Medinicakra is populated by Yellow Bhucaris; land-based animals, or animal faces.

In Sambhogakaya, Agnicakra uses red deities, Khecari and Jvalas, that are hard to distinguish. Jalachakra deities are white Drava Herukas, starting with Makari and Kurmi. Jnanacakra has multi-colored Jnana Herukas starting with Tilottama and are mostly like her, Asuras.

In Nirmanakaya, Cittacakra is black, deathly, and hellish entities. In Vakcakra they are said to be reddish madder, states of mind like Jnanadakini and others taught in Catur Pitha. And then in Kayacakra, they are body-word-mind-color (mixture of white, red, and black). This one starts by ascending Kamaloka, gets to Akanistha at 23, then nosedives through the realms and gets back to Yami and Indri.

This uses multiple sets of gatekeepers, multiple sets of cemeteries, the Gauris from Hevajra, and all the special dakinis from Chakrasamvara. It is intended to work with Twelve Paramitas, like Namasangiti, Padmavajra's seven skandhas, as well as all the other categories or classifications expressed in previous rites. It is the expansion of Seven Syllable Heruka Avalokiteshvara, and, if in Yoga we are able to do anything resembling Speech circle, we see that it quickly folds in to Highest Yoga Completion Stages like Catur Pitha, and that this is actually just the outer fringe here.

So I was mistaken; Sumbha goddess comes up again other than Vajra Tara. As far as I can tell, it happens to be in one of the first, Vairocana Abhisambodhi, and last, Dakarnava, tantras. She also is considered a dharani complementary to Usnisa. She is an acolyte of Mamaki, who is Guhyeshvari, who has many forms, but ultimately Blue and Green.

Dakarnava Blue and Green Heruka is the same as the explanatory Seven Syllable Vajradaka (Ngor mural):









1500s Nepalese:









Nepalese:











Hinduism may keep Vishnu in Nadir, but, it is possible to find male dikpalas with Bhu Devi added instead. The Sanskrit term for Nadir is Adhah, as in:

mahāghorāmadhaḥ sumbhāḥ

Greatly Terrifying in the Nadir is Sumbha.


Usnisa in the Zenith above is a specifically Buddhist deity, or, a whole class of them, and the whole Sarvadurgati Parisodhana. Sumbha is not a Hindu convert; she does not have sadhanas, dharanis, and texts; she can only be read through symbolism, and could only come into play if one was well versed in Vajra Tara. Sumbha was known enough in Nepal to go on amulets from a block print, otherwise, it is Vairocana, Vajra Tara, and Dakarnava.

Noose is usually just associated with Varuni and Yama. Although this at first has to do with death and the underworld, the noose, and Yama, are restraint, i. e. Prana Yama. Ritually, Noose is going both ways--Aparajita is Parasol related to Usnisa, and, one way or another, it also goes down to Sumbha.

Janguli has at least something to do with Noose, but, when we find things like Chakrasamvara are an intricate copy of Saivism except for one thing that changes it, Janguli does the same to the Shakti magnetizing syllable Klim, also used by Krishna. In Buddhism, Attraction is visibly a Hook, which goes to Manohara, but the discarded syllable is replaced with Jah, which belongs to Janguli. Jah is more related to Janma or birth than magnetic attraction. Janguli gains noose no matter how you look at it, and the next or Noose syllable is Hum, which ordinarily goes with Vajra Family which she is a part of. In order to work, at this point, the syllable needs something from Jewel Family. And so by her lack of as-robust development, it is as if Janguli is hinting to us to go to Aparajita, as well as to something more wrathful like Sumbha or Vetali.


From a vast amount of Naga notes, Manasa seems fairly similar to Janguli:

Pidari/Kala-Pidari/Pitali – South Indian snake goddess with red hair and three eyes holding noose and drum to frighten away evil spirits

Manasa – Ancient Hindu Serpent Goddess born of Shiva’s semen, fair of complexion, with 3 eyes – one nectar bestowing, one poison, and one wisdom – and large round breasts, adorned with Serpents :

Ananta / Vasuki / Takshaka – crown
Kulira / Karkata – earrings
Shankha – right hand
Kambala – left hand
Padma – necklace

Attributes : child on lap, riding swan, rosary, noose, lotus, linga, ganesha, pot with branch, bow and arrow, blue, moon, skull, pitcher, gem, clay snake

Manasa-puja : worship in a clay pot with a branch of a sacred tree in it, with milk, rice, plantain, and goats ; worshipped as a vermillion coloured stone beneath a tree
Vastu-sarpa – clay snake-image/offerings
Manasa’s mantra : <<Manasai-Mai !>>
Manasa-puja – Tuesdays and Saturdays
Nag-Panchama – July/August

Manasa-puja – done under a tree at night 2 days before the New Moon to protect against snakebite, When done tie a black thread around your arm as a charm
Healing Manasa cures eye, skin, and linga diseases,
like a serpent shedding its glazed eyelids and skin,
and helped cure Shiva of his blue-throated poisoning, so she has antidotes for us too

Skandashakti – receiver of the semen (Skanda) of shiva


If a snake is killed, they burn it, "...if you did not burn it, the dead snake would carry the images of its hunters, captured "photographically" in its eyes, right into its next incarnation and then, based on those images, it will hunt down its erstwhile killers!! The very thought gave me goose pimples at the time.
This "photographic" memory idea is also certified by our very own Bollywood in many of its movies. How can one ever forget the sensuous Sridevi turning into a female manidhari cobra in "Nagina"? (Once again, women and snakes – see the connection?). Manidhari cobras are supposed to have a magical diamond inside their hoods which gives them the miraculous power to transform themselves into any animal form which they choose to!"





Here is perhaps a cleaner STTS.



Bhattacharya's image of multi-headed Mahapratyangira is Parasol, so, it basically just shows that is a common name for her in Nepal. She has a basic form that is here shown as Parasol over Pancha Raksha:

[shaberon]

Charchika and Shrnkala


Having previously taken a look at the second Activity, Noose, this is the third, or Chain.

These deity backgrounds are to help energize the mantra Jah Hum Vam Hoh; this is generally the Gatekeepers Mantra. The same principle of fourfold rhythm transfers to, for example, the Four Dakini group. This one begins with Guhyajnana, and remains in place as the Mahasukha Chakra, on which all tantra relies.


If Dakinis' mantra is Ha Ri Ni Sa, and the fourth activity 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 the dakinis. The thing they are being told to do, Raca, is similar to Skandha, it is a heap, as in an orderly pile, and its verb forms indicate arranging and placing in order, which would be a move towards Kaya, or accumulated Buddha body.

Sa, or Sam, is Manjushri as manas or male compliment to Dharmadhatvishvari; perhaps because sa = Sarasvati (or even Sodashi).

Sam is also the Gauri Sabari in the cemetery of manas or mano-vijnana. Sam as Samadhi derives from successful use of Dharmadhatu Ishvari.

It may also stand for Camunda. Red Charchika or Camunda is the same deity as Candika, the unproduced direct emanation of Devi Chandi. In Black she is Mahakali (Lakshmi). According to an archaeological survey, an image of Vajra-Tara was found in the temple of Uttaresvara Civa at Ayodhya in the Nilgiri States. People call her by the name of Chandi Thakurani. The second term may mean a chief, or, it may be a tribe, or an individual thereof.


Camunda usually is not given only a single seed syllable. However, in Ayurveda, Cha: means to move, Munda: means head. So Chamunda is She who moves in the head, meaning the paradigm of reality, all that we know, all that we see. David Frawley says Chamunda is especially relevant to Ayurveda. So in this sense, she has the same root as Cunda, who exemplifies it in her own mantra, saying Cale, move, begin.

Sauh is Amrita Bija, using Sa, as "with". Abhinavagupta explains Sauh and Kha. Sauh is also Iccha Shakti which is Visarga Shakti; Visarga being more or less the "h" of sa + au + h. This being a constituent of Primordial Sound, subsequently Nectar. Sa is also considered short for Sat, as in Sat Chit Ananda, or Om Tat Sat.




Charchika means Vajra Muttering. One of her personal mantras is Om Vajra Charchika Siddhendra Nila Harini Ratna Traya. Siddhendra was a Hindu yogi; Harini could be a doe, a woman, various flowers or spices.

In A Thousand Names of Devi, Lutaarivara sambhutaa or She is of the Mantra Swarupa to cure various concealed illnesses; Lutaadi visha harini or Gayatri is the perfect antidote of the poisons of Life-alternatively She is capable of reversing the losses of Fortunes.

Visahara or Visahari is a name of Manasa, from viṣa venom, hṛ to take, extracting poison. The Visaharas in Sadhanamala are Janguli and Kurukulla. Hari in one sense is the root of Harita; in Rigvedic symbolism, Hari unites the colours of Soma, the Sun, and bay horses under a single term. In another sense of "taking away", it makes Harati or Hariti, i. e., thief of children, or Manohari, takes the mind away (beauty, fascination, etc.). Harini is a powerful reagent to mercury; in Vajradaka, she is distinguished from Citriṇī, Plīvī and Śaṅkhinī; in Ratimanjari, it is padminī, citriṇī, śaṅkhinī, and hastini or karini (either of those being Elephant). If there was such a thing as Harini Sa, it would be almost indecipherable.

Perhaps most tellingly, Sita is Harini, from sporting with Hari in the forest as a deer, and also because--Sita is golden.

Harinisa is Siva, Lord of the Antelope. But here, Isa is again short for Ishana, and Siva is usually Hara; Vishnu is Hari. But in that tradition, apparently, he is vying with Sita for the title.


All Dakinis' Mantra is used in the formula (Bindu or seed syllable, most often Vam) Ha Ri Ni Sa regularly by:

Guhyajnana using Om as the seed

AllDakinis/Mandarava

Yeshe Tsogyal or Yeshe Tsogyal

(Jnana Sagara, Jnana Dakini also being her titles)

Vairocaniye

Krodha Kali or Troma Nagmo, or Dark Blue Varahi (Chod rite)

Shouted in a crematory

In the Tibetan amulets, it is on the Scorpion Wheel. There, it also splits into:

ha-vajra-dakini-hum-phat
ri-ratnadakini-hum-phat
ni-padma-dakini-hum-phat
sa-karma-dakini-hum-phat

In Generation Phase, it is very personal to Varahi, they say Harini means "hers", but, in Buddhism, each syllable is a Dakini Family. So the central "is" Buddhadakini, in the Family sense, but not to us, at least yet, as the character from Mahamaya. Those are a "class" of extra powerful dakinis, four arm drummer goddesses, but at the start, it just means a dakini in Buddha Family; Tathagata or Vairocana Family, same thing.

The thing here is that if, for example, Chakrasamvara is almost a photocopy of Saivism, except for adding one Sacred Site, and many mantras are also copies or else direct representations of something Hindu, the Dakinis' mantra is not. It neither appears to exist, nor, be inspired in any way by the meaning or use of the particular syllables. At most, it bears a strange resemblance to saying Harini Sa, which doesn't really mean anything. But Charchika has forced us to inquire about the name Harini, since it is in her mantra.


The Thousand Names of Devi also say:

Hiranya varnaa Harini Hreemkari Hamsa vaahini; Hiranya varna or Devi’s physical complexion is golden; Harini or is distinct with the yellowish colour of a golden deer; Hreemkari or Gayatri is of the Beeja Swarupa called ‘Hreem’-‘H’ is stated to represent Maha Deva and ‘R’ for Para Shakti ; Hamsa Vahini or an illustrious Swan is Devi’s Carrier.

But as a single individual name, Harini is the goddess who destroys sorrows. Since verse 1 of the sukta calls the goddess Lakshmi hiranyavarna-harini wearing, there is thought to be a Golden Antelope deity based on her. Vindhyeshvari Stotra uses the term in a song about Sumbha and Nisumbha. There is a Phala Harini Kali Puja. Durgati Harini is Durga's main meaning, to remove evils from the mind. Durga says the same thing, at the beginning, just before Manasa Puja on the syllables, Lam, Ham, Yam, Ram, Vam, Sam.

So we see that Sita is white as in pure, but her appearance is actually golden, and now she is a bit similar to Aparajita, both being yellow goddesses who emerge from Bhu, which is similar to Yellow Varahi. Those are all forms of Vasudhara, who, in Nepal, is outer Varahi. Harini Sita is in the difficult position of apparently sharing a name with Nila Harini which pertains to Charchika.

Charchika is a "specific" name which usually is just cranked out with multiple aliases of Shakti. For some reason, in art at least, she is associated with Indrabhuti. But this is no accident.

Sambhal of Jnanasiddhi, the famous Buddhist work of Indrabhuti (which at first invokes Jagganath), has been identified with Sambalpur. In Chapter Two, "The present Sambalpur that is why may be taken as a late medieval town...The contribution of tribal people to the cultural history of Odisha is not unknown as we know from Skanda Purana that the Savaras are associated with Jagannath Cult. Goddess "Stambesvari" which is the earliest form worship of Sakti in Odisha is found in the tribal dominated areas like Balangir, Baud, Kondmal, Sambalpur, Sonepur and Kalahandi region."

Charchika is a devotee of Jagganath, Indrabhuti is a devotee of Jagganath.

In Indian research, "The Buddhist Pratimalaksanam enjoins that images of such deities as Brahma, the goddess Charchika, the Risis, the Brahmaraksasa, the celestial beings, and the Buddhas should be made according to dasatala measurement, and no images of others should be made in this manner."

For some reason, she is the only goddess who should be the same size as Buddha.

And as far as I can tell, her main meaning is Muttering or Pranayama or the highest thing one should pursue from an outer Yoga standpoint.

Carcika ordinarily means repetition. Although the term "Japa" is used in almost every sadhana, she is the same, although we might suggest she excludes the "rote" or "pretend" variety.

Soundarya Lahiri uses the name Charchika for the remains of mahadeva, it regularly uses the word for muttering, and derives bijas or seed syllables such as Ni = Na + E.

Devi Rahasya's bija mantras.

Muttering as the reverse of evocation.

Muttering does not work on Devas, but on Devata, who are Mantra Bandha, or bound to perform according to mantra. Bandha is of course the Chain power normally with syllable Vam. This and oath-binding are perhaps the things that make Buddhism specifically different from necromancy; and/or keep the Four Kings and many former ghosts and demons from swarming back over the world. This is what "control of the remains of Mahadeva" accomplishes.

Sadhanamala 193 Vam-arising Vajracarccika is emaciated or possibly Fleshless. She changes to white and other colors for different purposes; black is Maha Kali. She has only the garland of Nara or fresh, wet human heads, meaning she is at least to an extent, an attacker, and transmutes hindrances, and is not really the Skulls, or Emptiness or Prajna itself. She does Tandava. Her solo exercise is apparently using the wasted Camunda form, and specifically states she can change. All of Charchika's known or named images are in a normal to fat form, often using a reverse stance, in Buddhism.

Chinese Lakshmi Avalokiteshvara, with what looks like Three Eyed White Tara, Charchika lower left, and Parnasabari lower right:









So here appears continuity that Sabaris and Charchika go together. It's not an ancient Indian original, but it exemplifies several points about calling Buddhism, Indian.

Charchika's pad:









It is sunyavahini mandapa, a temple that is the vehicle of Sunya.

Charchika is used in Rakta Yamari tantra, his goddesses other than the central Vetali are:

(east) is white Moha Yamari embracing the consort black Charchika
(south) is yellow Matsarya Yamari embracing the consort light yellow Varahi
(west) is red Raga Yamari embracing the consort white Sarasvati
(north) is green Irshya Yamari embracing the consort light green Gauri



Here is a reasonable prelude to a Rakta Yamari initiation.

In Vajrabhairava, Gauri is equal to Parvati. Page 128 of Roar of Thunder equates Charchika to Locana. Lion's Roar is a method of Yamari. Unlike Vajrabhairava, there is not literature available for Yamari, even though in Nepal they have all five colors of him. If Charchika is first with red, she may be first with all. NSP 15 is Yamari with the same goddesses, but, his color is not given, just that he has three faces and six arms. This is common for Blue; Red is almost exclusively two armed, except for this non-Indian terma where he is part Kila. He may have other retinues, but, it seems safe to conclude that Charchika is used with Red or Blue either way.

Chamunda, a much more common name, is with Yama Dharmaraja; Charchika pertains to Yamari. Even though they are the "same" goddess, in Buddhism, she gets those specific roles, and that's it.

At Bhuvaneshwar town, Chamunda is known as Vetali (Corpse, Wrathful Sarasvati), and nearby she is Viraj, Mohini, Charchika, Janguli, and even Candaghanta. This location is mostly the origin of mixed goddess cults and Hindu-Buddhist crossover. She is associated with Matsya Varahi, Kapalini (Vaital), Gouri at Khiching, Durga Viraja at Jajpur.

Charchika is her name that is only found at the Pitha in Banki and in another temple in Mathura near river Yamuna.

Somehow she is also Wrathful Dattatreya. Parasurama is said to have used an arrow to carve goddess Sarala, or to have shaped Charchika's yantra.

Chamunda is the outer consort of Yama Dharmaraja. She is very popular in Bengal.

Around Buddha in one thangka, Charchika is almost Guhyajnana, she has chopper, sword, bowl, and lotus, wears a tiger-skin skirt and an elephant hide.

When Charchika starts to work, it is Vetali that gets vaulted to the dominant position with Yamari.

Vetali is the Vidya of natural light. She could be wearing Naga Kings and crowned with Vajrasattva.



The individual name Chamunda is used for the consort of Yama Dharmaraja. The corresponding name Charchika is a Yamari retinue member, or, his first Activity, like Yamari's consort Vetali is first for Kurukulla.

Dharmaraja is also called Kala Rupa, and usually has Chamunda chasing him. She usually can be distinguished by having a Trident and Bowl.

At the top center is the dakini Simhamukha (Lion Faced One), blue in colour, with one face and two hands holding upraised in the right a curved knife and in the left a skullcup and katvanga in the bend of the elbow. To the left is Vyaghramukha (Tiger Faced One) in the same appearance, save for the lower garment of tiger skin and katvanga staff. On the right is Rikshamukha (Bear Faced One) again without the tiger skin and katvanga.

At the left edge of the middle of the painting a small figure of Avalokiteshvara is depicted seated in a cave. At the bottom right a tiger devours a corpse. At the bottom center, spread upon mats of tiger and human skin, are three offerings arranged in three skullcups, nectar, the five senses and blood. An arrow with silk streamers is placed adorning the offering of the senses.








When he does this, the red linga is pointing upwards [and he] stands in a manner with the left leg extended. On the left side is the Mistress of Death, Chamundi, with a body black in colour, one face, and two arms. The right [hand] holds a trident and the left a blood filled skullcup. The breasts are pendant and the stomach distended. [She is] wearing a buffalo hide and adorned with a garland of bones.

Next, the top center is Bhairava and Vetali. Outer Dharmaraja is the main deity; Inner Dharmaraja is below, at the center of himself in Four Activities, which start with Peace or Pacifying using a Long Life Spear. The third red magnetizing activity is Secret Dharmaraja (Pranayama); and then at the end or fourth, Chamunda joins him:








So for this Protector deity, his final accomplishment is union; and then with the Yidam, Yamari, this same goddess Chamunda--Charchika begins a series where all his activities are in union--but the male or wrathful Manjushri is no longer focused on her, but on Vetali. Chamunda--Charchika fades from that name, and continues as Candika in other rites. There is a Mahakala assembly that includes Carcika.

Full text of major Ratnagiri study mentions her.

Charchika appears in a list of Jaganath associates, not long after Vana Durga. It also says the Sabaras still ask permission to do Vanayajna from the King in front of Charchika. Deva Pratistha is the technique of installing deities: vanayajna is to worship the forest that is the source of stone for the idols. It is a part of Navakalavera or Jagganah's car festival. The Jagganath Puri book is a major source containing a Charchika story from 1368 and that she has to do with chariots, according to Jaganatha, she is War Chariot goddess. She is considered perhaps the most important Odiyana Pitha goddess. Vana Durga is a dark Durga believed to visit Kashi at night. Vana could mean something besides "forest", but would require more context.

Charchika is therefor the key to Pitheshvari Tara, to Odiyana Krama goddesses generally, and to Mahamaya Vijayavahini--and so what this means is, Muttering is this key.

Csoma de Koros reported as early as 1836 that Charchika appears to be the most important deity to Rakta Yamari, using the mantra referring to the Hindu Yogi. Although his date is uncertain, Siddhendra is certainly a Vaisnava Lord of the Dance.

Chandika is thought of as the object of Aparajita Stuti which scarcely mentions Aparajita. And it is precisely the Navarna or Chandika mantra that is dissected:

Om aiṁ hrīṁ klīṁ cāmuṇḍāyai vicce

The syllable Klim is sanitized and replaced, and the name, Chamunda, has a fairly specific task, Yamari, while Aparajita gets expanded.





Occasionally Dharmaraja and Chamunda may both be red, but only once do we see blue and red:









Here, Krsna Yamari has an emaciated red goddess which implies Chamunda:








At the middle left is a maroon deity, wearing a human and tiger skin, holding aloft a knife in the right hand and eating a heart with the left. Below is a blue deity holding in the right hand a representation of mount sumeru and an axe upraised in the left. Attired in various skins he stands atop a blue buffalo. At the middle right is an emaciated female form, maroon in colour, holding aloft a vajra hook with the right hand and a skullcup with the left; wearing a leopard skin lower garment. At the bottom right is a maroon deity with the hair of the head a mass of upward rising snakes, holding a staff of sandalwood in the right hand and a vajra tipped lasso in the left, both upraised; attired in various unusual skins.

At the bottom center is a low table placed above a fresh human skin and arranged with the offerings of the five senses placed in the large central skull, nectar and blood in the two smaller vessels at each side, and five more skullcups offered in front.



1400s Ngor Six Face Krsna Yamari has an orange male in the south, and a light green female to the north, whereas the red and white couples are uniform color. Detail:










So there is a standard Four Activitites, where Ankusi has a Hook and so forth, but these all have an individualizing personal background. If we work on Hook, then there will be a real item to place in the generic figure's hands. Also, what could perhaps just be called a Five Deity Retinue or Pancha Jina is capable of directly expressing this, or, doing it a little differently.

The ultimate or Sambhogakaya or Tara of Khadira Grove in her actual Pure Land is not even a circle, it is just a row:

Mahamayuri, Akosakanta Marici, Mahasri Tara, Ekajata, Green Two Arm Janguli.

Mayuri's color is not specified; with Varada Tara 91, she is yellow, it is the same retinue, different pose. The common Three Deity Tara with Marici and Ekajata is just the middle of this.

If they were a circle, it looks like the order would be Marici, Mayuri, Janguli, Ekajata. This is perhaps "imbalanced" in terms of colors and families, and one would have to contemplate how a Fig Twig replaces a Hook. And then Janguli leads not just to Yamari tantra and Shrnkala, but to Tara in Sambhogakaya.

Some other deities appear to have a Pancha Jina which does not necessarily use all colors or families, but named individuals who seem to function similarly to Four Activities:


Pratisara takes the common Pancha Raksha and moves them.


Lokeshvara Amoghapasha:

Red Amoghapasha, Red Hayagriva, Blue Ekajata, White Bhrkuti


Blue-Green Amoghasiddhi Tara:

White Pratisara, Yellow Marici, Red Varahi, Black Ekajata


Red Yamari:

Black Charchika, Yellow Varahi, White Sarasvati, Light Green Gauri


Manjuvajra's corner deities:

Cunda NE
Ratnolka SE
Bhrkuti SW
Vajrashrnkala NW



Yellow Six Arm Krishna Yamari Janguli riding a Peacock:

Yellow Mayuri, Red Bhrkuti, Dark Green Parnasabari, Blue Vajrashrinkala

Their items are Peacock feathers, a gourd, a branch, and a chain (sphota).

Usually Blue and Black Parnasabari have a branch, and Green has feathers; her colors are wrong, and Green is in Jewel Family. This kind of branch, Sakha, is any kind of branch, but in Ayurveda is the "branches" of the body, vessels, nerves, dhatus, etc., and so there is nothing wrong with seeing it as the branches of the subtle body, or man the seven-leaved plant, or sacred sites. The larger Green Amoghasiddhi Parnasabari in Sadhanamala has "a cluster of leaves", which is not a Sakha.

Here, Mayuri has got the feathers, whose power is amplified by Janguli's vehicle. Bhrkuti really has Kamandalu, the Flask of Initiation, which would only be a gourd as a stylistic choice. She has Kamandalu in a Four Arm form in Sadhanamala, 169-170. So in this case, it looks like Mayuri is very normal for herself, and the others are slight modifications to how they are known elsewhere. Yellow and Peacock are certainly doubled here, if concrete family information is not given. It is like a laser focus on a portion of Pancha Raksa, followed by Flask or Vase Initiation, Subtle Body, Samadhi. Since Bhrkuti can be characterized as a prophet of Nirmanakaya, on the fringes of Mt. Meru, that strongly suggests this rite proceeds from an operative Nirmana Chakra. One in essence passes its initiation to something more subtle, or, Sambhoga Kaya or even Vajra Kaya. Janguli is also with Sambhogakaya Tara. Janguli completes nothing, but seems to be an escort quite deep into the main Wrathful and Peaceful states of being, Vetali and Tara. In all likelihood, Vajrabhairava is a faster, more intense practice as delineated in Sarvadurgati, the purpose being very close to the same.

Janguli has let go of Jah and is Phuh-arising:


Krsnayamari XV.1–6:

athatah sampravaksyami aryajaNgulisadhanam |
yena bhavitamatrena jalasyopari caNkramet ||
trimukham sadbhujam pitam phuhkarabijasambhavam |
sarpahastam maharupam mayuravahanapriyam ||
purvato mayurim likhed daksine bhrkutim tatha |
pascime parnasabarim uttare vajrasrNkhalam ||
paksam kamandalum sakham sphotam capi vibhavayet |
pitam raktam tatha syamam nilam varnaprabhedatah ||
eta vibhavayet prajño mantram caiva japet tatah | om phuh jah ||
mudgaradin nyased dvare puspadin konake nyaset |
aryajaNguliyogena jalam akramyate sada ||


That text also mentions that Pisaci is not necessarily a ghost, but is also an old word for tribal peoples, such as Sabari; which gives it a context like Dakini; could just mean they are ugly or evil. Since it gets lumped into a category of "slanders" like Candali outcaste, or Gauris who are thought to be horrifyingly ugly. Pisaci Parnasabari is normally youthful and charming.

With this syllable, Phuh, it suggests going through the Serpents in Sarvadurgati.

She crosses water, which, in Ayurveda, Visa or water poison is from Tamas, dark/cold/damp conditions. Visa Puspa is blue poison flower, visini is blue lotus, but Vishada--which is depression caused by Visa poisoning--is also green vitriol. And this comes from the question of whether languages are really distinguishing between blue and green. The Jain Mantra named Visahara phulinga mantra is also known as Chintamani Mantra.

Light Blue Two Arm Vajrashrinkala is the consort of Six Arm Blue Hevajra in his Seventeen Deity Mind Mandala. Or, his Body, Speech, and Mind, are Nairatma, Varahi, and Shrinkala. So this is a normally Blue Citta mandala where Buddhism no longer refers to psyche, but to Bodhi Mind in the Heart, and is generally part of Vajra Family.

Blue Shrinkala is in the lower right in a 1400s Sakya Hevajra, where she is not particularly "light":









Standardly on her own, she is a Green, or, Harita, Amoghasiddhi deity.

Krishna Yamari also "mentions", or, somehow produces, Red Vajrasarasvati. Mipham used Vajrasarasvati and she is still being passed along at Wind Horse retreats. She is still mantricly identical to Prajnaparamita or "Prajna Vardhani".

In terms of the standard Completion Stage goddesses for the Sixth Jewel of Enlightenment and Sixth Yoga:

Smoky Vajraraudri and her Activity, Green Vajrashrnkala, are Samadhi. [Karma Family]


In Kalachakra, Raudri takes the position of Sumbha; in Hevajra, Raudri is a starting deity. She is in Seven Syllable mantra, which takes a lot of decoding, it is not in order or explained there, other than deities and syllables. Vajradakini has the first syllable "Om" but she is the Seventh Jewel, Upeksa. The Seven are a slight change to Six Armor Deities (Yoginis) by adding Yellow Vajrabhairavi (Vetali). The sixth yogini is Candika; and so by analysis and comparison, Raudri corresponds. The two mantras illustrate the question of, why just say the same goddess has all these different names in different towns, versus, how in the sadhanas, each is a slightly different form, meaning, and usage. Candika is probably the first or original use of a wrathful Amoghasiddhi deity, applied variously as Chamunda with Dharmaraja, Charchika as Muttering, Shrnkala as Chain, Raudri in Completion Stage.



The formulaic mantra Chain goddess is Vajrasphoti; Sphota is a generic name, Shrinkala is more personal. Sphota has no meaning of a chain; it is Inner Word or Sabda, and various kinds of opening and expansion, such as the hood of a snake; Shrnkala has not much meaning other than chain. It apparently is necessary to say Vajrasphoti is equipped with a shrnkala. Vajra Sphota is usually Red, and in Vajra Tara or NSP it says she has a sphota--even though it is a standard term in Panini's grammar; Sphoṭa is nothing but the bursting of the Kāmabīja (Klim). It is the first sound. Sometimes she is even translated as Diamond Burst.

So if the teaching has described Samadhi based in Primordial Sound, since Shrnkala is samadhi, and she "is like" Sphota or vice versa, it could hardly be more plain. Sphota is the name of the item in Sadhanamala, but, if it means chain anywhere else or in general, no, it does not seem to.

The Chain Activity is Bandhaya or Bandha, which, in a wrathful rite, subjugates and binds interferences; peacefully, it is less like magnetic attraction, and more like a magnetic lock. It is a general Hatha Yoga term for various kinds of rigidity. And this should at once be a sort of supreme Shakti of Lotus Family, but, esoterically, its goal is simply samadhi, especially locked into Primordial Sound. And so here, we see Janguli has the only apparent "personal" use of Shrnkala, putting her into the fourth, final, or gnosis position.


(The Bell) which sings the Vajra doctrine, is born in the Buddha Families of Vajra and Karma.

So far, only Manjuvajra and Janguli use a series of outer deities, dharanis, etc., to make a sequence leading to Vajrashrnkala. Now in the case of Manjuvajra, this is a bit misleading, since the retinue is really much larger and Cunda is in Maha form. What this implies is that, by following the orchestration, Janguli will produce gnosis of samadhi as Vajrashrnkala. I don't have to do the mandala or the Yamari rite. It is just a Yoga assembly near Janguli. Combining the proper sounds, meanings, etc., will make it work. One would already appeal to Janguli, Mayuri, Bhrkuti, and Parnasabari, even if just routinely following some of the exoteric dharanis.

Janguli has the serpent hood Amoghasiddhi uses; and she appears to conjure the Chain he uses.

So although it might be normal to start with a Red Chain, and it can mix with Little Red Lion Face, in a significant way, this Chain goes to Shrnkala, and Big Red Lion Face has no Chain, she has a Trident, like Chamunda and Guhyajnana. So one could extract that Janguli is a pivot between an outer, exoteric Chain, and something esoteric she reveals from beyond.


Chain is sneaky because Vajra Sphota means Lotus Family and Red, but, Shrnkala lacks this, and we can see she mainly "is" Karma Family and "goes" to Vajra Family in Union with Hevajra. So, we have to anchor something in Red Speech Mandala and sound, such as Charchika or Muttering, and then something Blue and Green related to Chain and Bell can begin.

Janguli is an Akshobya goddess and Shrnkala is normally Amoghasiddhi, in the northern Amoghasiddhi area, even if she is the wrong color, so is Janguli. Shrnkala is already Blue like she can't wait to get where she's going.

These are Shrnkala's three brief Sadhanamala pieces:

207.
namo vajraśṛṅkhalāyai /
pūrvvoktavidhānena hṛdi candramaṇḍale haritahuṃkārajñānaniṣpannāṃ
vajraśṛṅkhalāṃ trimukhāṃ ṣaḍbhujāṃ nīlaśukladakṣiṇetaramukhīṃ
trinetrāṃ vajraśṛṅkhalaśaravaddakṣiṇakaratrayāṃ
tarjjanīpāśacāpavadvaāmakaratrayāṃ haritaśyāmavarṇāṃ īṣaddhasitamukhīṃ
sarvvālaṅkārāṃ duṣṭasattvanisūdanīm ātmānaṃ dhyātvā
mudrāṃ bandhayet / hastadvayena pṛthak pṛthak vajramuṣṭiṃ kṛtvā
kanīyasīṃ tarjjanīṃ ca śṛṅkhalākāreṇa bandhayet / oṃ
vajraśṛṅkhale huṃ phaṭ svāhā iti jāpamantraḥ /
// vajraśṛkhalāsādhanam //


208.
pūrvvoktavidhānena śūnyatābhāvanānantaraṃ viśvakamalasūryyasthaharitaśyāmahuṃkārajāṃ
haritāṃ trimukhāṃ aṣṭabhujāṃ
prathamamukham īṣaddhāsarasaṃ dakṣiṇaṃ kapilaṃ kapilalocanaṃ ca
vāmaṃ raktaṃ bhṛkuṭīdaṃṣṭrākarālaṃ dakṣiṇeṣu catuḥkareṣu abhayavajraśṛṅkhalaśaradharāṃ
vāmacatuḥkarai rudhirapūrṇakapālatarjjanīpāśacāpadharāṃ
lalitākṣepāsanasthāṃ [marjjaracarmottariyam, Amoghasiddhibhusitoidhvapingalakesam]
vicintya oṃ vajraśṛṅkhale
huṃ phaṭ svāheti mantraṃ japet /
// iti āmnāyāntareṇa vajraśṛṅkhalāsādhanam //


209.
ādau tāvan mantrī sukhāsanopaviṣṭaḥ śūnyāḥ sarvvadharmmā
ity evam uccārya evam ādyebhyaḥ śūnyā dharmmā prabhavantīty
eva dṛṣṭisampattim utpādya ratnatrayaśaraṇādigamanaṃ kuryyāt /
tato yāvantaḥ sattvāḥ sattvasaṃgraheṇa saṃgṛhītāḥ, te sarvve mayā
sarvvajñajñāne pratiṣṭhāpayitavyā iti / tato hṛdaye viśvadalakamalaṃ
tadupari sūryyabandhacchedanīṃ duṣṭasattvanisūdanīṃ śyāmāṃ
trimukhīṃ trinetrāṃ dvibhujaikapiṅgalalocanāṃ vāme bhṛkuṭīmukhīṃ
raktadaṃṣṭrākarālāṃ prathame īṣaddhasitānanāṃ aṣṭabhujāṃ
prathamadakṣiṇakareṇābhayadadāṃ dvitīye vajraṃ tṛtīye vajraśṛṅkhalāṃ
caturthe śaraṃ vāmakare rudhirapūritakapālaṃ dvitīye
tarjjanikāṃ tṛtīye pāśaṃ caturthe dhanuḥ, sphurantīṃ buddhameghān
sulalitāsanasthāṃ mārjjāracarmmottarīyāṃ bhāvayet (oṃ)
vajraśṛṅkhalām / kṣaṇena prāpyate bodhiḥ kiṃ punar anyāḥ siddhayaḥ /
oṃ vajraśṛṅkhale huṃ phaṭ svāhā /
// vajraśṛṅkhalāsādhanopāyikā samāptā //




Twice she is isat "a little" hasya "laughter", isaddhasa. She is also Vajra Fist or Musti. Ekapingala is Kubera with a yellow mark in place of one eye. The other instance of "locana" seems to say her right face is kapila (tawny colored) with kapila locana or tawny eyes. It looks as if locana and bhrkuti are both being used as ordinary words, not as deities. On this "kapila" one, 208, Bhattacharya's original text states she is crowned with Amoghasiddhi; the lack of it here is one of the very few differences between the two books; I have added it in brackets. He translates "kapila" as "brown". Chain is not even her primary item, which is Vajra, and she simply also has Chain and Noose. Her Eight Arm form adds a blood-filled skullcup, with no knife or other similar device used for drawing Rudhira, that it is full of, is blood, saffron, and Mars.

Antara is an interval of space or time, and actually more of a correct term than "Bardo consciousness" is Antara Bhavana. More flexibly, antarena is "between, among", and Amnaya is a family, not as in a Buddha Family, but a lineage. So as an Amnayantarena, this means she is shared among, or is non-different to, all lineages. The only thing that even looks similar is Gandhari 201: athāmnāyāntareṇa; Ath is an auspicious beginning or going to.





The Prajna syllables are generally Lam Mam Pam Tam Vam. This is the opposite of Four Dakinis, which has the central Vam at the beginning, here, it is the end.

Vam may be Vasudhara, or even Manidhari Pratisara as on the dharani wheel, but it also is Vajracarccika. These are the Five Prajna Lights which have to go in our Cup or Bowl. Rasa Vajra is the Taste of the skullcup.



The Bowl will be shared amongst multiple female deities:

Bowl & Hook, Vasudhara
Bowl & Knife, Vetali
Bowl & Knife, Vajra (Maitri's dakini), or Staff (Naro's or Indra's), Varahi
Bowl & Trident, Chamunda
Bowl & Drum, Niguma, Siddharajni, Vira Vajradharma (Red Lokeshvara, summoner of Vajrayogini; he is called Takkiraja whose female equivalent is Red Guhyajnana Dakini, Guhyeshvari Varuni, Guhya Kali)



One Face Six Arm Tandava Vajracarccika:

193.
pūrvvoktavidhānena śūnyatābhāvanānantaraṃ aṣṭadalakamalopari
sūryyasthahuṃkārajavajraṃ vaṃkārādhiṣṭhitavaraṭakeṃ dhyātvā
tatpariṇatāṃ vajracarccikāṃ trinetrām ekamukhīm arddhaparyyaṅkatāṇḍavāṃ
mṛtakāsanasthāṃ kṛśāṅgīṃ daṃṣṭrotkaṭabhairavāṃ
naraśiromālāvibhūṣitakaṇṭhadaśāmasthyābharaṇavibhūṣitāṃ
pañcamudrādhāriṇīm akṣobhyamukuṭinīṃ vyāghracarmmanivasanāṃ
muktakeśīṃ ṣaḍbhujāṃ dakṣiṇe vajrakhaḍgacakradhāriṇīṃ
vāme kapālamaṇikamaladharāṃ raktavarṇāṃ karmmānurūpataḥ
śuklādivarṇayuktāṃ ca dhyātvā svahṛccaṃkārakarānītajñānacakraṃ
puraḥ saṃsthāpya pūjādikaṃ nirvvarttya praveśayet tato mantraṃ
japet - oṃ vajracarccike huṃ svāhā /
// iti vajracarccikāsādhanam //

She is Red or Rakta "karmmanurupatah", according to function or duty, which seems to be the suggestion she is changeable, sukla di varnam, white and other colors. Her main items are Vajra and Kapala.

Later it seems to say in her heart is Cam which begets Jnana Chakra. "Nita" is straight to, correct, guided by. If we charge at this goddess, contending what the heck are you for, and she gives Jnanacakra, the most intense in the big Heruka, starting with Tilottama who initiated Buddha, running through Four Kinds of Women and Vilasini, that is the only definition, or it can really only mean this one thing. This is its version of Mahasukha, or Four Dakinis chakra. If Vajracharchika managed to commandeer its Vam syllable, she has aimed the dakinis to a plane beyond their own. Beyond their plane is Ziro Bhusana, who uses Om, Ah, Hum to center the mantra while twisting it.


Mrtakasanastham appears to say she is situated in Amrita and Akasa.

Krsangi is in the Puranas, but Ratimanjari explains a Padmini woman by:

bhavati kamalanetrā nāsikākṣudrarandhrā aviralakuca- yugmā cārukeśī kṛśāṅgī | mṛduvacanasuśīlā gītavādyānuraktā sakalatanu- suveśā padminī padmagandhā

Carukesi is a chick emanated by Vaisnavi. Krsangi is the daughter of Suyasa, consort of the king of Kashi:

Nikumbha (निकुम्भ).—Another form of Gaṇapati. The following story about him in the Nikumbha state is told in Vāyu Purāṇa.

Suyaśā, wife of Divodāsa used to worship in the Nikumbha temple of Vārāṇasī for the sake of a child. As the worship did not yield the desired effect, Divodāsa smashed the idol in the temple into pieces. Then Nikumbha cursed that Vārāṇasī should decline. As a result of the curse the Hehayas like Tālajaṅgha and others destroyed Vārāṇasī and drove Divodāsa away from there. At last the Nikumbha temple was rebuilt and Vārāṇasī became prosperous again.

To see how Krsangi emerged from that state of affairs might help explain why she is in Charchika's ether. The name literally means delicate, or thin or weak, and so here we probably do not mean a sensitive flower woman, but a starved Chamunda look.

Padmini is "yugma" or the pair of these women, or they are both Padminis. And what they do is a type of Mrtyuvacana, by Gita songs and Vadya instruments.

As Charchika, Krsangi is a toothy, or fanged, terrifying Bhairavi. But she is still enough of a Padmini to be a red Akshobya deity. Her Jnanachakra arises in the condition of:

puraḥ [already] saṃsthāpya [having accomplished] pūjādikaṃ [puja beginning with, and so on] nirvvarttya [is pronounced] praveśayet [entry], by her Mantra Japa or Muttering. Her mantra automatically does Pravesaya, or Noose, into Jnana, or Mahasukha chakra, of the Four Dakinis who always surround a principal, that may start as Guhyajnana, but will appear as others.


Charchika's primary item is Vajra, and her last item happens to be Kamala.

And so when we see the potent form of Lakshmi is yellow, tantricly, this is Kamala, whose path is outlined as:

Lower Kamala is Varahi, Charchika, Ushas, Marici, Yellow Sun, Yama Shakti

Higher Kamala is Sundari, Kurukulla, Uddiyana, Moon, Brahman Shakti. Higher in this sense I believe means lacks direct intercession to the world, i. e. relies on a minister such as Matangi, or is similar to the Jinas in Abodes in the Akanistha.


The Lower tantric Kamala is like Yoga or Generation Stage, which we think must pass some kind of "death trial", as suggested by Yama Shakti, and, the Hindus say Marici, Charchika, and Varahi are relevant. Kurukulla is something higher. I would contend the only real Kurukulla exists in Completion Stage.

If Charchika is in Akasa, or Sky, then she perhaps is in the next, Fifth Dissolution after Lamp. According to Yoga doctrine of Dakini Jala Rahasya, this is the highest teaching. Ultimately, it is not, but the rest is very subtle, the Three Voids, or mental voids. Dakini Jala appears to be a condensed form of the entire Path, minus the most advanced subtleties of Completion Stage; and so it will more or less promote those who have an aptitude for inner Yoga, and defray those who have difficulty penetrating or actualizing the experience.

Just because it is not the "finale" makes it no less profound. To operate it, you have to go through the preceding empty forms which have the tendency to make an ordinary being panic. Our safest bet if we get Fireflies is to resolve them into a Turquoise Lamp or Dipa Tara. This brings us close to Mahasri as registered above, or, Peaceful Amoghasiddhi Tara.

Here is a 19th century Ngor attempt to make a type of Blue-Green Amoghasiddhi Samaya Tara, where she is not quite Ardhanishvar or evenly divided:









She has several Jambhalas, Parnasabari, and what seems to be Needle and Thread White Marici.

Dipa is alternately Vajra Aloka or Vajra Avalokite in Nepal; in India, Arati, or removing darkness, is the term for such a ceremony, which includes a peacock feather and a fly whisk. In Dharma Samgraha Form Objects, the opposite of Aloka is Andhakara. The noun Avalokita means "beholding, seeing", but the adjective Avalokita means "observed, is viewed by". So according to grammar, Koothoomi is completely correct. In the sense of a Lamp goddess, would it be meaningful to say she sees you? Not really, it is more important to say you see her light or see phenomena illuminated thereby.

In Atharva Veda, Golden Arati is Nrrti and Bagalamukhi, who is pre-eminently the "Stambhani Shakti" indicated by historical study. In Yoga, this yellow power is intended to stop the mind and everything out to physical breath, and so Yellow Cinnamasta would seem to continue this trend through Completion Stage. Roughly, when yogicly removing "vajra blinders", one is being pummeled by some kind of yellow force which, taken strongly enough, will knock you into Realm of Turquoise Leaves in the Akanistha. Lack of success may involve the glue or water poison, which will stick one together in the various Kamalokas or unpurified parts of Bardo consciousness--the thing that Sarvadurgati Parisodhana cleans.

Tson Khapa explains Yoga via H. H. D. L. and Jeffrey Hopkins. Here, Tson Khapa heavily quotes Anandagarbha on how Yoga Tantra begins. It is fairly succinct, at least the part about approaching a deity. He or they make a pretty firm distinction between those who will only be able to follow a ritual and "pretend" it is actually happening, and those who make it actually happen. And so the term Yoga continually refers to an outer-to-inner translation, and, if successful, how much of the inner part can be understood and practiced. Yoga specifically is Deity Yoga, Devata Yoga, or Lha Naljor.

He or they say Coarse is the whole deity form, Subtle is the tiny hand symbol. So, like Tara's pants, or a Net made of Nooses, one of the most important hand symbols is Vajra, and for the most part, a mandala is made of "vajra fabric", the vajras resolve to infinitesimally tiny; and someone who has really mastered Ground, Fence, and Canopy, is able to perceive each such tiny link. These are incredibly hard, so, for example, projected into water, it becomes as strong, and you can "cross over" it.

[shaberon]

Bell, Parnasabari, Marici and Sita



Maritime research on Java p. 335 finds among the males, Vajraraja takes the syllable Jah and is represented by Vajrankusa. Apparently in Java, one of the Activities was replaced by Vajra Musti. They say Sadhanamala 251 has Jah = Aniya ("having brought") and Hoh = Tosana ("satisfaction"); whereas from female names in 97 (which is Vajra Tara), Hoh = Vasikarana, which is Vasikuru in the main mantra. Marici 146 appears to combine Vasikarana and Tosana.

If the books are willing to say the male Hook is not just a generic image, but has some kind of personal background, then we are not out of line for reading the same from the goddess.

We should have a sense of the fourth Activity, or Bell, which also corresponds to the Mudra or Seals of Initiations.

Yamari seems pretty straightforward and Red has something like sixteen chapters and then three mandalas and that's it, he is all in one book. And then in a thangka from the previous post, we find his Protector Dharmaraja doing Four Activities whose achievement places him in Union with Chamunda. And so the basis of this is the four degrees of tantric approach, Smile, Gaze, Embrace, Union. This cycle is something like the outer form of Yamari. The first possible seal is just this, union in form, which is Karma Mudra, and the actual Maha Mudra is above this.

Although he is wrathful and in the business of killing death, Yamari is not really shown in the cemeteries. And even when he splits into all Families or all Activities, he doesn't have any tricks. The goddess does. And so if I am curious about Charchika, what happens to her, in the art she is not black but blue; and if it is hard to see a small version of her hanging upside-down like a bat, larger versions of the couples are portrayed upright in the corners:








So she doesn't exactly match a White Hook power. This is really a Vetali tantra, since, Vetali is the central goddess, and, above her in the west is White Sarasvati--but in the corner, she has switched to Red Vajrasarasvati.

Yamari is just sort of "there", and it is actually a hypostasis of three kinds of Sarasvati, who is Vetali, the Vidya of natural light.

Then why is Amoghasiddhi, Shiva, just because his family has Green Gauri--Parvati in it here?

From Kundalini p. 151, the Moon Soma = Sa Uh, Sa Shiva plus Virgin Uma (Parvati). They do not exactly say how she can be a virgin and united to Shiva. This perhaps can only be found through the yogic process. Meanwhile, we will call it female influence on the normally male White Moon.

It then describes Primordial Sound and sex; Shiva's term for the sound, Dhvani, is defined as the precursor to the eternal sound, Sphota. It finds a glimmer of pure consciousness in the response to a woman's love cries or Sit Kara, or, Sit is her gasps and moans, Kara is to make them.

Then it gives ten sojourns through ever more peaceful space, these are ten Kha. We already have this for sky syllable. Like Voice of the Silence, it describes dissolutions through sound, in this case, nine, followed by the only truly liberating sound, the Drum.

That is what Shiva says; Tara says she was liberated in the previous universe with Amoghasiddhi who was Dundubishvara, the Ishvar or Yidam of drum sound.




Chamunda is commonly emaciated, but Hinduism provides many forms of her; however, much as Buddhism discards her regular Klim syllable, Hinduism specifically excludes any six arm form, such as the Buddhist Charchika is. She skips from four to eight and up. Hindu Yellow Charchika comes about this close:








She is tricky, since all other shaktis are considered a product of male gods; Chamunda is the direct emanation of Devi Chandi with no other agent:










A very nice Himachal Pradesh gallery even uses her like a full Durga form at the temple of Vajreshvari. Chamunda's Gayatri simply calls her Kali.

In a rough manner of speaking, the virginal essence pictured above moves through her wasted and horrifying forms and returns via the nectar of primordial sound process as summarized by Sauh and Visarga; and in Buddhism, Hoh is the pre-eminent Visarga syllable. Jah may have it, but, Hoh comes up in Vajrasattva Hundred Syllable, and, mantricly, is the ringing out of the Bell. Janguli is also Visarga, since she is always Jah, never Jam. Nevertheless, the meaning of Hoh is Visarga, Bell, and Prajna.

Since we would have to call Candika "Chamunda and Charchika's continuation in other rites", then, the same sort of continuum suggests itself in Buddhism, with Chamunda and Charchika being a bit more outer and preliminary. I am not sure we could say Candika is anything other than the Prajna on her own plane. Charchika is the Muttering which is as yet to be filled with this Prajna. Charchika, so to speak, accumulates and arranges it, or, the Dakinis do: Raca.

So there is Muttering (Charchika), the Dakinis (Guhyajnana), and Muttering the Dakinis (Ziro Bhusana).




STTS Vajradhatu around p. 103 explains the act of hooking one's goddess as something more like a passionate demand.

There are a few kinds of vision mudra, but, in terms of removing vajra blinders:

If one beholds any female (deity) with one's widely open eyes,
(which is known as) ‘vajra-vision’ (vajra-drsti) generating the
extreme joy of passion, one can subdue her perpetually...

These four rituals focus on the eyes' movements which are made by the sadhaka in
samadhi. When the sadhaka visualises and beholds his chosen female deity in this
mandala, he uses one of the four types of eye movements in order to unite with his
female deity and to gain her power.



It names the seed syllables:

Vajra Vac: Hoh
Krodha Vac: Jjah (one can attract all living beings like Vajradhara)
Sabda Vac: Hum (attributed with killing all living or all evil beings)
Suksma Vac: Ham

Vam has been changed to Ham which is suksma, or subtle, which it is already known that the inner heat becomes Vam, which melts the White Moon, or Ham, in the head. Suksma Yoga is a process of first, being able to do it at all, and then at increasing intensities in a regulated manner through the chakras. Nyingma expresses the Four Joys in about the same way as we are using, starting, not in the head, but in the pinpoint aperture of it. In Vajrasattva 100 syllable, the four Ha syllables plus Hoh are the normal five wisdoms,

It has stuck an extra "j" on Jah, which Parnasabari also does. So we get the oxymoron that Krodha, Wrath, is attractive--but further along,

The word ‘destroying’ from the outside of the tantra signifies ‘gaining the attainments (siddhi)’.

If sound, Sabda, kills everyone, then figuratively, it could just mean to gain their knowledge and power; Hum is subterranean, and, since we consider the body to be composed of many living kingdoms, below its surface, there is seen a karmic debt to be paid to them for all the years of abuse; plus, they become sources of enlightenment. So far this mainly seems to be characterized as transcending the Dakini, Yaksha, and Gandharva realms.

Nyingma syllables with Offerings:

Jah Dhupe Pravesa (fragrance of ethical discipline)
Hum Puspe Avesa (cascade of flowers of enlightenment)
Vam Dipasukhini (Aloka and Lamp of Pristine Cognition)
Hoh Gandhe Citta Hoh (flowing stream of Nectar)


In Vajradhatu, One further uses the four kinds of eyes to unite with Four Paramitas.

The Vajraguhya Vajramandala which constitutes the supreme samaya-mudra
represents the Mind of Vairocana, which is revealed by the thirty-seven female
deities who are manifested through the samadhi of Vajrasattva or Vajrapani and are
replaced by their symbols in the constructed mandala. These thirty-seven female
deities, who symbolise the minds of the thirty-seven deities of the Vajradhdtu
Mahamandala and the Buddha's infinite love, generate the love or passion inside
the sadhaka's mind, the power by which the sadhaka gains the four attainments, i.e.
subjugation, attraction, destruction and pacification.

Hoh, exoterically, with Vajrasattva, is Dharmadhatu Wisdom; as a Bell Gatekeeper, it is Gnosis, or Dharmadhatu Vajra; and as a Bodhisattva, continuous Nectar, from Perfume or Saffron Water in a Conch Shell. The expanded retinue of Families is a basis for intensifying Fourfold Activity. The fourth, Destroyer, if it has no target to destroy, is Siddhi. The same Jah Hum Vam Hoh begins as little Nirmana Chakra Gatekeepers and works its way up to Bodhisattvas, much like the Four Dakinis emerge and simply continue, Mahasukha Chakra. It is all more or less "Vajrasattva and four goddesses" in increasingly subtle spheres. With Hevajra, the Gatekeepers may be Gauri, Cauri, Yellow Vetali, Ghasmari. Hevajra is not going to work if you just start saying Jah Gauri and so forth, it is going to work if you have established what Jah does, and what it means to activate the Gauris.

Lamp is the herald of Nectar or Siddhi in the Offerings, or, in samadhi, of the Dissolution of Wind into Space. And as a Bodhisattva she lands on Vam, and is Sukhini or makes you happy; Luminous. This Offering, or Bliss, is taken to the Dissolution, otherwise there will be no such thing. This derives from how well we are able to make the Bowl, or Cup, work, Bharati or Varuni.


Tabo in Spiti, Himachal Pradesh, Trans-Himalaya, is a massive intact complex from the 11th century, built on Vajradhatu mandala. A lot of it is deteriorated, but, one of the main images is Aparajita Sitatapatra--the Parasol without a Parasol effective against Planets like Grahamatrika:









The first link is to a massive Vienna archive, where they may perhaps be using a Blue-Green Tara, and the picture is from a book called Inside the Forbidden Temple. And in addition to the murals, the part that looks even more impressive is that for certain deities--male Gatekeepers and female Offering Goddesses--there are painted clay figures like statues worked into their place in the assembly.

Lasya:


















Shingon p. 303 gives Lasya's seed syllable as Hoh.

Nrrtya may have a three-prong vajra scepter, and usually throws her right arm in a move:









That is from an art site that showcases a few of them. Since she is known for using Trident, this is shared with Chamunda and Guhyajnana, who also picks up a Drum. Chamunda more or less truncates into Charchika--Muttering, and the Guru of Guhyajnana pre-eminently uses a Trident and Mutters the Dakinis.

So to enter Triangle, it makes sense to use Vam Vajracharchika and Mutter Ziro Bhusana.

That is probably as far as we can go in Dakini Jala Rahasya.

Green Mahalakshmi is crowned by Yamantaka, so, she is not going to present herself without that.

To some extent, we should be able to mix wind and mantra in the central channel and open a bit of Mahasukha.







Bell is Ghanta, and the Gatekeeper Vajraghanta is often red; Dhanada has a White Vajraghanta.



Vajra Tara 94 says:


pañjaramadhye ākāśasvabhāvāṃ dharmodayām ekārāārāṃ

Inside Panjara is Akasha, in which a Dharmodaya with one Ra syllable is Aram: swiftly present and suitable for some purpose.

adhaḥ sūkṣmāgrām upari viśālāṃ suklāṃ vibhāvayet /

Below is Suksma Agram: a subtle host arranged like a musical octave. Above is full of moonlight.

tanmadhye gaganasvarūpaviśvadalakamalakarṇikāsthitatrisūcikavajraṃ
tadvedikāvyāpīni caturmahābhūtamaṇḍalāni /

In the sky, a lotus and three pronged vajra, and then a mandala of Four Mahabuts or Great Elements.

She then casts Inverted Stupa:

yaṃkārapariṇataṃ ardhacandrākāraṃ nīlaṃ vāyumaṇḍlaṃ kaṭidvaye lalatpatākāṅkitam,
tadupari raṃkārajaṃ agnimaṇḍalaṃ trikoṇaṃ
raktaṃ koṇūṣu rephāṅkaṃ tasyopari vaṃkārajaṃ varuṇamaṇḍalaṃ
vartulaṃ sitaghaṇṭāṅkaṃ tadupari laṃkārajaṃ mahendramaṇḍalaṃ pītaṃ
caturasraṃ koṇeṣu trisūcikavajrāṅkitaṃ tatsvabhāvaṃ māyopamaṃ
vijñānaṃ viditvā caturmahābhūtapariṇāmajaṃ
pariśuddhabuddhakṣetrasaṃkeparūpaṃ
mahāmokṣapuraṃ vairocanasvabhāvaṃ viśvavajravedikāmadhye
nānāratnamayaṃ kūṭāgāramcaturasraṃ
caturdvāram aṣṭastambhopaśobhitam /
caturvedīparikṣiptaṃ catustoraṇamaṇḍitam //
hārārddhahārapaṭṭā(ghaṇṭā)darśacāmaravicitrapatākāghaṇṭāvibhūṣiam /


It does not say it is Varuni's spell, and, we are more or less working on the first two lines in considerable detail. And then it is saying from Mind Mandala comes a White Bell, which begins the final part or mysterious exalted Square Earth Base which is our pinnacle.

Varuni can do this to anyone, but, we mainly have Vajra Tara as the destination anyway.

The result is Eight Petaled Lotus for her retinue:

tasya garbhapuṭe aṣṭadalaṃ padmaṃ...

The retinue is based on her mantra, and Ghanta is Re:

śyāmām uttarato ghaṇṭāṃ bījarekārasambhavām /
vajraghaṇṭānvitakarāṃ raśmisthāṃ vāmatrjanīm //
koṇabhāgeṣu cihnāni māmakyādiviśuddhitaḥ /
bodhicittaghaṭo merurvahnikuṇḍaṃ mahādhvajaḥ //

Ghanta's form is repeated later:

vajraghaṇṭākaravyāgrāṃ vāmena duṣṭatarjanīm /
raśmimaṇḍalamadhyasthāṃ rakta-utpalasannibhām //
vajraghaṇṭā /
koṇabhāgeṣu cihnāni catvāri vidhiyogataḥ /
bodhicittaghaṭo merur vahnikuṇḍaṃ mahādhvajaḥ //




Generally, the eight lotus petals are the four mothers and four goddesses and the vase represents the vase containing the nectar of accomplishment.

Bells and Gongs are symbols of Spiritual Authority of the Peaceful deities.

In Tibetan Buddhist Symbols, the bell can house almost all of the mandala symbolism. Overall, the bell itself is Prajnaparamita, sometimes showing her face. It is Wisdom as complement to the Vajra or Method.

Prajnaparamita 159 says:


haḥkārādayaḥ sarvaśuklāḥ / tathā'syaiva
dale lāsyā-mālā-gītā-nṛtyā-puṣpā-dhūpā-dīpā-gandhādyaṣṭayoginībhir
veṣṭhita etat sarvam api parinamya jñānacakram
utpadyate /

Hah syllable becomes universal moonlight.

The Offering goddesses Lasya, etc., are "Parinamya" or "ripened into" Jnanacakra. It is Four Dancers and four items same as from the Nyingma verse. One may directly proceed to Peaceful Offerings based on Prajnaparamita alone.



According to Encyclopedia of Ancient Deities, Vajrasattvatmika, a name used in Nepal, is the mother of Bodhisattva Ghantapani.

Her name Atmika is like Atmako as used in the mantras and is a form of Ātmaka (आत्मक).—a. (At the end of compound) Made up or composed of, of the nature or character of &c. So if I am saying in a mantra, Vajra Svabhava'tmako Ham, I consist of Vajra, then she is similarly saying Vajrasattva Atmika, she is made of Vajrasattva.

It may be the best name; she is nature's echo to the input of Vajrasattva. Same as Lasya, or, Lasya is something like a total electrified organic bell of a being.

Pride or Vajragarvi is described a white with knife and bowl. In Nyingma, this is considered identical to Vajradhatvishvari, Vajradhatu-ishvari (Tib.: dor je ying wang chug ma, also known as dor je nye ma, Skt.: Vajra Garvi):










One of their main root tantras, which in fact is the basis for almost everything that comes from the Kama [kamtsang] (long "oral") tradition, is the "Magical Net," in which Dorsem [Dorje Sempa, Vajrasattva] is the main yidam.

According to Robert Beer, there is also Red Vajragarvi.

Since they say the female aspect may be visualized alone, then suddenly you have a yogini with Vajravarahi items that is not Varahi. She is whatever goddess response is realized by Vajrasattva and Dharmadhatu or Dharmadhatvishvari, i. e. her definition is the "real thing" not a concept, to which Guhyajnana is the Wrathful aspect and the Activities. It seems best to reserve Vajradhatvaishvari for Atmya Vidya or actual Gnosis of the upper life wind reversed; this being the realm of Vajra Ignorance, and Vajra Kaya, or the subtle of the subtle body. It is said that Marici appropriates Prajnaparamita in order to do this; so while it is true that the outer philosophical text and preliminary deity is really the same Bell as it always will be, Marici may be considered all flashes of occult light or Prabhasvara from the initial twinge of Dissolution until final attainment.

A bell, per se, does not exactly have a Hindu original deity, as it is considered the abode of all. If anything, it is mainly Ananta--Time with Sarasvati and Prana. That says something like Eternity and Sound--Speech as a pivot of life and death.

Similar to the title of Brihadaranyaka Upanishad, the forest mistress, Aranyani, is the result of Parvati asking Divine Mother for a Beautiful Girl. The Rig Veda Hymn in Book 10, Hymn 146 gives a very poetic description of the Goddess Aranyani in the forest setting: Hymn CXLVI is dedicated to her. The Mother of all sylvan things, who tills not but hath stores of food. Aranyani appeared with a snow-white body clothed with roses. On her head was a wreath of flowers falling from golden hair. Her face radiated like the sun. She wore anklets with bells producing musical sounds that tinkled when she moved.

She is elusive and rarely seen but, you can Hear her move through the Forest.

And so this follows through the symbolism of the Sabaris or Forest Maidens who take one to the Tree of Initiation and onto the feet of Mt. Meru.









Her full story from Sivkishen is that her husband is Sindhura, or, lord of the vermillion mark. Here, there is some kind of male influence to the normally female red seed.

One of her only temples is at Arrah, Bihar. In Bengali, the guardian spirit of the forest is called Bonbibi and in Kannada, she is called Vana Durga. Aranyani is most mysterious, as she is known to love to dance but can never be seen by the human eye. She is acknowledged in the movement of the trees, especially at dusk. Arrah means "saw" from a time that Durga demanded the royal couple saw their son in half, and stopped it at the last moment. For some reason, the east-facing temple shows Aranyani as two sister goddesses. In Comilla, Bangla Desh, she is Bamani, in Assam she is Rupeswari. In folk and tribal cultures especially, trees and forests are also worshipped as Vana Devatas or forest deities.

This probably helps explain Mahattari as Varendra Vana Iccha.

The most prominent part of HPB's aura was Astral Bells. Many yogis describe it as a prelude to "other sounds", up to ones like Lion's Roar and Thunder, and so Buddhism does not create this condition, but is a certain school or method of handling it.

Parnasabari's odd posture is Tibetan for directing energy into the spine.

Parnasabari translation:

The Meditation of Loma Gyönma, the Yellow Leaf-Wearing Female Solitary Ascetic (Parnashavari) Refuge and Bodhichitta The ritual begins with the usual preliminaries of taking refuge and developing the altruistic thought of enlightenment. I go for refuge until I am enlightened To the Buddha, the Dharma, and the Supreme Assembly. By my merits from giving and other perfections, May I become a buddha to benefit all sentient beings. Visualization Then follows recitation of the mantra to correct one s mental perception:

OM SVABHAVA SHUDDHA SARVA DHARMA SVABHAVA SHUDDHO HAM

All phenomena are empty. Within the sphere of emptiness appears the syllable PAM on a lotus and moon disc. From this syllable PAM I arise as Parnashavari. I am the yellow color of molten gold, with three faces and six arms. My main face is youthful and wrathful. My right face is white and peaceful. My left is red and passionate. Each face has three eyes. In my first right hand I hold a vajra, in the second, a short handled axe, and in the third, an arrow. My first left hand is in the threatening mudra and holds a vajra on a loop. My second left hand holds a switch made of a bush in full bloom with new leaves, fruits, and flowers. My third left hand holds a bow. The heel of my right foot is kept at my secret place. My right knee rests gracefully in a half-dancing posture and my left foot is beside my right heel. My upper body is covered with red silks, and my lower body is clad in fresh leaves. I am adorned with jewel ornaments and flowers and a white snake brahmin cord. My hair is partly tied up. I am beautiful, youthful, and slightly wrathful. I am seated on a moon disc, encircled by radiant light. A white OM, a red AH, and a blue HUM are at my brow, throat, and heart respectively. I am crowned with Akshobhya. At my heart is the yellow seed syllable PAM.

Meditation Visualize yourself as the deity. From the mantras at your heart, beams of light are emitted like beams of sunlight, purifying yourself and others of all spirit harms, negative karma, diseases, and obscurations. You can visualize sentient beings on the moon disc around the mantra at your heart. Concentrate that your mind and the mind of Guru Loma Gyönma are oneness. Or, you can visualize Guru Loma Gyönma in front of you and meditate in the way described above. The practice of this deity is specifically for healing.

Essence Mantra OM PISHACHI PARNASHAVARI HRIH HAH HUM PHAT SVAHA

Action Mantra OM PISHACHI PARNASHAVARI SARVA JVARA PRASHAMANA YE SVAHA

Dedication Prayers Then dedicate the merits: May the supreme jewel bodhichitta That has not arisen, arise and grow; And may that which has arisen not diminish But increase more and more. Practices to do for contagious diseases So, like this, thirteen disharmonious things will be destroyed and you will achieve thirteen benefits. Beyond this life, you will be reborn in the Blissful World (Amitabha Buddha s Pure Realm) and you will achieve the result of no-returning. If you do not get these thirteen qualities then I, myself, (i.e. the Compassionate Buddha) would be cheating the Buddha Destroyed Qualified Gone Beyond One. Endnotes 1 In the original text, prostrations to these three Buddhas follows the explanation of the benefits of the mantra. However, according to Lama Zopa Rinpoche s advice, they should be recited here, before reciting the main mantra.


According to Lama Gangchen, she is an Amoghasiddhi goddess or is in Karma Family. Bengali research also says so.

A study of symbolic stupas from Densatil places Parnasabari with Dance Goddesses in one of the highest tiers, only subordinate to Vajravarahi. In this teaching Parnasabari is clearly emphasized as an "important stage".

Her forms in Rinjung Gyatsa and Sadhanamala are all solitary. Pabonkha and Naro's Secret Dakini say Chakrawarmini [is the same as] Parnashavari; in other words, she rests under this name in Chakrasamvara Completion Stage. Chakravarmini is paired with Akashagarbha, and, in the big Heruka or Dakarnava, she progresses into the Vajrachakra. Although Varma is common for Armor, the closely related Varmi also means That is familiar or intimate with the turnings and windings, the mysteries and intricacies, the art or trick (of a process or business, of a machine or contrivance). 4 That pierces into or discerns the latent meaning or purpose (of a passage in a book, of a speech &c.); that apprehends or knows the point, sting, bearing, aim, drift. This is somewhat because the sub-meaning of Varma is a sensitive area (even a sore or tumor), which armor protects; and this implication of "sensitive point" enters a metaphorical condition, i. e., the knowledge and understanding of subtle points.

Parnasabari is perhaps more powerful because Janguli affects the poisons, whereas Parnasabari heals one from the damage endured, and, if healing is "to make whole", this would be to make us completely quit doing things that Janguli has to go transmute.

I am not able to find any type of mandala or retinue for Parnasabari. She is intended to be solitary ascetic. Aside from her tenuous connection to Janguli and Yamari tantra, all we can say is she is stamped across multiple cultures in all kinds of assemblies, she is actually quite common, although she belongs to or with no-one. However, in the Densatil stupa--which is topped with relics of Pamo Dru--she is certainly welcomed by a certain kind of offering retinue, which may have had these Dancers as well. This would also seem to place her a step above Janguli.

So actually, an article on figurines does tell us that in Hevajra, she is the chief of a Pancha Jina with other Prajnas, and that she wears anklets. That may not sound too specific, but, "anklet" can only be found on two of the descriptions. Sadhanamala just seems to say "ornaments".

Parnasabari continues to function in Chakrasamvara and Hevajra Highest Tantras.

Ngor entrance initiations are Bhutadamaru, Usnisa, and Parnasabari. Parnasabari's empowerment is given yearly at Nalendra.

Her Akshobya form is the main Yellow one that goes through Hevajra, and must be the one on the Densatil stupa; Vajra is her primary item. Two of her Amoghasiddhi form have been found in Bengal.

Parnasabari is not very informative or educational, she sounds more self-correcting, a power that everyone really has, but she will show how you are handling it. It seems to me that anyone who successfully progresses in occult or Raja Yoga must at least "minor" as a healer, you need that kind of uplifting, refreshing aura, even if you do not specialize in healing. But we can fairly say, Janguli :: Parnasabari is about the same as Yamari :: Hevajra. We can only try to learn a bit about how the tantras work, but, the goddesses are available immediately. Those tantric males are forms of Manjushri and Vajradhara, so, they are not new or strangers either.

Miranda Shaw's entire Janguli article has been copied. She suggests the "poison glance" is like that of Manasa who keeps her third eye closed until she wants to release venom. She follows the principle that the nectar and poison are each other inversely. She even has a Seven Face form in China where her practice is more like nectar than curing snakebite. She has not found more Janguli sadhanas or mandalas than we know of, besides the Chinese, and a figurine from Kashmir which has her on a Garuda throne, which is similar to Peacock, in that both are traditionally enemies of snakes. A partial Sadhanamala translation says she has Seven Yellow Snakes and uses a Moon Pitcher, even though it is not included in her held items, she must change something. Occult World says she may be, or her presence is indicated by, a white snake; so perhaps she just slithers into Parnasabari's hair; but they do not explain where this comes from.

A very detailed view of a tashi gomang (Many Doors of Auspiciousness) stupa at Densatil on pp. 12-13 does show us how this works under Akshobya at the top and the Four Kings at the bottom. Above the Kings are Dharma Protectors such as Dhumavati with two swords, Rahu, Ananta, and Prithvi. And above these is the tier of all Sixteen Offering Goddesses--but in the very middle of these is the trio Parnasabari, Marici, Janguli.

Densatil and these stupas were begun by Pamo Dru. Out of eight stupas with four faces apiece, why, only one from 1948 is selected in the document for us to find Marici in the middle, cannot be explained. It's just there. We do not need to know any others. Without the textual information of what, exactly, they are doing in Yamari tantra, they are doing something similar here with Marici. It is above the Four Kings so it is in the Kamaloka, so, it is Sarvadurgati territory, of which the Yamari or Yamantaka tantras are likely a faster, more intense version, since from a dakini, Vetali.

We cannot update the article; it is from Giuseppe Tucci's trek, where, he found this style of stupa to be unique, and, it was destroyed shortly thereafter. There are only pieces and similar styles to be found now. Tucci was pretty sharp, there is no reason to suspect a mistake here; and the whole thing is pretty heavily Indic. Poor Marici has the number splatted on her, but we can tell her right arm is raised. Zoomed in, you can more or less make out Janguli's hood and that she is holding the sword plainly upright.

So the panel in question has not turned up in Himalayan Art; the exhibition apparently is still sitting there on Park Avenue, so, it may or may not be there. The meanings and symbolism already showed us a sort of unwritten flow through these particular goddesses. The stupa confirms that this must exist, or is perceived or practiced by others.

Tsem Rinpoche also covers Parnasabari rather well and gives us the oxymoron of a sadhana he says we should go ahead and do, after saying, her practice requires initiation. Why would she be different from Vajravarahi or Vajrabhairava, well, she isn't directly giving any instructions of Completion Stage, and, his presentation of sadhana is a Yoga view, it is not self-generation. She is a Dharani. He also believes she is in Karma Family, especially since she neutralizes karmic cause of disease.

We found Parnasabari is a Tri-kaya goddess, with perhaps Janguli in her hair (most forms lack this). Janguli in her sadhana also becomes Tri-kaya. This is something like Janguli is effective on a water poison to amrita axis, which enables Parnasabari to be effective on all of it, or in all elements.

In Beijing, Four Face Kwanyin is called Parnasabari. According to Miranda Shaw, and tucked behind the name Vudasi, a Tibetan healing ritual is done with five Parnasabaris in five chakras who beam their rays onto the patient, who consciously invites them. The patient is indeed expected to learn to change their habits. Rinjung Gyatsa has all kinds of Parnasabaris, whereas Sadhanamala just has Akshobya and Amoghasiddhi.

If we do not know that much about Medicine Buddha or Harati, we could be reasonably confident that Parnasabari is a powerful occult healer, and is still in both main Completion Stages.








Sita and Marici

The Golden Deer that tempts Sita is really Maricha, who is in a position of needing to be killed by Rama anyway (from the story of Jaya and Vijaya). At the last moment, Lakshman places Sita in Lakshman Rekhe, i. e., boundary, or Fence, but she steps out of it, and Ravan takes her (or takes Maya or Chhaya Sita), to an Ashoka Grove. Vaisnava apparently follows the Maya Sita version.

If I randomly look up Ashoka Grove, the whole first page is nothing but versions of Sita's captivity in Lanka, which suggests that if Buddhist Marici casts Ashoka Grove, it would be understood as this. Tibetan Buddhist Symbols says its name means "without sorrow", is the Bodhi Tree of Vispasi, is sacred to Kama, has red flowers, blooms when a pure hearted woman is touching it.

Marici can be shown in a central role to Janguli and Parnasabari at Densatil, she can fill space with Varahi alikes, or, this tree that strongly alludes to Sita Vaidehi, which for some reason loops back to a male version of Marici's name. Either Sita or Varahi is a type of emanation of Bhu--Vasudhara. Marici would generally thought of as unrelated to Earth or Akshobya, until we think of Marici in Stupa, whereby our inverted one would place the purified earth square on top, to match hers at the base. This is how any of the divine stupas work, so again, it is largely correct to say the main Generation Stage operates almost anything. Marici can also be a retinue member for Five Deity Blue-Green Tara in Ratna Family. Robert Beer includes her in a Ratnasambhava retinue in most likely the same form she has in Akshobya's panel at Densatil. She can use a Horse, akin to Ratnasambhava, or a Boar, akin to Bhu and Varahi.

No matter which version you take it in, the kidnapping of Sita represents bondage under Maya and into the animal soul and skandhas; she wanted a Mirage, or Rakshasha in altered form. Also, the concept of Rekhe is an ordinary social concept of one's doorway; and she was still fine until she left it. The Forest was also the origin of Yoga Nidra.

Sita legitimately means a furrow, and I suppose there is really no reason to try to say it means white for her. It does for Varuna in Saivism, as the name of his domain on the west slope of Meru. As "white", it could be Venus (Sukra) or the bright part of the moon (Sukla); frequently replaced by Sveta. From there, it leans towards "cool", i. e., Sitavani, Cool Grove. In this case, it seems to definitely be a furrow since her first act even prior to being "born" was to jam the Golden Plough. And she was really working on a plan she had started as Vedavati and Svaha.

In at least one Hindu source, Vasudhara equates to Bhu, mother of Sita. In Valmiki Ramayana, Sita resembling Burning Gold is the one who does the firewalk--"like unto Vasudhara". Pp, 629-630, Valmiki gives her enough yellow and golden epithets to last a pretty good while.

That part is pretty close to what we mean by Yellow Earth Nirmana Chakra and inner fire, or, you want this shakti, you want exactly Sita's power to go through the fire unharmed. The similarly-named Sitavani is also not white, but, she does move from Fire to Air, which is consistent with cooling.

Gold statues of Sita became Gopis during Krishna's incarnation.

[shaberon]

Flask Review and Continuity

Wisdom Library is doing good updates on Bhattacharya's "Sadhanamala", as well as adding more links that define tantric deities. It is not quite shaped or workable for our specific purposes because it is so vast and comprehensive, but it does make it a lot easier to find things from rare texts that are not or are only partially translated. So after only knowing an outer or non-tantric Forest Maiden, now we see:

Parṇaśabarī (पर्णशबरी) or Parṇasaurika is the name of a Ḍākinī who, together with the Vīra (hero) named Parṇaśabara (or Parṇasaurika) forms one of the 36 pairs situated in the Hṛdayacakra, according to the 10th century Ḍākārṇava chapter 15. Chakravarmini is in Vajra Chakra. So Parnasabari appears doubled here, if both of these names are accurate for her. This is according to Pabonkha, who had a very harsh anti-Bon stance like HPB and, he was also anti-Rime' and, although he was Gelug, he stamped Vajrayogini, Cintamali Tara, and Dorje Shugden onto it, whereas those were generally non-Gelug and not part of Tsonkhapa's method.

Either way, Parnasabari remains in Dakarnava.


So there is pretty strong continuity from Vajradaka to Dakarnava; and, Vajradaka is the elaborated explanation of what we are calling Seven Syllable Deity, who is an aspect of Avalokiteshvara and Heruka, and the underlying driver of Chakrasamvara Completion Stage, beginning with the emanation of purified white deities.

Dakini Jala "stands under" this, or, consists of all prior instruction and practice. It is already esoteric, and so we are finding the way to use it into Speech Mandala, or Pranayama, or Muttering, each being an aspect of the key which does Candali Yoga, which is a Noumenal process, unlike other methods, which are more physical. We want to use it to map out Generation Stage, or, to make sadhanas which are not necessarily "a sadhana", but, instructional components of it--mainly being Six Families and Varuni.

The Noumenal method is graphically represented by Varuni's Inverted Stupa; and in more subtle ways by things like reversed retinues (counterclockwise) and reversed couples; Occult Color; reversal of the winds, non-elaboration of the senses, the collapse of a mandala into a chakra. Also from Six Limb or Sadanga Yoga reversing the Eight Limb Yoga of Patanjali, especially in terms of Pranayama.

This is Noumenal in Cause--which is Bodhicitta--and has physical effects.

Varuni's method is the same thing as found in Vajravarahi, Vajrabhairava, etc., without much explanation; so instead, we are trying to milk its details at a Yoga level, which means only Samaya beings not Jnana sattvas, no deities in union, and no self-generation. This makes the Yoga itself the focus, instead of a weak, sloppy image of a higher deity that there is no way to understand without this basis.

We have taken the majority of guidance from the goddess, who is the experience, the initiation, the wisdom, and the power. The male aspect is more like the observer and actor. But to approach Seven Syllable deity, male has one specific role:


Smrti

1) Smṛti (स्मृति, “mindfulness”) refers to one of the “five dharma practices” (pañcāṅga) for obtaining the first dhyāna according to the 2nd century Mahāprajñāpāramitāśāstra (chapter XXVIII). Accordingly, “Smṛti is mindfulness applied to the happiness of the first dhyāna. The ascetic knows that kāmadhātu is impure, deceptive, contemptible, whereas the first dhyāna is estimable and laudable”.

Among the five practices, Cittaikāgratā consists of always fixing the mind on one object (ālambana or Sarasvati) and preventing scattering.


Smrti is something that is layered four times in thirty-seven point enlightenment:

2) Smṛti (स्मृति, “mindfulness”) refers to one of ten constituents (dravya) of the thirty-seven auxiliaries to enlightenment (bodhipākṣika), according to chapter XXXI.—Accordingly, “these thirty-seven auxiliaries (bodhipākṣika) have ten things (dravya) as roots (mūla). Mindfulness (smṛti) constitutes: a. the faculty of mindfulness (smṛtīndriya); b. the power of mindfulness (smṛtibala); c. the factor-of-enlightenment called mindfulness (smṛti-saṃbodhyaṅga); d. the [factor-of-the-path] called right mindfulness (samyaksmṛti)”.

By c. is meant the tantric Jewel of Seven Syllable deity. The difference between a. and b. is akin to:


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

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

Varuni is also a type of Vrddhi, or, this development.


Even if we use "other methods" to achieve something similar to Yoga, we may be able to experience one or two Dhyanas; but some day it will likely fall apart. As a reliable guide, Buddhism prevents this, and stabilizes the progression.


Dhyana

Dhyāna (ध्यान, “meditation”) according to the Mahāprajñāpāramitāśāstra (chapter XXVIII).—“meditation (dhyāna) is the concentrating of the distracted mind (vikṣiptacitta-saṃgrahaṇa). Distractions whirl about more easily than the down-feathers of the wild goose (sārasaloman); if their flying off is not restrained, their speed is greater than that of a hurricane; they are harder to contain than a monkey (markaṭa); they appear and disappear more quickly than lightning (vidyut). If the characteristic of the mind is at this point not fixed, those who want to control it would not succeed without dhyāna.”.

Dhyāna is the source of the virtue of meditation (dhyānapāramitā). In the dhyānas, the Bodhisattva does not relish any enjoyment (āsvadana), does not seek any reward (vipāka) and does not pursue heavenly rebirths as reward. It is in order to tame his own mind that he enters into dhyāna. By the skillful means of his wisdom (prajñopāya), he will be reborn in kāmadhātu in order to save beings there. Dhyāna takes the name of virtue in this case.

Dhyānā (ध्याना) is the name of a Ḍākinī who, together with the Vīra (hero) named Dhyānacinta forms one of the 36 pairs situated in the Vākcakra, the place of Bhucaris, according to the 10th century Ḍākārṇava chapter 15. They are reddish madder in color; they each have one face and four arms; they hold a skull bowl, a skull staff, a small drum, and a knife. Vakcakra contains others such as Nidra, Vajrajapika, and Tapasvini.

These Vak Cakra dakinis are a continuation from the Flask; the Dakini energy of Dhyana is regulated by Vak, or Speech Mandala.

Khandaroha Purifying the Flask or her Activity is described as: From the nada of the syllable VAM arise limitless Khandarohis whose two right hands hold a curved knife and damaru (drum) and the two left hands hold a skull cup and a katvanga (staff). So in this guise, her form is nearly the same as the Vak Cakra Dakinis.

The main absent symbol here is Trident. But Guhyajnana has one. Triśūla (Trident) - Control over action, speech and thought. Also fire — Agni and its 3 forms. The 3 paths to liberation Bhakti – love, Jñāna – wisdom and Karma– skilful action. Viśvakarmā made the following: Cakrāyudha (Discus weapon) of Viṣṇu, Triśūla (three-forked spike made from the Vaiṣṇava tejas of the sun filed off by Tvaṣṭa) of Śiva, Puṣpaka Vimāna (Aerial chariot) of Kubera and the weapon Śakti of Subrahmaṇya. The trisula of the Buddhists, termed also vardhamana, "a crescent", was considered in 1894 to perhaps be a Caduceus and Winged Orb. At Bharhut it occurs above the throne of Buddha; at Amaravati, it is one of the signs cut on the sole of the Master's feet. If we look at Trisula again, HPB said it is one of the most important mysteries, a portion or 1/8 of the sun's rays being cut out. Well they are this Trident.

Sometimes it is simply called a "three-pronged katvanga", which normally has three skulls anyway. So the Katvanga Staff is already a sign of accomplishment similar to the central or one drop of nectar, or, more specifically, the female has got hold of the male's staff, and then Trisula is a bit more intense, like a Triangle of Three Cups, and may be the symbol of Bodhicitta falling from the head to cool the mixture. It is brandished by Guhyajnana; her guru, Ziro Bhusana, has this and Three Eyes. In parallel, Chamunda has a Trident; Charchika does not, although she is still a Sword deity. Khandaroha's Drum makes her closer to Niguma and Buddhadakini. Sword is semi-esoteric or "points" to the central; Staff is a certain Accomplishment, and then Trident is stronger.

Guhyajnana is virtually exoteric as her image, at least, has been almost a "flag deity" of Tibet for a long time; she is Hrih-arisen with Red Avalokitehsvara and his normal Six Syllable mantra in her heart. Her Four Dakinis "control (subjugate) gods, demons, and humans". This is completely Lotus Family, Red, Speech, Fire, and a major basis of Chain power, without the chain item. Her guru is not a Dakini, but Vajrayogini in a special guise. If Guhyajnana is really accessible, she would help us benefit from this guru.

She says Raca, and her mantra does not end on Svaha but Hriya.

In 1799, there was already an English study on the Puranas, comparing them to Babylon. It says Rhea is from Hriya Devi, the bashful or modest goddess, and Rakh is from Raceswara, a name of Lunus from one of his favorite wives called Raca; also, the full orb of the moon. There is an extension of Dakinis' mantra in what looks like a custom Nyingma practice. Aside from Hriya at the end, there is no Hrih in Guhyajnana's mantra; she is effectively Om.

Hri Devi spans the spectrum of beauty/modesty/shame and is thought of as a form of Bhu, Vishnu's wives being Bhu and Sri, day and night. Vaisnavas deny she is Parvati in the same breath as Ganga is not the wife of Shiva; She resides in his head and is the sister of his wife, pArvati. But in Vajradaka, Hri is a Vakchoma, which will become more commonly called Sandhya Bhasya or Twilight Language, for Lajja. The word Lajja is the same as Hri, but would also be Lajja Gauri, her somewhat extreme naked squatting form that may be missing her head.

Hri is likely the word for beautiful forms that Tvastr extracted from Sri, in a scene where the Devas take everything she has, and she gets it back by sacrifice, which King Janaka learns from Yajnawalkya. The text also refers to Viraj.

It seems to me that the Buddhist inversions and reversals are the answer for the problem that when manifesting from void, first, the three goddesses (Gunas) switch husbands, everything is doubled, there are mysterious wars and more partner shifting, and then it goes through Ganga, which is a plane of reflection, meaning the lower is the negative to the higher. This is why it is said if one had the vision of Sambhogakaya rainbow light in its own plane or Akanistha, if one were to look at physical light, it would appear black. The lower outpouring is "scrambled"; the subtle is not really a "higher version" of the experience of the personality, but its removal and re-wiring to a completely different state of affairs.

Along with this is Samjna, daughter of Samjna (terrestrial versus divine perception), and Varuni, daughter of Varuni.


Varuṇī (वरुणी) refers to one of the sixty-four inner channels running through the nirmāṇacakra, according to the 10th century Ḍākārṇava chapter 15. Nirmāṇacakra is an inner circle of the shape of a lotus with sixty-four petals. This inner circle is visualized in one’s abdomen.

In Hatha Yoga, Varuni is one of the main Nadis from the Khanda or Bulb which hangs below Manipura; she is like a "belt" goddess who loops from one side of it to the other. There are illustrations, she is extremely flankish, very mid-sectional and inner-organish.

Vajrini and Citrini are within the central channel. The main branch nerves Ida and Pingala indicate Kala (time, death) and Sushumna (Smashana Burning Grounds or the central) swallows time. Gandhari, Sankhini, and Sarasvati are also Nadis. Gandhari or Gandharvi are the same.

Mother or elder wife Varuni is the presiding deity of the invisible world and represents the inner reality of things; also known as Gauri.

A mind-born mother; on the fish with the serpent with pāśa or noose, in Matsya (Fish) Purana.

Much as Janaka ploughed Sita out of the earth, Balarama ploughed Varuni. This also involves the Yamuna River or aspects of Yama or death.

(also known as Puṣkariṇī) a daughter of Araṇya Prajāpati; a wife of Cakṣuṣa, and mother of Cākṣuṣa Manu (the previous Manu); sister of Udaka who attained Varuṇahood (Brahmanda and Vayu Puranas). Caksu is Five Eyes in Buddhism, similar to Locana, or Dristi. Devi says that Caksusa meditated on Vak or Speech Syllable and that she granted him lordship of a manvantara.

Depending on which Purana you ask, Pushkarini had several husbands; and generically means a sacred blue lotus pool, such as at Lumbini, used by Buddha and his mother.

The current or Vaivasvata Manu is the earliest Prajapati (Lit. 'Lord-of-all-creatures') and the son of Vivasvant, the sun God. He is the father of Ikshvaku, the first King of Ayodhya and the ancestor of Rama, the hero of the epic Ramayana. He had nine sons; a daughter named Ila was also born to him when he prayed to the gods Mitra and Varuna.


In Nepalese Buddhism, there is a special tantric use of Varuni, along with Agni, which also suggests the Apri Hymn trinity Ila, Bhu, and Sarasvati. We have put together a lot of material about the complete Agni Homa, and, it is so large, it seems only practical for New Year's or rare occasions (e. g., a new house). The basic "mandatory" rite is simply "Flask Worship". And so we want to boil down the symbolism a bit so instead of the entire Homa, it is just a Muttering addition to Guru Yoga.

The Homa overall starts from Power of Kumari. One of the ways in which Buddhist Agni Homa is different from Hindu is by using Alcohol Pot, which is Varuni, Mamaki, Guhyeshvari, Bala Kumari. It is also different from other Buddhism by freely using the term "Shakti" in place of "consort" or other conventions. We want to be mindful of the Three Cups as the way to operate the Triangle; how to balance the winds and cause them to enter the three nerves, and eventually into the central. Most Tibetan practices use a single flask, which itself derives from Vedic ritual.

Balakumari is part of the Hindu Sacred Sites of Nepal, which are more complex than the Buddhist. She is also in Deopatan Nava Durga which ends on Guhyeshvari. As Durga, her temple is in south Orissa, up 1,240 steps.

Khaganana the ( [Goddess of a Bird Face . According to the legend in the "Svayambhu-purana ", she had lived in ] )
a bottomless hole at the root of the lotus flower from which the Bright Light of Svayambhu
emerged. And Manjusri Bodhisattva received the first initiation of Cakrasamvara in Nepal with
her water on the day of Samvarodaya-dasami. In secret Newar Tanric Buddhist songs caca in (
Newari, caryagita in Sanskrit sung by Vajracaryas, therefore, Guhyesvari is often called )
Khagamukha-devi the Goddess of a Bird Face). In this description, she is also Agniyogini. Agni Yogini; "goddess" or shakti is Kakini.

Yellow Kakini is Matta, not "drunk", but "exhilirated". This is the one who is after Dadhyan--Curds and Nectar--Amrta. She has many forms: Kākinī has the head of a crow (kāka) according to the Śrīmatottara-tantra, or the head of a horse (haya) according to the Kulārṇava-tantra. She has eight arms and is greedy for flesh and liquor (piśitāsavalampaṭā). Her colour is black (kṛṣṇa). Rose-colored Kakini of the heart holds the implements necessary for one to attain balance: the sword, the shield, the skull and the trident symbolizing the balance of the three forces of preservation, creation and destruction. In that description of Anahata, she is cosmic sound, "white noise"--its symbol being a Black Antelope. Or, in Her hands She carries the noose and the skull, and make the sign of blessing and the sign which dispels fear. Her heart is softened with the drinking of nectar. The Bijakshara is Yam; under the Bija there is an antelope, Vahana of Vayu, on an Italian site. Or, she is a Four Face Color-changing Bhuvaneshvari. She may just have Skull and Noose, with yellow meaning she is divine consciousness, red that she stops the pranic winds, white is in Ishana consciousness. A similar description with picture gives her a Trident and Drum. Her mantra among 64 yoginis. Agni Purana is a bit slippery in assigning them direction.

As described in Serpent Power, similar to Lakini, Kakini, Dakini, and others, are switching their first syllable; Sakini may also be Sankhini. Dakranava strictly prohibits a Yogin from raping every kind of Dūtīs and insists that the Dūtīs should be perfected by pleasure (sukha); in it, Sankhini appears twice, whitish red in Gunacakra, and white in Jnanacakra.

Kubjika and Agni Purana substitute a form of Kusuma for Kundalini, the one name not following the pattern. Another chart puts Dakini in the root. These have extended mantras in Gandharva Tantra.

Guhyeshvari Agniyogini completes the Four Yoginis of Nepal, i. e. Sankhu, Pharping, Vidyeshvari, Agniyogini. Newaris accept her as Nairatma, Shakti of Avalokiteshvara, or of Adi Buddha. Same page also distinguishes Tutelary or Rastra Devi from Ista Devata. Rastradeva is a Buddha with whom Gautama accumulated merit for nine Bhumis. Rastra generally means "nation", as in Dhrita Rastra, blind husband of Gandhari who had a hundred children. But the obscure term Rastra Devi or Rastri is self-referential to Vak Devi.

But if we see what is happening, Agni--Inner Heat is mixing with Speech Mandala--Fire Element, and then this Agni Yogini is the gatekeeper to the heart, via silence and primordial sound and the eventual cessation of winds. So this Noumenal process is something like body heat into mantric fire into fiery dissolution into the void or One Element of Fire, and not so much the 1-2-3 of those systems that say these are the chakras/syllables etc. and start climbing the rungs which seem much more physical.


Michael Allen wrote a Kumari study finding several such incarnations in Nepal. Also, there is Pancha Kumari. Although "Bala" is supposed to mean "child", her image is a mature woman riding a peacock. A low-quality image of it is in this paper. The Hindu Pancha Kumari are Ahalya, Draupadi, Sita, Tara (wife of Bhrihaspati) and Mandodari (Ravana's wife). They are all beautiful and mature women; only Ahalya is represented in a chaste form. These five are "in addition to" the main Kumari. These are the normal Virtuous Women of Indian culture; Buddhists say they represent the Families. The same informant also referred to a secret Tantric ritual in which
nine girls represent the Nava Kanya. The girls should be selected from nine different occupational groups covering a wide range of castes: Nati - daughters of dancers; Kapalini (Kusali) - daughters of untouchable painters; Veshya - daughters of unmarried women, usually prostitutes; Rajaki - daughters of washermen; Naya Kangana - daughters of actresses; Brahmani - daughters of Brahmans; Sudra Kanya - daughters of Sudra; Gopal Kanya - daughters of cowherds; Malaka Kanya - daughters of gardeners.

It then explains the outer-to-inner gradations. The first inner Kumari is Prajnaparamita, and, at this level, the 'true' Kumari is especially identified with Tara, the consort of Amoghasiddhi. Finally, Kumari is worshipped as prajna in the form of a yogini or dakini, especially as Vajradevl, the beautiful and red-coloured partner of Chakra Samvara (Heruka). Then it describes the great taha sinha puja (also called maha slndura abhiseka or rahasya guhya puja ), a Varahi-themed version of Newari puja. This says there is a type of secret doctrine about red powder.

If it did not suggest "bala" as youth or child (which is redundant to kumari, but is ages five to sixteen of the stages bālā, mugdhā, prauḍhā), its main meaning is strength or power; in Ayurveda, power has three sources:

Sahaja (congenital),
Kālaja (derived from the time-factor) and
Yuktikṛta (produced from application of drugs etc.)


Those are basically three ways of accomplishing Yoga; i. e. a drug effect is lowest, least reliable; "time" spent in "disciplines", loosely, is better but inadequate; Sahaja is eventually the only Path wherein Buddha's Wisdom may be gained.

In Vayu Purana, Bala is a daughter of Prajāpati, fell down upon the earth while going across the sky.

Bala Kumari is among the first titles in Siddha Lakshmi Stotram.

It is, perhaps, another way of saying Kanya Kumari; the takeaway seems to be not an "isolated" virgin girl, but, one connected to maturity, sexuality, and virtue. Her main aspect is Peacock, so, we do not have to resort to Varahi; Mayuri is famous for it, and, Yamari's Janguli can do it. If there even is such a thing as Varahi on a peacock, I do not know. And, at most, these young Kumaris are only "temporary acquaintances" of Varahi, who has a full tulku, elsewhere.

One of the most important images of Nepal is preserved at Sasakhel, Balakumari of Lalitpur. The devi is shown standing on a double petalled lotus. The four-armed deity displays Vyakhyan mudra in her front right hand; the left rests on a lotus. The back left carries a manuscript and the back right holds an aksamala. She is decked with various ornaments like ear-rings, necklaces, armlets, bracelets, bangles etc. She has also a vanamala akin to that of Visnu. The devi puts a typical lower garment (jama, used by Nepalese women) with distinct folds tied by a decorated Katibandha. Her body is slim and well proportionate. Her stela is decorated with beaded borders and lotus flowers. The image bears an inscription dated Nepali Samvat 434 (1313 A.D.). The inscription refers the deity as 'Sarada jagata Matro', which shows that at that time, the devi is termed as 'Jagata Matro' means mother of the universe.

Bala Kumari also appears in a Nava Durga climactic scene with Seto Bhairava. This is a White Bhairava who "fishes" or "nets" beings.

The standard or Blue Bhairava becomes Meat or Khay.


Fire Homa uses Agni in a thoroughly Buddhist manner: with samaya and jnana sattvas; with Four Activities; and to be employed with regard to any primary deity for Tri-kaya or Tri-samadhi. It becomes tantric by adding Varuni Puja, which is not the first Vessel, but, the addition of the Guhya Kalasa or Alcohol and Khay or Meat vessels.

Without doing an entire Homa, when one moves to this three vessel format, it becomes Buddhist tantric Yoga and is no longer Hindu. However, there could be enough reason to include Agni and Agniyogini.

Buddhist sects and sectarianism full text includes an observation that many of the Newari priests who know the rituals by heart cannot explain almost anything about it. They conclude that Pandits and a few other sources are needed to squeeze the juice out of it. Doctrine is not given out to laypeople, or even to initiates who are memorizing the rite; one has to ask and pursue it.

In its largest exoteric format:

Fire Sacrifice of a Hundred Thousand Oblations (laksdhuti homa). This
rite, occasionally sponsored by very rich members of Kwa Bahah to celebrate the wedding
of their sons or daughters, lasts about seventeen hours, beginning in the middle of the night.
Along with the Fire Sacrifice, 108 Vajracaryas are invited to read the text, the Perfection of
Wisdom in twenty-five thousands lines (Pancavimsati-prajnaparamita).

In an ordinary Fire Sacrifice the coconut offered represents the head [of the
sponsor]. In the Hundred thousand oblation Fire Sacrifice, the face is actually painted on.
Many previous Buddhas did this, lighting oneself up as a great lamp (mahadip), Dipankara
for instance...the coconut used in Fire Sacrifice is not the sponsor’s head, but is
actually supposed to be a ball of sin which is then destroyed in the fire. Another
learned gloss is given by Locke (1980: 111): when, during the Fire Sacrifice, the priest ties a
red shawl under his right arm and over his left shoulder, he should see himself as fire, and
this offering of himself into the fire is equivalent to his dissolution into the void (sunyata).

The main purpose of the Fire Sacrifice is the causing of plenty
(subhiksa) in the whole world. The authority for this is found in the twenty-third chapter of
the Samvarodaya tantra, and indeed in every Tantra. The Tantric Buddhist scriptures divide
Fire Sacrifices into four main types for pacifying, causing to prosper, overpowering and
destroying respectively. It is the first which is the principal and basic type, though aspects of
each of these functions are found in every complex ritual.


Annapurna prasad is about ordinary food, and also prana and the "food" of the senses; eating is a type of Agni Yajna. She is food in the mundane sense, as well as the controlled food and sacrificed senses poured into samadhi increasing the nectar flow.

In the birth of Skanda narrative a little later in the same parvan, Rudra and Umā are said to merge with (samāviś) Agni and Svāhā respectively in order to give birth to Skanda (Mahabharata 3.220.9).

Chapter XXVI on p. 145 in Samvarodaya Tantra is Varuni, followed by Homa, and then Four Dakinis. In the English translation, she is masked as Sura on p. 314. Here, she has Eighteen Arms and origin like the character Mam.

And, this girl is (nothing but) soma- drink ; in her body
resides Vajravairocani (9). And, in the body of Vairocani, Heruka
is melted. This is the supreme pleasure ( satsukha) of a multitude
of dakinis through the union with all the heroes 1 (10). (Here,)
everything has become one ; (it is) the amrta and is the goddess of
dreadful appearance ; it is the destroyer, the maker and the enjoyer ;
and so is the"amrta of her womb (11).

...Dakini is a (woman called) padmini, Lama is a hastini (1). A
sankhini is Khandaroha and a citrini is Rupini.

In other words, this Varuni--Khandaroha explanation has a Sanskrit original, plainly explaining her as Sura from Churning of the Ocean. This section is the source of Eighteen Arm Varuni with Armor Deities thangka, in Circle of Bliss 115.

Hirapur circle of yoginis also names Varuni as Vrddhi.

The only thing Nepal has really done is tie it to Sacred Sites, particularly to Guhyeshvari, who is in Hindu tantras and used as a protector of private parts. She is a type of Kali or Mahamaya. She is also a sex initiatress who gives birth to devotees. To the Newars, she is Vajrayogini and Varahi.

Aside from saying there "is" a Deer goddess, nothing much is said of her, other than Mriga Vahini is Wind, and so Vayu also may have a Deer. The asterism is ruled by Moon--Nectar. When this designation is used, the consort of Vayu is, oddly, Bharati. In Vayu Purana, Bala was going across the sky and fell to earth.



One way to understand the Homa is to look at the main items involved. As humble Yoga disciples, we do not have these, and are starting to overlook the outer symbol for its inner meaning. So if we do not have a pile of saffron powder, we can visualize it and learn what it is, and just be aware of it, or, use a related sadhana. One can see the whole 82 stage list written by a Newari Vajracharya and, it is scarcely intelligible, until we see what he means by Lasya and Niranjana and so forth. If this is an attempt to "bare bones" the outer ritual and its items, it could be said that in terms of meats and nectars, there is no evidence of anyone ever using physical substances, they are just mentally transformative.

A simpler Japanese description is:

1. Preliminary rite Kalasarcanapuja and 2. Main rite Homa.

The preliminary rite contains three rituals : (1) Gurumandalapuja, (2) Trisamadhi, (3) Kalasapuja. In (1), the priest draws a circle called Gurumandala, and he invites Vajrasattva into the circle and offers flowers etc. to the deity. In (2), the visualization of the Cakrasamvaramandala and offering worship (puja) are performed. In (3), the priest invites the main deity of the Homa ritual into a water-jar (kalasa) and offers flowers and so on. Then he tries to unify himself with the main deity.

The main rite Homa consists of eight processes : (1) Purification and Lighting of the Fireplace, (2) Fire Offering to the Fire God Agni, (3) Fire Offering to the Main Deity, (4) Bali Offering and Worship of Holy Places, (5) Purification of Disciples (6) Filling the Fireplace with Offerings, (7) Offering the Remainders of Oblations, and (8) Sending forth the Gods. In the first process, the priest meditates upon the Samayagni. In the second process, he meditates upon the Jnanagni. And he unites the Samayagni with the Jnanagni in the meditation. Then in the sixth process, he draws the unified deity into his body.

Full text of it. Homa in Gandahar is also tied to Vairocana Abhisambodhi and Sarvadurgati.

The short Homa paper says Samayagni and Jnanagni are from Samvarodaya, same as Eighteen Arm Varuni. Samaya is described as:

"Samayagni (the fire god of promise), who is yellow-colored with one face and four, arms. He has a staff (danda) and a water jar (kamandalu) in his two left hands, and a rosary in one right hand. His other right hand shows a boon-giving gesture (varadamudra). He wears a yellow garment and, a crown decorated with the image of Vajrasattva. Having meditated, the priest invites Samayagni to the fireplace. Then he offers water, and flowers, etc. , to the deity. Later, he draws Samayagni into the fire. Having done this, the priest pours clarified butter (ghrta) with a ladle into the fire one hundred eight times. The action is called agnyahuti. As soon as the butter is offered, eighteen kinds of fuel sticks (Nw. homvi), grains, beans, and milk etc: are offered to Samayagni."

"Indian Buddhism" calls Samvarodaya the most important of its kind, and that in it, ultimate reality is called Dakini Jala Samvara, and that this, or yoginiyogimelaka, was the central cult. Three Mountains Seven Rivers says Samvarodaya and Mrtyuvacana Upadesa are the main Buddhist equivalents to Hindu "cheating death" tantras. Some of this "central cult" remained in Nepal without entering Tibet, such as Vajravarahi Kalpa which interweaves Samvarodaya and Dakarnava; also, Yogini Jala and Guhyasamaja Sadhanamala (46 Varahi sadhanas) did not travel. In the same link, Samvarodaya states it was written at Ratnagiri. Same thing also largely explains Sarvabuddha Samayoga Dakini Jala. It is extremely rare, nearly unique, for any of these texts to locate the author.

That makes Samvarodaya one source that would tell us why Ratnagiri's missing Taras such as Mrtyuvacana are related to the Varuni--Khandaroha Generation Stage as known in Nepal, and, that Dakini Jala Rahasya is its major synopsis, barring the finesse of Completion Stage.


Homa Table of Ritual Items:

"Power" of Kumari is kumarisinhah (Newari) or kumari^candana (Sanskrit: sandalwood, the Tree of Balamrtyu cemetery in Heruka Jnana Cakra.
Parenthetically this Kumari is Varahi. Again, if we just said Bala Kumari, we would tend to think it means her power anyway.

By "Power Container" it should probably be "Powder", Sindura Vermillion, as used by Gauri and Mahamaya Vijayavahini.

Four Yogurt Pots, Saga Dhaupatti or Sapta Vrddhi Mangala Bandha are Vasudhara. Vasudhara is "holding" fermentation vats where development or Vrddhi of Seven Auspiciousnesses is doing Bandha, as in Bandhaya Vam, or Chain activity. The ability of yogurt to mix with new ingredients and make more yogurt is also in play.



Conch Water "is" Varuna, but, Khandaroha is invoked and it becomes Khandaroha when used. It is poured from the Conch to the Flask three times. Main Flask or Mu Kalasa uses Five Buddhas in form of seven oceans.



Cow's Mouthful

Mirror

Black (Powder, or lamp-black or soot):

mohani-akarsana

prajnopaya-sindura

(Chakrasamvara, or Shaktirupa to the Hindus)



Alcohol pot, or Varuni, Mamaki, Guhyeshvari, was unable to be given an identity by the Hindu priest; this part is exclusively Buddhist. It is probably not that they do not know who Varuni is, but, they do not use this item.

Khay pot or Khaythala: sahaja-sukhabhanda (Upaya Hevajra, Bhairava or Bhairavi). Khay is fermented curd, or i. e. yogurt, traditionally made into a mixture which contained a piece of meat. In Kathmandu, a crow must eat some before people can. "Ciranjivas" of "Four Yogurt Pots" are likely crows.

Tibetan Buddhist Symbols has a good article on Inner Offering at Generation Stage going up to the Triangle and Cup with Five Meats, etc. FPMT notes different methods of generating the substances from different tantras. Circle of Bliss shows it with Inverted Stupa. It is in Chod, Palden Lhamo, Ganacakra, or White Conch Vajrayogini, which uses Khandaroha.


In the Inner Offerings, and in the Dissolutions of Death, Lamp shows up as a very strong entity. It comes up similarly in the Homa; its heat is supposed to touch the Flask.

Lamp: Agni Vaisvanara, Surya, or Ganesh

Those are three kinds of Hindu Sun, and--since this is all interchangeable by following the meaning--it could be a Buddhist one. Sarvadurgati pulls it into Jewel Family in a strange manner.

The Lamp is called Dipa, which, exoterically, is not hard to find.

Dipankara or first Buddha is highly important to Nepal or was thought to have dwelt there, although he transmitted no teachings; however, he is also in Buddha's Jataka Tales with disciples.

Mul Dipankara of Bhaktapur where they honor Five Dipankaras:











The basic Varuni format from Circle of Bliss, which stops at nectar without going to Citta Cakra is in article 99. The fact of three skulls being peculiarly Newar is somewhat obscure in 102. The generation of Chakrasamvara is Adi Yoga or "Samvara Buddha Yoga", wherein he is the totality of Six Families in 110; the well-known male Six Chakravartins is actually Dakini Jala Samvara. And it says Three Varunis come out of the Skullcup: Varahi, Vairocaniye, and Varnani. And when done, everything dissolves into Vam, which slowly fades to Flame--Nada. 115 attributes Samvarodaya as saying within Varuni's body resides Vairocaniye, and that through the amrita offering, bliss is experienced. Muttering is done in the Skullcup. Varuna and the Naga Kings "are" the Conch Water or its source, and Varuni is evoked through it and brews it and so forth.

And again if we are more esoteric, then Varuni is not exactly Varahi, because she arises from Mam, she is Mamaki. Is she used to teach and attain Varahi, of course, but if we are not one-track in terms of the pantheon, then she leads to Mamaki--Guhyeshvari--and once the Varahi description is given, it is the same as Cinnamasta, and Marici is very much the same, if not actually more. I think it is pretty serious not to trifle with Sow Face, she is more than a definition, and no "outer" deity, the pig will kill everything in order to eat anything. Vajrayogini can certainly "do other things", besides manifest as Varahi. Within this fiery boiling, within Varuni's body or form, is Yellow Vajrayogini, i. e., Vairocaniye, or the normal form of Cinnamasta, Kurmapadi, or a form of Agni Yogini, or Sita, Marici, or Kamala, or some way of showing fiery yellow which has enhanced the earth samaya type deity such as Ila or Gopali. In other words, you forget physical yellow and are seeing occult yellow. Luminous gold, possibly flaming.

That is a lot of heat which needs to be constrained by cool Bodhicitta. As taught for the Dissolutions, there will be Fireflies, sometimes also called Sparks. An untrained being is likely to find itself in an inferno or believe it is burning. It will either enter agony, or become unconscious. That is what is meant by you have to realize the Empty of this state. You have to take it as just normal, and cool it with your Bodhisattva resolve. So the Offering Lamp is bright hot or heats the Flask; when "you" are the Lamp, our best bet is a Cool Grove of Turquoise Leaves, and for the empty forms to coalesce into a Turquoise Lamp. That is not the only way to do it. That is the safest way to do it to be reliably "carried across".

Dakini Jala Rahasya is more or less the Yoga of Vajrayogini; Ziro Bhusana is Vajrayogini. Dakini's guru is Yogini; Vajrasattva's Ishvari is Marici.


Devata is a"power of nature", which is not a Deva, or Luminous Being, it is something similar which, if followed sincerely, does what it says its mantra does. Kriya explains how to anchor it as Tattva or an element of reality; and then with Yoga, Vajrasattva and Four Goddesses have to manifest:


Naro-pada, in a Vajrapada-sara-samgraha-pahjika (PTT Vol. 54,
p. 11-2), inaugurates his deity chapter by two citations to explain
the word “divinity” (devata). The (Kalacakra work) Vimalaprabha
states: Because conventional ecstasy has arisen in the body’s nature
of five elements, one speaks of ‘divinity.” And the Sri- Vajramrta-
tantra states: Why does one speak of “divinity”? In the body is located
the body possessor; in order to comprehend, there is the
“comprehender”; in order to comprehend one-self, there is divinity.
For that reason, one speaks of “divinity.”

So it is based in Bliss, in its Realization and Stability.

It is a guide for those who have an interest in samadhi. And so there are many of us who probably never will be in a position to have a traditional earthly teacher, which is what Guru Yoga is intended to be based on. But in Kagyu at least, we have a position wherein Vajradhara is understood as a universal inner guru. Because he is Transcendent, he hardly does anything on his own; the other deities are his explanation, or his manner of speaking. They pull one in to the Dharmakaya, which is realization of the state of Vajradhara, which is concept free and relatively wordless. In that sense, Guru is not really the same as Ista Devata, which could be some form of Manjushri or Tara and so on:

the inner guru, the presiding deity (bdag-poi-lha): The presiding'deity
is defined by Anandagarbha in his great commentary, the Sri-
Paramaditika (Toh.2512, DergeTanjur, Rgyud, 1,22a-3): “One’s pre¬
siding deity is kamadeva. The conviction that his diamonds of body,
speech, and mind are one’s own- with a praxis that it is really so-is
the meaning of yoga" The “presiding deity” appears to mean the
same as the “tutelary deity” (ista-devata), or the deity which the
disciple serves with daily devotions and enshrines in the heart.



It is Vajrasattva who is the input for most of the exercises, who would be the first superior speaker here:

The inner guru is further differentiated in a suggestion of Buddha-
srijnanapada’s Mukti-tilaka-nama (PTT, Vol. 65, p. 24-4) in the text
line, “the superior three speakers who teach that way.” meaning :
who teach the nature of the indestructible mark {mi sigs
pa ithig le, Skt., amata-tilaka, or aksata-bindu) as co-natal ( sahaja)
(i.e., in the heart).

The one acting as the teacher purifying one’s own stream of
consciousness in the sequence of the shared ( sadharana ),
unshared ( asadharana ), abiding in pledges (samaya), water, etc.
is the greater basic teacher.

The great goddess who purifies the field in one’s won stream of
consciousness by sporting together with that (great basic
teacher) and by sixteen parts—is explained to be the condi¬
tional teacher.

One’s own mind (citta) when given permission by that (condi¬
tional teacher) is the co-natal teacher because of the co-natal
blessing and because of comprehending the co-natal joy.

one’s own mind is the third guru,
comprising the union of the tutelary deity and the great goddess
(often called yab-yum by the Tibetan term). This is a form of divine
pride ( devata-garva ), necessary for the quick path of Tantra.


Vajrasattva plus a goddess of sixteen parts like days of the moon is the entry to Citta Cakra; not mind in general, but Bodhi Mind of the Heart; or, just Bodhi. So in Mantra or Muttering, we are not really trying to explain or penetrate Citta Cakra. We may try to understand and approach it, but the thing is of Highest Yoga.


As for the spirit of the heart, Bhuta Mandala does not have a named lord in Vajradaka, although it is described as a Krodha; in Dakarnava, it is called Vajradeha, without any angry characteristics. In Yoga Vasistha, it also means Bhutan and incarnation of king of the Kirs. But in this usage, Deha is very close to Kaya, or, it sounds like they mean what we call Vajra Kaya.


Orange Cinnamasta is shown under the 7th Panchen, Tenpai Nyima (1782-1853), collator of Rinjung Lhantab. It obviously is associated with Shugden. He is known for making a Summer Palace and/or Guardian House. Whether this quite attaches HPB's "Cinnamastika tantrikas" to "the private retreat of the Panchen Lamas", cannot quite be ascertained, but it is the same by association.

[shaberon]

Dakini Jala and Varuni



This is repeating some of the same information, but, we are looking to reduce the Agni Homa to those parts which use Varuni as Generation Stage. As far as I can tell, this attaches quite smoothly to Vajradhara Guru Yoga, and is similar to adding Tara or Prajnaparamita or other deity, but, is elaborated further with processes that could probably be translated as inner alchemy. In Nepal, Varuni, or Flask Worship, is the "minimum" type of priestly ritual, with various larger things that may be added. Instead, we are going to focus on the "minimum" and making it work esoterically.

A modern Vajracharya describes daily practices based on this; he is trying to get to the cemetery at Kamakhya, and says that Dakarnava Tantra is the main explanation of heat and psychic nerves. So far, Dakarnava appears to answer riddles like Seven Skandhas, and, be the full bloom of all the Chakrasamvara system--which could be described as sequential layers of Dakini Jala, Vajradaka (Seven Syllable, Samvarodaya, Yogambara, Mahamaya, Buddha Kapala), Hevajra, Dakarnava (Heruka). Agni Homa normally includes Chakrasamvara; we will step down a notch to Dakini Jala. So Varuni without Chakrasamvara is not necessarily "a sadhana", as done by practitioners, but, it is combined extractions from them, reverting more towards the original, than such things as when Western Buddhism emplaces creatures such as a Polar Bear that were never a part of it.

The steps to Skull or Secret Flask of Varuni are straightforward:

(i) samkalpa

(ii) establishment of the powder;

(iii) performance of guru mandala by sponsor;

(iv) performance of the Threefold Meditation (trisamadhi) by the priest;

(v) Visualisation, purification, and worship for the Flask and other implements;

(vi) Visualisation and worship of the Tantric implements;

other deities, merits, conclusions, etc.; such as the entire Homa, or whatever one may do, but we mainly want to Emerge in Reverse Order.



Normally the Double-Headed Powder Pot (khaybha) is worshipped also (step (ii) above): in one ‘head’ it has red powder
(vermilion), in the other yellow (made from sandalwood mixed with perfume). It is identified
with Vajravarahi. Once worship has been performed the sponsor takes up the pot and flicks
powder towards the line of implements twelve times. On these occasions, when orange powder
and lampblack are included with the other ritual implements, worship of them takes place at
this point.

Trisamadhi's three parts may be called Adi Yoga, Mandala Raja, and Suksma Yoga; it of course also is Body, Speech, and Mind of the Yidam or Ishvar. But in this case, Suksma or Subtle Yoga is what we will try to continue and accomplish in Flask Worship. The first, Adi Yoga, begins with White Two Arm Heruka Samvara, who does the Nayasa, placing Twenty-four Sacred Sites on the body, followed by a wrathful mandala practice. The second, Mandala Raja, begins with Four Brahmavihara and then Sixty-two deity Chakrasamvara, Inverted Stupa, Meru Mandala, with Four Dakinis and Tri Kaya Chakras. The last is again White Two Arm Samvara who absorbs the previous. This system is using different iconography sets for its Samvaras; the source of its first mandala is unknown.

Since we are not doing Chakrasamvara, we use the closest approach we can, even if all we can think of is Om pervades my body, and shower in white light, if that is what we can do regarding a Body Mandala and Nirmanakaya, that is what we do. But, we have a few ways to use Om Ah Hum, and build it up from there. One could follow the Peaceful and Wrathful format and for instance do Mrtyuvancana and then put Sukla in the Cemeteries. In Sadhanamala, Janguli 117 is the only mention of Trikaya; she is Sabara Kumari, Sabara's daughter or possibly Parnasabari's daughter, and Matta Matangi, drunk or Varuni Matangi. Mahasri is right before her, Janguli is one of her companions, Mahasri is one of the best bets for a Yoga deity if we were to begin Sambhogakaya or Akanistha, that is where she is, or Mt. Potalaka or Khadira Pure Land, or Forest of Turquoise Leaves. So it would be a simple or non-tantric Trisamadhi without the full mandala, inverted stupa, dakinis, etc., and using one's own (or any) deity.

In the essence, it is asking Guru to use this Deity or Ishvar to guide me to the Absolute, which is still pretty much "any deity yoga", and then the tantric part, is more or less, show me how it happens inside. In this tantric application, Varuni is becoming the Nectar itself, and we are applying her symbolism to the divine sequence Vajracharchika, Guhyajnana Dakini, Ziro Bhusana Vajrayogini; they come straight from the definitions of what is being done, using the main retinue that runs through the entire Completion Stage.

For Varuni's Flask:

Taking the Five-Coloured Thread from the spout of the Flask, passing it to the priest, and removing the kisali placed
over the top of the Flask; in place of the kisali he puts the priest’s conch shell, and, balanced
on the spout in place of the thread, the priest’s vajra. The priest holds the ball of thread and a
stick of incense in his left hand, while manipulating his rosary out of sight (under his coat or
in a special glove). Once he has summoned the deities, the conch shell is removed from the
mouth of the Flask, water is poured from the former into the latter three times, and the kisali
is replaced, likewise the vajra and thread.

[kisali: clay bowl with rice grains, a betel nut, and a coin. The deity is said to identify with the priest via the five colored thread, one end on him, one on the vessel.]

The second stage of the worship of the Flask is a series of apotropaic rites. This is known
as ‘nirajan’ or ‘nirajan yayegu’. A small clay saucer with burning coals is brought: a lighted
wick, mustard seeds, a flower, and rice are offered to it, it is touched to the Flask and taken
out of the house and placed at the threshold (pikhalakhu). The invocations which accompany
this rite request Khandaroha and Vajrasattva to remove sins and obstacles. Finally to complete
this stage, the Flask and other implements are worshipped with ‘footwater’ and the Five
Offerings.

Once the Visualisation, purification, and worship of the Flask have been performed, the
same process is repeated, first for the Tantric implements (Khay Pot and Alcohol Pot), and
secondly for any other additional item required by the overall rite.

In the case of the Visualisation of the Tantric implements, no removal of
Obstacles (nirajan) is performed. The worship of the Tantric implements, the Alcohol Pot
and the Khay Pot, is called in the handbooks kumbhapuja or varunipuja.


Khay pot is Upaya, generally considered to be Bhairava. It is also true that if only goddesses are present, one of them can take on Upaya or the normally male role. And in this vessel, it may be Bhairavi, who in general is both dark and brilliant, and is in the Herukamandala of Dakarnava, or in the middle, headed by the Four Dakinis. Bhairavi's group is half yellow, half black. Compared to the whole Herukamandala, our entire Tri-samadhi is like the bottom edge or beginning, followed by Jnanacakra, or, our initial Fourth Kaya or Bliss Body, Mahasukha or Sahaja. So it is then using the Sixth Element to open the Maha Bhuts or Purified Elements, around its core or Sahaja. That is how it is like a corkscrew or drillbit or spiral scale; our Gnosis and Bliss as aspirants is just a fuel to what the whole Heruka does.

According to G. Buhnemann, "...Varuni is invoked into both the alcohol pot (thapi) and the skull-cup (called mantrapatra or mantrakarotaka) which is filled with
liquor. The skull-cup called mantrapatra is placed on the alcohol pot (thapi),
to which pieces of egg, meat and fish are added from another vessel termed
the khay pot.

(beyond this, she says the best details are GELLNER, D.N. (1992) Monk, Householder, and Tantric Priest: Newar Buddhism and its Hierarchy of Ritual. It is even recommended by Wiki, but, does not seem to be online; only an earlier work which is very detailed on the male-based practices, but not Varuni)


"The Samvarodayatantra offers an esoteric interpretation
of the elements of the myth by interpreting the Mandara mountain (used
as the churning rod) metaphorically as the diamond-like wisdom (jnanavajra)
and the Milk Ocean as the element space (khadhatu)."


Eighteen Arm Varuni is known as Surasundari and described as trilokyamohanïm devïm våruni<m> paramesvarïm. In this role, she is described as suradevi kanyaka kamarupini; also, Hetu Devi.

With Eighteen Arms, she has almost all attributes, but, her noteworthy gesture is "Counting", or Bindu mudra, or Tattva mudra, which is able to flick nectar, and dip meat into alcohol, similar to Prithvi mudra, ring finger to thumb. She also has Lute. Her Yogapatta or knees cloth is only found on a few Hindu deities that I know of. Her retinue is iterated in reverse, or counter-clockwise, starting with Varahi. Her mystical connection is with Cup and Fish Matsya Varahi. She can be found in Shiva, Shakti, or Vaisnava practices, generally similar or indicative of herself. Her main Buddhist description is in Samvarodaya, and she is still almost the same, only slightly different or we are using her according to the teachings in all the Samvara preliminaries, with the aim of realization as portrayed in the rest of it.

Varuni's Armor Deities use Varahi, for whom we perhaps should use a substitution.
Vajrabhairavi is a syllable of Seven Syllable deity, where she is Yellow, and Virya, and a potential substitute for Varahi as an Armor Deity, which would equate her to Vam; or, being Red, Vajracharchika may be possible. Seven Syllables are almost backwards to the retinue. It is also discussed in Kambala’s Sādhananidhi, who I believe is Blanket Guru or Lwa va pa. And again, whatever is gleaned of Vajraraudri (Samadhi) in these assemblies, is the beginning of a special ring for Hevajra, where she is the first member, seemingly the product of Vajrashrnkala or Chain.

Ratnagiri p. 311 finds a Seven Syllable statue there; the report is unsure whether the consort is Vajravarahi, or Vajradakini, both of whom appear in the retinue, same as Bhattacharya's description.

Bhattacharya explains Vajradaka as three rites: Two Arm Blue Samvara with Varahi, Seven Syllable Deity with Varahi and the six goddesses, and Mahamaya with Buddha Dakini and Four Family Dakinis. There is also a sideways table of Orissan corpse riders for comparison. In the whole Bhattacharya text, it is after Buddhakapala, whose Citrasena is Matta or intoxicated.

There seem to be two similar Seven Syllable sadhanas, and he may not have originally noticed the presence of Vajrabhairavi, as in Hubert Decleer's study or the one dedicated to him.

Vajrabhairavi is unveiled once a year in a secret shrine at Spitok Gompa, Ladakh; appears as a synonym for a top-grade tantric consort; has an empowerment called Swords of Fire; but perhaps most tangibly is a Kila Gatekeeper:

In the east is the goddess Vajrayaksa with the head of a hoopoe bird holding in her hand an
iron hook. In the south is Vajrabhairavi with the head of a magpie, holding a noose. In the
west is Vajramrta with the head of an owl holding fetters in her hand and in the north is
*Ghataka (gSod-byed) with the head of a hawk holding in her hand a bell.

That is unusual to find all Bird Faces; Vajrabhairavi apparently is Yellow because she pertains to Noose, and, here is female Vajramrita as Chain, which also makes sense. Since a Magpie is a Crow, then, this is a presumably Yellow Kakasya who must be different than the expected dark Dhumavati kind. Kila is the top end or Extremely Wrathful practice. It defines the Ten Wrathful ones and their consorts as Pisaci, uses Ekajata and Vajrasadhu or the king of oath-bound kings as central attendants, and uses groups of seven in Body, Speech, and Mind.

Armor Deities are Wrathful Prajnas; the Pancha Raksha are effectively Bodhisattvas of them; Pratisara is Mamaki, Varuni is Mamaki. What I have done is just to reference Armor to the Seven Syllable retinue according to Family. They are all "Buddhadakini class", i. e., Four Armed, the second set usually carrying Drums. Varuni has the Armor Deities which typcically include Varahi; but when Varahi becomes Samvara's consort in Seven Syllable, she is replaced in the retinue by Vajrabhairavi, according to this logic. The groups are functionally different, which is why Armor should be cast as it says, and Seven Jewels another way. The snag is, if we are trying to avoid use of Varahi, her spot in Armor deals with Navel and Vam syllable, Moha--Ignorance--Tathagata Family, and so instead we can say Vam is Vajracharchika. Red Ghoracandi of Seven Syllable is perhaps another way of saying Charchika. At some point, the rite should emit Yellow Vam Vairocani, and mixing red and yellow to make orange is already the first thing done with Powder; inwardly, this has to do with successfully heated nectar and then orange deities.

So this would be Vajrayogini that has nothing to do with Varahi, whose aspects are replaced by Charchika, Guhyajnana, and Ziro Bhusana. And of course it is not a Varahi denial, but, the attempt to make the substratum in which she exists, like an incubator.


One of the things that is true is that no one has ever been known to take the meats and nectars literally; and so if the text says ground dog meat, someone might use mashed gourd. Instead of alcohol, monastics might use black tea. They are visualized as the substances, urine, etc., but in the instance of "spiritous liquor" this is actually Soma beverage, whatever one may mean by that. So we are using Conch Water, Soma Varuni, and then Wrathful Upaya is the meat mixture or khay. The main "symbol" we are moving from outer to inner, is mantra itself, and so this version can be item-free, completely visualized. Mantra will be spoken, then whispered, then Muttered.

Footnote 108 is an interesting parallel about Jagganath, and goes right to an inverted khatvanga and kapala, etc., with a version of the "adept being decapitated while upside down". Circle of Bliss 104 states the nectars are Noumenal and the Khatvanga is Phenomenal. The Staff is the entire encyclopedia of symbolism, and it is one's consort, so for Vajrayogini, it is of the nature of Samvara's Mind. Essentially some kind of male seed is required for her to operate, which is Smrti. If the Khay Pot is Upaya, then method, on the inner plane, is Smrti.

So it is doing Varuni two different ways, then, Wrathful Upaya using the Families as Skandhas and Kleshas goes into the Khay or Meats; Varuni takes some, and the remainder are "scraps", for Ucchusma deities such as Ganesh and Matangi. Varuni then boils and becomes the mixture of everything.
At that point, we begin Muttering, merging the physiological fire to the Fire of the Throat Center, mantra. We will have our routine examined by an expert judge who can only direct us to the First Joy; or, the Six Yogas into Samadhi, Abhisambodhi, and Dissolutions. In the tantras, a similar role appears to be played by Rasa and Ghasmari.

ksira sågara. “Ocean of milk.” Epithet of the purified elixir of immortality contained in the skullcup during the Trisamadhi rituals to Varuni.

According to basic Ekarasa or "One Taste", Nectars swirl counterclockwise and are the first Four Joys, Head, Throat, Heart, Navel; Meats swirl clockwise, and ascend, the second Four Joys of Navel, Heart, Throat, Head. This again is like a corkscrew or drill; the goal of the first set is Sahaja, then the rest are all Sahaja; and here, counter-rotation = reversal.

The Joys do not depict heat rising; they begin with melted Bodhicitta.

So if we are doing Vase Breathing, the upper winds are pressed down to the nirmana; the lower are pulled up; this is ignition. And when we see Three Cups, then, we must be sure we proceed via the Indestructible Drop, even though this version rotates the khay, meat, or wrathful offering to the center of the white and red seeds, which is a little different from Varuni Puja:


a skull-cup of white or pale-blue amrita - represent¬
ing method as white bodhichitta, or the 'nectar-medicine' (Tib.
bdud rtsi smari) of male semen (Skt. kunda) - may be depicted
on the lower left side of the thangka; and a skull-cup full of
red blood (Skt. rakta) - representing wisdom as red
bodhichitta, or fertile uterine blood - may be depicted on the
lower right side of the thangka... At
the lower centre of the thangka and between these two skull-
cups, is also commonly depicted a third skull-cup contain¬
ing the wrathful offering of the five senses. Collectively these
three skull-cups symbolise the three primary causes for con¬
ception and the formation of the indestructible drop, with
the white and red 'nectars' representing the fertile semen
and uterine blood of the parents, and the five sense organs
representing the consciousness of the being seeking rebirth.
As a procreative image this symbolises the arising of the
enlightened mind from the sexual union of the deities in
yab yum.

Certain variations arise in the inner offering visualisations
of different anuttarayoga tantra deities - or even of the same
deity within the various lineages of transmission. In the
Vajrayogini Tantra , for example, the three severed heads arise
from three coloured A syllables, and transform into a tripod
of heads with a red, blue, and white sequence from left to
right.

In the case of wrathful protective deities, the male skull-
cup may be full of blue-black poison, and the female skull-
cup full of sacrificial or heart-blood. Here the image
symbolises annihilation rather than procreation, as the death
of the ego and the transmutation of the five poisons into
nectar.

As a 'swirling offering' the blood or amrita within a skull-
cup circles in a clockwise motion in the symbolism of the
father tantras, and in an anticlockwise direction for the
mother tantras. In the three activities of pacifying, increas¬
ing, and subjugating the liquid also swirls in a clockwise
direction, whilst in the fourth activity of wrath it circles in
an anticlockwise direction.

[Or, if one thinks in peaceful terms and the fourth activity is gnosis or bell, this is still a completion of a cycle, and so reversal of the original direction would make sense as well.]



About the Trisula:

On a more esoteric level the trident symbolises the un¬
ion of the three main channels or nadi, with the flames
around the central prong symbolising the ascent of the in¬
ner fire (Tib. gtum mo) through the central channel. The
white eight-sided shaft symbolises the central channel
flooded with white bodhichitta from the melting of the drops
at the crown (white skull), and the shaft's eight sides are
the eight nadi emanating from the heart chakra. The five
ascending elements are represented by the golden
vishvavajra (earth); the flask of amrita (water); the red head
(fire); the green head (air); and the white skull (space). The
half -vajra above the skull represents wisdom as the sixth
element. The pairing of sun and moon as a hanging pen¬
dant symbolises the united energies of the solar and lunar
channels entering the central channel by way of its en¬
twined thread.

So the other aspect of using Ziro Bhusana is she is not "a tantra", but is so symbolic, she is not that precise or specific, if we follow her as close to the teaching as possible, it will be most like Vajrayogini.

Pabonkha Vajrayogini is more or less Cinnamasta. But we are not really doing that. We are focusing on aspects of it and using other forms. Pabonkha is transmitted to Lama Zopa and Lama Yeshe (along with numerous others, e. g., Rinjung Gyatsa).

For instance, the Cinnamasta companion Dakini or Vajravairocaniye is not an outer or samaya being; she is known as a wife of Tvastr in Vayu Purana, and is in the Hrdayacakra of Heruka, reddish-yellow in color. But Vairocani is developed in the body of Varuni, and has a look highly suggestive of the transmuted nectars (orange). She is not called Dakini in Buddhism; the central Cinnamasta is Buddha Dakini.

If Vairocani was Tvastr's wife, Tvastr had a daughter called संज्ञा (saṃjñā), who was given in marriage to the sun. But she was unable to bear the severe light of her husband, and therefore Tvaṣtṛ mounted the sun upon his lathe, and carefully trimmed off a part of his bright disc; cf. आरोप्य चक्रभ्रमिमुष्णतेजास्त्वष्ट्रेव यत्नो- ल्लिखितो विभाति (āropya cakrabhramimuṣṇatejāstvaṣṭreva yatno- llikhito vibhāti) R.6.32. The part trimmed off is said to have been used by him in forming the discus of Viṣṇu, the Triśūla of Śiva, and some other weapons of the gods. And so Vairocani has the role of wife and daughter of Tvastr--Vishvakarman; Samjna, daughter of Sajmna. Therefor, melting a Trident into a boiling orange potion makes sense; a purified or empowered Vairocani should be emerging, via the body or process of Varuni. She is also related to the asterism Citra, painter, or artist; whereas the other companion, Varnani, is "to be painted, colored, desired, or praised". In the Hindu context, she is also Varnini, Turmeric, as in Bali Offerings.

Varnani seems less like she "does" the coloring, but receives or shows it; seems to be more like Kama Dhatu, whereas Vairocani is more like Dharma and Akasha Dhatus; provides the light and forms; the two attendants are like the warp and woof of weaving.

Varna is purified in Shiva Diksa, a very similar kind of fire homa; Varna is one of six Adhvans, or paths, although this same word is used in Buddhism for the Three Times. Varna in Shiva's division is the letters of the alphabet (Varnamala), seemingly a transitional point from Kala and Tattva to words and mantras.

Varṇa (वर्ण) or Varṇamūṣā refers to an “dyeing crucible” and is a type of mūṣā (crucible) used for smelting metals.—Varṇa-mūṣā was again a special kind of crucible which was made of red-coloured earth, juices of red-medicinal herbs such as Mañjiṣṭha (Rubia cordifolio, Linn.), flower of Kusumbha (Carthamus tictorus, Linn.), lac, essences of cochineal and earthworms. This crucible acquired a red colour and bestowed excellent colour to the calx of mercury or other metals, which were roasted in it.

The two attendants are also considered Jaya and Vijaya. Overall, they comprise Trikaya Vajrayogini. Laksminkara is all but declared to be Cinnamasta; here, in the Prajnaparamita block prints, she evidently has someone else's head:









Varnani is far less discussed or ritualized at all, except in Sadhanamala, where she is Varahi as Sarva Buddha Dakini. Vairocani and Cinnamasta both appear to involve a spontaneous arising of Yellow Vajrayogini; the Chakravartins are Dakini Jala Samvara. Nepalese Guru Mandala would inherently use Vajradhatu; so the six families from there are also a basis for Chakrasamvara.

Vairocani is Heruka's consort in Samvarodaya; she has two arms and is the color of a Bandhuka flower: by worshipping (Shiva) with Bandhūka flowers the devotee will get ornaments (bhūṣaṇa); it is a genus of one species called Noon Flower:








Bhusana itself is reflexively defined as ornaments obtainable through the worship of Shiva. It can also be found in the explanation of Phala or fruit of an action that goes to the agent. So if "Bhusana" is a specific deity's name, she is the growth of ornamentation via a process. That is why she is not called Vajrayogini or Simhamukha. She is summarizing the alphabet or many heads, and the three worlds or three main heads, in their states of change from mundane to yogic, and shows it. If we find that Lamp that is really the Three Lights of the Three Voids we are beyond this. Our intention is to work with that Lamp which is a type of Agni applied to Varuni, and if it starts working, cool it to Turquoise--i. e. the boiled orange nectar becomes cooled by Bodhicitta and turns into Mercury. Varuni, herself, is seen as adding the element Sky or Space to the water.



Himalayan Art uses Buddhasamayoga as the name of the Dakini Jala tantra and a deity associated with it.

As a standard Pancha Jina, it brings attention to the south because it is fiery, and, at closer inspection, it has the only couple that is dancing:










This is likely the same as shown in a 1500s version; we might say something like Blue is "doubled" here in the center and periphery, or, perhaps Vajra Family has a hypostasis of two members. But then the south Gatekeeper is Yellow and what is presumably an Offering Goddess is Yellow, whereas, comparatively, the next or Red section is uniformly the same:










In the series of prints, Samayoga comes between Vajrabhairava and Chakrasamvara. If Vajrabhairava is likely to introduce Black or Blue Chamunda with White Yamari, that seems pretty similar to the White area here. The outermost ring is the Planets or Regional Guardians, and, if most of it is not in good condition, Green is, and one can find Vayu on a Golden Antelope. The central consort is Ishvari.


Abhayakaragupta's Sri Samvara Abhisamaya is very similar to Samvarodaya. Almost none of these Varahi-alikes have a Kartri or chopper: they just hold a Vajra and somehow their bowl is full of blood.


Samvarodaya has Varuni rendered as myos byed in Tibetan: Intoxication, craziness, to say, make, do, or provide--"the intoxicant which purifies" in Elizabeth English's usage. Equivalent to Mada or Manmatha in the 60-year Samvatsara.

Samvarodaya says that it begins from basic Heruka Completion Stage:


‘ Furthermore, I will tell the origination of the mandala of
deities, the agreeable, supreme secret, the abode of all the merits
of fulfillment ( siddhi ) (1). A man of good understanding should mark
out the ground which is full of all the objects of enjoyment.
Possessing the yoga of the two-armed Heruka, he will have the
self-consciousness of five skandhas and so on 2 3 (2). He should pro¬
nounce the four-faced mantra 3 as the wall to bind the (four) quarters.

Om sumbha nisumbha hum hum phat, in the eastern direction,

Om grhna grhna hum hum, phat, in the northern direction,

Om grhnapaya grhnapaya hum hum phat, in the western direc¬
tion,

Om anaya ho vidyaraja hum hum phat, in the southern direction.

He should snap his fingers 4 5 in every direction to frighten evil
maras (3).

[The mantra which occurs in Pancakrama, I. 9 is
to be noted : Om sumbha nisumbha hum grhna grhna hum grhnapaya grhnapaya
hum anaya ho bhagavan vidyaraja hum phat.]

He should cause to emit a wreath of beams on the character
Hum 5 on the lotus of the heart; and through its light, he should
salute in their presence his master, buddhas and so on (4). After
honouring (them) with flowers, incense and so on, he should then
ask forgiveness. He should take refuge with the three jewels, 6 and
should make the bodhi- mind arise (5). Care for the welfare of
others is maitri (benevolence) ; karuna (compassion) makes the
affliction of others disappear; mudita (joy) is delight in the hap¬
piness of others ; and upeksa (resignation) is indifference to other
beings 1 (6).

Om svabhavasuddhah sarvadharmah svabhavasuddho ’ham 2 3 4 5 6 ( Om,
all the dharmas are pure by nature ; I am pure by nature), thus
he should think. Through the practices which bring about the
accumulation of the material of bodhi (enlightenment), he should
stand firm on the doctrine that everything is only mind (7).

Om sunyatajnanavajrasvabhavatmako ’ham 3 {Om, I am of the
essence of the diamond-like wisdom of emptiness). He should think
of bhairambha 4 and so on in the form of the container and the
content (8).

[bhairambha: unknown word from Samputa; "container and content" = manda plus la]

This strange word is interspersed with the Tibetan split apart as Bhai Ram Bha. Bhai is Medicine Buddha syllable. Bha is as in Amitabha, amita, limitless, bha, light. Bhaisajya or Medicine is Bhai plus "strung like a bow", sa with, jyā a bow-string. Bhai as in Bhairava is generally Bhir or Bhaya (fear) Rava (noise, shouting), an outcry against samsara. Abhinavagupta also explains Bhr as "bearing", same root as English, to bear; also he says:

Of the four Krama goddesses, Khecarī is the Knower, Gocarī is the mind, Dikcarī the 10 faculties, and Bhūcarī is the field of knowable objects. Each of the four is a 'collective' Power because She presides over subsidiary śaktis (i.e., each is a devatā-cakra).

Comparatively: There is the secret Vajrayogini that is none other than the primordial base of all sentient beings, the clear light mind that has been pure from the beginning. In interdependence with that, there is the inner Vajrayogini a short A, or in this system a Vam syllable, in the middle of a triangular matrix of channel-knots at the navel. In dependence on this, there is the co-emergent sambhogakaya Vajrayogini who abides in the Akanishta heaven, arising as an appearance of the outer nirvana and samsara. Further, there are the field-born nirmanakaya that abide in the twenty-four, thirty-two, etc. sacred places of Jambudvipa. Finally, all the women who abide in various countries and locations are the karma-born dakinis.

This odd turn of phrase appears "Bhairambha" when all is dispersed into Emptiness, prior to Inverted Stupa, which it scarcely refers to en route to Meru mandala:

5 He should imagine the character Yam to be the mandala of
wind of blue colour and in the figure of a bow, and upon it, he
should imagine the character Ram, in the form of the mandala of
fire (9), of red colour, three-cornered, marked by the three-pronged
vajra. Upon it, he should imagine the character Vam to be the
mandala of water, round and white (10), and upon it, he should
imagine the character Lam, four-cornered and of yellow colour;
and it is marked, in the same manner, by three-pronged vajras in
the four corners of the mandala (11). Upon it, he should imagine
the character Sum to be Mt. Sumeru of quadrangular shape, con¬
sisting of four kinds of jewels, agreeable and adorned with eight
peaks (12). Upon it, he should imagine the character Hum. to be
a cross -vajra. Upon it, he should imagine a lotus flower possessed
of pericarp and filament (13). In the middle of it, he should imagine
yoga, that is, ali and kali in purity. And in the middle of it, he
should imagine the character Hum, of the nature of Vajrasattva 1
(14).

2 He should imagine the auspicious Heruka situated in the midst
of the solar disc...he abides in the great
pleasure (mahasukha) , embracing Vajravairocani in great rejoicing
of desire of compassion (17). He has attained concentration of
mind through the union of a vajra and a bell, embracing (the
goddess) with his (first) 3 two arms...and is possessed of nine rasas
of dancing.

The goddess 1 embraced by him has two arms, one face and
three eyes (22). She is of the colour of a bandhuka- flower, naked,
and with a girdle decorated by pieces (of kapala 2 ), with hair
loosened, showing tusks, dribbling and fond of blood 3 4 (23). In her
left arm, she holds a vessel made of a human skull containing the
blood of evil maras and so on. Her right hand in the tarjani-
posture holds a vajra ; her big body is like the fire at the end of
a kalpa. She always enjoys the great pleasure ( mahasukha) clasping
(the god) tightly in her two thighs (2).

4 There are Dakini, and likewise Lama, Khandaroha and Rupini.
He should put them on the places of lotus(-petals) 5 (corresponding
to the) four directions ; pleasure of all (kinds of) siddhi will (then)
appear (25). They are of black, green, red and white [or: pale yellow] colour
respectively; and each of them has three eyes, two arms and one
face. They are kapalinis holding khatvanga- staves in their (left)
hands (26), and vajras and swords in their right (hands). They
are naked and in the posture of alidha, with hair loosened, with
mouths showing tusks, and are adorned with five mudras (27).

There are four receptacles of bodhicitta and so on on the (four
lotus-petals of) intermediate quarters. 1 2 He should worship with a
happy feast of song and dance accompanied by five amrtas (28).

[Four Yogurt Pots, either all Nectar, or, Semen, Blood, Nectar, and Meat]

2 At the four gates there are goddesses. He should always
imagine (these) deities (as follows) : At the east gate, is Kakasya 3
(the goddess with the face of a crow), imagined to be of blue
colour and with two arms (29). At the north gate, is Ulukasya
(the goddess with the face of an owl), green and with hair loosened.
And likewise, at the west gate abides red Svanasya (the goddess
with the face of a dog). Sukarasya (the goddess with the face of
a pig) looks yellow and is at the south gate, seated on a preta- ghost
(30).

In the quarter of fire (south-eastern), in the south-west quarter,
in the quarter of wind (north-western) and in the north-east quarter,
are Yamadadhi , A Yamaduti, Yamadamstri and YamamaihanP respec¬
tively (31). In this way, the goddesses 6 (are) in the places (corres¬
ponding to) the intermediate directions; (they have) two fascinating
shapes. 7 Having preta- ghosts as their seats, they are very terrible
and are adorned with five mudras (32). They have kapala-vessels
and khatvanga-staves in the left hand, and vajras and swords in
their right hands. They are sarvayoginis, and grant every siddhi
(33).

[Two Shapes is unexplained and the retinues are reverse order, counter-clockwise]

Then, knowing two (kinds of) armour-spells, he should imagine
the circle of wisdom, and make (it) enter into the samaya-circle
through the mantra and mudra of a yogin (34). 1

Now, I will tell two (kinds of) armour-spells 2 :

Om ha on the heart, nama hi on the head, svaha hum on the
top of the head, vausat on both shoulders, hum hum hoh on both
eyes, phat ham on every limb ; this is the (magic) weapon (35).
Firstly, (there is) Vajrasattva ; secondly there exists Vairocana ;
thirdly Padmanartesvara ; Sriheruka is said to be the fourth (36);
fifthly there is Vajrasurya and sixthly Paramasva ; it is protected
by six armour-spells (37).

[Samvarodaya is using semi-esoteric Dhyani names from Dakini Jala]

Om vam is Vajravairocani, ham yom is Yamini, hrim mom is
Mohani, hrem hrim is Samcalini, hum hum, is Samtrasini, phat phat
is Candika on all limbs; (these are) weapons (38). On the navel,
on the heart, and likewise on the face, on the head, on the top of
the head and on all limbs (are) weapons.

Om yogasuddhah sarvadharma yogasuddho ’ham 3 {Om, all the
dharmas are purified by yoga ; I am purified by yoga) (39).

Putting in his own heart the circulating dakinijalasamvara,
which belongs to the deities of mudra of the heart and so on, with
the right and left hand, he should make it blossom forth like a
lotus-flower. Thus, he should cause to arise the best of yogas, the
most excellent, the yoga of the gods (40). 1

[Whatever Dakini Jala Samvara may be, it circulates, and goes to the heart, opening its lotus]

Being connected with the circles of dharma (the body of dharma
itself), sambhoga (the body of enjoyment), nirmana (the body emana¬
ted) and mahasukha (the body of the great pleasure), the body has
been adorned in its limbs by means of twenty-four veins (41).
With the help of twenty-four pithas he should maintain the body
together. Thus the body is made of “ lump ” ( pinda ); and he (who
has this body) is indeed equal to all the buddhas (42).

Through the yoga in the shape of non-duality, the unthinkable
abode has been shown. He should imagine the highest abode
through a yoga corresponding to his mind (43).’


Further along it describes the centrality of Vam or Ah goddess:

the character Am existing in the
middle of both (lalana and rasana) is the goddess appearing in
various forms 5 (29). (She is) the goddess who has the nature of
the four bodies (of Buddha). She confers all fulfillments and brings
the great pleasure ( mahasukha) to everybody; I always salute (her)
properly (30). The goddess becomes identical with whatever ex¬
istence, to which people’s mind is directed; she is like a (wishing-)
gem which assumes various forms (31).

By exciting the fire of prajna- wisdom which was increased by
investigating the village of existence, Candali 1 is kindled; it is
nothing but the right knowledge which is pure and spreads bril¬
liance. When the imaginary ideas (as to the five) skandhas are
burnt and are flowing, there arises the right perception without
support; it pervades the sky; it effects the sameness of all things
and is immortal (32).

The thorough perception of joy is the supreme prajna-paramita
{prajna- wisdom as a supreme goodness). (The state of) abiding in
the fruit of joy is enlightenment, essencelessness (16). The pleasure
(caused by the) ardent, undivided (union) of the two is nothing but
the great pleasure ( mahasukha) ; distinction between prajna-wisdom
and karuna (compassion) is like (that between) a lamp and (its)
light (17). These two are of (one,) undivided essence they appear
in the form of one mind. It is caused by the union of prajna -wisdom
and upaya (means); and it effects the complete enlightenment (18).

That which is (the state of) Vajrasattva abiding in the recogni¬
tion of the undivided aspect (of it) is the highest dwelling of all
the buddhas (19).



So then if we are not really doing the whole thing, we are aware this is about Vam-arising Orange Vairocaniye, as a spawn of Varuni. And it "merely" has changed the state of Vajrasattva from his original samaya into this. Ultimately in Bodhisattva Path it will be state of Vajradhara. Since Vajrasattva is the Sixth Family, the Seventh can only be said to exist within or through him in this manner.

And since Ziro Bhusana is drinking her cup, then we are more or less offering what we can make to see if it meets her approval. If she is not impressed then we must try again. Once we find her liking it, we will not forget. If it goes well, then it could melt the trident. In other words, we are seeking to make the visualization of boiling orange liquid equal to an actual fire or heat taking place in the belly. We are going to sit with Vam and concentrate its transmuted nature to the Indestructible Drop. Again even this Vairocani is using Guhyajnana Four Dakini retinue. So it should become apparent how the sequence Vam Vajracharchika, Guhyajnana, Ziro Bhusana fits. There is no need to attempt a whole mandala, they are just Yoga deities, timed with an inner exercise of Varuni and Buddhist Pranayama. This is equivalent to Dakini Jala Rahasya because Ziro Bhusana is (a) Vajrayogini, but, more specifically, is Guhyajnana's guru.

Simply knowing how to visualize this upside-down elements mandala will not do much. Actually doing the beginning of it in the body will. And so the Crescent may not be too hard, it is kind of like the start of any Om-based Yoga system, just being used in a specific manner. But we could say there are many miles between withdrawal from mundane corporeality, to the Triangle as meant in this system, the fully working one, properly heated and cooled, balanced, starting to circulate.



From Void:

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. 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...

So in the full tantras, this Vase in the heart is just mentioned, and they keep going. We are basically stopping there, and working everything from Vam syllable to Vase in meticulous, thorough detail.

White Dharmadhatu Vajra's dharmodaya is white and points down. We have seen this in Vairocana Abhisambodhi, where it is with White-robed Gold Gagana Locana (Gagana is Samadhi of Entry; Varuni adds Sky and Unending Ocean to nectar). 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. (In one rare image with Dharmadhatu Vajra, Rasa is holding a skull filled with the three nectars [medicine, deathlessness, wisdom], similar to Ghasmari, Taste.) Gaganaganja is a Bodhisattva or form of Lokeshvara or Manjushri and is in Vajradhatu mandala and Vimalakirti Nirdesa Sutra. Ganja may be bhang, a storehouse, a cow house, a jewel mine, a vessel of spiritous liquor.

Samadhi is triple-layered in Thirty-seven point enlightenment, as an Indriya, a Bala, and a Jewel: weak, strong, and a mandatory gate of pure enlightenment. Dharma Samgraha iterates samadhi twice:

2) Samādhi (समाधि) refers to the “four concentrations” as defined in the Dharma-saṃgraha (section 101):

āloka-samādhi (concentration on light),
vṛtāloka-samādhi (concentration on enclosed light),
ekādaśa-pratiṣṭha-samādhi (the eleven establishments of concentration),
ānantarya-samādhi (the concentration giving immediate result).

3) Samādhi (समाधि) also refers to the “four concentrations” as defined in the Dharma-saṃgraha (section 136):

śūraṅgama (heroic march),
gagaṇa-gañja (sky-jewel),
vimala-prabha (pure light),
siṃha-vikrīḍita (lion’s sport).

"Eleven establishments of Concentration" are taught by Vajrayogini; since they include many of the preliminaries, we have not focused on this, but she is a main provider of this teaching. This is a Mongolian Khecara Pure Land. At the lower right and left of the composition are narrative vignettes depicting each of the Eleven Yogas of Vajrayogini according to the system of Naropa:









Union {yoga, nal jor ) means union with the dharmadhatu, the interior objects of the mind
(manas, and/or Dharmadhatu Vajra), according to Buddhist Abhidharma theory; the ‘source of natures’ ( dharmodaya ) and the Absolute ‘Object’ (paramartha ) in Buddhist Tantra by means of Knowledge {jnana).

The Pali description of samadhi will also return an element similar to Locana:

(2) knowledge and vision (ñāna-dassana) - here probably identical with the 'divine eye' (s. abhiññā) through perception of light (kasina)


One may accurately say that "Locana in her starting position" uses a white triangle, the item of Dharmadhatu Vajra, and this has to do with basic metaphysical definitions and an identification of what we would call dhyana or samadhi--which is not just one concentrated moment, but, is One Taste of many forms, as Locana will be found to move to new positions, and, the Triangle itself becomes heated in order to really use it. The Perceived Mental Object, Dhardmadhatu Vajra, becoming clear and purified, intensifies her energetic states into dakini and others, under a Dharmadhatu Ishvari.

For the Nirajan, it may then be feasible to use a goddess with a flaming red dharmodaya--fire pot. This of course transfers Agni into what we are doing. Then we ask Charchika to help us cast spells in the Flask--in part, tossing in our personal pain--and commune with Guhyajnana so she will raise Ziro Bhusana to take our offering. At that point, the mantra will be totally silent, mental only. Charchika is a Vajra and Sword Akshobya deity with Nara Siro or fresh head garland, who appears to place Cam Chamunda or Candali syllable in one's heart to produce Jnana Cakra, i. e. a physiological residence of higher powers. In her mantra, her name is more or less a substitute for Ah syllable. Guhyajnana is plainly Lotus Dakini who arises from Hrih with Lokeshvara, but, she says Om; and then Ziro Bhusana arises from Om and is Red Vajrayogini, without any crown, sire, family, heart being, etc., just supported by Guhyajnana and the Four Dakinis.

If the Nepalese Homa uses sadhanas of various sources, here, we could say Samvarodaya is not the original written Chakrasamvara, which does not explain itself, but is the one that reveals Varuni who is not so much a Hindu import, but can only be explained using Hindu sources. Charchika, as far as we can tell, comes from Indrabhuti, and the Dakinis, from Nyan Lotsawa; he was among the last of the Tibetans to have lived in India for a while.

For Vajrayogini who is a Vairocana emanation, the drum is used by Vajradhara Vajradharma who is her Speech principle. Red Vira Vajradharma frequently appears with Vajrayogini, and, perhaps could be said to release clouds of Vajradharas.

A drum is usually suspended from the staff by a chain; its sound is Unstruck, or Anahata; Prajna. If we listen for it properly, we will become Vajrashrnkala, i. e. chained, via samadhi, to Tara's Liberator or drum deity Amoghasiddhi.

[shaberon]

Dharmodaya and Ghasmari


Something was missing in order to make a Generation Stage that does not depend on Varahi.

In order to have a version that is almost entirely mentally symbolic, and does not require items or additional rites, when we look at the definitions and inner meanings of the deities, there is a very appropriate alternative:

Vajracharchika, because she is Vam-arising, defined as Muttering, and emits Jnana Cakra. This chakra, with the Four Dakini retinue, are exactly what begins the Path, from Yoga to Dakarnava Heruka.

She is very direct, however, if we are not doing an Agni Homa and do not have his temple features with flaming dishes and so forth, the meditation nevertheless is looking for a related heat source. So we will look a bit more at this bliss or gnosis chakra and its retinue, and a symbolic Yoga heat source will reveal itself. We are making a more intricate Nectar and call for the heat source. At that point, our visualizations and deities are equivalent to the subtle body; for instance, instead of imagining the mini-banners fluttering, it automatically happens if we shift the winds properly. We can feel it working if we do it right, there is no mistake. Therefor, if we "actually have" the heat, its deity will work.


Vajrapani will eventually describe Jnana Chakra with the Dakinis in its Noumenal aspect, the most basic Four Chakras, which is the goal of Generation Stage.


In Laghutantra, Vajrapani says:

The external circle of the Eight great cremation grounds, has its inner equivalent in the nadis that are positioned in eight of the nine traditional doors of the human body.

The sadhaka has to suppress the vital breath (prananirodha) in these channels.

The suppression (kumbhaka [Vase breathing]) of the vital breath is designed to direct all the pràna, which flows in bodily channels, into the avadhuti. Furthermore, this prànanirodha is mirrored outwardly in a halting of the vehicles (adhara) of the yoginis (represented by human corpses) in their former pithas.

Vajrapani appears to be commenting Paramadiya into Samvarodaya and Six Limb Yoga as the basis for Kalachakra. This text has been relatively unused in Tibet. "Vehicles" is not a good translation for Adhara, which goes right back to Shiva Tantra and for example describes Kurma Nadi between the heart and throat. So it is another way of describing Sacred Sites, although a smaller number, sixteeen. According to Kṛṣṇavallabhācārya’s Kiraṇa on Patañjali’s Yogasūtras 3.7-8, “The tortoise-nerve (kūrmanāḍī) is said to be the same as the Nāḍīcakra in the heart.” Kūrmanāḍī (कूर्मनाडी).—When saṃyama (the simultaneous workings of dhāraṇa, dhyāna and samādhi) is directed on the Kūrmanāḍī (canal of the tortoise), it ensures the immobilisation (sthairya) of thought. Kurma Nadi is located in the upper chest below the throat. “By Samyama on the Kurma Nadi comes the steadiness of the body”. By Samyama on it you achieve Asana-Jaya (victory over Asana).

Since Adhara is also "foundation or support", and the Buddhist deity Kurma Padi is "tortoise feet", whereby "feet" are also normally a "basis or support" in esoterism, then what all this means is that cessation has become effortless. With the Crescent and Triangle, we are trying to bind, reverse, balance, and dissipate the winds and carry the heat through this nerve. When that really happens, then, for one, the distractions and kleshas will become rather self-exterminating; it will carry its own force to render the mind and body still. That is how we can tell this Yellow or Orange Vajrayogini is not a samaya being, but is a product of Khandaroha--Varuni's work, emerges from her, is a part of this physiological change.

And again it would be possible to reach a similar physical state without heat and Bliss, but that is not what we are doing. It is not that Patanjali's basic definitions are all wrong, but the process is re-formulated, to, like what Shiva is saying, we might say to ensure Bliss or to aid us towards Joy in the tantric sense.

If you have the Kumbhaka and the Kurma Nadi and understand about Khecari or above the throat in the soft palate then these centers will line up and may appear to do their thing automatically. At that point it becomes rather easy to melt the White Bodhicitta or Ham or Hum or Trident.

Khecari or Sukhasiddhi of Shangpa is about the only Vajrayogini usually mentioned besides Red and Black. But if we see Vajrayogini's Yellow form, and Ziro Bhusana, and are aware that White can reverse Heruka, the arsenal is more effective.

Varuni inherently breeds Vairocani. Varuni also adds Sky Element to the water; Guhyajnana is in Sky. Guhyajnana is in the complicated position of showing a segue' from Sky Element of Form to Mind or Gnosis Element, formless, or body-less; and then Ziro Bhusana would appear in the sixth position. Dharmadhatu is the common term for what appears to be connected to Sky and Mind.


In Vajrapani's Laghutantratika the term samvara is always translated as sdom pa in Tibetan, except in the passage in which Vajrapani describes the samadhi of Blessed Heruka as “dakinicakrasamvara” : only here do the Tibetan translators use the term bde mchog [Demchog or common Tibetan name of Chakrasamvara].

...[t]his spatial arrangement is projected primarily on the four petals of the jnanacakra where Dàkini (East), Làmà (South), Khandarohà (West) and Rupini (North) reside: from the inner point of view, these positions are called atmapitha, parapitha, tuanlrapitha, tattvapitha and correspond to the lotuses of the heart (hrdaya), throat (kanha), navel (nabhi), and forehead (lalata).

At the intermediate cardinal points of the jnanacakra , there are four vases containing excrement (vis) (NE), urine (mUtra) (NW), blood (asrj) (SW) and meat (mamsa) (SE)35. The same spatial arrangement is maintained in the three wheels of mind, speech, and body and in the wheel of the Eight great cremation grounds.

The other divinities possess some of the characteristics of the four yoginis in the jnanacakra; for example, they endow the same type of siddhi to the worshipper when adored by him...

So what we would call Jnana Cakra to begin with (or synonyms such as Sahaja or Mahasukha), and Four Dakinis, is only the outer veil of Heruka, where a much larger version consists of blissful deities such as Tilottama, Sankhini, Vilasini, and so on. Jnana Cakra is specifically used by some of the Sadhanamala deities, however, Vajracharchika truly asserts it and in fact it could be argued that all she does is install it. Because the retinue of this chakra is soon headed by Guhyajnana Dakini, we would accept Guhyajnana with Four Dakinis as the foundation of real Jnana or Wisdom of Emptiness mantricly combined with Bliss.

Between us and Heruka's real core are the Maha Bhuts, the Great, Purified, or Mother Elements, of Space, Fire, etc., meaning mental ones, not the form version we originally purify. His core is Bindu or Tilaka Cakra, surrounded by Subtle or Vajra Cakra (Four Dakinis such as Khandaroha, Sacred Sites), his heart or Hridaya Cakra (Vajradhari, Locana, Prajnas, Peaceful and Wrathful Bodhisattvas), and then his Merits or Qualities Guna Cakra (Brahmani followed by other whitish-red yoginis who appear to be students or disciples, etc.). The core then appears to have its own Gatekeepers: The four gate Ḍākinīs [viz.,Sukarasya, Kakasya, Shvanasya, Ulukasya] each has the same physical feature as the four Ḍākinīs starting with Lāmā. The messengers or samadhi deities Yamaduti, etc., are in the corners. One can see the Four Dakinis port themselves from Generation Stage beyond a legion of a thousand deities or a chiliocosm, through a type of Mirror made from Gnosis and Purified Elements, to Vajra Cakra around the Bindu of Heruka. The head of his Jnana Chakra, Tilottama, is herself secretly the highest consort or the last initiation.

Khandaroha is Varuni and never leaves. The name of her location has changed from Jnana Chakra to Vajra Chakra, as she has, so to speak, blazed the entire trail unfolding many layers of petals. The beginning Jnana Chakra of "Four Chakras" is Jewel Family, which, itself, is important for wrathful deities.


In Hevajra:

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 other sense organs, the Five Buddhas in their entirety, the five
elements and the ego are all burnt and the Moon establishes the supreme
goal.

Canda is a Red Dharmodaya; Vajracharchika places Canda's, or Chamunda's, root syllable, Cam, in the heart, and summons Jnana Cakra, which, in a Yoga version, is just Guhyajnana and Four Dakinis; in Chakrasamvara, it is a mandala in this format, and it continues to become the inmost kernel of Heruka, or the most subtle sheath of the ultimate tantra. Heruka has taken our highest or Sixth Element of Gnosis and reversed it into mental elements as something like an ocean to be crossed, and so his Jnana should likely be interpreted as that of the Tenth Bhumi; ours is just the rough principle of gnosis in stained human conditions.





The major esoteric or explanatory Varuni of Inverted Stupa is her special form used for Generation Stage. As the Nepalese Guhyeshvari emanation, Eighteen Arm Varuni is flanked by White Sanchasani on the viewer's left and Blue Yamini on the right. The central Varahi is over Sukhasiddhi and also has the Four Yoginis of Nepal, including Khadga or Sword Yogini, who is Guhyajnana Dakini, and therefor must also have Agni Yogini among them.

In her Varahi hypostasis, Varuni's flanking deities are ostensibly similar to Marici and Ekajata, or to Vairocani and Varnani:

Sanca is the base term for Samcalani or Sancalini, which seems to be the intended White Sanchasani here, although the suffix Asani would mean Indra's Lightning or a churn-staff-rope, i. e. like the serpent used to churn the Ocean of Milk. This is the Hrim Armor Deity. It has also been written Sancarani. From what we can tell, she is in Vajrasattva Family, but then in Seven Syllable deity, corresponds to White Vajradakini, who is Upeksa, or the seventh principle, since the male Smrti is fifth.

Yamini definitely serves a dual role because Yam syllable starts the Wind Mandala or Crescent, and, is also the heart center or Citta Cakra (corresponding to Heruki of Seven Syllable deity, Dharma Pravicaya, awareness of reality). The Yoshid or Vajra Ladies of the Heart are Prajnas. At that point I am not qualified to comment. All I can say is the yogic process of Fire and Nectar is real and I am electing to study in a Buddhist manner based on original Sanskrit, which probably had a lot to do with Ratnagiri, and a system of Taras which works with Varuni through Dakini Jala into Samvarodaya or Completion Stage.

Circle of Bliss 112 shows Varuni over Varahi and the Four Yoginis of Nepal, and then over Vajra Pitha Tara, or Green Eight Armed, saying Sadhanamala explains this. In Sadhanamala, Odiyana Vajra Pitha is Varahi 225, who is Sarva Buddha Dakini with Four Dakinis, but does not mention Tara. The Circle of Bliss description says Tara stands on a moon disk, arising from the Waters of Varuna, is a Bell goddess, also has Banner, is Queen of Five Families, and is surrounded by Twenty-four Sacred Sites in the same Chakrasamvara method. This appears to be quite close to either Samaya Yogini Tara or Mahasri.

Himalayan Art describes Samaya Tara's items as, the four right hands hold an arrow tipped with a utpala flower, a double-sided damaru (hand drum) and curved knife. The lowest hand with the palm facing outward performs the mudra of generosity. The left hands hold a blue lotus blossom with the stem held to the heart, a bow constructed of utpala flowers, a trident and blood filled skullcup supported on the thigh. An ornate katvanga staff rests against the left shoulder. Comparatively, Vajra Pitha holds a bell, staff, skullcup, gem, vajra, drum, banner, and wheel. She is a lighter color, with a much different attribute set; Himalayan Art lacks any type of Varahi under Varuni. The closest thing may be Samaya Tara in our main Tara post, where the "unidentified red goddess" has sixteen arms, but also four legs.




Naro Dakini with Triple Om mantra is said by Taranatha to be crowned with Vairocana.

Circle of Bliss 115 based on Samvarodaya explicitly states Red Varahi is an Akshobya goddess. I, at least, would not have difficulty replacing her with Red Vajracharchika, an Akshobya goddess, same seed syllable. Varahi is mostly associated with Indra Dakini. Charchika seems to be mostly associated with Indrabhuti.

145 is Rwa Lotsawa's Thirty-two Arm Black Vajrabhairava with Vajra Vetali, which uses for its corner deities, Vajracharchika, Vajravarahi, Vajrasarasvati, and Gauri, a six armed form with an unnamed consort. Charchika heads her ring in the southeast, or Agni corner. She is "important" to Rakta Yamari. Even though Kalachakra is an almost totally different system, it says:

"Generation of the Speech Mandala Deities

From HA, then a cleaver, comes a Lady Charchika, black, with one face and four arms. Embraced by, arising from LI, then a vajra, an Indra, yellow, with one face and four arms, they are emanated forth and settle on the seed-head of the lotus of the east, on the ledge for the deities of enlightening speech."

To the extent she can be found, Charchika is always the outer cusp of wrath, speech, and bliss. It is hard to be more precise than the beginning of Kalachakra Speech Mandala.

This 1700s Gelug view of Indrabhuti's Vajrayogini has Four Dakinis with consorts, Six Armor Deities, and the outer corners fashioned after the Vajrayoginis of Nepal: Maitri Dakini (Vidyeshvari), Naro which is Sword or Guhyajnana (Pharping or Indra Dakini/Varahi), Dark Mahacina (Sankhu), and Six Arm thin Charchika apparently stands where Guhyeshvari (Khaganana, Agniyogini, or Kakini) would be expected:









The lower white goddess is unidentified by them, but, must be Amaravajra. In Orissa, six-handed Marichi found in the Charchike temple of Narasimhapura, and two-handed Asokakanta Marichi, are found in the same village. Vajra Charchika is an emanation of Aksyobha. A variety of six-handed Vajracharchika is now found in Narasinghapur. It measured about one and half feet. From her skeletal body, dried up breasts and terrible appearance, she can be taken as a variety of six-handed Vajra Charchika. Among the other members of this family, an image of Ekajata is worshipped as Narayani in the village Sireh of this valley. It seems to be the product of early period. There is a Chamunda (in Charchika form) worshipped as Parsvadevata in the Jagulei temple of
Bhiligrama.

Circle of Bliss 114 appears to mistakenly call a similar lower left deity "Four Armed Khadga or Guhyajnana", but their image also has six arms. Even if we make mistakes in the classification, the four main yogini shrines in Nepal are always the Maha Sukha or Bliss Chakra, or the first Jnana Chakra or Four Joys, four chakras of the body. Nepal also has Four Lokeshvaras attributed more or less with producing the Hindu Cosmos, and, also, that who they call Prajnaparamita Guhyeshvari, first revealed herself as a Dharmodaya.

Himalayan Art's copy of the same 1700s Nepalese image is not that great, but, they got as far as to call her "six armed Vajrayogini":









They manage to call the bottom center, "Yogambara and consort", who is Jnana Dakini. I do not think there is a "Six Arm Vajrayogini", it would use a more specific name. This is a Nepalese take on the Four Yoginis of Nepal, and, at a minimum, the artist was aware that one red yogini is a cover for a blue one. So this six arm one must be intentional.

As another example of "mixture", Sakya's Tinuma Vajrayogini grabs four Taras out of Suryagupta's system, including Tara Who Burns Suffering, Dukhadahana, with a stove, firepot, or red dharmodaya. She is "Tara nineteen", and another thinly-disguised cribbing of a similarly-titled Shiva song. The standard Tara nineteen is Parasol whose commentary relates to armor and balancing the winds. Tinuma is a special Sakya Vajrayogini, using an offshoot of Dakinis' mantra; her composite picture has Tseringma at the bottom, and "Long Life deities" at the top--White Amitayus, Red Amitayus with consort, and then...there is not supposed to be such a thing as Blue Amitayus with consort, having a vase and long-life spear. The other holder of such a firepot is Agni. Stand-alone variants of this Tara have a red upright triangle; in this detail, hers is not red, but is like Agni's:








Tara Nineteen's telling phrase is perhaps "muditabhoga"; mudita is basically Joy, but, feminized, is the Wife of the (very powerful) Agni named Saha. (Śloka 1, Chapter 222, Vana Parva). Bhoga is also enjoyment, and, abhoga, which the commentary suggests is the suffix here, could be the opposite, but may also carry the meanings 6) The expanded hood of a cobra (used by Varuṇa as his umbrella), 7) Enjoyment, satiety, completion; विषयाभोगेषु नैवादरः (viṣayābhogeṣu naivādaraḥ) Śāntilakṣaṇa, 8) Serpent. आभोगं हन्मना हतम् (ābhogaṃ hanmanā hatam) Rv.7.94.12.

That seems to be pretty directly getting at the expanded hood of a Varuna serpent as a Parasol as a type of Completion. There is nothing in Parasol's iconography suggestive of fire; she may be found over Long Life Trinity, or even holding Usnisa in her palm, that is about as close as it gets. Normally, we think of her as cooling, rather than heat.

For the etymology of Samvarodaya Tantra, "Lord Vagisvara Manjusri, Svayambhu-purana
who drained the Kalihrada Lake, was the founder of the Nepal Valley. He had a vision revelation
(darsana) of the consort of the Adibuddha, the goddess of Perfect Wisdom, Nairatma
(Guhyesvari) , in her characteristic universal forms - both peaceful and wrathful - on the ninth
day of the waning half of Marga. ~ The day after having a vision of the goddess Guhyesvari's
universal form, Manjusri visualized Mahasamvara. On the occasion of receiving blessings from
Mahasamvara, he performed an elaborate offering ceremony and received an empowerment of
Vajra water from the sacred Kunda pool of Dharmodaya Guhyesvari. ~ To commemorate this
day, Nepalese Buddhists celebrate the Creation of Samvara with formal worship (Samvarodaya
disi puja)."

Guhyeshvari appears to derive her name Agniyogini from sub-aquaeous fire in her water well.

Nothing about Agniyogini suggests transporting fire, Kakini is a Crow or Horse Noose goddess, and Samaya Agni uses a Flask. Agni Samaya also appears in a Janaki song.

Vajrabhairava's main implements are intestines, and a hearth or brazier. Circle of Bliss 145 calls this brazier item twenty-nine, triangle. This is the thangka discussed by Circle of Bliss; black form is a veil, the central deity may be black, the others identified as Family Yamaris, in masked colors:










They say the top is Manjushri, but, "he" has a awfully rounded hairline which is the style for girls in almost all these pictures.

Four Family Yamaris are at the bottom; his retinue is four Yamaris with consorts, four Vajra goddesses with consorts, and four activities with consorts that are a little different: Hammer, Club, Lotus, Sword. So there is a Six Arm Vajracharchika with a nameless consort who is in Agni's realm. This lineage is also through Rwa and Pabonkha, who were both extremists. But it is all part of the same Lalita-->Padmavajra, and onwards from there.

However, the corollary benefit of the art site is to inform us this is simply Thirteen Deity Vajrabhairava, which has numerous Gelug images throughout the centuries in a Yoga format like this, and then, it is pretty easy to see how they load in a mandala which has representations back to Sakya in the 1300s. It is almost the same across China and Mongolia to Ladakh and Buryatia. Furthermore, the retinue is Eight Bhairavas plus Gatekeepers; and so eight Bhairavas is again similar to Shiva tantra, and it comes up first in Sarvadurgati, and it appears that when it does, Vajrapani relinquishes his personal name for "Trailokyavijaya", which seems to be less of an individual name, and more of a function that can also be done by Manjushri Vajrabhairava.

This 1700s Gelug is probably his clearest image:










His left hands have guts and severed body parts, and the open, flaming dharmodaya, just like Tinuma's Tara Nineteen.

And so, not fumbling through Tibetan Deities to try to find the thing, his retinue may be said to have a few "color clues" while for the most part it is ordinary such as Red--West--Up. But in the oldest version, it appears the whole thing has been given a quarter turn:









It may, perhaps, be instructing the disciple to face south. However, across all versions, the eastern and southeastern deities are white or pale yellow, or, Chamunda and Charchika are both present, beside each other, and light colored; White Moha Yamari has a "white consort". Chamunda re-appears with Mahakala.

In at least one Vajrabhairava practice, one does the Ten Wrathfuls by generating as Sumbharaja.

The Thirteen Deity format is not much different from Citta Chakra Vajrapani (four each of Dhyanis, Offering Goddesses, Gatekeepers).

So we are applying a set of brakes instead of going to the Citta Chakra or Vajrabhairava Mandala.

According to Robert Beer:

The dharmodaya emerges from the syllable E in the
empty expanse of space as a vast inverted pyramid - like
the triangular blade of a ritual dagger (Tib. phur bu) or the
tapering expanse of Mt Meru - indicating the pinning down
and stabilising of the earth element. E was once a
triangular letter.

As an item, dharmodaya can be traced only on a few deities.

In Kalachakra Mind Mandala:

N: green – Maṇikārī (nor bu mkhan ma) jewellery – dharmodaya – Dharmadhātuvajrā (chos khams rdo rje ma)

And in what it calls Iccha goddesses:

dharmodaya Maithunecchā ('khrig pa 'dod ma) (green)

See 100 Yoginis or Vajravali. Maithuna Iccha is Sex Drive. The first goddess Manikari sounds like a synonym of Vasudhara.


This poor copy of Vajrapani suggests Manikari is another name for Drumacchaya, since there is no deity between her and Airavati. Drumacchaya and Vajradeha are in the shoulders with a nerve to the heart. Wayman calls her Samadhi Indriya in Thirty-seven point enlightenment.

Or really, what it means is, in 100 Yoginis, Drumacchaya is her name, Manikari is her caste or profession. What we see is that Kalachakra evolves from Vajrapani's Chakrasamvara commentary. Also, after Drumacchaya, it starts Speech Mandala with Airāvatī – Lohakārī (lcags mkhan ma) blacksmith, and this caste uses forges or i. e. fiery dharmodaya.

Druma or "Tree" is a Gandharva king who plays the lute, which sound is comparable to the wind at the end of a kalpa: Vairambha, which likely answers a strange word we found recently above. There, it is equivalent to Dhyana Paramita. Druma is best known from the adventures of his daughter, the Kinnarī Manoharā. Chhaya or shadow is a companion of Samjna.

Drumachhaya or Maithuna Iccha both use a dharmodaya; the first, corresponging to Dharmadhatu Vajra.


Dharmadhatu Vajra is Padmajvalini apparently in Jewel Family, is Samantabhadra's and Vajrasattva's consort in Kalachakra, and is in Heruka's Hridaya Chakra, (Laghu Heruka, with orange deities) where the roles of Four Offerings appear to be taken by Ratnolki, Nairatma, Bhrkuti, Parnasaurika. This last is "or Parnasabari"; whereas "saurika" may mean celestial, it is derived from Sura.



We are mainly looking at the first three yogas of Six Limb Yoga. Again to borrow from Kalachakra to see how they view these in relation to Dharmadhatu Vajra, Kongtrul, p. 157:

[Pratyahara] , 5 means to sever the connection
between one’s five ordinary sense powers and their five objects and with¬
draw the dissipated consciousnesses; and [to cause] one’s five sense powers,
pristine awareness in nature, to enjoy, consume, and seize 6 the five objects,
luminous clarity in nature. The essence of withdrawal is a nonconceptual [state] that has the capac¬
ity to withdraw the winds [and direct them] into the central channel by
means of [practice involving] the three unmoving [faculties]. 8 Withdrawal
comprises two yogas, that of the day and that of the night...
Vital essences have left and right cycles. 10 Time junctures
and winds have both even and uneven transits. 11 These and other [exam¬
ples] represent the purity that is differentiated in terms of method and
wisdom, owing to which both yogas, the day and the night, are definitely
necessary.

The objects [of withdrawal] are the four signs of the night yoga, begin¬
ning with the smoke, and the six signs of the day yoga, beginning with the
blazing. These constitute the ten signs with definite [forms], which are
actually seen by the sense powers. 12 They are the principal objects.
in general means the thirty-six psychophys¬
ical constituents. 13 Of those, the portion that is withdrawal’s own sphere
of purification comprises six [constituents] that form a single group: the
element of pristine awareness, 14 the aggregate of pristine awarenesses, [the
mental sense power, the objects of sounds, the male regenerative faculty,
and the activity of discharging urine].

This branch’s immediate result is the accomplishment of the [power of]
words of truth and the fruitions of mantras. 15

The ultimate result is the manifestation of the infinite mandalas of the
six deities, Vajrasattva and the others, who are [the purified] six [constitu¬
ents] of the pristine-awareness-element group. The purified six constituents manifest as the six deities Vajrasattva, Prajnaparamita, Samantabhadra, Sabdavajra, Sumbharaja, and Raudraksi.



[Dhyana] Such contem¬
plation is accompanied by five factors, namely, intelligence, examination,
analysis, joy, and bliss, whose objects—the various subtle images [of the
universe], and so forth—[manifest] with five qualities. 17

The sphere of purification comprises six [constituents] that form a sin¬
gle group: the element of space, the aggregate of consciousnesses, [the sense
power of the ears, the objects of mental phenomena, the female regenera¬
tive faculty, and the activity of emitting regenerative fluid].

The immediate result is the development of the five [kinds of] clairvoy¬
ance such as the divine eye ( mngon shes Inga): divine eye, divine ear, recollection of
previous lives, knowledge of others’ minds, and miraculous powers.

The ultimate result is the manifestation of the six deities, Buddha
Akshobhya and the others, who are [the purified] six [constituents] of the
space-element group. The purified six constituents manifest as the six deities Aksobhya, Vajradhatvisvari,
Vajrapani, Dharmadhatuvajra, Usnlsachakravartin, and Atinlla.




[Pranayama] the main objects are the six channels: three channels above the
navel (the right channel, left channel, and central channel) and three chan¬
nels below the navel (the channel of feces, channel of urine, and channel
of semen); and the two winds: the life wind and the downward-voiding
wind. 20

The purpose of the wind-yoga meditation is to bring together the causes
for unchanging bliss. One approach to that is the great seal of empty form, 21
which is therefore cultivated even in the contexts of the withdrawal and
meditative absorption [branches]. The main approach, however, is to gain
victory over the winds and bind them within the central channel, whereby
the vajra body 22 becomes completely pure, and deathlessness and mastery
over the vital essences are attained.

The essence of wind yoga is stopping the winds [from flowing] in the
right and left channels [and bringing them] into the central channel; 23 and
stopping the winds from flowing in the lower feces and urine channels

[and bringing them] into the conch-shell channel. 24 It is a contemplation
that unifies the life wind flowing in the central channel and the downward-
voiding wind flowing in the conch-shell channel.

The sphere of purification comprises six [constituents] that form a sin¬
gle group: the element of wind, the aggregate of mental formations, [the
sense power of the nose, the objects of tangible things, the faculty of the
voice, and the activity of defecation].

The immediate result of wind yoga is to accrue [various] benefits by
stopping erratic winds from flowing in the left and right channels. These
benefits include receiving prophecies from and being blessed by buddhas
and bodhisattvas; enjoyment of the six sensory objects, forms and so forth,
as manifestations of pristine awareness; developing clairvoyances of the six
sense powers; and acquiring power over human and nonhuman beings.

The ultimate result is to attain [the manifestation of] the six deities,
Amoghasiddhi and the others, who are [the purified] six [constituents] of
the wind-element group. The purified six constituents manifest as Amoghasiddhi, Tara, Khagarbha, Sparsavajra,
Vighnanthaka, and Ativirya.




Vajravarahi is a major explanation for Chakrasamvara, as well as the precursor of a strand of tantras of various deities, wherein the female is mainly called Jnana Dakini, Buddha Dakini, and Sarva Buddha Dakini, which is the whole Trikaya Vajrayogini, Cinnamasta. Although Buddha Kapala, thought to have come from Saraha, is probably the oldest of these, the main name of the strand operating the subtle body, which corresponds closely to the Hindu, is Mahamaya:

Mahamaya is "Two Shapes":

The Mahamaya phase of creation consists of the lesser yoga of shape, which has two
aspects: the natural yoga of shape and the emanation yoga of shape. For the first,
through a simple procedure of creation—the instantaneous method or creation from
a seed-syllable—one performs deity yoga in which one meditates on Vajrasattva, the
basis of the emanation. The second, regardless of whether one practices the long or
the short version, is the meditation on the heruka or the dakini, which is the emana¬
tion itself.

The lesser yoga of shape definitely belongs to the creation phase alone, whereas the
supreme yoga of shape definitely belongs to the phase of completion. However, for the
actual practice of this tantra, one may visualize oneself in various forms, such as Vajra-
sattva, the male heruka in union, or the dakini Jnaneshvari.

Mahamaya is also the tantra of different numbers of chakras or "channel wheels", one, two, four.

Mahamaya belongs to the vajra
family and is depicted as the blue, four-faced, four-armed Vajradaka, in dancing mode,
embracing his consort, Vajradakini, who resembles him. Four dakinis, one in each
of the four cardinal directions, surround the central deity (Vajradakinis Sadhana of
Mahamaya).



In STTS, Varahi is named as one of the Saiva all-mothers {sarvamatrs) located in the hell regions, who upon her conversion to the Buddhist mandala by Vajrapani assumes the name Vajramukhl ("Vajra Face"). In Dakini Jala, Vajra Mukhi is the Pig Face, Noose, South Gatekeeper. Again, some of the best Dakini Jala details are in Genesis and Development of Tantra. Humkaravajra names this goddess Phag gdong 'Boar- face' (Sukarasya).

Dakini Jala uses the same Offerings and Gatekeepers universally:

Puspa, Dhupa, Aloka, Gandha, Turaga, Vajramukhi, Vajramamaki, and Bhasmapralayavetali; 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 enclosure 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.

In its wrathful version, centered on Vajra Family, the divine couple are Heruka and Ishvari, granting Mamaki to Vajrasurya, Jewel Family. It uses very interesting Gauris, including Pramoha as another Varaha or boar face, and:

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:

pastime ghasmari krsna*varna (corr. varnnam Cod.) mrta-
carvanamukhi bhaksanadrstih \ vamakarena vajrajvalagnikundadharini \ daksine
vajramustina khadgam dadya pratyalidhapadavasthita


Mrta is death, but the expression carvana is obscure, does not seem to mean "eating"; according to Rasa, or, the expression of emotion in theater:

"Bhattauta, another scholar from Kashmir, in his treatise called Kavya Kautuka, also says that a dramatic presentation is not a mere physical occurrence. In witnessing a play we forget the actual perpetual experience of the individuals on the stage. The past impressions, memories, associations etc. become connected with the present experience. As a result, a new experience is created and this provides new types of pleasure and pains. This is technically known as rasvadana, camatkara, carvana."

Bhaksana is a deity's consumption of sacrificed food. Drsti has to do with eyes, view, wrong view, look, divine eye, or in theater, "has the look in her eye". Her hands are busy, so, she does not seem to be eating a corpse the way some deities do. It sounds like she has a dramatic expression of eating the meditator's death. Mrta is not a noun, unless it means food obtained by begging, it is the adjective, dead, and the closest noun is mrtam, death, neither one of which is a body. If taken almost literally, it would say face of begging for food of catharsis, and satisfied look of receiving food offering. The closest term for "corpse" is Mrtaka, compared to all other forms of "corpse use" abandon this and use a form of Zava, or, occasionally, Kravya. Black corpse-eater seems to be a hasty translation, especially in context, they sound more like actresses, with expressions, gestures, and moods.

"Blazing", in this case, is Vajra Jvala, a whole new class of deity. Then she has Vajra Musti or Fist, another deity, not just any old hand for her sword. If from theatrics, it could even just mean a gesture as if she had a sword, but does not--it does not actually say Khadga Dharam. "Dadya" seems to be an obscure form of "give", as in Katyayani mantra, "Shubham Dadya". The chance that these facial features are meant as an expression is that other Gauris have Saumya or Harsa faces, i. e., peaceful or laughing moods, and most of them have Drsti or "glances", Vetali has some other kind of death gaze, is laughing and has death in her eye. Ghasmari is simply blue, perhaps is pointing a sword at the viewer, and has a type of Dharmodaya filled with Completion Stage Fire. This sounds a whole lot like what we would like to use to boil nectar.

Ghasmari begins in Panchadaka as a green bell goddess, and she becomes the South Gatekeeper of Heruka's Jnana Chakra, having characteristics of the southern dakini. Ghasmari is power of food, or taste, similar to Rasa, and the enjoyment of soma or amrita or nectar. She is defined by Drakpa Gyaltsen as the Samputa Tantra itself. Samputa and Hevajra are slightly different systems of similar ingredients; Samputa having more to do with making a Bliss Chakra of Four Dakinis, whereas Hevajra takes this for granted and applies it to higher stages of the Path. Almost any picture of her is going to be the green kind which is how Hevajra does it.

In the Maheshvara myth as summarized by Sa-chen from Guhya Tilaka and others, Vajra-Ghasmari was the actual subjugatrix of Isana-Mahesvara, while Heruka converted Indra, Brahma, Mara, and the like (Heruka tramples on Brahma, lndra, Kamadeva, and Mahesvara, while Ghasmari tramples on Isana-Mahesvara, apparently considered the principal variety of the species Mahesvara). After that point, the Hevajra (Jnana Nava) and others amounting to Dakarnava were given. A Dissertation on Dakarnava discovers it to be a major transition from medieval to modern, and from Bengal to Nepal. It is characterized as a Yogacara work. From a Sanskrit file host.

She is then considered an aspect of the trinity:

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.

Luminous Wisdom gives Hevajra's Ghasmari as the purified sixth principle, manas of self-grasping, or sakkaya-ditthi or what we have called Sixth Skandha and Gnosis Element. Her name literally means voracious, rapacious.

She cannot be misconstrued as using a "flat, upwards triangular object", and stands as a massive bookmark between conquering the whole ego, Maheshvara, and Completion Stage, of the higher tantras such as Hevajra and Dakarnava. If she is more or less eating our mental death, it is much like piercing the Sky, or Akash, through the manas, or colors peeling, voids, and through the death-like Dissolutions into Prabhasvara. Her item or Agni Kunda is the first thing used in Homa to invoke Samaya Agni. So her power is the front half of all tantra, including that of Agni, and for us is displaying Vajra Jvala. Vajra Jvala Mukhi is in the northeast corner of Heruka's Kaya mandala. Vajrapani initiatied Agnedhrya as Vajrajvala in STTS. She permeates Vairocana Abhisambodhi and Usnisa Vijaya; and there is an Usnisa Jvala.

In Yoga, or Dakini Jala, Mamaki and Dakinis begin in Jewel Family, and are moved and adapted in other tantras. Guhyajnana harnesses them in Lotus Family and Fire; Dakini Jala Ghasmari is in the West, holding Fire. Her number or position is not necessarily Six now; which is for Ziro Bhusana.

In Sadhanamala, Ghasmari is in the northern quadrant of Nairatma's retinue as Rame, right after Vetali is "Scent Object" and the like, but this name indicates little other than seed syllable Ram, feminine of Rama, and to delight or enjoy, like Ramate.

Ghasmari is invoked as Vajramahesvari in the Mantras of the retinue of Heruka given in the Samputodbhava:

OM VAJRAMAHESVARI HAM HAM HAM HAM HAH RULU RULU RULU BHYO HUM
PHAT BHAKSAYA SARVADUSTAN NIRMATHA HRDAYAM HUM PHAT SVAHA (iti ghasmaryah)


Again she is a form of Bhaksaya or has taken food offered. Nirmatha is Fire by Friction, which is mantra spawning Nirmanakaya; has eaten our evils (Dusta), if they are Meats in the wrathful Khay pot, and does Fire by Friction in the Heart. Maheshvari, by name, is the North Gatekeeper of Heruka's Earth Mandala.

The real "food offering" is Pratyahara.

This is a form of wrathful mantra based in Ekajata, Bhyo syllable and Rulu.

In Mahayoga, according to Jamgon Kongtrul:

Om Ah Mom Bodhicitta Mahasukha Jnana Dhatu Ah

contains all the Peaceful Deities.

Om Rulu Rulu Hum Bhyoh Hum

contains all the Wrathful Deities.

His synopsis of Speech is quite close to using Ghasmari for the second part and Ziro Bhusana for the third:

[Second,] all [practices] of the knowledge of Padma, awakened speech,
are contained in the “three neighs of the horse.” It is stated:

All the sadhanas of Padma, awakened speech,
Are concentrated in the three neighs
Wherein is natural pristine awareness.
Primordial, naturally present pristine awareness [manifests] with divine pride
[in the form] of the glorious Hayagriva and neighs three times.

With the first neigh, all phenomena of cyclic existence and perfect peace are understood to be uncreated and yet spontaneously perfect.

With the second neigh,
the environment and its inhabitants are transformed into an ocean of meat,
blood, and bones, to be enjoyed by mamos and sky-farers.

With the third
neigh, all mamos and sky-farers are persuaded to obey commands and carry
out duties entrusted to them.

He then describes the Rulu mantra as the skeleton of the wrathful system:


[Third,] all [practices] of Vishuddha are contained in the knowledge of
the “holding enlightenment in one’s fist” [practice of] continuous contemplation. It is said:

The single realization of Vishuddha
Unifies all the great bliss of the buddhas.
Its deep yoga perfects the three dimensions:
All is the mandala of secret pristine awareness.
In the essence of the single sphere of the naturally present essence of enlightenment, the pristine awareness of the Great Glorious One is already
perfected as the totality of everything.

Hence, one’s body is visualized as the
palatial residence of the charnel ground display, within which one’s mind
manifests as the pristine awareness circle of Shri Heruka. All mantras and
deities are complete in the emanating and reconverging of the eight syllables of the ru lu [mantra], as is stated:

Om represents the ten blood-drinking males and females;
The first ru lu represents the eight gauris;
The second ru lu, the eight simhas;
The hum, the four gate-guardians, [such as] Horse-Head;
Bhyo, the twenty-eight ishvaris;
The second hum, the splendor gathered in the five dimensions;
Everything included [in the mantra] from om to hum
Ripens into the fifty-eight blood-drinking herukas,
But their natures, or essential beings,
Abide in the essence of the syllable hum.

"Dimensions" is a system of Five Kayas:

The five dimensions (sku lnga): reality dimension (dharmakaya), enjoyment dimension (sambhogakaya), manifest dimension (nirmanakaya), essential dimension (svabhavikakaya), and indestructible dimension (vajrakaya).

Again, the major difference between Sarma and this type of transmission is that we are not using Heruka to mean wrathful blood-drinker, but, more accurately, means Seven Syllable deity and its conveyance along the strand through Dakarnava.


Next is Jewel Family or Amrita Guna:

[Fourth,] all [practices of] Mahottara are contained in the knowledge
of Pure Nectar, as explained by the scholar Jemala [Vimalamitra]:

All of the environment and its inhabitants, the outer and inner,
Is contained within the five types of nectars,
To be realized as the buddhas of the five families.

We cannot give much Citta Chakra or Vajramrita material, but, in summary, it means successfully compounding nectar as a quintessence of quintessences in the Families.


Elizabeth English thinks Marici has "pig form" because Sadhanamala 141 gives her Sukarupa, which would be correct, but it is actually Sukara Rupam, which is a hell, and from there, we find this name as Yellow Pig Face in Heruka's Earth Mandala, Sukari. Elsewhere, Sadhanamala uses Sukara Mukhi to mean "face". Odiyana Marici 139 has Six Faces, with the upwards dark (krsna) face of a pig. 141 is the only pig "shape or form", which might just mean she (Asoka kanta) is fat. 139 is a Vairocana deity driving her chariot in the cemeteries, has, evidently, commandeered Varahi's main central face, making complications with Six Face Mars or Manjushri or Kartikkeya, considering Varahi's relationship to Mars. In occult color, Red, and Mars, landed in the highest slot.

Picuva Marici has no definition and is thought to perhaps be an acrostic. Dakini Jala is very close to Picumata Shiva tantra; picu is generally cotton, mata is frequently "mother" but also Indravaruni, a colocynth also called Varuni, Amrita, Viasavalli, Visapaha, Taraka, and various terms for Yellow or Golden Flower. Mata is also a Red Dakini in Heruka's Fire Chakra.

Marici is not the Object or Vajra deity, she has earned the titles, Dhamadhatu Ishvari, Vajradhatu Ishvari, and Vajrasattva Ishvari, and it certainly appears she is inextricable from Varahi. Asokakanta Marici is somewhat of a samaya being, but, all her advanced forms are subsequent to generation in a Caitya or Stupa, which means only to be found in Akanistha or in a real, Divine Stupa. Marici has dharanis, whereas Vajravarahi does not. Much as if you can greet her as an outer deity, but, she will not fully function without the practice of Generation and Completion, which she does not personally teach, but is defined as the absolute enlightenment, Ishvari. It largely appears she does not display dakini nature or dancing; Akasadhatu Ishvari is mainly Maitri's Dakini.



Maitri's Seven Syllable deity uses slightly different names for the retinue:

on the six spokes are six goddesses anticlockwise from the front; these are:

1) blue heruka (he ru ka ma); 2) yellow bhima ('jigs ma); 3) red rudrani (drag mo); 4) green vasavartini (dbang byed ma); 5) smoke-colored vyavalokita (rnam ltas ma); 6) white vajradakini (rdo rje mkha' 'gro ma); all have one face and four arms and hold a damaru and bell and a human skin and abide on sun and corpse seats.


Someone has decided to host the whole Sadhanamala Text, up to Nairatma 228; Marici and everything is right there.

[shaberon]

The Triangle

Agnimandalam Trikonam



This is our third and final iteration of Muttering as begun with:


Prajnaparamita or introductory

Pratisara or Crescent, elaborate

Vajracharchika or Triangle, characteristic. As portrayed recently, this will use Ghasmari, Guhyajnana Dakini, and Ziro Bhusana. This is intended to work with the Secret Doctrine or Dakini Jala Rahasya, which is Vajrayogini's explanation of Yoga or Sarvabuddha Samayoga Dakini Jala, original or precursor of Chakrasamvara, and because Charchika means Muttering.




The intercession of Varuni is mainly requested by Samvarodaya Tantra, "origin of Chakrasamvara", as if his name has been spliced with Dharmodaya. In effect, these exercises are "unveiiing" a functioning Dharmodaya from red and white halves; dharmodaya could perhaps be considered the "border" between what we mean by Yoga to Completion Stage.

Not using Cinnamasta or Varahi is paralleled by some practices of Vajrayogini, where the erstwhile Varahi is replaced by "Dorje Tzunmo":

Yumka Dechen Gyalmo, the Queen of Great Bliss is the emanation of Yingchug Dorje Tsunmo (Vast Expanse Vajra Queen), the supreme mother who gives birth to all the Buddhas and who is the Lord of the Infinite Ocean of Mandalas.

It is Wisdom Dakini, or Jnana Dakini, as Yeshe Tsogyal, celebrated on Dakinis' day on the 25th. Tsunmo is simply Queen. This is almost the same thing we are doing, except Jnana Dakini and Simhamukha mean specific people and lineages, whereas Guhyajnana Dakini and Ziro Bhusana are intended as universal definitions, not attached to anyone, internal, like Agni.

We need a rehearsal, like a director preparing a play, and then the script. The thing cannot really be run cold, and is going to want a few samayas, wrathful practice, and probably a bit of Guhyajnana and the earlier Muttering examples. This is grounded in using the most symbolically definitive deity when it is needed, as it is called for by the inner meaning of the practice. Buddha, Vasanta Tilaka, and Samputa all describe Inner Homa with no recourse to external matter. No items are really needed if we can get most of the meaning symbolically. The only technique that is really recommended is Soft Vase Breathing.



The mechanics are that when the exercise gets to Vam, instead of Varahi, this becomes Vajracharchika, whom we ask to guide our efforts in Muttering, and to illuminate the Jnana Chakra with Candali. Varuni and Bhairavi will use the Cups or Flasks, Ghasmari will boil the mixture, Guhyajnana and Four Dakinis arise, and they invoke Ziro Bhusana Vajrayogini. We then Mutter Ziro Bhusana while offering the hot liquid. If she "likes" it, the Muttering is successful, i. e. the winds balance and heat is drawn towards the central and rises. This may eventually melt the Trident, and if it falls and finds the hot liquid, it makes the mercury or rasa or cool purified liquid. And so we Mutter and visualize Ziro Bhusana and see how far we can go. This is Tapas, which can go on for months, years, or ever.

Most of the major work that is done by Inverted Stupa takes place in the Triangle, and so now, the intention is to make it a visualization that is mirrored inside the body in terms of the effects.


Akhu Gyatso says:

The wind-element at the base [of the entire artifice] stands for the ten primary and
secondary ‘winds’. The fire stands for ‘inner heat’; the tri-pod, ‘appearance’, ‘increased
appearance’ and ‘attainment’. The skull represents the ‘union’ and the pristine cognition of
bliss and emptiness; the five ‘meats’, the five male Buddhas; while the five ‘nectars’
represent the five female Buddhas. The great bliss generated through the sexual union of
male and female deities is the life-vein of the path to freedom. From this [i.e. great bliss]
ensue ‘illusory body’ and ‘clear light’; from these are actualised the ‘union’. In the above, I
have, by means of an illustration, briefly shown how the complete elements of the
Vajrayana path are represented [by inner offering].


This is not a tantra, or for any particular deity, it is the Yoga itself, Generation Stage. It is to use the tripod or Three Heads of the Triangle as Conch, Meat, and Soma. The "single" mode of Conch, itself, is not tantric, but the same as the most ancient Vedic ceremonies, which usually use Dipa, in the sense of a lamp on a pole; Agni Homa specifically uses a burning dish; either one is purifying, and the main Buddhist difference is to emanate Khandaroha to remove interferences. She is our main actress, even if it may later be tweaked or revised to include Four Hum mantra or Powder of Kumari.

There is a type of Vajrasattva which uses Khandaroha and falls short of Inner Offering; and most of the other versions are from full tantras, which may say to use Om Ah Hum, but do not focus on Muttering and instead go on to more rites.

So we kind of stop in the middle, by looking almost exclusively at Generation Stage, and learn it in conjunction with Five Abhisambodhis, Six Limb Yoga, Seven Jewels of Enlightenment, Eight Dissolutions of Death. One can guide it using any of those approaches. They are cumulative; Day Yoga and Night Yoga.



Both in terms of Offerings, Nirajan,.Inner Dissolutions, and Agni, we need a Lamp.

From a reasonable comparison of Ghee Lamps to lightbulbs, The niranjan with five wicks denotes the relation of Panchpran (five vital air principles) with the Atmajyoti (flame of soul). Niranjan is used for waving Pancharati. The Lamp analogy is very good, and close to the same for many opposites such as vegetarian vs. carnivorous, abstinent vs. alcoholic, smooth flame of the heart vs. sparkles and flashes of the brain.

The First or Main Flask uses Niranjan, the waving of a Lamp or Dipa for purificatory purposes. A lamp (Mar. niranjan) with at least two wicks, or a plate carrying five wick lamps (pañcārati) is vertically rotated clockwise in front of the icon. The burning camphor—which is believed to have purificatory qualities and expel evil—is burnt in a small fish-shaped dish (Mar. karpūrpātra) and is rotated in the same manner. The word ārati is especially used with reference to the waving of a lamp or camphor which is accompanied by singing of metrical compositions in regional languages. Nirajan is also a synonym of Parabrahm in the same sense as Nirguna or Nirakara. It means unblemished or stainless, like Vimala, or without tint or color.


Even there, fivefold form is like a composite entity under or within Atma Jyoti. Our sixth principle is not classed "exactly" like a sense, it does not have the Indriya to Bala type of conversion. Nirajan involves Offerings, and, if we look at the main nucleus of Four Offerings, adding the remainder, there are:

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


The fifth, or implied center item, is "Food". Rupa Skandha, our form or body as a whole is Meat. The sixth element, shabda, or sound, lacks any item--in this case it may just be mantra, or, for our purposes, the phasing of mantra to Primordial Sound. Mental Muttering is like a final stage of balancing the winds, and then you have silence. "Cult of Tara" features a Tibetan Tara and Agni ritual; on p. 271, it specifies the offering sequence of Flower--Puspa through Sound--Shabda as done above. It is based on Amoghasiddhi Green Tara, as a mixture of blue, yellow, and white, and can change to other families, uses Samaya and Jnana Agni, and attempts to reach Potala Tara. It does indeed use fairly basic Taras to go all the way through Muttering into the Dissolutions. So, if our system is more closely tied to a "Tara system", which is mostly peaceful and openly accessible, it is reliable about as far as anyone can take it.

Pleasant sensual offerings should be heart-emanated; the first, Adarsha or Mirror for Sight, Form, uses Pasyanti, i. e. ordinary sight; Vipassa meditation says there are three "special sights" (Vi plus pasyanti). Pasyanti is also referred to as "carana" in this sense. Taste is in the "Accomplishment" place, Touch would be in the center like in Guhyasamaja, whereas Sound is Vini or Flute.

Sense Object Offerings:

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

So here there is a "sixth sense object", Dharma, which is Dharmadhatu Vajra, which is our heat source, used by only a few deities as a dharmodaya, in this case Ghasmari. Current mental objects, which may be scattered or tainted, etc. This becomes a type of lamp which is not really an offering because it is an inner experience. Dipa Tara waves the Lamp in Nirajan, which will evolve to Aloka, known in Dakini Jala as Chain Gatekeeper Vajramamaki, which eventually leads to Lamp as in the Fourth Dissolution, and Aloka as light of the First Void or Moonlight. That is why this Lamp Offering needs to be very meaningful, it purifies the water, and its energy continues through the cycles.

Dharmadhatu Vajra is also in Heruka's Hridaya Chakra, (Laghu Heruka, with orange deities) where the roles of Four Offerings appear to be taken by Ratnolki, Nairatma, Bhrkuti, Parnasaurika. This last is "or Parnasabari"; whereas "saurika" may mean celestial, it is derived from Sura. Dharmadhatu Vajra is also Padma Jalini, is Drumachhaya in Kalachakra Mind Mandala, and Maithuna Iccha in its limbs. Druma or "Tree" is a Gandharva king who plays the lute, which sound is comparable to the wind at the end of a kalpa: Vairambha. It is equivalent to Dhyana Paramita. Chhaya or shadow is a companion of Samjna. This is calling her something like the shadow of Vairambha.

No "mental object" can be present without "seven skins" (cetasikas or kayas), although many have more.

The fifth or food offering is burned or consumed by Dharmadhatu Vajra, the sixth, or by fire. According to Homa Introduction, Ghee, the essence of anna (food) has many spiritual associations.

When an offering poured into the sacred fire was completely burnt it was understood that the gods have accepted the prayer; that was called holocaust by the Greeks. The Indian word is purna-ahuti: the offering of completeness, of perfection which is made with the mantra:

purnam adah purnam idam
purnat purnam ud-achyate
purnasya purnam adaya
purnam evava-shishyate

That is purna; this is purna.
purna is taken from the purna.
Upon taking purna from the purna
what remains, too, is purna.

(The definition of infinity recited in the fire ritual – as above. "That" is transcendent and "this" is manifest.)

When the final offering is to be poured it has to be ample – all that remains of one’s desires, actions, fruits thereof.

Ahuti is another term for fire offering, using five sacrificial interjections, which are, svāhā, srauṣaṭ, vauṣaṭ, vaṣaṭ, and svadhā. The ending "-dha" comes from what Shiva and Shakti said about Bliss. Svadha is the second wife of Agni and mother of Pitris. The basic syllable dha has quite a range of uses. Ahuti itself derives from A and Hu, which isn't too far off from Ah Hum.



The Yoga becomes more specifically Nepalese, Buddhist, and tantric by using two additional cups for Varuni Puja. These vessels require deity infusion, but they do not do Nirajan.


Khay and Alcohol

There are many ways of doing these. In Father Tantra (Guhyasamaja, Vajrabhairava) the meats are male; most Mother tantra makes them female. The colors or syllables may change in different practices. It is usually done together in one cup. Vajrayogini uses three "Ah" arising skullcups, similar to how Shangpa changes the whole Vajrasattva into Ah. In Varuni Puja, the meats are male Buddhas, the skandhas; the female nectars are elements and delusions. Meat or Khay is the Upaya or Method, or, the emphasis in Father Tantra.

Khay is handled by a wrathful deity, and it, the Upaya or Method, is sahaja-sukhabhanda, Co-natal or Together-born Great Bliss bond. It can employ Hevajra or Bhairava, although a female is also allowed. Certain Hindu views on Bhairavi coincide with Varuni and at least "Va" syllable for amrita:

Ananda Bhairavi is defined as Sudha Devi, which is Nectar, Ambrosia, Ganges. She is Tejas and Tapas, without Himsa (injury or killing), only Ananda (Bliss). In Madya (wine) one gets drunk with the knowledge the knowledge that you are the supreme power; Matsya (fish) you are the jeeva floating in the paramatma; Mamsa (meat) you can offer yourself to Her; Mudra are her gestures and Maithuna (union) is the spiritual level using inner consciousness. Her released energy is Sundari.

She incarnates:

A Yogini is a student of Tantra, or an aspirant. A Bhairavi is one who has succeeded. The name "Bhairavi" means "Terror," or "awe-inspiring," so the one who has achieved the state of Bhairavi, is beyond the fear of death, and therefore awesome.

Initiation from a female guru is held in the highest esteem, as she is Shakti on earth. The female guru is Ananda Bhairavi and the male guru Ananda Bhairava, together in sexual union, drinking the intoxicating wine of consciousness which is bliss (ananda) itself.

and then casts Armor.

She consumes all the sins in the fire of her knowledge of nonduality, she became svaha for that reason. The meaning of svaha is ‘s’ = sakti, ‘va’ = amritam, ‘ha’ = siva. Bhairavi upasana takes Gandharva vivaha (marriage) as a valid means for unrestricted enjoyment and liberation, according to a lengthy explanation of Bhairavi and Sundari.

Hindu Iconography says there is a Varuni Chamunda who, oddly, is not Red Chamunda. Hinduism almost exclusively uses the name Chamunda for the emaciated form. Buddhist Charchika has grabbed this, and, she is the only Bhairavi in Sadhanamala, not really her name, but her appearance. Varuni is normally a bit close to Balarama. Whereas 1008 Names of Tara includes the litany:

vArAhI vAruNI vidyA mahAvidyA maheshvarI |

It has nearly twenty Bhairavis since that is actually its subject. Varahi and Varuni are evidently close to Maheshvari (Charchika).

The plain name Bhairavi in Buddhism is only in Dakarnava Heruka's inner ring.

A female Mahabhairava or Mahabhairavi is used by Varahi in the north under Locana, also in Vajradaka's Speech mandala, and Heruka's Vajra Chakra under the Four Dakinis; Vajrabhairavi seems to be confined to Seven Syllable deity.

Vajrabhairava's consort is always called Vetali, and this name persists across most of the higher tantras, so Bhairavi does not necessarily have to refer to her. For the Khay pot, Meats, Upaya, it can use Bhairava or Bhairavi, in other words, the most wrathful form that one uses, of whichever deity, drags one's afflictions into some sausage. Varuni is going to scoop some of this meat paste into her Soma; the remainder can be gobbled by Ghasmari.

The deity's form must be terrifying. We just used a semi-wrathful Khandaroha to clear the room. The meat is our "self", at least the aggregated one, and so you need a terrible Krodha Kali or someone really disturbing. They stir it up clockwise. There are different ways to do so:


In the Guhyasamaja , Hevajra, and Yamantaka Tantras the
syllables of the five nectars and five meats are derived from
their Sanskrit names. These are as follows: Vi for faeces (vit);
Ma for marrow or 'meat' ( mamsa ); Shu for semen ( shukra ) or
white bodhichitta ; Ra for blood ( rakta ); and Mu for urine
(mutra). The five great meats are similarly marked: Go or Ga
for the white cow (go); Ku or Shva for the yellow dog (kukkura, shvan ); Ha
for the red elephant (hastin); Shva for the yellow horse ( ashva ); and Na
for the blue man (nara).

Yamantaka substance generation:

From the east comes BHRUM which is the seed syllable of Vairochana. From BHRUM becomes bull flesh and on top of that is the letter GO. All the meats that one visualises arise from seed syllables. Although they appear in the form of meats, you need to constantly remember that they are the seed syllables of the 5 Dhyani Buddhas. The letters above each type of meat (e.g. the letter GO stands above the bull flesh) are the first letter of the word for each meat. From the south comes AM the seed syllable of Ratnasambhava which becomes the flesh of a dog; from the west comes JRIM the seed syllable of Amitabha and becomes the flesh of an elephant; from the north comes KHAM (Amogasiddhi) becomes horse meat; in the centre there is a blue HUM (Akshobya) which becomes human flesh. Generating the 5 nectars: From LAM comes faeces; from MAM comes blood, from PAM comes white bodhicitta and from TAM comes bone marrow and VAM comes urine.

That format is Akshobya-centered, has Mamaki with Ratnasambhava, and ends by returning Vam to the center, which would pertain to a Vajra Family deity. The format is Vam centered, Charchika is a Bhairavi, and her Cam symbol is for the same Sahaja Sukha Bandha as the whole meat mixture is intended to be.

Charchika seems to have been described at least once as a "Six Arm Vajrayogini", but, this would not match any sadhanas; Six Arm Vajrayogini is called, at least, Vajravarahi, and, in addition, Vajradakini. However this Varahi uses Vairocainye's mantra to emit her retinue: om gives rise to Pranavavajradakini, (pranava = om), the syllable vam, to Vadavavajradakinl, the syllable jam to Jramitavajradakini, and so forth. So this Om and this sequence of deities, all being types of Vajradakini, are unique to her Six Arm version. The particular name Vajradakini is swept clean from most of the Yoga teachings until we get to the seventh principle of Upeksha. So that practice must be further down the road, if we are able to use Varuni's body or form to conjure Vairocaniye.



When the Khay or Meat is ready, Varuni acts again to mix up the nectars counter-clockwise into Soma (same as the direction of her retinue). It is the Elements. Even if I completely crucified and disposed of skandhas, the elements remain present. So this intoxicating beverage alters consciousness drastically as we start perceiving and using elements clearly, it is magic, or surreal, but this is really pristine awareness.

While Varuni is operating, her gesture hand is alive, holding a bindu, or counting rhythm or time like a conductor, or manipulating substances. It is then Varuni herself who will be sampled by the participants.

She is in the holy water, she enters the alcoholic mix of our mind and experience, and finally blends it all in the main cup and goes into it and we are going to boil her with Ghasmari. Then we just use the very basic Guhyajnana and Ziro Bhusana sadhanas. If it works for one Joy, it may work for Four Joys, which means bodhicitta has flowed down into the cup and it becomes cool mercury (Sahaja). But all of this procedure should be timed or linked to the visualization. If we lack heat, Ghasmari just goes back to sleep. If our mixture is horrible, it won't go all the way up, or Ziro Bhusana will not be impressed. If she likes it, she already has a trident to be melted. Maybe she stabs you in the head, leaving an inverted imprint. The whole outlay is like a sounding board or testing ground, constantly taking feedback and guidance from deities, inner resonance.

When all is mixed in Yamantaka tantra:

On top of these substances (the arranged-mixture of the 5 meats and 5 nectars) are a white OM, a red AH and a blue HUM...from the HUM at one's heart, light rays emanate to strike the wind-mandala (the bow shaped wind mandala) causing it to stir the wind and the banners inside the vase begin to flutter and that creates the wind to cause the fire from the fire-mandala to blaze and the substances inside the skull cup begin to melt and begin to boil.

There is not normally a "boiling deity", and so if we use one meaning Mental Object, in accordance to the teaching, she becomes the permanent citta of the heart, a "different mind" not of the skandhas. So by Ghasmari, we are meaning Dharmadhatu Vajra applied to what is simply called "Hum" here. Ultimately, Ghasmari should be the Purified version; this is just a hint and a lead towards Bodhicitta or Hum of the Heart.






It is impossible to find art with this configuration, although it is easy to find that a form of Charchika is important to both Vajrayogini and Vajrabhairava. Strangely, Charchika fits in the symbolism of this rite every time the question comes up; she is a perfect "stand-in" for Varahi.

In some practices of Vajrayogini, the erstwhile Varahi is replaced by "Dorje Tzunmo":

Yumka Dechen Gyalmo, the Queen of Great Bliss is the emanation of Yingchug Dorje Tsunmo (Vast Expanse Vajra Queen), the supreme mother who gives birth to all the Buddhas and who is the Lord of the Infinite Ocean of Mandalas.

It is Wisdom Dakini, or Jnana Dakini, as Yeshe Tsogyal, celebrated on Dakinis' day on the 25th. Tsunmo is simply Queen. This is the same thing we are doing, except Jnana Dakini and Simhamukha mean specific people and lineages, whereas Guhyajnana Dakini and Ziro Bhusana are intended as universal definitions, not attached to anyone, internal, like Agni.

This is Nepalese Mahalakshmi flanked by Blue Chamunda on Corpse and Red Kumari on Peacock:







The officiant can be seen to be conducting a close equivalent of Agni Homa, so, while it has a resemblance to Varuni flanked by two Armor Deities, or to Cinnamasta, it is pretty clear that they think an emaciated form of Chamunda is involved.


This from the catalogs is unidentified and filed under "Red Vajravarahi", but, one could dispute that perhaps her hair has a top-knot and there is no pig feature. Symbolically, it is not far from a Red Triangle with Three Skullcups and a lotus with divine activity:









The inner ring has choppers, the rest of them all have tridents.

This is a detail believed to be from the Seventh Dalai Lama. Around the formless meditator is a dish of meat and three other vessels, very close to what we are using, and then Offering Goddesses of the five senses, where, for example, Touch (Air) is on the right using a silken garment, followed by smell, sight, sound, and taste:








Scent has a conch of perfume and perhaps a double-headed powder container; sight uses a mirror.





The original male-based yogas did not speak of Vam Vajravarahi. Namasangiti takes fivefold form under Space Element--Vijnana Skandha as Vam--Vajrasattva, who is Pancha Jina or five skandhas, and five mantras or syllables, the White Male seed. Then, to use his Hundred Syllable mantra is the addition of sixth element, Manas or Gnosis, and increases to 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..."...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.



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.


Yogini tantras reverse this polarity, or, at least swipe Vam away from Vajrasattva, and use it with a few "V" beginning female deities, except Varuni; she may have it to the minor amount she is represented in Hinduism. Nepalese Buddhism uses Mam because she is Mamaki. It is partly mysterious, since Varuni is also Khandaroha in Lotus Family. The main meaning of Guhyeshvari after being a Sacred Site or Pitha is in being Prajna Mamaki, which seems to work with the advanced Blue-Green Vajradaka. Guhyeshvari is subsequently Varuni, Vajravarahi, Nairatma, Khaganana, and Agniyogini. She is never called Tara, which might be a reason to say Mahacina Tara is not Nairatma. Vasudhara is the outer Vajravarahi, and Vasudhara is a Tara. But Tara has her own Completion Stages. So Varuni will also work with, for instance, Vajra Tara. Guhyajnana is from all over India and is not associated with a site. Guhyajnana is our Mahasukha chakra, or Four Chakras, and Ziro Bhusana is the yogic use of prana through it. What Varuni appears to do if we are successful is to emanate Vairocaniye. And so if we know Vairocaniye's ultimate destination is Trikaya Vajrayogini, then, if we are basing everything on Vajrayogini explaining Dakini Jala, this is the proper front half.


That is the gist of it and so the mantra version is the next post.




-------------------------------------------

Just a couple of extra notes:

Studying an 1809 Nepalese Tsog Tsin (Refuge or Merit Accumulation Field, comparable to "pantheon") painting, Alice Getty found a Pyramid of deities, including:

Parnasavari, Sakti de Manjughosa (P. 165) (red).

She then struggles with the presence of Seven Dakinis around 113, and comes up with a Karma and Visva Dakini, which would be redundant. Dakini and Buddha Dakini would be redundant. But she obviously questions several of her identifications. Interestingly the first is Vajravarahi, as the abbess of Central Tibet.

G. Buhnemann on Buddhist--Hindu crossover.

[shaberon]

Triangle of Inverted Stupa



Inverted Stupa begins from Guru Yoga. Vajradhara never really does much; so we ask him for the guidance of some Ista deity and do Tri-samadhi. Vira Vajradharma is typically used. And so then we are asking this deity to show us how to merge bliss and emptiness and get Tapas. It is something like going to the fire world. The gurus say that a moderately intelligent, motivated practitioner who does this all the time, would probably sense or feel a major change after six months. And so we do a Deity Yoga where we ask the deity to help us learn Pranayama. Since they can do this, they get excited. We don't always sit and stare at each other like statues. It is interactive, in such a way as that it does essentially nothing except look around for wisdom seekers.

The deity knows that almost all of what we call Vajrayogini is from Pabonkha, whose system more or less puts together Eleven Yogas of Vajrayogini with Cinnamasta. At the same time, the deity knows the original Varuni and Vajrayogini have been sitting in Nepal relatively uninvolved with Tibetanization of the ritual, and more clearly involved with Agni. So we are using some "pieces" of Pabonkha, merged back with what we can find of the older Sanskrit version, which confirms that Varuni is part of Dakini Jala. We also have to question some spellings in the Pabonkha-disseminated mantras because they show up in different versions, and some of them are not meaningful Sanskrit or may be a Tibetan word.





So after Purity mantra now use Emptiness mantra:

Om Sunyata Jnana Vajra Svabhavatmako 'Ham


Samvarodaya says to conceive of "Bhairamba in the form of the container and the content", which we believe to be the destroyer Vairambha.
In Prajnaparamita, the wind at the end of a kalpa: Vairambha, is the metaphor to the equally moving strength of Buddha's breath of Maitri and Karuna. It then explains Buddha Speech as lacking thought or Manasikara and being more like an echo. So we are thinking of a destroyer power that is immense enough to have erased Mt. Meru and cosmos, phenomena, and, an equal power unaffected by this, the Buddha Nature or Womb of Compassion or Refuge of One. So our visual background is pralaya, obliterated form, and Buddha Nature is there invisibly.

An Indonesian foil shows Yam in a Crossed Vajra, and that during the time, other manuscripts show it as the beginning of a ritual. Celestial Palace considers the sequence to begin from E (E Yam Ram Vam Lam Sum Bhrum is the whole thing). It begins with the unarising element Ether, Akasa, or Space, and the same Bindu and Nada that could be used for any letter, but it is the Wind, Air, Yam, here. Some say Bindu is its own chakra for nectar and Primordial Sound. As Bindu Visarga it may be generic for White Seed, or even a state of existence between manifest and unmanifest, still needing the Red Seed, Hiranyagarbha or Cosmic Egg. There are two systems--the Thun system: space, air, water, fire, earth. (e yam bam ram lam), and the Longsal system (which is the classical order of Indian cosmology): space, air, fire, water, earth (e yam ram bam lam). And this is still different from the standard system where Yam--Air in the heart is Kakini who is Agniyogini.

So after we meditate Vairambha and Silence, one could use E Yam to begin the Stupa. It does not really have a mantra per se. But since it is hard for us to learn what all these look like and visualize them, one can also attempt to visualize the sound of the letters. The tone of this sound is somewhere between Eh and Ah like a baby's first sound. Rather than just spitting it out, we are better off to slow it down, and put a lot of concentration into arising from ether, and one can perhaps visualize as much Air-themed quality as desired while gradually summoning a crescent. The syllable Ram can load in as many of the formerly male solar deities or whatever is needed to make its triangle come pouring out with energy. It is already a common chant like this. But we will harness it as red blood female sun.

This looks like it is "repeating manifestation", going from ether to the most dense or earth element, but it is not because it is Inverted and this occult noumenal Earth Element is somewhere beyond Citta Cakra, which is beyond what we are doing here. The act of creation is flowing inwardly. The Akasha it begins from is the "most dense material" being considered.





From Void:

The dharmodaya emerges from the syllable E in the
empty expanse of space as a vast inverted pyramid - like
the triangular blade of a ritual dagger (Tib. phur bu) or the
tapering expanse of Mt Meru - indicating the pinning down
and stabilising of the earth element.

[This E is already triangular, so, it is a point-like pyramid getting larger]

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 (crescent). From the two ends, banners hang marked with a YAM. Above that from RAM arises a red, triangular fire mandala marked with a VAM. Upon this, from Om Ah Hum, come three skullcups in the corners.

From Vam, Vajracharchika arises.

She has only the garland of Nara or fresh, wet human heads, meaning she is at least to an extent, an attacker, and transmutes hindrances, and is not really the Skulls, or Emptiness or Prajna itself. She does Tandava. She is Red, and has One Face with Three Eyes and Six Arms, and mṛtakāsanasthāṃ, a corpse throne (the only other one is Kurukulla 180); she is a Bhairavi, is the only Sadhanamala deity to be one. Her main item is Vajra, and her other right hands hold a Sword and a Chakra. Her left hands hold a Skull, a Mani Jewel, and a Kamala Lotus. She bears five seals and is crowned by Akshobya.

In one's heart is a Cam syllable; particularly in Generation Stage, Cam is for Candali or Canda plus Ali (Ah); and here, the root Cam establishes Jnana Chakra:

puraḥ [already] saṃsthāpya [having accomplished] pūjādikaṃ [puja beginning with, and so on] nirvvarttya [is pronounced] praveśayet [entry], by her Mantra Japa or Muttering.

Her mantra automatically does Pravesaya, or Noose, into Jnana, or Mahasukha chakra, of the Four Dakinis. That document is messy, it may be worth clipping out the English and Sanskrit, it is mainly Tilo lineage discussing this stage, and, more specifically, as the only way to do it. So this Cam seed syllable may mean she is an aspect of Chamunda, but, the most important thing is what and how the Mahasiddhas explain the mystic meaning of deities, inner heat, and chakras, to the point of: so, do you now have precise control of prana? It is difficult at first, but, if one sticks to the main meaning, progress can also be seen in terms of its opposites. The "subtle adversaries" are distracted thought and karmic wind; Bliss is a heavy suppressant, and the karmic wind, which is like dragon's tail or Ketu, sub- or un-cosncious, like automated motion, is dissipated by Jnanagni, the fire of wisdom from work without thought of reward; making it colorless. Vajracharchika transits from Vam to Cam which is probably unique, so, we want to follow what she means by Cam, and to quell its opposite failings.

In Hindu terminology, Jnana Chakra is Guru Chakra, which is a triangular, triple flame in the forehead/front of the head, above the dual winged ajna. In practice, we are applying it as Mahasukha or the pinpoint crown aperture, since what Buddhism calls Jnanacakra is a development from bliss, and the front top of the head is handled by Vajrasattva, the developer of bliss.



Bhattacharya's Nepalese sketch of Vajracarcika with fangs and vulture-like claws:









oṃ vajracarccike huṃ svāhā

That is her Japa or the recitation to Mutter her.


According to Jaganatha, she is War Chariot goddess. She is considered perhaps the most important Odiyana Pitha goddess. She automatically grants Noose, Pravesaya, or Entry, and perhaps can be described as the development of Chain, which is Bandhaya Vam. So we want to ask her for her power to become proficient in Muttering and her help in establishing Maha Sukha Chakra and so forth. If she agrees, we will cast about half of Inverted Stupa and do half the Yogas, as its own exercise, not aimed to reach Completion Stage of any particular deity.

Chariot strongly suggests Mahamaya Vijayavahini, and Odiyana Pitha heralds Vimala, Marici, and Pithesvari Tara, in that Charchika could be considered a Samaya towards those more intricate deities.

Charchika may be returned into Vam. All she has to do is sit there a minute until we attempt to use her as a "Bodhisattva interface" to bring in the Prajna Armor Deities.


Varuni comes up and is going to monitor the proceedings until merging in to the ocean of milk.




Over the Three Skullcups, from a White Ah composed of sunya, comes a skullcup, and from Mam, Varuni Dancing on a Fish.










Om namo devi Varuni amrte amrtesambhave

Sarvasattvavasamkari amrte hrim akham praticcha svaha


"Om, honor to Varuni devi who resides in Amrita and arises from Amrita,

You who are the source of magic of all sentient beings Hrim thus concealed in the Amrita, Svaha."


Her Samvarodaya epithets include:

Guhya Vajrini (secret vajra lady)
Rahasyam Sarvatantram (secret doctrine of all tantras; the only similar things are Samputa and Vajra Mala)
sarva vira samayoga dakini jala sat sukham (all heroes, i. e. dakas, yoga of dakini jala and all bliss)
kundarh dharmodayakhyatam (famously known as dharmodhaya)
sura vajrayoginyo (sura sundari or effulgent power)



The spoken Armor mantra uses two syllables, but the visualized Armor is just the deity's seed syllable (the second) on a moon cushion. Armor Deities begins with a Red Vajra Family goddess (even though on one occasion it may use Vairocaniye) in Samvarodaya:


At the places of my body on moon mandala cushions are: at navel, red OM VAM, Vajracharchika; at heart, blue HAM YOM, Yamini; at throat, white HRIM MOM, Mohani; at forehead, yellow HREM HRIM, Sachalani; at crown, green HUM HUM, Samtrasani; and at all my limbs, grey PHAT PHAT, Chandika.

In this case the Wrathful Vajrasattva Family Prajna Sanchalani is in the forehead or upper head, or Guru Chakra or Jnana Chakra in that sense of the word; however it is Wrathful Jewel Family Prajna Samtrasani who protects the crown or Maha Sukha Chakra of Jewel Family, and is adept in the use of All Families. These are Rays. Vajracharchika is a Gauri or Wrathful Bodhisattva here for educational purposes, since the symbolism specifies, Red, Vam, Vajra Family. Prajnas do not really "do" anything like Gauris or Dakinis; they emit rays while embedded in cushions. The stronger one realizes them, the better the effect. So one visualizes the armor retinue externally, and transmits it via sound and symbol to the chakras. This is a special set of names wherein Chandika equates to Wrathful Green Amoghasiddhi Samaya Tara, and so from Dakini Jala we can say, well, Paramasva seems to be Wrathful Amoghasiddhi, and therefor he is "hidden" in the first Phat syllable. The habit of "skipping" the first male-based Armor set is already done that way in most of the published material, and they are not in the chakras.

Samvarodaya's male armor draws from the Dakini Jala wrathfuls:

Heruka + Isvari, Vairocana + Locana, Vajrasurya + Mamaki, Padmanartesvara + Pandaravasini, Paramasva+ Tara, and Vajradhara + Samvari (Vimala--Katyayani--Bhairavi--Ucchista-- Shrikshetreshvari at the navel or Oddiyana Pitha in Orissa).

There is a Vimala Dharani in Sanskrit literature (Vimala Mirbhasa Sutra) of Japan, the oldest known dated printed writings; and a "new" Vimala Usnisa mantra although she is an Usnisa. Samvari or "full water or high tide" is also a Nepalese Nirmanakaya mentioned by Chokyi Lodro. This mandala is Vajra-centered on Heruka, with Vajrasattva Family represented "above" by Vajradhara--Samvari. Compared to Samputa which adds Jewel Family, Paramasva has been added here. This is for a giant retinue similar to Vajradhatu. In terms of Armor, this Samvari is Sanchalani.


(The Samvarodaya Varuni has fifty-two couplets using Om Ah Hum and a similar three-syllable mantra, which correspondingly shows up in Pabonkha's Vajrayogini: OM AH HUM HA HO HRIH [3x]
From my heart emanate innumerable goddesses
holding skullcups. With these skullcups, they scoop
up nectar and offer it to the guests, who partake by
drawing it up through a straw of vajra-light which
appears from each of their tongues.
Ha Ho Hrih is a related motif we might use once we see what it is doing.)






Summon deities into the conch water--White Vam-arising Varuna, additions optional. It can use saffron water.

Conch in one sense is a horn (Shankha or Devadatta), sound, related to Visnu.

varuna’s security, in guarding anything, is unmatched. no, one can get past him. When the arti,s revolutions on the lord’s divine form are completed, the jyot (flame) of the arti is suffused with divinity. So that this divinity remains intact , water- symbolic of varuna, from the conch shell is poured in a clockwise ambulation – pradakshina around the arti.
Then the bhakta places both his hands above the jyot of the arti for a second or so and then brings them towards his eyes and head to make a slight contact (sparsh). This procedure is known as aska. The underlying meaning of taking the aska is that one transfers the divinity of god from the jyot of the arti into one’s inner self, to awaken divinity within.

Varuna's seed syllable is Vam. In this large table, he also has other associations, but "this" Vam is water, which is why it would be white vase--water--cittachakra--heart in the next stage of Inverted Stupa that we are not doing. Here, he has all of his mystical qualities including as Naga King as these nagas are the cultivation of Paramitas and the water is rain of bodhicitta, or from a lake or stream of it.

The mantra for Varuṇa to be uttered at the time of making offering, goes as follows:

सर्वाम्भसां पतिर्देवो वरुणो हंसवाहनः ।
पूजितः प्रीतमानस्तु ससमुद्रनदीनदः ॥

sarvāmbhasāṃ patirdevo varuṇo haṃsavāhanaḥ |
pūjitaḥ prītamānastu sasamudranadīnadaḥ ||

“O Varuṇa, you who is the lord of all waters and has the swan as your mount, be pleased along with the seas and rivers, after I have worshipped you all.”

(Nāṭya-śāstra from Garuda Purana)

At other times he rides a Makara and has a wrathful appearance, but he is usually Noose and also has a Swan Chariot which in ancient times was virtually the same as the Sun and the Sky.

He is listed as Nāgendra (Saṃvarodayatantra 17.39), is a Wisdom from Vajramrta Tantra, and continues into Dakarnava Heruka.

Here is a fifteen stage Varuna Puja on one Kalasa (vessel). Four is pouring, fifteen installs Varuna while offering aksat, then there is a Gayatri. It resists copying.

Varuna enters the conch water.


"Colored thread" may be a stream of five-colored light from the meditator to the Flask.


Conch Water into Main Flask poured three times. If we are using only mental ones, Varuni can do it, ambulating clockwise.



Nirajana (Making Bright, light offering) -- Purification of Flask


Offering goddesses emanated from my heart make offerings:

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

The offerings and perceptions enter the water and Varuni is called the lord of its hosts, Saparivara. Vajra Dharma may be a samadhi bodhisattva in Vajradhatu, Manjushri in Vajradhatu Mahamandala, or Vajradhara in most Vajrayogini practice as enlightened speech and inner accomplishments, or Padmapani Lokeshvara in Nepal, or Vajrapani. Varuni must be a feminine (shakti) adjunct of this. For her vitality to enter the water, all she has to do is gaze in it.

The hot dish (Lamp) 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 (or a Blue Hum and blue mantra on sun disc). From the nada of the syllable 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 at your heart.

Here again if we use Blue Hum in the heart, this attaches to many of the other traditions, as the Indestructible Drop or Vasanta Tilaka; later during Vase breathing, male bodhicitta enters it from above, and then it has to sense the female heat rising; what it does is perhaps similar to opening gas valves on a pilot flame.


This type of Khandaroha is equivalent to Dakini Jala, because Tibetan Deities 482 is Six Monarchs of Samvara from Abhidanottara Chakrasamvara Tantra; but the Monarchs' mantras all say Dakini Jala Samvara. It is the Peaceful version, even though they have semi-wrathful appearance, since it is centered on Maha Sukha Vajrasattva with Dharmadhatu Ishvari, Vajradhatu Ishvari, Jnana Dakini, or Varahi. Its all-purpose mantra is that of Khandaroha, or an abbreviation, Om Kham Hum Phat, which is what Varuni just did. It uses Mahesvara in Lotus Family, and plain "family names" such as Padma Dakini, which habit is also that of Yamari and Jambhala. Om or Vam is Vajrasattva Family, then Bhrum, Am, Hrim, Hum, Kham. Unlike Armor, this beginning Peaceful Om or Vam is not Vajra Family, even if Red Varahi is there.

Khandarohi is not "extremely" wrathful, and the more common wrathful mantra that works accordingly is Amritakundalin with similar heart-emanated guardians. Just as Amritakundalin is a widespread, universal banishing mantra, Khandaroha is similar for Generation. As far as I can tell, Amritakundalin is the crux or pivot where the wrathful deities which "are" Vajra Family become responsive to Jewel Family, owing to Vajramrita Tantra and Kila.

Buddha entering the form of Sumbha is samaya to all wrathfuls; to fully produce Ten Wrathful Ones, one begins as Sumbha. So the beginning is Vajra Family in Armor and Ten Directions. In Vajra Rosary, using a hypostasis of Akshobya, Vajradhara, and Anger Vajra, Sumbha submits the worldly gods to the wrathful deities, uses stakes, Vajrakila, the stakes can then identify with Amritakundalin or Vajramrita. Amritakundalin is the wrathful male banishing mantra, whose power is enhanced by Vajramrita Tantra, which was requested by Mamaki.

The female Sumbha is almost just a Blue Pasa. In Vairocana Abhisambodhi, Sumbha is the Vidya Queen before Mamaki. She has the perhaps not too surprising syllable Sam; not far away is Amritakundalin, who is Mr, they say this is a letter.




You are in a state where Varuni is above, Armor is on, the water is consecrated, and then you do this Activity Mantra using one or more Khandarohis several times. Once one feels that the lingering ghosts, or hexes, and all kinds of malicious intent has been purged, conclude this phase with Heruka Hundred Syllable mantra:

OM VAJRA HERUKA SAMAYA MANUPALAYA, HERUKA
TVENOPATISHTA, DRIDHO ME BHAVA, SUTOSHYO ME BHAVA,
SUPOSHYO ME BHAVA, ANURAKTO ME BHAVA, SARVA SIDDHI ME
PRAYACCHA, SARVA KARMA SUCCHA ME, CHITTAM SHRIYAM
KURU HUM HA HA HA HA HO, BHAGAVAN, VAJRA HERUKA MA ME
MUNCHA, HERUKA BHAVA MAHA SAMAYA SATTVA AH HUM PHAT








Krodha or Wrathful deity stirs the meat clockwise. Because she is a Bhairavi, Vajracharchika could do it. In that case, one could use her personal mantra here. Suddenly there is dance and a deer involved, and we are aware her own temple is splendid, and that part of her principle is the transmutation of Pain into Blissful Speech.

Om Vajra Charchika Siddhendra Nila Harini Ratna Traya



Her personal definition allows her to be identical to her previous form--but she can change shape or color according to her purpose. The Saivite idea of Ananda Bhairavi is close enough to Charchika to have her emerge from a red and white bindu, in a triangle, which itself is part of Sri Cakra:















The meats begin as stuffed skin suits and get mixed into an emulsion with awareness of letting go of skandhas.

From the east comes BHRUM which is the seed syllable of Vairochana. From BHRUM becomes bull flesh and on top of that is the letter GO. All the meats that one visualises arise from seed syllables. Although they appear in the form of meats, you need to constantly remember that they are the seed syllables of the 5 Dhyani Buddhas. The letters above each type of meat (e.g. the letter GO stands above the bull flesh as mentioned above) are the first letter of the word for each meat. Go or Ga for the white cow (go). From the south comes AM the seed syllable of Ratnasambhava which becomes the flesh of a dog; Ku or Shva for the yellow dog (kukkura, shvan); from the west comes JRIM the seed syllable of Amitabha and becomes the flesh of an elephant, Ha for the red elephant (hastin); from the north comes KHAM (Amogasiddhi) becomes horse meat, Shva for the yellow horse ( ashva ); in the centre there is a blue HUM (Akshobya) which becomes human flesh, and Na for the blue man (nara).

Charchika can blend this with her Sword, or, she could shapeshift, or, any Krodha--Bhairava could do it. Since we are using the Triangle as a podium and it has Vam sitting there, Charchika has continuity.





Varuni scoops some of the meat loaf into the dark secret flask, mixes the Alcohol counter-clockwise, pours it into the Main Flask, and enters it as Sky Element, Kha Garbha, or Akasa Dhatu. This alcohol, and thus the mixture, must be considered intoxicating or mind-altering (and actually dangerous until treated). In the inner visual sense, one can be preparing mental pots of yogurt, soma, etc., at all times; so whether or not we drink actual alcohol or something here, it has to be something sacred, and something only kept and handled properly by Varuni, her special domain where everything translates into our body and personal experience, and not, necessarily, any outer items, or geographical sacred sites, etc.

The alcoholic nectars are Lam, Mam, Pam, Tam, Vam, wherein Vam isn't always defined to be someone. It would be "Akshobya's consort", but if I ask Dakini Jala who that is, it will tell me: Ishvari. In context it is especially Dharma Dhatu Isvari or Wisdom within the sixth principle and element of Gnosis or within Dharmadhatu Vajra. From LAM comes faeces; from MAM comes blood, from PAM comes white bodhicitta and from TAM comes bone marrow and VAM comes urine. Whomever Vam comes from, Varuni is going to it, since it is the center ether element.


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)




On top of these substances (the arranged-mixture of the 5 meats and 5 nectars) are a white OM, a red AH and a blue HUM...so on Varuni's personal cup, one Mutters Om Ah Hum, and it is probably here that Ha Hoh Hrih is also used. She could get Drunk Eyes. She might be a little extra personal to it and decant it majestically into the Flask. She might squat and use her Yogabaddha or knees cloth and meditate her way home into it.




A real Homa would physically use an Agni Kunda prior to Samaya Agni. So we are selecting a symbolic one prior to a type of samaya with dakinis and Vajrayogini. Some Homas even specify after Bali Offering to add Kurukulla. She is an eventual destination, but, the Bow and Arrow is a bit beyond the Sword which we are using now. The Sword "points" to the central, whereas Kurukulla's Bow is an established Crescent constantly sending its forceful Arrow straight up.


Such an Agni Kunda is almost impossible to find with any deities, but, Ghasmari uses it in Dakini Jala. In this case, she is Krsna or Dark Blue, having a sword in her right hand, and Agni Kunda in the left. This is a unique use of her, as she is frequently a Green Bell Goddess in other rites; the study of her is in the second previous post. We will do but little with her; she is the Wrathful Bodhisattva of Purification of the sixth principle, conqueror of the chief Ishana Maheshvara. She is a bit deep and mysterious, but is just about the only one to have the item we need. We are letting her handle all the heat of the female half or red triangle.

oṃ māheśvaryai namaḥ

Ghasmari's invocation from Samputodbhava (Samputa):

OM VAJRAMAHESVARI HAM HAM HAM HAM HAH RULU RULU RULU BHYO HUM
PHAT BHAKSAYA SARVADUSTAN NIRMATHA HRDAYAM HUM PHAT SVAHA


She is a form of Bhaksaya or has taken food offered. Nirmatha is Fire by Friction, which is mantra spawning Nirmanakaya; has eaten our evils (Dusta), if they are Meats in the wrathful Khay pot, and does Fire by Friction in the Heart. So if Food is the fifth Offering, then the sixth principle, Ghasmari, burns and consumes it.

Ghasmari eats the leftover meat and heats the mixture in the Main Flask with her fire pot, Agni Kunda, or Dharmodaya. From this point, instead of finishing the Inverted Stupa, we are going to focus on the heat and summon dakinis over or beyond the Triangle. She can work until all the retinue is cast and we want to Offer our Flask to the Bowl of Ziro Bhusana, when we should feel like we have gathered and indrawn real heat. We will then give her a magic spark, or retire her.

In Vairocana Abhisambodhi, Gha is in the throat, stands for ghana "agglomeration". The basic syllable Gha has alternate meanings of bell or destruction, and has to become Ghas, to do with food or eating, or Ghan for nose and scent. If she actually "has" a syllable, though, it is Hrim. Maheshvari particularly carries through to Annapurna.

In the Book of the Dead, Ghasmari as the sixth Gauri says:

OM VAJRA GHASMARI HA

is the enlightened intention of Ghasmarl, the green female wrathful deity. Thus cyclic existence will be purified, right where it is, While [externally] fiery sparks will spiral and shoot to the right during the cremation.

Since Ghasmari is Maheshvari, she may be asked for life, well being, and mantra-born wisdom:


Ayudehi dhan dehi vidhya dehi Maheshwari l
Samastmakhila dehi may Parameshwari ll

In common slokas:

nityAnandakarI varAbhayakarI saundarya ratnAkarI
nirdhUtAkhila ghorapAvanakarI pratyakShamAheshvarI |

prAleyAchalavaMshapAvanakarI kAshIpurAdhIshvarI
bhikShAM dehi kRRipAvalambanakarI mAtAnnapUrNeshvarI || ||

Meaning

Oh Goddess adorned with beautiful gems, you are one who gives
eternal happiness, grants boons and gives refuge to all devotees.
Oh Maheshvari who reveals herself before my very eyes, you make even
a terrible sinner, free of his sins. You are the sanctifier of the
Himalayan dynasty and the presiding deity of the sacred city of
Kashi. You are the Goddess, who provides merciful support to all
devotees. Oh Mata Annapurna Ishvari, in whose presence there is never a scarcity of
food, I beg you to feed me.

The mantra of Annapurna is Om Hrim Shrim Klim namo Bhagavati Maheshvari Annapurne Svaha.

Ghasmari seems to be gathering the food that Annapurna has, and Annapurna is the ultimate queen of the Homa.





So there is a Bindu, Crescent, and Triangle, where Ghasmari is using her hot Dharmodaya to boil Varuni, who is lateral looping nerves of the midsection. The heat waves of her cooking condense into a Red Hrih in an exalted position. This should be reflected in the body by feeling the three main nerves coming together in Nirmana Chakra, and this being the operative center.

Guhyajnana Dakini, a female Avalokiteshvara, in a Yoga version of Rinjung Gyatsa 118, Tibetan Deities 210: from the same source, although having variants or errors in her mantra. She is "Buddhadakini class", Four Armed, similar to Khandaroha--but they have distinct items, Sword and Drum.

From a Red Hrih arises Red Guhyajnana with one face and four arms. She combines wrath and amorous passion and dances on a lotus pedestal. Her first right hand holds a curved chopper, the second, a sword; her first left hand holds a skullcup, the other, a trident. Her hair flies loose, she only wears a five skull crown with garlands of heads or skulls, and bone ornaments. At her heart on a moon disc sits Red Avalokita Jinasagara with a pearl rosary and a lotus. At his heart is the seed and mantra wheel. The lotus pedestal is supported by Four Dakinis.

Our sadhana does not include the third eye, or any base other than a lotus, and some of her hair should be flopping out, but this is intended as the same group by Mindroling tradition:









Hrih

Om Manipadme Hum

Om Dhuma Khaye Nama Svaha

Om Ha Ri Ni-Sa Raca Hriya

The seed is not recited, the other three mantras are. This part may be accompanied by praises of Padma or Lotus Dakini. This retinue appears to be biased, using Lotus Family twice, which can only be appropriate since we are trying to make Speech that is a fusion of mantra and fire, and Lotus is the primary governor of this phase. This has the same Khandaroha as used for Nirajan.

We think some of the names in the mantra may be "dum skyes": Treasury of Knowledge, Book Six, Part Four, p. 463, Khandaroha is dum skyes ma. Illustrated History of the Mandala p. 497 iterates Chakrasamvara retinue, same way, the four dakinis are Mkha' gro ma, La ma, Dum skyes ma, Gzugs can ma. Generation Stage is khanda roha, which is dum skyes, which might be the correct phrase for her mantra, and leaves skyes rim or Generation Stage Fruit for Gauri, or Kyerim, Kyeurim.


There is a current practice of Princess of Zur Two Arm Guhyajnana which is on a retreat scale. It has quite a few elaborations, but spells her Approach Mantra:

om dhuma ghaye nama svaha

whereas the commentor mentions how important Dhumatala is to Sacred Sites. If one takes the mantra as written, Dhuma or Smoke is a symbol of prana, Dhumavati is the first sign of Dissolution. Jyestha is another form of Dhumavati. To me, it seems they are really using Khandaroha's Tibetan name, making Guhyajnana something like "Khandaroha, level two".

This invocation from the Zur sadhana may be appropriate:

hrih

From the dharmadhatu beyond arising,
And from the sambhogakaya realm beyond ceasing,
Wisdom Dakini, together with your retinue,
I invite you to this place, please come!
vajra samajah, e ah ralli hring hring
jah hung bam hoh, tishtha lhan, namo purushaya hoh


(tishtha lhan means please remain, and namo purushaya hoh is paying homage)

Essential Mantra of All Dakinis:

Hri Vam Ha Ri Ni Sa Sarva Siddhi Samaya Hum Ja


When performing a magnetizing and subjugating activity as is done here, the mantra spins. The syllables are written in clockwise direction but face inwards toward the seed syllable, rather than outward as in a typical yidam sadhana. Also the mantra then spins anti-clockwise rather than clockwise.

Four Armed Drummer Dakini retinue is used by Chakrasamvara and Vajrayogini. It is the same kind as Guhyajnana's. So we want to find an energetic presence in quintessential form. They may be noisy and boisterous and "Raca" keeps them composed. Dakini strives for Activity.

Bhattacharya's Lama, identical with the other three except for color:








We need them present and available; they are almost always cast in reverse order, counter-clockwise; are the Maha Sukha Chakra or Svabhavika Kaya of Jewel Family used now at the crown, and eventually are also heart, and the main first set of chakras of Four Joys. And we want them to invite their Guru, Vajrayogini, in a very special guise somewhere between Red Lionface Gatekeeper and Simhamukha, whom we will employ rather than Cinnamasta as given in most of the published disseminations. What we are doing will, in time, force the presence of Vairocaniye; this is better suited for us than trying to conjure her on page one.

The Four Dakinis are page one of Thirty-seven point Enlightenment; they are the Four Sati Patthana or Aspirations of Sati or Mindfulness, and this female Sati, makes that male seed, Smrti.

Satipatthana has its own Sutra which is in the Pali canon. Even Thai Forest teaches it as a method to keep the mind with the breath. Sati is the cetasika which is mindfulness. The Four Dakinis as Sati Aspirations are Kaya, Vedana, Citta, Dharma, each tied to Passana; in Vipassana meditation, Passana means right understanding or realization by means of mindfulness of mentality and physicality. Cetasika tells us that Consciousness or Vijnana is Khanda. Cetasika means literally: belonging to the mind (ceto); the translations of Satipatthana usually call the Dharma Passana "mental objects", which, in Sarma Sanskrit, is Dharmadhatu Vajra.

Sati is still that Parvati who fell to earth in pieces to form the Pithas.

There are seven cetasikas which have to arise with every citta; they are called the "universals" (sabbacitta-sadharana). Some cittas are accompanied only by the universals, others are accompanied by several more cetasikas in addition. Thus, every citta is accompanied by at least the seven universals. Sometimes translated as: Kaya (because Kaya also means 'mental body', which are the Cetasikas). So there is something that tells us if a single "thing" acts, seven do.

Chakrasamvara for some reason switches Sati three and four, and makes Dakini--Kaya, Lama--Vedana, Khandaroha--Dharma, Rupini--Citta. Because many of the "thirty-seven points" are redundant, Pure Dhamma says: It is clear that those 7 categories are all inter-related, and thus all 37 factors may be cultivated by focusing only on Cattārō Satipaṭṭhāna, Satta Bojjhaṅga, or the Noble Eightfold Path.

We are heavily perusing four Satipatthanas and seven Bodhyanga, the Seven Jewels of Enlightenment. The first group are the Four Dakinis, and in Chakrasamvara Sacred Sites, the Jewels are Samadhi--Hayakarni, Striving or Virya--Khaganana, Joy, Piti or Mudita--Cakravega, Cathartic or Prasrabdhi--Khandaroha, Dharma Vicaya--Saundini, Smrti--Cakravarmini, and Upeksha--Suvira. These are re-iterated with new names for Seven Syllable deity, taking them to be Vajradakini caliber at that stage, fully developed.

Most of the published material emphasizes Nayasa or placing the sacred sites on the body, but this is only going to give me an alternate name for "elbow" and so forth. Here, the same Khandaroha that just vacuumed the universe is Relaxation, and her second, higher form is Dharmadhatu Vajra; Khaganana is an accomplice of hers; both of them are Guhyeshvari Mamaki. It starts to do more than a static list of thirty-seven things. They "change" due to the motion of prana. This, perhaps, is why Citta moved to the end of the group of four; Citta or heart is convoluted, slow and gentle to "open". This order is basically what we are doing here: Body, Speech, and Dharmadhatu Vajra or mind-as-it-is, without Citta Cakra and the finishing touches.







Devi Ziro Bhusana is the previous sadhana from the books. Her dais is slightly different in the two versions. What would happen is the Dakinis set down Guhyajnana's Lotus, which grows to accommodate them, and a solar, then lunar disc emerges. Upon this, all five dakinis raise a jewelled couch littered with corpses. Then from Om arises Red Vajrayogini, allowed to be pretty like hibiscus, who stands on corpses. She is very similar to Guhyajnana, except she has a Lion's face with mane hanging down, three eyes, and drinks from her cup. The most drastic difference is her heart, and that she is also drinking from "straws".

Nothing specifically makes her Lotus Family or anything else.

Her sublime stature makes her Jetsunma or Revered Teacher.










At Ziro Bhusana's heart is her own mantra wheel clockwise. Light rays spread from it, and pull back the life channels of sentient beings into her mouth: red from the Desire World, white from the Form World, and black from the Formless World. As she drinks their heart blood, obscurations are purified, and [the causes of] birth and death are cut out from the root. She uses a personal mantra, and a triple mantra which rotates the dakinis:

Om Dukhaye Nama


Om Ha Ri Ni-Sa

Ah Ri Ni-Sa Ha

Hum Ni-Ha-Sa Ri

Use the first one, or all four.

She is continuing the same Muttering of Om Ah Hum, but, now, those root syllables are attached to the circle of dakinis, which is rotating. She is operating on the universe, at once, so, for a practitioner to gain her attention, one would have to offer something suitably powerful. So we want her to take our Flask Offering and be drinking it while we mutter the mantra, spoken, whispered, then silent. In the silent part, we want to feel winds and heat balancing in the three main nerves, until such a time as they enter the central, only. Nirmana Cakra is where they join.

If we take her mantra as written, it would be a Pain Body, which is perhaps possible, although it seems rather a continuation from Guhyajnana, they should be practically the same. So she again is likely being called Dum Skyes, or Khandaroha, or Generation Stage, but now, as fused with Vajrayogini, the explainer of Dakini Jala. Originally, due to the sequence in the books, this appears to be Nyan's equivalent of Tinuma Vajrayogini as kept by the Sakyas. Varuni "is" Khandaroha, and, so far, our sequence looks a lot like Drum Khandaroha--Activity and Obstacle Removal, then this same one repeated as the third dakini with Guhyajnana as Sword Khandaroha, and Ziro Bhusana as Yogini Khandaroha, whether the mantra should correctly indicate this, or, the sequence has this meaning anyway.



We wish to give her a bright orange potion we have brewed; as a snippet from a major example (From 2010 Daily Heruka Prayers), Offering the principal (Father-Mother and Four Heart Dakinis) torma:



OM VAJRA AH RA LI HO: DZA HUM BAM HO: VAJRA DAKINI SAMAYA STVAM TRISHYA HOH (3x)


That is not necessarily a dakini of Vajra Family, but, the individual Vajradakini, who is Upeksa, and Om of Seven Syllable mantra. Arali means it came from bliss in the triangular fire mandala. If we replace "dakini" with "yogini", then it fits Ziro Bhusana, a type of Vajrayogini. Vajrayogini is not necessarily in Vajra Family, neither is Vajra Dakini or Vajra Tara. Himalayan Art implies Vajradakini appears in colors that are not blue. Trishya is thirst, or desire or wish.

(Chakrasamvara says: With the first repetition, imagine that the offering goddess Vajra-rasini, Vajra Taste, is emitted
from your heart and offers this first torma to Heruka; with the second repetition, she offers it to
Vajra-varahi; and with the third to the four heart yoginis of the great bliss circle. We can do the same with different Yidams and the same Dakinis.)

If Ziro Bhusana does not really respond to our performance, then, Ghasmari can be dismissed. Otherwise, Ghasmari, the flame of Dharmadhatu Vajra, so to speak, may merge with that of Dharmadhatu Ishvari.

If it begins working, then we use light from our heart symbol to turn on the "clockwork" or activity of the mandala, with victory banners and roaring flames (which removes taste, color, and potential from the impurities in the liquid), aimed at the brahmarandra, and if that works, melt the trident. At that point it becomes Suksma Yoga. All of the deities would condense into Hand Symbol which is chopper, or Kartri.

From the HUM at one's heart, light rays emanate to strike the wind-mandala (the bow shaped wind mandala) causing it to stir the wind and the banners inside the vase begin to flutter and that creates the wind to cause the fire from the fire-mandala to blaze.

No heat reaches earth from the sun; it is light shining on the planet that heats it and causes winds.

The heart energy symbol should definitely help the winds and heat enter and rise straight up. The heart is not the heat source, but, a luminous amplifier and guide, working mainly mentally or noumenally with mantra.

From that emanation, Ghasmari could for example merge to a full blaze in the Triangle. Whatever was Food related goes to the fire and she Purifies the sixth principle. When heat is sufficient, there is no need to overdo it, her service is complete. That would perhaps happen during the Whispered or Mental stage of Muttering. If the Blazing is successful, Form will end and our words will go away and we may be forced to seek Om and her Hand Symbol, Vajra Chopper. That is what will happen if we do Abhisambodhis and/or start Melting.

That is all that is necessary; it is possible to add pieces in order to adjust the timing. For example, if the heated mixture is received well, then, perhaps it is possible to get this reception from a little further along in the prayers:


The Vajrayana Spiritual Guide's reply

OM With a nature inseparable from the three vajras
I generate as the Guru-Deity.
AH This nectar of uncontaminated exalted wisdom and bliss,
HUM Without stirring from bodhichitta,
I partake to delight the Deities dwelling in my body.
AH HO MAHA SUKHA



She just said she would distribute the nectar to her retinue; they are the Maha Sukha chakra, and if she likes it, they will all be thrilled. And so if this translates to what is happening physically, one will know if balanced heat is warming the bodhicitta in the head. At a certain threshhold, it simply does "melt", and here, it is like a reverse balancing, where we try to get it to flow downwards into that Main Flask at the center of the Triangle. It could be stopped, it could catch a karmic wind and go into something; we have to do it lucidly without Hindrances. The full descent is Four Joys. When the white seed and the boiling mixture combine, it makes Cool Mercury; this is the true Sahaja (or Mahasukha Ananda). If continued, it then rises, and all Four Chakras are Sahaja. Just from following the definitions, then, you should be nearly qualified to operate Sahaja Heruka and Seven Syllable deity. There would no longer really be any way to do it without Completion Stage and a male deity.



If we need the Dakinis for Four Chakras, then the center, Ziro Bhusana and Guhyajnana become sarvapīṭha and mūlapīṭha, Uṣṇīṣa and Secret place, followed by:

Ḍākinī ātmapīṭha Heart
Lāmā parapīṭha Throat
Khaṇḍarohā mantrapīṭha Navel
Rūpiṇī tattvapīṭha Forehead

It is reverse order, Rupini is always the final "perfect form", the highest Bodhisattva Bhumi, here in Vajrasattva's laboratory.



So, how far one goes and where one finishes are determined by the progress of the heat, from negligible to able to melt the Tathagatas and the Moon, or Hum, or Inverted Trident. The Trident stands for her consort, so if we use it internally, it is another good bond. The bliss of the experience is something like a seminal injaculation; nothing is expelled, instead, it adds more to itself. Especially if done slowly; it has to linger in the head and slowly expand to the throat in order for these to become individual Joys. It may just drip straight down; that is undesirable. The female equivalent is orgasmic energy seated in her cervix linked to her heart and Khecari center. She has the same white drop, and this feeling has to navigate it along the course, and not go away.



If we do it right, if our alchemy was potent enough to disintegrate the "traces" and purify the mixture, then the Trident, or her male consort, physically melts from the energy. It may seem to also drip from the Guru and Bindu chakras. Because this is so intense, it is the tendency of an untrained person to get stuck at this level. Without "right concentration", it does not automatically proceed on the Path. We want this internal semen to enter Varuni and catalyze her into the true, purified Amrita.

If the sweet, cool Mercury can be ecstatically raised into the Brahmarandra, one confronts the beyond the body chakra and the voids. It is the real medicine, panacea, ultimate kind of nectar. This condition makes Vajra Danda, or, an extension of the Avadhut beyond the skull, in a mist, which has to thrust strongly and accurately enough to enter Higher Yoni Triangle, which is a bit like a beyond-the-body reflection of the Candali Triangle we are focusing now.

So Muttering Ziro Bhusana consists largely of getting her approval on our electric orange concoction, and if the heart notices heat, activating the open, flowing phase mentally, so a great deal of heat centers and rises; if successful, the nectar's downflow may attain Four Joys generally classed as Ananda; and if this final mixture is cooled properly, it rises like mercury in a thermometer, which may attain Four Joys generally classed as Sahaja. That would be the Complete Suksma Yoga. Nothing left besides Dissolving the Voids, the subtle minds, if this dissolves five elements, Earth into Water and so on.


From whatever point we leave, then we must dedicate merit and banish the deities and thank Vajradhara, emerging in reverse order to slowly stop. Skullcups melt into Dakinis, into the principals, into the syllables, which revert to Bindu and Nada until the tiny little squiggle fades away.

[shaberon]

Cam, Charchika, and Candali



Charchika casts Jnana Cakra directly from the syllable Cam, and, in our sadhana and Yoga generally, Candali seems to be intended by Cam syllable here. It "is" the first letter of Charchika, and Cam is literally to consume by mouth. In Manjushri's Arapacana, it should be rendered "sha". Without "chanting", Ca is Candraprabha. Ca is part of the head of Eighteen Arm Tvariti Gauri.

Candali is a compound word, and is something like the body's response to the male principle of consciousness that has established Bodhicitta, meaning it has Vajrasattva Samaya. It has to do with "bundling" fivefold form--the five senses are Rupa Skandha--and moving it into the Dharma Realm or has an aware and functional sixth principle capable of "shutting all the doors" of the five, and, so to speak, raising it by inversion, into a transcendental or samadhi world. Something like a five-bladed pinwheel which is found not to be fanned by external force, but, the axis of rotation itself is something like a living motor, where the invisible pilot may change the ordinary experience to something divine.

Canda has the customary meanings of Anger, and the Moon or Camphor. Jains refer to the metaphysical Caṇḍā as Pracaṇḍā and Gāndhārī. We have found Gandhari as a Pisaci in a few places.

Anger is Vajra Family, and the Moon is Vajrasattva, and so the basic tantric hypostasis of Vajrasattva arising from Vajra Family to become his own, which interacts with all of them, is built in to the apparent contradictions of the same simple word.

Most of the early tantras focused on the five-fold male, then the female aspect was added, and it is Dakini Jala where it sort of becomes established the other way around, in that a six-fold female is more deeply inherent and more powerful, and then the male can be summarized as Upaya, just the intent of Bodhi mind to do things in meditation and elsewhere. And so if the mind does Yoga, the plain term Canda is mostly relegated to wrathful deities, and Candali is the practice. Candali is a Wisdom or Vidya produced in Vajramrita Tantra, which is significantly missing from translations, and seems to be about as crucial as Trailokyavijaya.

Canda--possibly Anger as Activity or Rajas-- is the dharmodaya; Ali is A as Vajrasattva; like E plus Vam makes Evam, Canda plus Ali is compressing and churning that radiant seed-syllable together with the winds, the experiences of the eye and the other sense organs, the Five Buddhas in their entirety, the five elements and the ego are all burnt and the Moon establishes the supreme goal. In Hevajra, Candali is Scent, a Drum goddess in Ratna Family; at other times, she uses a Plough. In Pancha Daka (which includes Dharmodaya in Lotus Family), Blue Candali uses a Fire pot (she is frequently Fire Element). In Dakini Jala, Candali is dark blue and riding on a whirlwind; in her right fist she clenches a Vajra-topped trident and with her left releases a whirlwind against her victims. We have listed multiple formats of Gauris on p. 20; Candali is Fire Element who quixotically uses the syllable Lam, since Cam belongs to Cauri (chowrie or fly whisk), a Yellow Noose and Sound goddess. In Chinese Hevajra p. 104, Cam is used for Candali, although Cauri also still has it. Cam either suggests or can be Candali, who is understood as inner heat. In this sense, we want Charchika to administer the subject.

Book of the Dead says Ha is the seed syllable of all Gauris, like He is the syllable of all Pisaci or Tramen.

Page 100 of the Chinese text states the Gauris are in Samapatti, which is a samadhi like Savikalpa, which has distinct objects. Although their "assignments" change, as a class, Gauris pertain to Form.

Four Gauris with Candali also appear in a Candrodaya mantra.




In a summarizing Candali article, Garab Dorje's view says that Uddiyana Vajradhara mainly has the form of three nadis and four chakras, and has a Six Buddha crown centered on Samantabhadra. The document has three more Candali articles; three nadis and four chakras comes up again as the important form of the body. So this is a different practice than the common seven chakras. It perhaps is seven things, but three of one and four of the other, like triangle and square.

The channels and chakras are Inner Candali; Blazing and Dripping is Secret Candali.

The articles all refer to Muttering and a few different exercises of Pranayama; and one can tell what version is closer to the pith versus what sounds like it belongs to a specific form.

Vajracharchika's Cam syllable has brought, fetched, or directly led to, Jnana Chakra, by Muttering.

In Dakarnava Heruka, Jnana Chakra is part of Sambhoga Kaya, led by Tilottama, with the personae of the Four Dakinis as Padminī, Śaṅkhinī, Citriṇī, and Gajā, then includes Vilasini and Sundari, ending near Pradyumukhī (Pradyumnakī). Underneath this, Heruka's lower or outer part looks like our whole practice: Body, Speech, Mind, and Gnosis or Jnana Chakra. Above this, he then has Trikaya made of Great Elements, and something like a heart core or Sahaja Kaya. At Enlightenment, Buddha was in the Akanistha and initiated by Tilottama and then manifested Complete or Maha Sambhoga Kaya. So Tilottama standing as the prime power of Sambhoga Kaya appears consistent.

Tilottama is the most subtle wind and mind. Since we are not that advanced, Heruka's grand Jnana Chakra does not exist for us, and we see how it truncates and corresponds into what, in our perspective, is like a Fourth Kaya and Fourth Chakra, Svabhavika Kaya and Mahasukha Chakra. So what we have in mind by Vajracharchika's Cam--Candali starts from being able to gather heat at all, and does nothing but perpetually expand, a bit like the Four Dakinis go to Heruka's core as well as maintaining guises such as in Jnana Chakra. We can find their group in a few places, but, as individuals, they are the Four Chakras; or, the Chakrasamvara meaning of Jnana Chakra is the set of Four Chakras.

This is not to say that other chakras do not exist, and are employed in Buddhism further down the road. It means that noumenally, according to the teaching and in practice, these four are Suksma Yoga, which is like an hourglass bottleneck; everything previous goes into it, and anything further only results from it. One does not "have" a Mahasukha chakra, it is a modification.

The basic platform like Odiyana Vajradhara is hardly shown at all, but this is basically the body in subtle yoga, and the main meaning of Jnana Chakra in the usage of Vajracharchika or Vajra Tara:

























The networks of the heart and head mainly hang down; there is also a Khanda or Bulb of the lower centers. It is the Eight Spokes of the Heart which branch into Three Nerves, carrying Five Winds of two kinds. The triple branching of the eight heart petals makes the main Twenty-four Pithas; each of these again branching triply.

Much like Varuni is the Inverted Stupa, the one elixir of all tantra, Ziro Bhusana's mantra fits the Three Channels and Four Chakras better than anything else.





Charchika was favored by Indrabhuti; and with her, we can even say, well, we are using a Hindu goddess in a Buddhist manner. Her subject, Candali, only has an outcaste background. And so if we are asking Charchika to emanate her wisdom, and the Cam syllable suggests Candali which is the method of Jnana Cakra, then we could cut out most of the Tibetan and notations to make a cleaner copy of most of the teaching in Torricelli's Candali Tanjur text:



In the Tantric section (rgyud-'grel), vol zhi, of the sDe-dge (D) and Co-ne (C) bsTan-'gyur there is a group of texts (bka'-dpe) which are missing in the editions of sNar-thang (N) and Peking (P). They pertain to yoga practices rallied by Tilopa from the masters of four different lineages of transmission, and for the first time put into a system in his Saddhannopadeia . Renowned in the Tibetan tradition as the Na-ro'i chos drug, they are the practice of the so-called "fiery girl" (candali; gtum-mo) viz the mystic heat, the illusory body (maya- deha; sgyu-lus), the dream (svapna; rmi-lam), the radiant light (prabhasvara; 'od-gsal), the intermediate state between life and death (antarabhava; bar-do), and the transference (samkranti; 'pho-ba), of which the entering corpses is an extreme procedure.


As regards the practice of the mystic heat, which is traditionally known as the foundation of the path, it is mainly established on the Hevajratantra.

Marpa learned:

in particular how to bring on the four joys through the mystic heat and the karmamudra on the basis of the Hevajra: especially these two, mystic heat and karmamudra, rely on the Hevajra. The first chapter of the Hevajratantra - found after the list of the thirty-two energy channels (nadi; rtsa) and the four energy wheels (cakra; khor-lo) arranged in a mandala-like context of correspondences within the subtle body of the yogin - gives the following sloka which summarizes the practice of the mystic heat:


Candali ignites at the navel. It burns the five Tathagatas, Locana and so forth. Once burnt, it melts HAM, the moon.


Among the early commentaries of the Hevajra, the Yogaratnamala is particularly significant because it "deals with this verse fully". The commentator approaches the above sloka from the perspective of the developing stage (utpattikrama; bskyed-pa'i rim-pa), the meaning of the syllables (aksarartha; yi-ge-don), and from those instructions he had been personally granted (sampradaya). Every time, he begins with an analysis of the Sanskrit word "candali". His explanation may be summed up as follows.

"Canda" is interpreted as the consort, or the insight (prajna; shes-rab) removing all defilements (klesa; nyon-mongs); as the process combining the developing and fulfilment stages (utpattyutpannakramasamadhi); as the syllable AM; as the ovulum from which the phenomena arise (dharmodaya rakta); as the left energy channel {vamanadi).

"Ali" is interpreted as Vajrasattva, or the method (upaya); as the essential thinking ensuing from the great compassion (mahakarunamayacitta); as the syllable HUM; as the original sound-syllable (iadyaksara); as the right energy channel (daksinanadi).

Their union (sainyoga) - the consort with Vajrasattva, the insight with the method, voidness with compassion (sunyatakaruna), AM with HUM - is the blazing candali, which generates the experience of the same taste (ekarasi). Candali ignites at the navel, where the two lateral energy channels join into the central one (avadhuti), in the site of the radiant great seal (mahamudrayam prabhasvaramayalaksandyam). Blazing up by means of the fire of the great passion (jnanaraga), or by forcing and conveying the energy winds (vayunabhramya yatnatah), the flame reaches the energy wheel of the great bliss (mahasukhacakra). It bums the five constituents of human personality (skandha) associated with the five Tathagatas, viz Aksobhya, Vairocana, Ratnasambhava, Amitabha, and Amoghasiddhi; the elements (bhuta) associated with the Goddesses Locana, MamakI, Pandara, and Tara; the five sense-faculties (jnana; ye-shes). It burns the conceptions of the "I" and "my" and dissolves them into the mind-only experience (cittamatra; sems-tsam-nyid).

As for the syllable HAM , its actuality (svabhava; ngo-bo-nyid) being the moon (viz "containing a hare"), it is Vajrasattva or Vajradhara, or the bodhicitta (byang-chub-gyi sems). This intuitive awareness of the great bliss (mahasukhajnana; bde-ba chen-po'i ye-shes) drips from the mahasukhacakra and, by means of the body of the yogin identified with Hevajra, it induces the experience of the co-emergent (sahaja; Ihan-cig-skyes- pa): "Not otherwise is sahaja called, nor elsewhere is it attained."



In the Sanskrit comment to this "Treasure of dohas": He [Tilopa] shows the path along which the mind moves (manogama- namarga). Situated beneath (adhah sthita), that is arising from the nirmanacakra; once opened the path of avadhuti; once cleared up (muktikrtya) by the light of the [spiritual] vision (alokena), i.e. by the meditation [called the] Blazing fire of the torch of intuitive awareness (candagnijnanakaya), here is the abode of the great bliss (mahasukhasya sthitirbhavati). To sum up briefly, the meaning is: what induces to experience the co-emergent (sahajasphutikarana) is actually the strengthening of the thinking activity (cittasthirikarana) in the mahasukhacakra by attending to the yoga of the mystic heat (candali- yogabhavana).


Having attained to the {guru's] sustaining grace of [both] method and insight, [the two] descend quietly, then reverse direction [to ascend] straight up in the middle. Once located [in the central channel], they are made to permeate the body. Then, free from passion, the intuitive awareness of bliss and voidness arises.

[Visualize] the multitude of the energy channels in the body of the yogin. [Both] the subtle and the coarse are possessed of the energy winds. Practise the miraculous rotation [exercises] as a method to control [them]. [You are to practise the four:] exhaling, inhaling, maintaining, and forcing. [Here is] lalana, rasana, and avadhuti along which [there are] the four energy wheels. At the navel, the fire of the mystic heat is very thin; it then increases; [eventually,] from HAM, a river of nectar [flows: this is] the passage along the four joys. The four fruits, to begin with that corresponding [to its] motive, are to be augmented by means of the six miraculous rotation [exercises].


The mystic heat, [being] the self-igniting warmth of bliss, is the foundation of the path. [When] you are [settled] in the sevenfold posture [of Vairocana], the main point is [to visualize] the body [one with that] of the deity in its hollowness. [You imagine] avadhuti, lalana, rasana, and the four energy wheels. A ignites and HAM melts. By constraining your life-giving breath, you move downward and cast out.

In an adamantine recitation you attend to the five root energy winds. Once done [it] and firm [in that], you are absorbed in an equalizing insight. When you are accustomed in the four joys, the root energy winds and the drops are mixed. When the thinking essence [merged] with the energy winds enters into avadhuti, you do not discriminate [any longer]. [As] the defilements rest in themselves, [there is] an endless current of the light of bliss. Since you perceive the truth of being, you dwell in the essentiality of the Dharmakaya.

...here is the reminiscence of his instructions [about] the status of what is existent (vastu), the path (marga), and the stages of arising fruit (phala).

Among them, as for the status of what is existent, it is the body (deha). Fivefold perfect enlightenment (abhisambodhi), energy channels, enlightened thinking essence (bodhicitta), impurities, and interpretative concepts (vikalpa): by means of them, you dwell in the modalities of existence (dharma) of the body. Among them, as for the method of dwelling of the thinking activity (citta), it is the great intuitive awareness (mahajnana) dwelling in the body, that is the truth of being (bhava) which is free from production and cessation. On the path there are [both] the developing [stage] (utpattikrama) and the completion [stage] (sampannakrama).

As for the points about the sphere of activity, they are two: the external [lateral energy channels,] white and red respectively, [and] internally, [along the central channel,] the four energy wheels. As to them, the methods are numberless. The central energy channel, avadhuti is to be visualized as going straight from the brahmarandhra (tshangs-bu-ga) to four inches below the navel. To the right and left of it, rasana and lalana go from the two nostrils up to the top of the head and then, down to the lower end of avadhuti, they turn round upwards entering into it. Both rasana and lalana coil around the central channel as to form the image of a parasol, or of a wheel, at the level of the crown of the head, throat, heart, and navel. Thirty-two subsidiary channels radiate downwards from the head cakra, sixteen upwards from the throat, eight downwards from the heart, and sixty-four upwards from the navel.


All these energy channels are run by the energy winds (vayu; rlung). These are distinguishable between five "root" and five "branch" ones...each root energy wind is associated with a buddha family, a colour, an element, a seat, and it regulates a particular bodily function, namely (1) apana, Amoghasiddhi, green, vayu (rlung), anus and sex, defecation, etc; (2) samana , Ratnasambhava, yellow, prthivi, navel, digestion; (3) pram, Aksobhya, blue, ap, heart, breathing; (4) udana , Amitabha, red, tejas, throat, salivating, etc; (5) vyapaka, Vairocana, white, akasa (nam-mkha'), head and limbs, movement.

As for the branch energy winds, (1) in the eyes, carana is responsible for sight; (2) in the ears, samudacara for hearing; (3) in the nose, avicarata for smelling; (4) in the tongue, upacara for tasting; (5) in the skin and the sex organs, vicarana for sensitivity. As denoted in the Karnatantravajrapada, attending to the root energy winds is the technical task of the practice.

As to the point of the energy winds, they are four: inhaling, maintaining, forcing, and ejecting upwards just like an arrow. Inhaling: [the vayus] enter through the two nostrils, without any sound, from a distance of about sixteen fingers. Maintaining: these [vayus] are pressed down to the bowels, the lower vayus are drawn up a little while, then they are held so as to merge. Forcing: having stopped when it is impossible [to do it any longer], short breaths are taken, then [the vayus] move to the right and left so as to equalize the two parts. Ejecting: having stopped when it is impossible [to do it any longer], [the vayus] are expelled through the two nostrils, with small strength at the beginning and at the end, with greater energy in the middle, just like an arrow

Padma-dkar-po describes the fourfold technique of pranayama in two other places. In the first short passage (fol 3a.4) it is said that the dead vayus are pulled out in three times, the upper vayus are pressed down, the lower ones are drawn up ('then), and then both are held as long as possible. The other passage (fols 9a.6-9b) is a sort of definition of the vase-breathing technique (kumbhaka): "rlunggnad nistengmnan / 'og bsdam pa'i bum pa can no," freely transposed by Evans-Wentz (1935: 203) as "... one must press down the inhalation to the bottom of the lungs and then contract the diaphragm below the lungs so as to form the Potshaped".

Thanks to [your] application in constraining the life-giving breath (pranayama), a fire is ignited from the [seed-syllable] A at the navel. It bums the four energy wheels, [and] opens the channels. The flame touches the HAM [syllable at the crown of the head and melts it]. So, the channels are filled up with the [dripping] bodhicitta. As it has fallen down to A, the drop is dissolved, [and] you will grasp the meaning of the inseparable bliss and voidness (sukha-sunya). As stated in the cited Tilopa's MahamudropadeSa, the blazing and dripping process culminates in the intuitive awareness of bliss and voidness. Accordingly, Naropa's rDo-rje'i mgur (p.108.2-3) mentions all the main points of the practice, at the apex of which the experience of bliss and voidness is set: "The mystic heat - below, the A mark; above, the letter HAM; above and below, the energy wheels of the energy winds. By means of the practice of constraining the life-giving breath, [that is] the vase-breathing technique, [you will have] the radiant experience of bliss and voidness between [A and HAM].

''Gradually milk the 'Cow of the Heavens'


If you do not know what has the four applications, [that is the pranayama practice], you are in danger of turning [its] virtue into fault. If you do not know the sameness of taste (samarasa) of the four elements (bhuta), even if you meditate, no experiences would arise. The methods of curing are innumerable, but the tool of the mystic heat is very crucial.

Then, as for the arising fruit, something like heat will come forth at first; second, something like smoke will come forth; third, fireflies, and fourth, something like [the glow of] a butter lamp; fifth, something like the sky will arise. Then, the bliss (sukha) will arise, and the dichotomic notions (vikalpa) will be automatically suppressed. Mirage, fireflies, and something like dawn will come forth. The four elements will be absorbed the one into the other: then the very mystic heat will ignite spontaneously. The white drop (ukra) will certainly fall. [That is] the sign of the mixing of the inner heat and [outer] cold. Those appearances, similar to a cloudless sky, arise in successive stages: [so] it has been said.


This final part describes Dissolution of Four Elements into Space; which is also the end of Dakini Jala, leaving the Three Voids.

Dissolving the Voids is what happens in Space or the Akash or Akashic Plane; the cessation of subtle minds via No Ego, Suchness, and Ultimate Meaning. In the system of seven planes, this is the Mental Plane; but Kama Loka was the highest form or body. This is only a subtle body or Vajra Kaya. Its only possible direction of motion is deeper into itself mentally, through White, Red, and Black spheres.

Smoke and Mirage are not necessarily that intense unless accompanied by full disintegration of a sense. Fireflies are drastically different. The Lamp is quite difficult to attain without practice, and here, it is the last symbolic item of any kind until bare Space is the only known presence. In the Homa, Lamp comes in with Dipa Tara carrying sunlight in her lamp. Next it is an Agni Kunda or Dharmodaya. In Suksma Yoga, it is the last tangible sign of Dissolutions. In Nepal, Lamp Buddha is the original teacher who foretold the life of Sakyamuni.



Torma usually means a rite where a triangular barley cake is burned, but, it matches what we want Ghasmari to do to our mixture:
















If it seems unusual for Charchika and Ghasmari to handle the meat, or Rasa to pass the samples around, here, we can find Chamunda-like goddesses handling meat for Sri:







So although we have a couple of unusual deities--Charchika and Ghasmari--doing things they usually don't, it firstly is a shortcut from having to use any Completion Stage material, it appears to match the inner meaning of the teaching better than anything else, and what they are doing is consistent with sadhana practice as a whole. Ghasmari is a Gauri, so is Candali; these Gauris are not usually given much independent practice, even though the individual Candali is the main theme of the whole practice, perhaps as a lower-case noun.

From experience, in saying this is very real, I would say that with a little practice, the White Ham or Hum, etc., can be melted at will. Four Joys of descent will follow with minimal effort. The "cool mixture" may occasionally happen, and, this can access the Voids and those are also quite real with Clear Light or the Absolute Object inside them. Beyond that, using Citta Chakra to stabilize and manifest wisdoms from Dharmakaya, is where I have to stop and cannot say more; and this is in the hands of not very many teachers.



In Nepalese 62 Deity Chakrasamvara, where Four Chakras are still the root or beginning; there is a full dakinis' Dharmodaya at the navel, adding a White, Red, and Yellow dakini on the Triangle itself, and just something like a bulb under it; the heart and head characters are inverted, and the throat is relatively simple:









Its deity, the Raudra Samvara (Chakrasamvara) of the Abhidhana form has thirteen faces and one thousand arms; sixty-two deity mandala.

What we have found as the inevitable male deity is Heruka, which initially means a simple two-arm form, but, more specifically, White Reversed Sahaja Heruka (like Reversed White Vajrayogini). This is a tantric state-of-being closely along the lines of saying Vairocaniye emerges from Varuni. It is what is needed for Seven Syllable deity, which is Heruka, Avalokiteshvara, and Vajradaka, and continues throughout tantras until the massive Dakarnava Heruka. This is the requisite male seed, Smrti, and Completion Stage. The Yoga teachings are fishing for you to become "versed in Heruka Yoga", i. e., the underlying Pranayama, which is then applied via the Seven Syllables to Heruka.

The Dvadashatmaka Dakarnava Heruka form has seventeen faces, seventy-six hands and two legs; embracing a red Vajravarahi with one face and two hands.

So the Inverted Stupa and Muttering and Candali is the Three Channels and Four Chakras. The core of almost any Muttering is Om Ah Hum for Three Channels, a balancing act. When Ziro Bhusana does this, she can be understood as "mixing" the Four Dakinis or Chakras to the Channels in a changing way. So this is a little different from the basic meditations where deities have Om Ah Hum in their Three Places. Internally, you have Om Ah Hum in the three nerves and Ha Ri Ni Sa in Four Places.

In practice using generic Family names, Ri is Ratna Dakini, i. e. Rupini. Those Five Dakini groups are all centered on Buddha Family. Guhyajnana is Lotus Family and Ziro Bhusana is undetermined.

Yeshe Tsogyal Jnana Dakini receives the mantra directly.

Padmasambhava's secret form Powerful Lotus of the Garland of Skulls receives a donation of Guhyajnana's mantra in the following way:

[while] reciting the Tötreng Tsal mantra with harinisa racha hriya chitta
hring hring dzah sarva siddhi phala hung added to the end of it one-tenth
the number of times that you had recited the accomplishment
mantra

and uses the dakinis in regular order. Guhyajnana's sadhana is not specific--i. e. they could be cast either way. So we are not doing Five Dakinis as they are usually presented; it is reversed.


In Chakrasamvara, Mahasukha means dakinis arrayed in one chakra, Jnana Chakra means they are spread through the four major chakras.

Since we are using specific personal names, the Prajna's stirring direction is counter-clockwise, Varuni's retinue is counter-clockwise, and we have seen in practically all Chakrasamvara and Varahi usages and in Dakarnava (where they are doubled, being in the center and in the Vajrachakra), the Four Dakinis come counter-clockwise and Rupini has an exalted meaning by being last, it looks more like:


Ha: Ḍākinī ātmapīṭha Heart (Kaya awarenes)
Ri: Lāmā parapīṭha Throat (Vak awareness)
Ni: Khaṇḍarohā mantrapīṭha Navel (Yogapitha) (Dharma awareness)
Sa: Rūpiṇī tattvapīṭha Forehead (Guhyapitha) (Citta awareness)

Ziro Bhusana's mantra directly conforms to the three channels, four chakras, in a way that nothing else does. Like Varuni, she illustrates the major basis of all Yoga and Generation Stage. She is Vajrayogini so she is the interpreter of Dakini Jala.

As a talisman, the syllables are put on a cowrie shell.


The Indian Lama is not Tibetan, but its own word, meaning female tantric adept, a class, like Dakini. Rupini can only be distinguished by showing up with Buddha Kapala.


Devi Bhagavata says the final result of mental sacrifice is Devi as Sat-Cit-Ananda-Rupini. Kumara Rupini is spoken when Vajrabhairava receives Flowers, which are the sense organs of Charchika and others.

Rupini hardly has any special form or tradition; but she is on the Tenth Bhumi and so apparently the last step to Tilottama.


The technical term for the Dakinis' Sati or Mindfulness is:

ānusmrtyupasthānam

In Guhyasamaja:

Anusmṛti (memory) is the constant meditation of the object for which the psychic exercise is undertaken, and by this Pratibhāsa (revelation) takes place. After commingling the two elements Prajñā (knowledge) and Upāya (means) the whole objective world should be conceived as contracted in the form of a lump, and this should be meditated upon in the Bimba (icon-circle). By this process the transcendental knowledge is suddenly realised by the worshipper and is known as Samādhi (visualisation).

Smrti's place in Six Limb Yoga is part of Uttamaseva which is part of Upaya.

Sevā (worship) is again sub-divided into two, namely, Sāmānya (ordinary) and Uttama (excellent). Of these two, the Sāmānya-sevā consists of four Vajras: first, the conception of Śūnyatā; second, its transformation into the germ-syllable; third, its evolution in the form of a deity, and the fourth, the external representation of the deity.

"Ordinary" seva is along the lines of Kriya and basic Yoga with a concept of Voidness, Sri Paramadya as the Hand Symbol, and the development of a deity by Atma Tattva and Devata Tattva. The "excellent" worship with smrti and samadhi and so forth is above this.

In Prajnaparamita,

The following should be cultivated (bhāvitavyā) by the bodhisattva:

recollection of the Buddha (buddhānusmṛti),
recollection of the Dharma (dharmānusmṛti),
recollection of the Community (saṃghānusmṛti),
recollection of discipline (śīlānusmṛti),
recollection of abandonment (tyāgānusmṛti),
recollection of the deities (devatānusmṛti),
recollection of inhalation and exhalation (ānāpānasmṛti),
recollection of death (maraṇānusmṛti).

The Śrāvakas practice [the eight recollections, anusmṛti] for themselves whereas the Bodhisattvas practice for all beings. In the Śrāvakas, they free only from old age (jarā), sickness (vyādhi) and death (maraṇa), whereas in the Bodhisattvas they perfect the qualities (guṇa) of omniscience (sarvajñāna).

Tyaga is abandonment and generosity, mainly the giving of divine offerings, and therefor is part of Homa.

So if we read through it, there are four basics, and then Smrti is doing a Homa, knows the Devata, the Pranayama, and Death.

Or it could be called all seven elements plus death; or seven of manifestation plus a future state.



It is hard to concretize what Rupini is or does; she is Yellow, it is something like the emergence of Vairocaniye, a very deep mirror from having Ratna Paramita as a "first thing". From our mortal view she is in a reversed or backwards Accomplishment position.












Wrathful Hum-arising Jewel Prajna Trasani is at the crown, having to do with Amritaguna and Six Families Equally.

As a verb, Vajrayogini says:

OM NAMO TRASANI / MARANI /
PRABHADANI / PARAJAYE
HUM HUM PHAT

OM to you who terrify and dry up the
demons and thus can vanquish others

(Marani is a dark water dakini and means striking, beating; prabhadani, gift of light; parajaya, defeat or overthrow)

Trasani is part of Five Face Shiva and generally means "frightening". Vamadeva is that Shiva who was not allowed to proceed with the creation of beings and hence got the name Sthāṇu; five faced Śiva grew angry at Soma's refusal to send back Tārā to Bṛhaspati and waged war with him.

So this fivefold male principle, or Form, is behind Tara leaving the Moon, one of the last pre-cosmic "revolts" before material creation.

In our "system of five", the central sense is Sound--Shabda Vajri, while Dharmadhatu Vajri is the center of the Prajnas or Elements. In system of Six, the order of the senses change, with sound still at the center, and Dharmadhatu Vajri moves to the sense goddesses in an "above" or Sarva Akasha position only inhabited by Vajrasattva and Vajradhara, where no Prajna is named.

If Dharmadhatu Vajri starts in the center of five, it is a Bodhisattva in the presence of Prajnas, as if gathering their Wisdom of Emptiness in order to take command of the senses as a whole, and her original seat could be said to become occupied by Dharmadhatu Ishvari or Adi Prajna, who is somewhat hypostatically like Vajrasattva and Vajradhara, having several degrees by various names. As they are said to emerge from Akshobya and Vajra Family, Adi Prajna is Guhyeshvari--Mamaki who has at least some derivation from Akshobya before opening a similar, but more subtle and intricate seeming fractal. Sound is originally the center of the senses, then Touch, then Dharmadhatu.

The Sound Sense Offering specifically uses Vini, or Flute, whereas Shabda Vajra can be any mantra or music.

Six Face Shiva as in Kubjika adds a "downwards" face, the Picu or Cotton Mouth. Our sixth principle or Vajrasattva Family, in wrathful form at least, is in Siva Chakra in the Forehead which is called "Form" whereas Mahasukha Chakra is "Formless". So there is a weird border here, because Vijnana Skandha is usually distinguished from Manas or Dharmadhatu or Mental Object perception. The skandha is mainly occupied by the inputs and other skandhas, whereas Manas is capable of rejecting these.





With Offerings, Yamari says "Charchika and others do it", but elsewhere, each Offering is also a type of deity. With Vajra Tara, White Puspa arises from Om. Dhupa is Blue and surūpiṇīm (form of Sukha). Dipa is yellow and calatkanakakuṇḍalām (has swaying golden earrings). The same word, kundala, can be earrings, or, "coiled like rope" which becomes kundalini. Gandha is Red and devīṃ bhāvayed garbhamaṇḍale, installs in the mind the Garbha Mandala or Pancha Daka.

This is one of the only descriptions of them whatsoever.

Food, Sound, and Dharma Offerings would take more deities; for Dharma, most Vajrayogini sadhanas say "offering goddess with a reality source" and that's it. Since Ghasmari is busy, Pancha Daka's Blue Candali uses a fire pot, and it also has a Lotus Dharmodaya goddess; or, we know it could be white in the hands of Locana. There are a few ways we can look at who or what Dharmadhatu Vajra is, and use whatever works for us--theoretically, not Ghasmari or a main goddess, but an extra one who does this service.

Offerings of Flowers and so forth through Shabda are external collections; the second offerings are one's actual senses; and so one could send in a Mirror filled with a pleasant memory. The items should more or less mix with one's senses as-they-are. It is this Vajra Rasi who may be used for the final nectar offering. Within this ring, she has to carry something we actually have tasted. If I want it to be milk and honey, I have to remember the flavor as strongly as possible without forming attachment, and then how nice it would be to give it to someone, it has to be happy and free. When it ends on Dharmdhatu Vajra, she is made of Akash, only, her item is no body, it is only mental. Instead of skandhas, we want her to start carrying our current realization of voidness, which has to be coupled with Bliss in order to be anything like milk and honey. It is the last thing given to Varuni, or the Flask or water, as host of it all, and she is a bigger Vajra Dharma, virtually a female Vajradhara.


There is a Nyingma Torma teaching where Candali appears. The torma is supposed to comprehensively include all the deities. If you do the full thing it has Bali offering and all that.



The first Sadhanamala article gives Offering mantras:

puṣpamantraḥ / namas traiyadhvikānāṃ sarvatathāgatānāṃ
āvarttāvarttamahāpuṣpavati svāhā /

dhūpamantraḥ / namaḥ straiyadhvikānāṃ sarvatathāgatānāṃ agre agraśikhe
dhūmaśikhe svāhā /

dīpamantraḥ / namas traiyadhvikānāṃ sarvatathāgatānāṃ
ālante jvalante dīpajyotiśikhe svāhā /

naivedyamantraḥ / namas traiyadhvikānāṃ sarvatathāgatānāṃ arara
parara karara balede baliṃ dadāhi mahābali svāhā



We may have to use a generic Vajra Naivedye. Her only identity is in that mantra set, where Puspa is related to Vartta, which gets mixed up into Marici's retinue; Dhupa has a smoke crown; Dipa has a light crown; Food is destined for Bali Offering or Mahabali. This name is almost exclusively male, except for one Dakarnava dakini. So this has to do with Ten Wrathful Ones. Karara is a promise or obligation; so the mantra says a promised Bali offering is given to Mahabali. If we have not developed wrathfuls that far, the mantra would seem ineffective if not inappropriate. The first Sadhanamala article expects you to be an adept of all the literature and rites. Before we use Ten Directions, we are looking at Six, with Sumbha as Nadir.



When Vajra Tara gets ready to cast Six Directions,

etāḥ sarvā maṇḍalacakre dhyātvā
hṛdvījaraśmisamānītajñānacakraṃ jaḥ-huṃ-vaṃ-hor...

Hrd (heart) vija (seed syllable) rasmi (rays) samanita (brought the entire) jnanacakra, jah hum vam hoh...

Her Usnisa is a Yellow Surupini; and her Sumbha is:

bhasvaramsadrūpāṃ nāgapāśalasatarām

It is the same word as in Prabhasvara; here, it is fire or sun, then six forms, serpent noose, Lasya Tara.

This phrase is unique, there is nothing else to compare it to. The sun or fire is where the colors are in the other descriptions.



Nairatma does something similar, using Six Directions, when she is in the center, she is Vijnana Skandha; but in terms of Six Senses, Sumbha or Bhucari is Touch, and Khecari is Dharmadhatu. This is like having "both" Dharmadhatu Vajras present; the one from system of five is the center of Prajnas, so is related to skandhas; and from the system of six, as a sense or perception, is in the "sky above". Manjuvajra does the same thing in Six Directions.

Tibetan Deities 209 specifically says Ziro Bhusana is over "five classes", and the only way this works is for Guhyajnana to go to Buddha Family. Because she uses Om syllable and Pandara is a mystical coating of Red on White, the closeness of these two families is expected. But this is not yet Six Directions, it matches Dakini Jala's flat plane with a central mandala above; neither one has caused Sumbha to descend. This makes both practices a "before" bookmarker, compared to the advanced Vajra Tara, Nairatma, Guhyasamaja Manjuvajra, or Yamari.

For Nairatma, Gauris have taken over Skandhas from the Buddhas, and no one appears named as Sky or Space Element. This is where Ghasmari seems to be Taste, although it is called Rame. Touch has been pried from "Air--entire surface" by consorting Guhyasamaja and attached to Purified Earth Element; next, Dharmadhatu Vajra takes the center; and now Nairatma, so to speak, makes the third dimension, or an axis or vortex, by splitting Touch and Dharmadhatu in opposite vertical directions.

While Sparsha is centered with Akshobyavajra, Guhyasamaja evokes the sense objects as:

OM AH SPARSHA VAJRA KHAM HUM

OM AH RUPA VAJRA JAH HUM
OM AH SHAPTA VAJRA HUM HUM
OM AH GANDHA VAJRA BAM HUM
OM AH RASA VAJRA HOH HUM


At times (Pancha Daka), the first four Gauris are used as Activities; at other times, Sense Objects; the difference between Rasa--Taste Object and Ghasmari--Taste Object appears to be peaceful and wrathful. Gauris become six sense objects by adding Bhucari and Khecari. The second four Gauris are usually elements. Gauris do not have a "center" of their own, they are only a ring. When purified, the first produce Four Wisdoms, and the elements ripen the Four Brahmavihara. But in another classification, they may be wisdom dakinis that are the objects of Asta Vijnana, which is like saying eight senses, adding Subtle Mind and Alaya.

Pancha Daka uses White Gauri, Goad; Yellow Cauri, Noose; Red Vetali, Chain; Green Ghasmari, Bell.

In Hevajra, these become Four Sense Objects as in Guhyasamaja, same order, so Rasa and Ghasmari look like peaceful and wrathful equivalents.



The Gauris are Wrathful; in Dakini Jala, they are the inmost retinue of Vajra Family Heruka, a Bhairava with a Trident and separate bowls for flesh and blood. Their order and some names are different; first, Gauri, Cauri, Pramoha, White Nectar Vetali, and then PukkasI, Candali, Ghasmari, and Herukasamnivesa or Herukasamnibha, meaning fully alike Heruka. It does not have Sabari or Dombi. He then has four unique goddesses, and then the same Offerings and Gatekeepers as All Dakini Jala Families use: Puspa, Dhupa, Aloka, and Gandha; and finally four theriocephalic (Pisaci or Tramen) gate-guardians: Turangama, Vajramukhi, Vajramamaki, and Bhasmapralayavetali (horse, boar, crow, dog).

The Guhyagarbha and Nyingma traditions keep Pramoha, but change the last to Smashani (which would be redundant to cemetery Pukkasi here). As well as being hypnotism, in Ayurveda, Pramoha is diseases to Smrti and Buddhi. But from studying Parnasabari and Pisaci, the noumenal principle is that the source and relief of disease are the same entity or phenomena in different operating environments, as determined by Manas.

Heruka's Gauri is fair-complected and tranquil-faced, or Peaceful. She has severed four heads of Brahma with four arrows, which is unique and quite powerful. Some other deities have his head, but not in that style. Cauri is Red and Fierce. Pramoha means infatuation or fascination, has Visnu's boar avatar face, has wine, and does the same thing as Varaha avatar, uplifting the earth or the crust. White Vetali is plainly unusual. Pukkasi has gotten Dombi's multi-colored role and dances in smoky cemeteries with a wind-whipped branch of a wish-granting tree; finally come Whirlwind Candali, Fire Pot Ghasmari, and a dark "Heruka-alike" similar to Naro Dakini except she has a Vajra instead of a Chopper. None of them have it. But Vajramukhi is the first name given to Varahi at her conversion. If we go at this at the time of the story of gaining Varahi's will and her joining Dharma, this perhaps is preferable to assuming she will help us if we picked up her personal rites without this getting-to-know-you stage.

If these Gauris have similar meaning to Guhyasamaja and Hevajra, Sight Object Gauri is pleasant yet powerful, this makes sense. Red Cauri's main item is an eight-spoked wheel and she tramples three worlds, which suggests Visnu's Vamana incarnation, but says little about Sound, unless one says Primordial Sound filled the planes at the dawn of time. Scent Object Pramoha is strongly tied to the Earth plane and the nose of a pig. Taste Object Vetail, who in this case is joyful and has a clear transparent cup, pours Amrita while making a Banner gesture. So there is actually a wine deity followed by a nectar deity. Candali could not more literally be riding on the wind, and, from this meaning, then Ghasmari appears intended to harness and apply Candali's power or activity. She does not seem to have a Taste role, and does seem to be in a Fire location. This is just analysis, since we do not yet have much besides the forms from Dakini Jala, no clear elucidation like Nairatma has. Dakini Jala Rahasya does not elaborate the deities but is explaining how it should work with Abhisambodhis, Six Yogas, and the Dissolutions.

Heruka's consort, Ishvari, would have to become Sparsha Vajra, and correspond to Yamini of Armor and Heruki of Seven Syllables. Therefor, Dakini Jala appears to have the Guhyasamaja starting condition, and adds the main recipes that became Chakrasamvara and Hevajra. One could say Dakini Jala plainly uses Six Families that Guhyasamaja attempts to establish, and fairly clearly educates us on all material of Generation Stage, it seems to be comprehensive of everything prior to Highest Yoga or Yoganiruttara Tantra.

Because of Dakini Jala's historical position, it is not hard to see that Vajravarahi with a Chopper, and Hevajra's retinue, are adaptions of it. Since Pancha Daka uses Hevajra's Gauri names, as does Nairatma, these are probably later works. Jnana Dakini appears to have Four Gauris as her inner ring: Vajradakini, Ghoradakini, Vetali, Candali in reverse order, which are peculiar to her.

Dakini Jala's wrathful side appears to be characterized by Gauris; its peaceful side by Mahasukha and Chakrasamvara Sacred Sites as in NSP 25. But if we look at the nucleus of wrathful Dakini Jala, it is a cycle from White Gauri to White Vetali. It does this through a Boar Face Wine Goddess who is configured on a subtle mental disease to Amrita axis. Gauri has dissolved phenomena, or removed Brahma's perception of form (Four Form Elements) by the Avadhut, I am not sure what Cauri is doing, but she is followed by a type of Varahi Varuni, and Nectar Vetali who may pose as Rasa Vajra. It is evident the second ring of Gauris are not in the corners, but again in the principal directions, with the four unique goddesses in the corners.

The intermediate corners are occupied by "Capa" Dharini is a Bow, she is an Archer, followed by Khatvanga, Chakra, and Citrapataka, or Multi-colored Banner, are just named for their items.


This teaching is also pivotal since "we see for the first time in the Mantranaya the practice of the ganamandalam, orgiastic worship in an assembly consisting of a male and a group of female adepts (yoginiganah) personifying the deities of the cult, with a jargon of special terms and gestures known as chommah to be used in these gatherings." Candali's mood in the mandala is [URL="https://www.wisdomlib.org/definition/savibhrama"]Savibrahma[/URL and she has an incomprehensible attribute: sadhya*pranamadayo pat[y]anti (?). Pukkasi is triply-aspected by Nrtya. The text seems to lack terms such as Ghora or Bhairava and their characters seem more dramatic and severe than ugly or hideous. Vetali is Harsya or humor. So if we study Dakini Jala Vajra Rasa, this is what we want to convey our nectar sample to Ziro Bhusana, by Sita Harsya Vetali with a cup that to me, seems more made of moonlight, "candrakantabhakapala", Candra--Moon Kantabhava Skull Casaka. "Heruka alike's" vessel is also a Casaka.





Guhyagarbha tradition assigns "Ha" to all Gauris (Eight Matrikas, Asta Vijnana) and "He" to all Tramen (Sense Objects), as seeds, but at the end of their personal mantra such as OM VAJRA GHASMARI HA. In Dakini Jala, Tramen duplicate the position of Gatekeeper. In the place where Heruka has the Archer and so forth, everyone else has Musicians.

[shaberon]

Vajrayogini and Vajradakini 1 of 2



There have long been well-known names to anyone curious; and when one sees the popular Tibetan rituals, they are, in a sense, going backwards and missing the point. The reasons are because they launch right into Cinnamasta, and reduce what could be called the Nepalese system to obscure droplets. What Nepal captures is that for any tantric process to be possible, Varuni and the Inverted Stupa must be mastered; the books patch this in as a paragraph, but it is really the application of everything in Yoga. Secondly, according to Abhayakaragupta and Vajravali, the tantras themselves are subsidiary to Agni. So the practice to be performed is Varuni x (Chakrasamvara, Hevajra, other major tantras) x Agni. The minimum Nepalese ritual is Flask or Varuni, and it may have many kinds of additions, but primarily Agni. And so we are reverse-engineering the gigantic Nepalese public rituals to delete all items and learn its inner meaning because Buddha recommended doing an Inner Agni Homa.


The partial Varuni sadhana as we have developed is an input, from which comes a pretty specific output, Samvarodaya Tantra, Jnana Dakini, and Seven Syllable Deity. This has a fairly precise meaning in terms of physical and mental changes of being compared to ordinary waking consciousness, and its precision largely has to do with Vajradakini. It works with the Samputa Tantra tradition which states that all of the tantric series is intended to lead to Agni Yoga; it is Agni used in a Buddhist manner.

It is only since I understand how Suksma Yoga works that I can confidently say the inner meanings of the sadhana are pretty accurate. So it is designed to be timed with inner work, or, secret work, if "inner" means the existence of chakras and "secret" refers to mystical use of them.

This is still smaller than most of the Pabonkha style, which is hard to comprehend, since sadhanas rarely explain themselves. They take a lot of time and energy. We are trying to stay a bit more compact, in a method that can be done in a cozy armchair with no implements. You can do Vairocana Seven Point, or the Six Corner Stove posture, although neither one is necessary. Same with ritual items, if you find these helpful, there is no reason not to use them, but the intent according to Buddha and other sources is just to do it all mentally. The only thing that perhaps may be needed is Kumbhaka or Soft Vase Breathing. Once the body figures out how this all works, then you need less preparation and practice and then it is possible to move to the stage where Varuni is not mentioned and the whole Inverted Stupa goes into place rapidly. Until we can say something like we have precise control of prana, and all of this exercise is familiar and easy, only then is it worth looking at how to finish and go on to Completion Stage. Some people can sense heat almost immediately, but not be able to do anything with it; others may struggle for ages and then get a flash.

There is a relationship between Vajradakini and Vajrayogini which has nothing to do about being in Vajra Family, like Vajra Tara, Vajra Rati, and others, but it does have to do with Agni. Vajradakini is going to take a unique goddess ring from Samputa, has an Agni role with Jnanadakini, and Samvarodaya Varuni will cause a specific change to Armor Deities.


Vajra Dakini does mean the family when used in a standard format such as in Mahamaya or Yamari tantras, where dakinis just have the names Vajra, Ratna, Padma, Karma for the families. The Vajradakini we are talking about is more of an esoteric personal name. The Vajrayogini we have in mind is an explainer about this. Their names are more related to Vajrayana, which isn't about an item or family as much as where vajra has the more general meaning of subtle or esoteric Buddhism.

Varuni is not a Yidam or Ishvari, but is the only way to make them work.


There are different uses of sets of syllables such as Armor; Inverted Stupa does one thing, and then there is another set, which could perhaps be called the "chakra syllables".

Lakshmi as Vasudhara is outer Varahi, and may arise from Vam. Vasudhara invites Hum syllable, and Bhrkuti joins it to Bhrim to make Bhrum, which is Usnisa Vijaya, the pinnacle or accomplishment of mandala from Sambhogakaya, and is the crown syllable of Pitheshvari Tara. Vasudhara means Elements Holder and so we find her with a system of Taras for samaya beings with various syllables and families. Tara by definition means a peaceful bodhisattva appearance, and Pitheshvari is perhaps the first to grossly violate this.

Pitheshvari just returns us to the same Pitha definitions and chakras that we are studying. Pithesvari evolved her crown syllable to Bhrum and throat to Hrih and her heart is still Hum. Her navel is Ah and secret place is Kham. This is just Five Families where Yellow Jewel has the navel. But she has added Amoghasiddhi at the base, so she is not a preliminary of Four Chakras, it is an advanced practice similar to Vajrakila and Chakrasamvara and so forth. However she is a direct progression, since it is about building and raising an esoteric Bhrum syllable, has gotten a useful Hrih from Guhyajnana or Hayagriva or wherever, and is fine with a nice yellow Ah in her fat belly. So in the system of Taras, this is initially something like an ideal or vision, which could erupt from the basic Four Chakra practices if done well. If she is the Ishvari of Pithas, she must be enlightenment from within the Four Chakras. So by fulfilling these basics, Buddhism then adds a fifth or muladhara chakra to her, in the hands of the Dhyani Amoghasiddhi--Kha who is Accomplishment, i. e. arisen from achieving the previous cycle. Peaceful Dakini Jala (i. e., Sat Chakravartin) uses the pattern Om or Vam for Mahasukha Vajrasattva, and Bhrum Am Hrim Hum Kham for the Families--so virtually identical to Pitheshvari, except she has the more energetic Hrih and Ah, which end on echoing H instead of the "chanting" m or Visarga.

Since Pitheshvari came from Saraha, the first Mahasiddha, and still seamlessly fits a chiefly Nepalese preservation of several centuries of Indian syncretization, the system of Taras is consistent and reliable. Her syllable system is the same as that used by Yamari when he made the meat or Khay and of Vajrasattva pursuing Mahasukha related to All Families.

Om or Vam is the beginning of Armor and of Mahasukha Vajrasattva, but Armor protects two head centers and ignores the base; the "chakra syllables" Bhrum and so forth are not that kind of protection, but more like an extension of "Three Places" as a way of uniting one's subtle body to that of the deity.



Specific deities may change the heart syllable, but, it is primarily Hum. And so it seems to me by having the Dakinis in the order of the Mindfulness or Smrti of Kaya, Vak, Dharma, Citta, it is Body, Speech, and then Mental Object or Dharmadhatu Vajra, a type of gnostic practice, before Citta which is Heart. Citta is usually translated as "mind" because it does not mean the physical heart, but the unborn, undying point-like one, which is the issuer of all minds and winds, and is the residence of the most subtle ones. Most of our subtle, Suksma, or Vajra Yoga is said to operate coarse and subtle minds and winds. Therefor it takes proficiency in Yoga to even perceive what is meant by Heart here in the very or most subtle realm.

For example, Guhyajnana has Concentration Hero, because she has Jinasagara Lokeshvara in her heart, and Hrih is in his. So her presence works with a heavy dose of Hrih in the heart; Ziro Bhusana is then Om, in fact she specifically takes this Om and overwrites Hrih in Four Dakinis mantra. It does not count as Concentration Hero because there is no other deity there and is an ordinary mantra wheel. Om is far from being news, but, one does not have much use of Hrih besides Hayagriva. It is a shrill, loud form of Hrim, which is a more common, basic syllable. Guhyajnana is hailed as Hriya instead of Svaha. She may not be capable of being very quiet, but she might make it sound good. What we can say about Hayagriva is he is Horse Head if we follow the largest scale of Homa, he is a surgical replacement of a decapitated one, Deathlessness, or Aswin Shakti. Amoghasiddhi as Paramasva is something like Horseman to this Horse.

Hum syllable in the heart is also used with Eight Dissolutions of Death; pieces of the letter fall off, there is Bindu and Nada and then a tiny flame and then voidness. However, that is basically like Purity mantra and letting scenes go to emptiness as usual. By saying Dissolutions, this is barely a visualization at all, and could only be described as changing states of being. So, it is not necessarily Hum, the figure, but its meaning and practice compressed into a power center that does not live and die, as the heart's seed, something like a mustard seed in a flame no bigger than a thumb. Portions of what we know as ourselves begin to vanish and so will our senses; if the Dissolutions happen, it is quite unmistakable. We can get rid of all attributes until only an atom of Citta remains, and then when re-building our outer existence, we want to place Buddha qualities instead of defilements, notions of self, etc.

Hum chiefly is the heart, but Tam also guides Dissolutions the same way and works for Tara of Turquoise Forest. She is related to Drum Sound Amoghasiddhi, said to be the true enlightening sound, if one is able to dissolve this sense through bells and flutes and the other kinds, there will be thunder and then silence. It is a sonic parallel of visual stages through lamp into sky, which marks the limit of the Yoga and becomes Highest Yoga. Varuni is this sky mixed into the nectar.

The Heart is the center of Vajra Ladies, Dakinis and Prajnas. The Prajnas are mainly Elements, and their wrathful side is Armor Deities. Taranatha has Armor as Blue Heruki, Yellow Bhima, Red Rudrani or Lasya, Green Vasavartini, Smoky Vyavalokita, and White Vajradakini--but these have been done clockwise. The colors match the known set; and so if Heruki corresponds to Yamini, that fits our current understanding; and this is clarified further below.



We understand that in the whole spectrum of rites, syllables, names, colors, and places change, which overall is attributed to the motion of prana. But the first task is to harness and compress the prana to begin with. And so there is a syllable set for this purpose.


In a full rite, there are male-based surface Armor Deities, as well as Nayasa, which is usually touching the body for all Twenty-four Sacred Sites. Most deities, however, also have a type of Body Mandala rite using around eight or twelve syllables; this, and the Cemeteries and Wrathful practice, chiefly deal with the main orifices, such as this for Samputa Jnana Dakini.


In mandalas, her retinue is reversed; the core, Vajradakini, Ghoradakini, Vetali, then ends with Candali in the south. Wayman says Vajradakini is the crown orifice, i. e., the exception where prana is allowed to flow. Exiting other than the crown leads to transmigration into the Six Realms, or in certain cases, Nose--Yakshas, Ears--Vidyadharas (possibly Gandharvas). These last two will both be found in the hands of Amoghasiddhi Candali further along, and, the Yakshas are the secret subterranean kingdom in the body, within which is Gandharva or Celestial Sound Kingdom, so Candali appears to have both esoteric realms in her grasp. Air Candali suggests that proper cooling has happened, like Sitabani moving from Fire to Air. But here we also find something more specific about Vajradakini and why she might not yet be part of our retinue, or will not function, in the exclusive sense as is being taught, which is Formless Realm beyond the two secret realms. Jnanadakini says Vajradakini is the crown, not protector, but actual use.

He then mentions "cala" at the heart is translated as "swinging", although he used "vibration". Then describes the difference between Usnisa--crown and Urna Kosa--forehead, Formless and Form. Jnana Dakini is mainly associated with Chatur Pitha tantra, the main initial practice of Four Chakras. This is where we are going using the inner meaning with Guhyajnana and Four Dakinis.

Jnana Dakini's nirmanakaya is the incarnation line of Yeshe Tsogyal, Machig Labdron, etc., which was recognized by Bodong Panchen in the 1400s, starting with Chokyi Dronma (Lamp of Dharma), followed by Kungamo, and known as a Khutuktu, or Mongolian for Tulku. She is probably the least compromised Tibetan spiritual leader, who could be said to have been assisted by China (not installed like the current Panchen or kicked out).

The instant presence we talk about is Jnanadakini. If we are not in that state, Jnanadakini does not exist. She is the essence of all Jnanadakinis or wisdom dakinis, the union of all three kayas. The dharmakaya aspect is Samantabhadri. the sambhogakaya aspect is Guhyajnana. One nirmanakaya manifestation is Gomadevi and another is Mandarava. Her real essence is the state of our teacher manifesting in the form of the Wisdom Dakini. This is why we call her Guru Jnanadakini. The Essential nine-syllable mantra of the Guru Wisdom Dakini Gomadevi (daughter of King Jah) is as follows: OM BAM JÑANA DAKINI HUM A.

So normally, Guhyajnana and Jnana Dakini are taken as about the same, but, whereas Lion Face Simhamukha is her Wrathful aspect, Lion Face Ziro Bhusana is her Guru. Simhamukha has the proclivity to demolish black magic; Ziro Bhusana is highly instructive to Yoga and Pranayama.

Using the actual Jnana Dakini rite without full preparation and training seems like using Varahi and Cinnamasta the way it is published. Dakini Jala is a prior or Yoga level Jnana Dakini as the empress of six families, so, it grows her from conceptual to actual. This is more like Guhyajnana, who is "in the wild" and can osmose into greater potency. The Rinjung Gyatsa format of Guhyajnana may be found repeated in a terma as well. So it looks like the same thing was both transmitted and hidden for future discovery.

Guhyajnana is our patchwork guide linking Dakini Jala and Samputa to Jnana Dakini. Jnana Dakini arises from Dakini Jala, and Samputa is a later anthology that quotes both.



Khandaroha is a general mantra for banishing and clearing around Varuni, and we will find the designated bearer of "processed" Varuni is Vetali, the author of Yamari Tantra, Jnana Dakini. Khandaroha may use her first syllable "Kha" for banishing, but as a Mahasukha Dakini, uses "Ni" which we found previously with Parasol:

In The Kiratarjuniya of Bhairavi, Yudhisthira draws attention to Vinaya and Naya which both derive from Ni, to lead or guide. Duryodhana will fail to keep his false pose of humility, while the Pandavas' friends tolerate him with an equally false courtesy. At any rate, Ni can extend to govern, like a queen, to direct, or to carry or cross over like Tara. It conjugates into naya, such as in "Apanaya", lead me away, possibly also as in Nayasa. Ni also has the meaning "underneath".

Parasol has the advantage of being an outer deity, and ultimately, being the fully developed Usnisa chakra, though lacking or not expressly teaching the "middle part" or Pranayama that lies between the two.

We have not quite added Vajra Netra or eye opening Entering the Mandala. And so if we look at the basis of a magic circle, there arises a Crossed Vajra from which comes the vast Vajra Ground or Bhumi, and one moment after that comes Fence. And so by way of limitation, there is a deity that does this, and only this, Sukla Tara, and so if we want to try to make it work right, she is in the Cemeteries. And this means all the Gauris and Tramen and having closed the senses and forbidden orifices, those places are the "burning ground" where this takes place. Correspondingly, there are Peaceful Cemeteries when the furnace is finished. If Tara unlaces the knots in the aura, inner fire cleans the channels and chakras from old thoughtforms, congealed elementals, or whatever has accrued to it. There was some reason Tara was the Moon's Mistress and, physiologically, repairing subtle pinches and twists is her task particularly, which is why we would say as a "class" of deity, she is desirable. Her name as Sukla specifically says Moon Light; being the experience and potential power of Vajrasattva.

One should not exceed that point until all the realms are nailed shut. Jnanadakini does this with a set of syllables where Vajradakini is the exception. One proceeds further and further to Brahmarandra or Mahasukha Chakra being the sole access point to experience; Dhruva, Pole Star.

Vajra Ground is the First Bhumi wherein Vajrasattva must be established as Mudita, which is meaningful both to Four Brahmavihara which never ceases magnifying, and to tantra as the First Joy.

In other words, squeezing heat into Joy that is stable on Vajra Ground is closely contemporaneous with crossing the cemeteries. In the case of cemeteries, it is realistic to try it around places or situations that would usually be avoided. Actual ash smearing around exposed corpses is not necessary, but the inner meaning of it is. At this point if we think of Ash we should simultaneously call to mind Kunkuma, which becomes even more evident since it starts the Homa as Power of Kumari. Like Kumari, there is also an elusive Jewel Ghoradakini on Peacock; Red Ghoracandi is with Seven Syllable deity and does not seem much different from Charchika as a hypostasis of Chamunda. Whether the two Ghoras are related remains to be seen.

Jnanadakini says that Vetali has to do with Nectar and Taste--Rasa.

If it seems strange a sadhana might use, banish, and re-use a deity, Roll of Thunder's Yamari casts Sumbha twice, and Rasa twice. It says:

whatever good or had forms there are that appear to the sphere of eye conscious¬
ness in this continent Jambudvipa and the other continents Videha,
Aparagodaniya, Kurava, and so forth, as well as the subcontinents
are all reflected in a double-sided mirror held in the right hands of
white form goddesses who then without hesitation or miserliness, and
with respect, offer it to the root and lineage gurus and the assembly of
personal deities that are the collection of deities of Yamantaka. Apply
the same reasoning to the other [offerings],

[Sounds, Scents, Tastes, and Touch]

The vajra-sound goddesses (shapta-vajra) are blue; the vajra-scent god¬
desses (vajra-gandhe) are yellow; the vajra-taste goddesses (rasa-vajra)
are red; and the vajra-touch goddesses (parsha-vajra) are various colors.
Following that sequence, they hold a stringed instrument, a conch shell
filled with perfume, a skull cup filled with the nectar of a hundred
flavors, and heavenly silken fabric. All of the goddesses have beautiful
faces that are full like a moon; they have wide blue eyes like fresh utpala
petals; their lips are radiant like bimba fruit; their teeth are white like
a rosary of pearls and have perfect texture; their breasts are soft with
narrow cleavage; their waists are thin, and their lower parts broad; they
are elegant and move slowly; and they wear jeweled ornaments and
silken fabrics. In that way, fill the sky with emanations of such god¬
desses who present outer and inner objects of desire.

Furthermore,
all of the vajra-form goddesses dissolve into one another until finally
they are absorbed into two. Those two enter into embrace with your
two eyes generated as Vajra Eyes. Likewise, the vajra-sound goddesses
enter into embrace with Vajra Nose [?]; the vajra-taste goddesses enter
into embrace with Vajra Tongue; and the vajra-touch goddesses enter
into embrace with Vajra Body at the forehead. Imagine that you give
birth to spontaneously born bliss and emptiness.

Then after the skullcup offering is raised:


imagine that offering vajra-taste goddesses emerge from
your heart, holding skull cups. Imagine that they scoop up the nectar
and offer it.

So even though Vajra Rasa went to an embrace with Tongue or a Bodhisattva that is Taste Consciousness, any number of them come back to do this offering.

Later, one can offer personally-consumed nectar to deities that have been absorbed in one's body:

OM AMRITA SODANA VAJRA SVABHAVATMAKO HAM


If it works, this Rasa will definitely go somewhere; with some sifting, it can be found as the segue' from Dakini Jala to Completion Stage, or that of the Highest Yoga:


Jnana Dakini appears to have Four Gauris (NSP 4): Vajradakini, Ghoradakini, Candali, and Vetali of Ambrosial Water, and then just Four Tramen and Four Gatekeepers. The first group changes when she may be in Akshobya or Vairocana Family in union with Yogambara (NSP 14) to Sasvata Vajradakini on Elephant, Jewel Ghoradakini on Peacock, Lotus Vetali on Garuda, Amoghasiddhi Candalini on Servant, reverse order--so in this instance Jewel Family physically moves North. There is a second ring including Dakini and Pukkasi, and several more rings, much more complex than her basic. This indicates that Dakini and Vajradakini are not the same.

We have seen her solo mandala before, which in this example seems to follow the Yogambara pattern, and at least appears to match Jewel Family in the north; she is so intricate, she has a different Quintessence in each Cemetery, which is like a different energy-drop of winds formed by binding each door:










Tibetan Art has a close version with a detailed explanation extending to the Thirty-seven points, including "four identical one-faced and two-armed dakini-goddesses, who each hold a khatvanga and a skull-cup in their right and left hands, and sit upon a sun disc, lotus, and lion-throne. In the east (bottom) is white Vajradakini; in the north (left) is blue Ghoradakini; in the west (top) is red Vetali; and in the south (right) is yellow Candali. These four goddesses respectively belong to the Tathagata, Karma, Padma, and Ratna Families," although I am not exactly sure it is "south" that goes north, only its former color. The order is perhaps mistaken in this synopsis of Four Pithas. The proper NSP chart shows a reversed ring and that her middle ring reverses again, and then the outer ring reverses back. Candali should be in the south, or viewers' left, and if the point is the casting order is backwards, I am not sure that implies the meaning of a direction like south changes.

The point is definitely that it is backwards, if we are thinking of using similar deities, forwards, at a Yoga level.

Now I see why that chart was not more obvious, it is in Russia, a very complete site which has this for Guhyajnana:







It includes drawings from Bari Gyatsa which includes Slapping Aparajita and Sukla. It likewise has Mandalas of Vajravali including Vajramrita, and, since those descriptions are poor, they are clear in this file list. Here is a secondary mandala list such as Dundubisvara and Mahavidya. And some numbered ones. These are very similar to the outline sketches on Himalayan Art, but here, the Russians have correctly identified a few obscure things we were looking for.

We can find Marici's large mandala has both Varahi and Varahamukhi--but not Vajravarahi or Vajramukhi. Pancha Raksha blatantly uses Kali and Kalaratri. Rupini shows up again in Buddha Kapala; he and Mahamaya are both called Heruka; and Buddhadakini is in Akshobya Family during union. The solo Heruka just has the Gauris with Sabari and Dombi; then, The Two-armed Heruka is embraced by Nairatma, the Four_armed Heruka by Vajravarahi, and the Six-armed by vajra-srnkhala. Two and Six-armed Hevajra both have the Samputa Vajraraudris, which is cast normally. What this means is, it goes clockwise, and goes again around the corners clockwise, which places Vajradakini in southeast or Agni corner. They also agree that since Sixteen Arm Hevajra has the same Gauris as Heruka, the two are somehow conjoined.




Because Gauris are a "class" and are found to be meaningfully shared between different deities, across Nyingma and Sarma, then there is another ring which is shared only in two places: Samputa and Hevajra share Vajraraudris. There is Samputa Vajrasattva, and Samputa Hevajra, so they are from the same book. The first lacks Gauris, and has a nucleus of Jinas and Prajnas; Samputa Hevajra does not have the nucleus. Hevajra from Hevajra Tantra is different, Kapala Dhara, he has a skullcup in every hand, with various ingredients. His two arm form is Sahaja Heruka (the main visualization of generation stage), and his scale is two arms--body, four--speech, six--mind, and then a sixteen arm form--Heart. Samputa Hevajra works the same way, with weapon attributes instead of bowls, and is mainly used in Nepal. In Circle of Bliss p. 456 they say the large weapon Hevajra is the one with sixteen goddesses, and the Eight Gauris in Hevajra Tantra are two armed. NSP says all Vajravali--Samputa Hevajras have sixteen goddesses, but the large Hrdaya form has Gauris, Musicians, Tramen Gatekeepers. The inner ring changes from Vajraraudris to Gauris; there are still sixteen.

Mitra Yogin's 108 Mandalas is a Japanese version wherein the author also clearly describes that Vajraraudris are only in Samputa and only in the NSP version, and not known in Abhisamayamuktamala. The author did not add Samputa to their titles (15 to 18) which keeps this masked. However it does connect Samputa Vajrasattva with Paramadya, which is also in there, which is the original explanation of gnostic Vajrasattva. He also finds it odd that the Vajramrita mandalas match a Vajra Family pattern. He was unable to identify Advayavajra's Samvara--which means Maitri's Seven Syllable Samvara and the six spoked wheel with Jigs byed ma (Bhima) and the others similar to Taranatha's Armor Deities. But in general it is accurate to NSP and Vajravali and shows Parnasabari with the Four Kings. Mitra is considered personally close to Ekajata and Sukha Dakini, and the transmitter of Seven Syllable deity.

Tibetan Art portrays the large Samputa Hevajra with Guhyeshvari Kali at the top centre, flanked by the four Newar aspects of Vajrayogini; and with the ten-armed form of Buddhadakini Vajravarahi at the bottom centre, flanked by red Kumara and white Ganapati (sons of Shiva) with their consorts Kumari and Lakshmi. Guhyeshvari's main human face is blue; she has eight tramen faces topped by Lion; and her upper human face is yellow; this form is a Hindu Guhyakali from Mahakalasamhita. Vajrayogini is considered the consort of Chakrasamvara; In the top right she appears in her six-armed form as Khandaroha Yogini, who is one of the four direction yoginis that encircle the central dais of Vajrayogini's five-deity mandala. Red Khandaroha abides in the east and traditionally holds a skull-cup, curved knife, damaru and khatvanga in her four hands, but she appears here with six arms holding a curved knife and skull-cup in front of her heart, with a damaru, rope-noose, lotus and bell in her other four hands.The lower Varahi has two Ghonas and shares Varuni's trait of being on a fish. Guhyeshvari's heads include the first tier having the heads of a horse, a makara, her main human face, a garuda, and an elephant. The second tier has a boar, a tiger, and a monkey head; she shares Varuni's trait of Bindu Kapala Mudra at her heart. The Vajrayoginis are Swayambhu Bijeswori Maitri Vidyadhari Dakini, Sankhu Naro Khecari, and Pharping trampling Maheshvari, and they do not know where Khandaroha is from, except she belongs in the mandala. The other sites "conceal" the rest of the Mahasukha Dakinis. In other words, Guhyeshvari is surrounded by Dakini, Lama, Khandaroha, Rupini, esoterically. Shakti Rupa says The Four Great Yoginis are Vajradakini, Vajralama, Khandarohi, and Vajrarupini, although I have not seen it this way in a scriptural source, and Dakini and Vajradakini seem to be distinct.


Trailokyaksepa Hevajra with VajraRaudris, Musicians, and Gatekeepers:









The text says a two, four, or six armed Hevajra may use this retinue; Hrdaya Hevajra changes the Vajraraudris to Gauris. The two types of rings do not appear at the same time. Is Ksepa the same as Vijaya? No, in the Three Worlds, he "throws his limbs":

The throw (kṣepa, क्षेप) of the limbs must be without any inhibition. What is experienced is a gay abandon. Such throws must be guided by beauty and grace. The word vilāsa signifies this.

So he is a Vilasa or male Vilasini. Virupa's Vajrayogini begins by saying Locana and others are Ten Vajravilasinis in an equivalent way to the next line saying Yamantaka and others are Ten Wrathful Ones. That piece is based on Guhyasamaja Trikayavajrayogini. The subsequent song puts her in Kubjika's family in verse fourteen. This has a close Shiva Ucchusma parrallel: Ucchusma (‘Desiccating [Fire]') is the first of Ten Rudras, who have female counterparts by the same names, and in some variations, Candali, Matangi, Sabari, Yami, and Pukkasi start showing up, until the reviewer finds that there is a common group in dharanis as we found with Parnasabari, five non-Vedic goddesses: Gauri, Gandhari, Candali, Matangi, and Pukkasi. So they straddle a twilight area between Ten Vilasinis, and various sized groups of Gauris. Although Parnasabari is a major exoteric goddess, she is used in occult healing, and burrows right through Yamari into Dakarnava tantra, with this group and Janguli. And in the Shiva tradition, it would be an instance of Ghori as a distinct individual from Candi or Candali, who could be accepted consorts of Canda. If Candi is Air Tara, then Air Candali makes sense due to identity.


Himalayan Art has a Samputa Hevajra that must be using Gauris, but the resolution is not that great. There is a much sharper Shangpa version that blends Tramen, Musicians, and Gatekeepers into one, and so the Gauris are skewed from their directions, but, the Agni Kunda can be found on one. They have at least two "Vajravali Samputa Hevajras" which turn out instead to be Kapala Dhara with two arm goddesses. The correct one was made by Newaris, so the upper left large form has the Gauris, the other three have Vajraraudris, and the second ring of Musicians and Gatekeepers is the same. Hridaya Hevajra should have Tramen Gatekeepers, but these usually bear the standard items. There is a Samputa Vajrasattva related to Jnana Dakini, and a mural which has enough multi-armed deities that it would require close scrutiny. Some of them seem like they are missing, which compares to this mandala detail, which, owing to the fact eight are in the square wall which is clipped out, blatantly lacks two Vajraraudris in the east and north. They are all present in the publication which may have the same things as the Russian site, tagged with a number or inappropriate name.

Jamgon Kongtrul mentions Samputa a few times:

For Mahamaya, the shape, mantra, and reality;
For Chatuhpita, the four seats; Samputa, seven secrets;


The Continuation of the Samputa Tantra is to be expounded by means of
the seven secrets, such as the obscure. These are summarized as follows:
one, the obscure, the causal continuum, the meaning to be understood;
two, the concise formulation of essential reality, the eleven [vase] initiations; three, the five seed syllables, the phase of generation; four, the concealed sacred element, the view that realizes the meaning of essential reality;
five, the secret lotus, the path connected to the third initiation, the means
of the mandala circle; six, the joy at the navel, the phase of self-blessing;
and seven, that which serves all [purposes], the different branches of the
path such as pledges and vows.

The Samputa and the Net of Magical
Manifestation, and masters such as Nagarjuna and his spiritual heirs teach
in addition the preparatory ritual of the earth goddess.

That means it begins like a Homa.

In 2016, "Before a Critical Edition of Samputa", we find that only paper copies have been used in translations. One of the main unworked originals is Hodgson's manuscript from ca. 1045 which includes Samputatilaka (eleventh chapter, "Continuation", which uses portions of Tattvasiddhi). Samputa shares verses with Chaturpitha. The study dissects the origin of every bit of Samputa, mostly from Chaturpitha and Hevajra, Dakini Jala, Maya Jala, Vasanta Tilaka, Vajradaka, and various Chakrasamvaras. It says Marici and Parnasabari are used. There is very little original in Samputa, but it sculpts a relation among tantras, with the overall purpose being Homa. It has nothing to do with Kalachakra, which was almost certainly published later. In its place we would set Dakarnava which is based in all of our stuff.

Samputa Tantra, Abhayakaragupta, and Vajravali are all working towards Agni Homa.

What appears original in this tantra is the Vajraraudri goddess ring shared by Samputa Vajrasattva and Samputa Hevajra; they are with Body, Speech, and Mind of Hevajra, and with the large, elaborate Vajrasattva. Jnanadakini was written first, and, from her, Vajradakini is the only one placed in this group, and would seem to be associated with Agni by design, since she was moved from the East to his corner in the southeast.

Concerning who the Vajraraudris are:


Samputa Vajrasattva's core is Jinas and Prajnas; and, his special ring of Four Armed deities is cast normally. The cardinal directions as a cycle are Vajraraudri, Vajrabimba, Ragavajra, and Vajrasaumya; and the second cycle to the corners are Vajrayaksi, Vajradakini, and Sabdavajra and Prthvivajra.

Vajraraudri is with Seven Syllable deity as found at Ratnagiri; Smoky, Hrih-arising. One could say Seven Syllable mantra begins with Om Hrih like Ziro Bhusana and Guhyajnana, and the rest are wrathful syllables; Hrih perhaps being semi-wrathful if that makes sense as with Guhyajnana. Vajrashrnkala at one point seemed to be the Activity of this Vajraraudri; both are Samadhi. If we take it literally, Raudri is Maheshvari--Ghasmari. A Chinese basket has a thangka of her, but she is not smoky, and with Seven Syllable, she is loose hair, naked, greatly fierce, three eyed, four armed.

Bimba is one of those words which in astrology, means an original orb such as sun or moon, but otherwise usually means reflection as was discussed at Rajgrha:

They accepted that dharmas are like a reflection (bimba). The reflection (bimba) in the mirror is not produced by the mirror (ādarśa), nor by the face (vaktra), nor by the person holding the mirror (ādarśa-dhara), nor by itself (svataḥ); but it is not without causes and conditions (hetupratyaya). It is the same for the dharmas: they are not produced by themselves (svataḥ), nor by another (parataḥ), nor by both together (ubhayataḥ); but they are not without causes and conditions.

On its own, Bimba is used in a conventional way, but this Vajrabimba deity is found in:


samaya-saṃbhava-ratnādhiṣṭʰānaṃ samādhi

In STTS, Vajrapani is Maha Bimba. Around the middle of the text where we might first look for the main meaning, there is a turn of phrase after a dozen or so invocations and descriptions of Suksma, at:

sarva-tathagata-suksma-jnana-vajra-bimbam atmnam adhisthaya

followed by a large batch no longer pertaining suksma, but to Vajra Bimba, and what appears to be four heart seals:

vajra-ratn'atmaka'//hrdaya-vajra-surya'// tistha vajra-dhvajagravam'// hrdaya-vajra-hasa'//sarva-tathagata-vajrabhiseka-jana-mudrah/

Jewel Family is intended to match Vajra Surya as a wrathful, in this somewhat difficult document, which is the name used in Sarvadurgati and Dakini Jala.

A more extensive Gretil document invokes Vajra Bimba four times related to Nidhi; and then Nidhi opens into Vajra/Ratna/Dharma (Lotus)/Karma Families, or, it is a type of Pancha Jina evidently stemming from Suksma, which links Ratna to Vajra Family via Nidhi, secret subterranean treasure; Yaksha realm. The relevant mantra is Om Tishta Vajra, a vajra in general stands at attention, or, Hand Symbol manifests. This central Samputa is called Vajrasattva, "or" Vajradhara, in other words a hypostasis, where they have blotted out Akshobya. It is the same concept as Kagyu Guru Yoga; the one is the forefront of the other, who does not directly teach us, but to Bodhisattvas. To us it is tantra. Vajrapani does most of the explaining to Mamaki.



Male Ragavajra would be a form of Lokeshvara or of Atisha's Ganapati, one of the common phallic deities, of Vajrabhairava, Yama Dharmaraja, Black Jambhala, Ganapati, and Mahadeva. It means he has Mahasukha.

Rāgavajra (रागवज्र) or Mahāmāyā is the name of a deity associated with the Āyatana (sense) named Mukha, according to the 9th century Vajraḍākatantra chapter 1.16-22. If Mukha is not meaning the face generally, its next choice is mouth, so this must mean taste. Female Ragavajra is Vajrasattva's first glimpse in the East, so to speak, at non-duality; there she is in Vajra Family, and her duty is to please Vajrasattva's mind so he will not swerve from the thought of Enlightenment. The basic pattern of that one formula is more or less permanent, in the sense that each portion is forever increasing. But compared to that first retinue, now for Samputa she moves West, in a manner suggestibly close to a female equivalent of the male version.

Saumya (सौम्य, “pleasing one”), alluding to Soma, lunar (there is also a male one in Chandra--Moon mandala, Yellow on a Lotus in the South), is a Vidya or Wisdom produced by Vajramrita Tantra. She perhaps is an Amoghasiddhi deity close to Ghanta--Bell, which would fit North here. If Ragavajra has a need to please, here is the ability.

A similar statuette set from Forbidden City:

1. Vajraraga (Fo mu) (Ragavajra). 2. Vajrasanti (Fo mu) (vajrasaumya). 3. Dakini (Fo mu) (Vajradakini). 4. Vajrabhumi (Fo mu) (Prthivivajra).


In the corners of Samputa's mandala, Vajra Yakshi--secret world is before Vajradakini--flaming crown, followed by Sound which perhaps is Gandharvas, and then Prithvi here is likely intended as Vajra Bhumi or First Bhumi.

The male Vajra Yaksha is an all-purpose banisher in Yoga tantra such as Vajradhatu.


Vajradakini is The End of Seven Syllable mantra: Upeksa. So two Seven Syllable deities are in this retinue.

Jamgon Kongtrul ends his long list of initiations with the cycle of Vajradakini Sitatapatra and the cycle of Padmadakini Kurukulle; Mongolia has a Seven Arm Sitatapatra. In this index, Vajradakini Nispanna Krama (Completion Stage) is by Vinapada; her sadhana is by Dipamkara. I am not sure how you count him as an author. She has another sadhana by Kanha, and a "Giti Nama" translated by Sha ma Lotsawa, which sounds like a namasangiti, name song.

Vajradakini's Completion Stage author is Vinapada in Melody of Dharma:

The lineage of Ashvapada, Vinapada,
Indrabhuti, Lakshminkara
Lilavajra, Ghunaderi
greatly compassionate Master Padma

and is mentioned similarly in Indian Kavya Literature, and thought of perhaps as a teacher of Tilo (whom Taranatha does not mention).


In Nepal's archive, so far there is only Nagarjuna's Vajra Devi Stotram, where she is Varahi, Vilasini, Jnanadakini, and others; verse two starts:


nagnāṅgā grīvamālyā naraśirasahitā bhūṣaṇaṃ pañcamudrā

which includes the name Ziro Bhusana if you splice it; generally saying Naked Body Neck Garland Human Heads with Ornaments of Five Seals. This Vajra Devi is in at least Vajra and Tathagata families; the verse quoted is a Padma Rupa.




Kongtrul saw in a dream:

Seated on thrones were the deities Vajradakini and the three-faced, six-armed form of Simhamukha; they effortlessly bestowed on me a blessing of supreme timeless awareness, the unity of bliss and emptiness.

He does not seem to have Ziro Bhusana in his bag; for the Red Power/Subjugation deities, he says:

In answer to a sudden invitation by Gyalsé Mingyur of Tsenri, Khyentsé Rinpoché went there, where I was able to receive from him...the oral transmission of Guhyajnana...

and in his sadhana list:

Three deities of power—Kurukulle, Red Vasudhara, and Tinumadevi (Nyen Lotsawa)

so he does know the Ziro Bhusana author.


Kongtrul begins his classification of Anuttarayoga — Mother Tantras 1. Sarvabuddha-samayoga [Dakini Jala] one hundred and thirty-five and one hundred and twenty-seven deity mandalas 2. Sarvabuddha-samayoga Vajrasattva two hundred and eighteen deity mandala.

Samputa Vajradhatu and Samputa Vajrasatva are called Non-dual. Spiritual Advice includes Mayakaya Maheshvari mandala (Shangpa Kagyü), shortly followed by Vajrayogini mandala (Rechungpa).





The rest of Samputa's retinue uses a slight trick.

If we see how Bimba is in a Catuskoti with Adarsha, then, after Samputa ends a cycle abruptly by "doubling" Gandha Tara and Gandha Vajra, his last cycle before Gatekeepers is:

AdarsI, Rasa, Sparsha, and Dharma [Dharmadhatu].

It is, perhaps, going inside the Mirror or Form via Nectar, Purified Touch Object, to Dharmadhatu Vajra and Dharmadhatu Ishvari.

The last deity is equivalent to the culminatrix of Dakini Jala; or, conceptual Ishvari realized as Dharmadhatu Ishvari, who esoterically becomes Jnana Dakini by using Four Chakras.




Rare Explanatory forms from Bari Gyatsa

Aparajita:








Gandhari:







Shrnkala:











Sukla Tara: