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

[shaberon]

Vedanta is the "end of the Vedas" or Upanishads, which the Brahmans got from the Warrior Kings. This "is" the esoteric tradition in the way that the Vedas are "vessels of Brahmanical secrets about esoterics".

I am only familiar with his student Marija Gimbutas, but this Mackenzie asserts a neolithic matriarchy replaced by a bronze age patriarchy. In doing so, he places the settlement of Britain over 30,000 years ago, which sounds more accurate than the Lost Tribes theory.

Part of his evidence is The Gundestrup bowl "on which the Celtic god, Cernunnos, is postured like a typical Buddha".



From the Nepali view, I might think I am seeing Pashupati.

In the Buddhist view, the primary attribute is the right hand, being a torc or serpent returned to itself, also worn on the neck, indicating throat energy. He shares an aura with his mount, a stag, which indicates the way in which the deity interacts with the world, and it is in the Family of Taurus. The other side looks like a cycle including a man on fish which we would assume as Matsya avatar.

Father Tertullian informs us the Gospel had been accepted outside Rome.

At this point in time, his church is a relatively limited bishopric, and the next main part of the plot is bringing more bishops into the fold.

If Nag Hammadi is any clue, I cannot place a limit on how many Gospels or streams of transmission there may have been. I think St. Patrick of Ireland is said to have come from an extra-Roman jurisdiction. I just don't know any examples of this like you have Thomas in India. Because Pilate had a Caledonian guard corps, they had not just access to Palestine but outright favoritism. With Joseph is also the question about Mary Magdalene at Marseilles and so on. Bart Ehrman is a good starting point for Gospel questions. There probably is something to this, and it probably gets scrubbed before long.

Gaulic druidry flourished at Alesia and Bibractis and continued until Arles, 270. While not directly related to Gospels, it shows that the Roman way had not been yoked everywhere yet, and France is the first and most important place outside of Rome. Her future will be marked any time any bishops say something different from the Pope.

Mani was a reformer in the situation where Zoroastrianism had already suffered many conflicts and wipeouts and so forth. It seems to me that his material was lifted out of Persia and used to create the "Devil" that exoteric religion relies on. So B. P. Wadia gives the esoteric explanation about this. Essentially, his story remains the same since old times, but the West took a distortion of Mani and repressed the rest pretty much until Wadia explained it.

The actual Chaldean Magi Abraham and Latin King Saturn have been ground up into a Canaanite volcano protector, whose devilish arch enemy is a distortion of Ahriman, sweetened by a few Jews accepting the messiah. Judaism for the goyim. This sums up the Tertullian formula, soon to be added to the divine rights of kings.

We say the Vedas themselves are the oldest written record of the tradition from Central Asia. It is accepted that geologically during the last Ice Age, the interior Tibetan glaciers were, of course, growing, but there was a massive amount of snow melt on its frontiers, and today's deserts were then paradises. The last bit of it did not dry out until the sixth or seventh century.

Is this "Proto-Indo-European"? I saw a language study that suggested that instead of being guttural grunts or some kind of childish caveman squawking, this language was poetic.

Similarly to how inflectional languages change their meaning with the rising or falling of the voice, the speech of this language took place as poetry if not outright song.

Indo-European language theory is inseparable from supposing Avestan Zaratustra is a parallel stream of Sanskrit Agni Hotri, which, from their own internal statements and general evidence, would seem to stem from this common root of Central Asia. In the face of geological change, the newly prepared area was Nepal. In essence this being the primordial "flood myth" from which others derive. This is rather clandestine and the relatively close urbanized equivalent is Kashi--Benares at Varuna River.

[shaberon]

Donald Mackenzie gave us a look at Cernunnos, sometimes accociated with Baphomet:




Portuguese 1500s

Baphomet was first known to be referred to by Friedrich Nicolai in 1782, "qui utilise le premier le mot Bafomet qu'il associe au Dieu suprême des gnostiques manichéens" and said to be of the Templars.

HPB stated that the most knowledgeable non-initiated masonic writer was J-M Ragon, who was also relied on for instance by Eliphas Levi and A. E. Waite.

He was a prolific teacher who spent hundreds of pages explaining The Mass and Mysteries, and he worked closely with Fabre-Palaprat and founded the lodge Les Trinosophes. Fabre-Palaprat seems to be saying that he was given a Templar tradition which he admits is a likely hoax, and so they are in fact neo-Templars; he also opened a Johannite Church.

Ragon said that Magism is the science of sciences, and that knowledge about physical science was preliminary to occult science. He attributes Cardinal Baronius with the idea to sanitize the "many hosts" and present "only the trinity". He says St. Germain's philosophy is that of Lucretius. He thought Ashmole founded modern freemasonry. HPB thought the Jesuits tried to mop up most of his books.

Around 1815, the lodge he founded was based around something like the Cipher Manuscripts used by K. Mackenzie, which was the Trinosophia and we can see a 1933 version. This is considered among the rarest of manuscripts, from Cagliostro or St. Germain. It either passed through some hands, was given to an infant, or St. Germain survived his reported death.












What we can take away from the foregoing is that, in the Ragon train of thought, there is a kind of shared mental heritage with the Templars, Johannites, and Magi, and no real kind of inherited institution, i. e. not actual lodges and orders. Prince Karl of Hesse joined numerous orders because he had a hard time getting it. Fratres Lucis claims its continuancy in some unseen way, so we are saying, there is a real one, with numerous copycats, spinoffs, and misunderstandings. For example Kenneth Mackenzie would be an isolated branch that resulted in a different program than Theosophy. His source(s) may not have done so.

We can show what the relatively small corpus of literature is, and it has been the same consistent bowl of stuff all along.

The Trinosophe Lodge refers to Lord Byron as being a Freemason. Here is a long academic paper on Greek Masonry which Byron is thought to be involved with. The paper gives us some insights as to how Willermoz of Lyons slipped from Martinism, to Strict Observance, to Scottish Rite, and then correspondingly how Mizraim emerged. These are all competing versions of something to add onto Craft Masonry.

[shaberon]

There was a dispute about who Magister Pianco was.

So under Maria Teresa, the Rosicrucians took a drubbing in Vienna in the 1770s, compared to which, the baiting and hunting of Deists, Illuminati, and Jacobins is called child's play. After her, Josef II became a protector in 1780, but most of them had gone to Berlin. Or, the Fratres Lucis moved, to whom very few Rosicrucians were admitted, because they were mostly tainted by a thirst for gold and various powers.

Von Ecker had been in the German Rosicrucian body, and he left because he began to doubt the authenticity of their knowledge. Due to the friction, his Rosicrucian uncle Phoebron blamed him for being Magister Pianco. He denied this, based on a manuscript held by Isabel C-O that the Germanic historian Kloss had never seen. In fact he specifically says it was Friedrich Gottlieb Ephraim Weisse. He claimed mysterious dealings with a "Lodge of Seven Heavens" (Vienna) which is unknown.

At the very major 1782 masonic conference, we can gather a few understandings, which is mainly, Strict Observance fell apart; at least two people mentioned a very dangerous conspiracy against church and state--with no further details. This does not appear to be von Ecker and F. L. because he couldn't get it started. They knew he was coming and made a protest against him, calling him Satan's servant with a bogus new order. This basically is the firm Christian standpoint. It's a bit confusing because he obviously got kings of Prussia. One problem is simply a fundamental religious issue about whether or not Jews are allowed; at this time, it is something that even Rothschild would have to aspire for. Karl of Hesse did not initially sanction such a lodge; but he was not anti-Jew. He abolished serfdom in 1790 and assisted the "Golden Dawn" Jewish lodges post-Napoleon. He was Grand Master of Rectified Scottish (Willermoz), or Reformed Strict Observance, 1796-1836, living 92 years.

If von Ecker's F. L. was having a hard time getting off the ground in 1782 (and he soon died), one would be hard pressed to describe that as an existing, invincible conspiracy. Maybe you could if you were paranoid about Satan, but amongst Dukes, military men, it would probably be something tangible. And mostly what we can find is that the British Empire has hit its peak and is planting mole systems, and can pretty much be shown to cause France and Germany to pay some high prices. Strict Observance was seen as having an "economical plan". Looking at someone like Karl of Hesse, who seems to be in the middle of all the "known, public schools", we see he had a hard time understanding mysticism, and was a nobleman who tossed favors to serfs and Jews, which sounds fairly Renaissance humanistic and somewhat radical for the time. He and those kings and so on are simply a branch of the F. L., and, if some of the line takes the literature and goes out with malign intentions, the core can probably only withdraw from them. And I think someone like Karl is apt to be taken advantage of. I am not sure if they can tell us much more, but his Lodge remains in continuous operation.

Von Ecker had been in Vienna working to purify the occult organizations in the 1770s and then went to Berlin, where he admits he accepted people into a "new and better regulated system" meaning Fratres Lucis. So Frederick William II was in this, was also a zealous Rosicrucian, was in Strict Observance, and was friends with St. Germain. If Fratres Lucis "was" the Rosicrucians, he would have had nothing new to join.

The fact that it is different and was never popular because it is too difficult is shown from the manuscripts of Count Wilihorski or Wieligorski of Warsaw. It refers to its Fathers as Heads of the Seven Churches of Asia. It has three degrees of Knights, then Levite and Priest. Unlike most other systems, it simply says the Knight degrees take seven years. The body had a total probation of fifteen years before you could even vote in it.

What happened was that when Austria and Russia shut down all these lodges, they simply dragged the library contents back to St. Petersburg and Moscow. From this one Polish count came fifteen hundred occult books and innumerable manuscripts. The Theosophists managed to find the Fratres Lucis manuscript in all that stuff. This is perhaps their most unique piece of evidence, and if the system can use the number seven or a multiple of seven, it does so.

If nothing else, we find something with a massive probationary period, which is neither Masonry nor Rosicrucianism, although it recruits from such bodies. Von Ecker's opinion of the typical Rosicrucian in his time is pretty much the same as what the G. D. looks like today, i. e., offer and promote wealth and power.

Poland was being invaded and divided in the 1770s. The first map for the partition of Warsaw includes "...a coat of arms and white eagle, with a dedication to Count Michal Wielhorski, who was then in Paris making a last ditch effort to preserve Poland's "Republic." One very curious element to this example of the map is the use of a modified version of the Kierdeja coat of arms, used by several Polish families, including the Wielhorski family...Count Michal Wielhorski (1730 - 1794), a Polish noble, official, politician, diplomat and writer. He was the Lithuanian "Grande Maitre d'Hotel" (Master of the Kitchen) in the years 1763-1774, Lithuanian Great Quartermaster in 1758-1762, who served as the starost and envoy of the Bar Confederation to France up to the First Partition. Count Wielhorski traveled to Paris in 1770, where he consulted with both Jean-Jacques Rousseau and Gabriel Bonnot de Mably, to submit suggestions for the reformation of Poland's unique "Golden Liberty", which had deteriorated from a semi-republican, semi-democratic political system, into a state of virtual anarchy. This map was prepared during Wielhorski's stay in Paris and undoubtedly reflects the prevailing French Enlightenment sympathies toward Poland's efforts to preserve its independent republic status." (BLR Antique Map information)

From context, this is Count Wilihorski of Warsaw whose library was plundered.

Because around 1815, Napoleon defeated the Knights of Malta, makes sense for Ragon to open Les Trinosophes (Paris) using the "triangle book" of St. Germain. Here is a small Archive for a look at how it wound up in the Getty Collection (a lawyer-enforced estate sale). Nothing if not complex. This Western system is using something like six languages at once. Then I come to some invocations that I don't know are "Enochian" or what. It's going to be pretty hollow if no one can explain Pedinbad and Nolicsaz.

I can look at part of the intro and understand that during an eclipse, one may scry the ocean for things lost since the beginning of time. I'm pretty sure that no one in the 1820s hopped in their submarine in order to recover some missing item from the Atlantic floor. So after the difficulty of decoding, we are left with allegories and useless invocations.

He mentions a conjunction of the "Leg of the Grand Man" with the equinox in Aquarius, which almost sounds like the leg of Hercules, but stars don't move into conjunctions. So that's puzzling.

What I find more telling is that St. Germain is believed to have traveled to Asia and he was known to practice Raja Yoga. All of our "Pedinbads" are explained, and instead of being behind the scenes, Raja Yoga is considered the only reason to live. So what we have is the correct method of practice that can be started by anyone at home. Not many of us will have the chance to really participate in Kalachakra, which is, so to speak, both the highest iteration of Buddhist tantra, as well as what appears that HPB intended as the apex of her direction. This is why I unveiled Namasangiti, with both a sort of occult key and degree scale similar to Crata Repoa, etc., and backed it up with many explanations, which makes an "at home" version of Kalachakra. This moves Raja Yoga to the forefront, because really, this is what needs to become widespread.

I am not saying this "is the Masters' system" but that it does in fact bind together all of the occult knowledge in a systemic way, condensing it into a few pages. As such, it is just giving the training that we could say masters or adepts would scout for pupils. I think there is a lot of value in this literature, and maybe not much value in "all literature"; in his own words, Morya says, "I am no scholar"--meaning he did not know multiple European languages and all of their books. He obviously was well versed in Sanskrit and Chinese classics, and so if he missed out on Charles Darwin or Rousseau, I would have to say he didn't miss anything significant compared to what he had.

[shaberon]

So we found out some things about Fratres Lucis and that Theosophy is really quite close to the whole "neo-Platonic" episode whether in the Roman Empire or Renaissance. It doesn't provide much by way of "secret books" other than indicating relatively rare ones already known. Aside from their personal testimony they only have about three pieces of evidence to distinguish them:

St. Germain's autographed map, which is in the hands of the Russian noble family he gave it to--we presume this is Dolgoruki since HPB had seen it.

Von Ecker's denial of being Magister Pianco, which is in conflict with general information if you look him up. Although a small detail, it is more likely that the Pianco material was written by Jews with German names. This shouldn't really matter, except Christian Fascism likes to find a Jew under every rock and blame them for everything. We haven't quite started a genre of writing using phrases like "the Christian tyrant George Bush" or "the Christian devil on earth called the pope", but, we are not really interested in either religion or the conflict between them; we simply look to find where people may have questioned and moved closer to our neo-Platonic view.

Wilihorski's Fratres Lucis manuscript was not personally given to them, but it does show that around 1780, there was such a thing that seems to have transmitted from Willermoz-->von Ecker-->into Poland, so presumably other places as well. England does not figure in to this very much. We find them doing things like cranking out the "old" Templar Strict Observance, or making Fratres Lucis into the Golden Dawn. There isn't exactly an "original source" there, but derivatives thrown out for mass consumption.

So by the 19th century, our view leaves England almost completely. HPB says, "Of all these degenerated children of Chaldaean Occultism, including the numerous societies of Freemasons, only one of them in the present century is worth mentioning in relation to Occultism, namely, the “Carbonari.” Let some one study all he can of that secret society, let him think, combine, deduce. If Raymond Lully, a Rosicrucian, a Cabalist, could so easily supply King Edward I of England with six millions sterling to carry on war with the Turks in that distant epoch, why could not some secret lodge in our day furnish, as well, nearly the same amount of millions to France, to pay their national debt — this same France, which was so wonderfully, quickly defeated, and as wonderfully set on her legs again."

Also, "But, talk of such a deity — a "NON-EGO" — to the modern priest and theologian or even to the average Mason of General Pike’s school of masonic thought, and see whether the former does not forthwith proclaim you an infidel, and the latter a heretic from "the Grand Orient" of France. It is the "Principe Créateur " of the French Masons, and the same that led, some ten or twelve years ago, to a final split and feud between the only decent approximation on this globe to a "Universal Brotherhood" of Man — to wit, Masonry."

So she is saying that the Theosophical concept of deity has been introduced, but is not really present, within that system. And so for the most part, Theosophy is a feud against Masonry, minus some of the beliefs held by French Grand Orient. But is very close to Garibaldi and the Carbonari, and this becomes the Rite of Memphis and Mizraim, or "Egyptian masonry", which has too many degrees because it collected everything that was available.

There wasn't much like this until Naopleon entered Egypt and they found Gnostics and Druze. The older "Egyptian Tarot" business was mostly guesswork, but now it starts getting solid.

Strangely, our attention goes to Gerard de Nerval, a pre-surrealist poet who is minorly famous; if you have heard of a guy walking a lobster on a leash like a dog, that was him.

Nerval claimed he met a Druze in a Turkish prison and was given information about how the Druze had initiated Templars and others. This is of course HPB's claim. It would be easy to throw away such lunacy from Nerval, except that the Druze themselves make the same claim. In "Voyage en Orient", in the appendix, he wrote a Druze Catechism. He may have been inspired by "Correspondance d’Orient" by Michaud and Poujoulat.

According to Jean-Pierre Schmit (French), there is something more from the Lodge of Hamburg (presumably Karl's lodge). It may be disputed because it's a copy of a copy, etc., copied out of the Vatican, being the secret Templar rules.

Other researchers have found that the author, "Master Roncelinus", was in fact the lord of Tripoli (Lebanon) around the time the document was supposedly written (1200s). Article eight and nine tell the Templars to accept brothers from many places, including Albigensians, Bogomils, and Druze. No one in Europe was believing in a Druze connection in the 1800s. But even if this document is fake, there was, since at least the 1780s, a limited masonic tradition about this.

When French masons had assembled more of a Gnostic-Druze basis, they renounced English masonry, and set up Egyptian masonry in opposition. This is what the Carbonari used. So they may lack a true disciplic succession since ancient times, but, they have figured out about moving closer to the Gnostic system in a way that is against the Pope and against English masonry. Although Mazzini might have been an English agent, with Garibaldi, this new picture comes out distinctly.

Rite of Misraim comes from Venice and the Socinians (Protestants), who were initiated by Cagliostro; they actually refused his Jewish Kabbalistic Rite and only took the Christian Templar version. This became the first Carbonari "recruitment center" in Italy, France, and Switzerland, much despised by the authorities, fervently anti-clerical and anti-royalist (primarily Bourbons of France and Naples). Italian masonry becomes quite fused with mafia, politics, banking, etc., and so this is not an attempt to justify the behavior of all members, but just to say in their archives, they have basketed the most complete and accurate occult knowledge in Europe.

HPB was not a Mason, she was given an honorary certificate by John Yarker; she was not a Carbonari, but only Garibaldi and a limited circle knew the whole truth of what she was doing there. She was a Druze who converted to Buddhism. In most respects, this is done just by applying a certain view towards mostly the same knowledge base available to anyone.

What really prompted her was not anyone explaining or "grooming" her when young. Going from the children's princess story--and this is repeated at other moments in her life--mostly why she was angry, energetic, and motivated, was because: I hate the upper class.

It's not really meant on a personal level, what she hated was the etiquette and pretentious mannerisms, the whole "halls and balls" scene, and this going on with an attitude of superiority over lower classes. She instinctually knew something was wrong and rejected a life of comfort in order to explain it to them. And so in a very Renaissance way, she has packaged all of this upper-class knowledge base and re-sold it cheaply. So do "the elites" really have anything like this to hold over anybody...no, not really. There isn't anything else Masonry has to offer, much as none of the exoteric Hindu philosophies have nothing to give that she didn't give. In fact you could probably say "the elites" have less, because obviously they are prone to white knuckle grip a limited splinter of the overall tradition, invest time in rituals, and usually not have the same kind of heart to put into what they do.

What we are doing is removing all traces of Western upper-class superiority and replacing it with Raja Yoga.

It's gotten started, but, some of the reactions seem rather strange. I guess we lost the subscriber, but, we did have an opportunity to see something about Durga renamed to Innana and channeling her. I don't think this comes from any classic text. I don't know why you would do that. She seems to have a more specific meaning related to purifying the senses. All of the basics are about how a planet governs a sense related to an element, or, a state of consciousness corresponding to a state of matter. Esoteric Durga is more or less the entry barrier to the true transcendental states of being. The main passage is via Emanational Rites, chiefly being Mantra. So we just want to present the meanings and see how it works.

[shaberon]

Napoleon really tipped the scales when he was only a general.

This is a point where two centuries of "Egyptian Tarot theories" become "actual Egyptian stuff". As Lebanon is quickly in the same situation, there is a similar stance with regard to the Druze. One could strongly question the accuracy of Nerval's claims if he could have reworked something out of the Correspondance d'Orient or from Silvestre de Sacy. The latter appears to be a Jewish Jansenist. I am not sure how that works, but there it is.

It may be evident that a part of what we are trying to do is counter intelligence so we can see through things and someone out there did a brilliant job of catching Nerval's Lobster as



In the nineteenth century, Pope Pius IX made a fuss about one of the Templars having been baptized by the Mandeans, and here we have a similar but much more nebulous suggestion they had also been inducted by Druze. These are different groups and, one may think about masonry and consider Baalbek and, no one is really going to prove anything about the Druze. It cannot actually be shown whether HPB was more initiated or more knowledgeable than Nerval or anybody else. Although she was immersed in the area for several years.

Nobody knows about their actual system including the Druze. It does of course have at least a public facing statement. What HPB tells us is considerably different than what any men have said. She says that Hamzi is not the founder of the religion; he probably was, of the community, possibly a form of Saturn, but she denies he's the founder. She classifies their doctrine as Ophite. The nation is profoundly significant for one thing. The secret chiefs of it are the same kind of reincarnating bodhisattvas as we have in Buddhism.

The main ingredient of doctrine that operates it is Kabalism and of course this has been a subject of dispute amongst Christians. We find the Venetian Sociani rejecting it for instance. It is unlike alchemy, because although alchemy contains the same kind of spiritual teaching but heavily veiled by external symbols, and so, in practice it often becomes pursuit of the symbols themselves, or material chemistry for gain and profit. Kabalism only explains esoteric philosophy and mysticism. Most of the mystical orders are encumbered with rituals and talismans and so forth, missing the inner driver. It has been employed to produce the books of Ezekiel, Daniel, Enoch, and Revelation, and used by people from Nicolas of Cusa to Isaac Newton and Leibiniz, but is not very widespread until for example the Kabalistic Degrees of Egyptian Masonry. There is a lot of alchemy, rituals, talismans, and so on, but not much mysticism.

So this is the apex of their mystical knowledge, and, in most respects what they actually do with it is try to tinker with the Tarot and the Tree of Life to formulate a mystical path.

Given the connections and claims, Theosophy could have said, ok, we're popularizing the Druze system, or, your Hermetic wisdom is so great that everyone should go with the English variants. Instead, it claims to follow the original Oriental Kabala without ever giving it.

I don't know what that is. However, in looking at the Sanskrit source materials, it comes exactly to a "Tree of Life". The main difference here is that instead of simply being another language, set of names and symbols on their own, is that this living tradition has never been broken. Troubled frequently, but there has never been an ultimate situation of needing to say father, may we talk about neo-Platonic subjects, please?

If there was not some reason to make the oriental presentation, if you wanted to become a commercial cult figure, when you're handed a top degree from one of the most influential Masons, you'd say, "ok, I'm Druze princess, and all thy masonic lodges are belong to me...Europe is all Druze now..." and with astral powers and elementals you could pull off such a show and there would have been a lot of people that wanted to believe that. Instead we exit the Druze and the current state of Hermetic philosophy.

I've never tried a poll to see how many people pursue that system that's kind of like comparative archaeology. Hebrew plus attempts to sort the Tarot in a Pythagorean manner. Adding Egyptian and Greek and so forth. Tropical astrology.

When I was young I didn't study something like Morals and Dogma or Theosophy because it seemed like a huge college history lesson, and I was really just after the nuts and bolts, I guess like an ordinary Rosicrucian with Agrippa's talismans, etc., and there is a lot under the hood here using many languages, and it is pretty consumptive. But I get the message there isn't directly a future to it, in other words, this system is kind of a one semester lesson of a time where certain things were forbidden.

So it's kind of to be tied up in a package as a segue' to Raja Yoga. Clearly this is the inner driver of the system that does not have to ask permission to call it Kabalism and figure it out from there. The enhancement to our "Tree of Life" is that Raja Yoga is clearly placed as the beginning and marked as the Path that there is no need to puzzle over how it may work on the cards. Its "deck of cards" is the set of mandalas. All of the relationships are set up, so there is only one thing to learn.

Nerval famously replied, "Why should a lobster be any more ridiculous than a dog? Or a cat, or a gazelle, or a lion, or any other animal that one chooses to take for a walk? I have a liking for lobsters. They are peaceful, serious creatures. They know the secrets of the sea, they don't bark, and they don't gobble up your monadic privacy like dogs do."

So, he may be talking about the Moon card and the monad simultaneously, but he is using monad as man's irreducible spiritual unit. Our basic instruction is that the monad is three immortal principles, Atma-Buddhi-Manas, and in one tiny corner, we found the Masters' intention to call this Amrita. Nobody poked these coals in the intervening century. However, simply by looking at the oriental "Tree of Life", this turns out to be such a key component that it would almost be appropriate to name the whole system, Amrita. This operation includes inner alchemy objectives such as the union of earthly and heavenly essences. It seems to include the whole Alchemical Wedding concept, but then it reached even further into what looks like that, using similar terms, would be called the union of Hellfire with Solar Fire. This could perhaps be described as the Noumenal or consciously driven path on the top three Sephiroth, which lines up correspondingly with the most intricate, subtle exercises in Vajrayana or esoteric Buddhism. So to the nineteenth century "there is a Raja Yoga", Napoleonically, but non-violently, we have gone in and gotten the "Raja Yoga stuff", or a more complete explanation.

I have never known anything about Durga or her forms. But by letting her walk in where she belongs according to her own story, she got there in a way that would have happened if I scrutinized her thoroughly and looked for reasons to put her where I thought she belonged. I feel that is how the Tarot systems, etc., come about. Finding for instance Kalaratri as to who and where she is, and then there is a Buddha story which explains her even more, and then she continues to have a role. It's just how she is, and not anything I thought or did to her. Activity of Durga seems to be the metaphor about the locks and flows of Amrita. If someone can understand this goddess esoterically, I think it is one quick stride beyond the Tarot.

The fragments from Hebrew, Egyptian, etc., are, perhaps, a kind of ladder-stepping, whereas by focusing on one language, Sanskrit, you Platonically directly fly to the ultimate meaning. I find a vast difference between the two ways, and, as far as language can be used, the school of Abhisambodhi is giving the definitive meaning of practical or experienced gnosis. I can't swear to a whole lot in terms of who what when where why, but with this subject, they are completely, fully, entirely correct.

So what we are trying to do is make basic Raja Yoga widespread and encouraged, and make the comprehensive version available.

[shaberon]

With the passage of time, we have been able to figure out a lot of the non-standardized spellings once used for eastern languages.

For instance, a long time ago where we find Koothoomi referring to "sahalo-kadhalu", this was incomprehensibly mysterious, we could only assume some subtle thing which he understood thoroughly and we didn't know what it was. But now--and it may be more apparent if one compares the handwriting to the typeface--Sahaloka Dhatu is in fact quite standard for "Chiliocosm" or "thousand worlds", an expansion to the ancient Tri-loka or Three Worlds teaching of Earth, Ether, Heaven, or Bhu, Bhur, Sva. We already knew the full Seven Worlds Gayatri. The further details involve a map of the human aura (Hundred Deity, Kagye, or Net of Illusion) and the fact that the Fourth World or Kama loka is pretty precisely explained. It's rather creepy, and saying it's like Halloween all the time would be fair. But aside from that, they have also found very many samadhis or Raja Yoga states, and all this is the World of Man, or Sahaloka Dhatu.

If we treat this fairly, then almost all the obscure technical terms really are from the books.

The one nobody can figure out is "Lanoo" for disciple. The Masters' term "chela" meaning "child" is known, but this single term escapes analysis.

If one did not need a thorough review of the Hermetic lodges and so forth, and went straight to the Old Lady's presentation of Raja Yoga, one would run into The Voice of the Silence. None of the ideas in this book are deviant--it has been endorsed by Dalai and Panchen Lamas--but she does stick this weird word, Lanoo, in there.

She claims it is part of "The Book of Golden Precepts", given to all the esoteric aspirants. This may be in Tibetan, or (mostly) Senzar run through something like a Rosicrucian cipher and written in symbols, and then it is usually fashioned into disks in the temples. Rather strangely, neither the word nor the intro level "book" have ever been found. Like Paramartha, it is supposed to be a Nagarjuna text retrieved from the Nagas.

David Reigle finds it similar to Shantideva's Bodhicharyavatara, and Anthony Elenjimittam claimed to have found an original with a Bhutanese Lama in 1950. But we should be finding this in Tibet, or the areas of Kiato Buddhism, which is a new phrase somebody came up with that just refers to Himachal Pradesh. And apparently, we should be finding it commonly shown in a cipher version.

I don't know if those details can be supported; nevertheless, it is probably a better start than many "intro manuals" which include the breath exercises and so forth. Again, we consider it dangerous to distribute physical Hatha yoga techniques. Stretching and posing might not be so bad, but we do not suggest the techniques to stimulate the subtle body, because we are going to do it mentally. Primarily the technique we will use is Voice, Lord of Speech, and even if HPB's intro book cannot be found, it turns out that the actual esoteric meaning of Voice of the Silence is identical to, or is, part of the development of Lord of Speech, absolutely critical. It runs parallel to Death at Kashi as the prior stage when Om is "heard" before it is "seen". What "is seen"? Avalokiteshvara. Herein lies a hint to the nature of the real one locked behind our "knowledge being".

To us, Voice of the Silence itself is a high or advanced stage. So we start with Spoken Om and then Unspoken Om when it is "heard".





The syllable later, so to speak, becomes Hum, once using invocations with namo samantah buddhanam, so most information on the primordial syllable is from non-Buddhist sources. Buddha contains all the prior knowledge such as this, and, again, specifically recommended keeping the Fire Sacrifice and the Sun Gayatri--which presents us Om, and, as far as I can tell, a Kabalistic Tree of Life, this one being oriental and noumenal at the onset.

Because writing it is the same lesson that dovetails with speaking it, then if we know how to write it and we're quick at catching things like in this exoteric list of chakras and seed (bija) symbols. If you glance at that picture, you see they wrote the Oms and other syllables backwards. Because they made what to them, is a mistake, they have actually given out our Inverted Divine Prism if you see how that would make the root violet and so forth.

The Hexagram comes up constantly and hopefully we have been studying it since the times of John King, and so since the downward triangle is the female or goddess triangle of rajas-tamas-sattva, the upward is the purusha or is the meditator, and so in that the Om is also the meditator, HPB says: "The word Aum or Om, which corresponds to the upper triangle, (the threefold divine Soul) if pronounced by a very holy and pure man, will draw out or awaken not only the less exalted potencies residing in the planetary spaces and elements, but even his Higher Self, or the “Father” within him. Pronounced by an averagely good man, in the correct way, it will strengthen him morally, especially if between two “Aums” he meditates intently on the Aum within him, concentrating all his attention upon the ineffable glory. But woe to the man who pronounced it after the commission of some far-reaching sin (or from anger): he will thereby only attract to his own impure photosphere invisible presences and forces which could not otherwise break through the divine envelope. All the members of the Esoteric School, if earnest in their endeavor to learn, are invited to pronounce the divine word before going to sleep and the first thing upon awakening. The right accent, however, should be first obtained from one of the officers of the E.S.T."

Was she roughly correct about this, I think so, with further explanation we reached by the third mandala, it adds even more power. It tells us a little more not about how it "corresponds" but how it "is" what it says it is.

Nothing else can point you in the right direction like this one, it's not even a letter, it's not used in making words, primordial sound on its own. It basically is the mantra onto which more details are added.

So we cannot be Kalachakra initiates in ordinary home life. But, just as Kabala or a mystic path was the mysterious "inner driver" sometimes understood in European magic, in Buddhism, Bodhi is the inner driver of the Path. And the secret is that we can add an even more powerful inner driver, Mantra. Each of our "Tarot cards" has complete imagery, coherent inner narrative, and a vocal part (or several). I think this is good advice, coming from the perspective of having used sudden methods on the subtle body and gotten--probably, as Buddha says, into the second dhyana without having mastered the first--kicked out, the further explanations available now would have been a vastly superior guide. Helps see things that were weak or absent. Further explanations plus mantra is Manjushri.

And that's a pretty good comparison, I think if you look at the Tarot and see what it takes to figure out how it works and use it for a guide and what you get from it, versus the same on a set of Manjushri mandalas. These start from Om.

David Reigle arranged a newer translation of Voice of the Silence by Geshe Lozang Jamspal who, according to Sylvia Cranston, "During the course of the visit the Muratores showed him The Voice of the Silence, directing his attention especially to the notes. The effect was electrifying. He confessed amazement that such information was available in the West. As to HPB, he said, “She must be a bodhisattva“.”"



Comparison of stanza translations. Here is a special Lotus Crown he has helped with, which starts with Manjuvajra, who happens to be in the first Namasangiti mandala. He has also done a more famous Maitreya book with Robert Thurman.

In the discussion of these tidbits, they refer to an unknown "Darba Tulku", which should likely be Thar Pa, i. e. Tharpa Choling, which is in Kalimpong where the "original" Voice of the Silence was supposedly seen in 1950, although that was at the Bhutanese monastery Thongsa Gompa which was there since 1692. The current Tulku appears to be a successful move to thwart the Dorje Shugden or "Tibetan nationalist protector" movement, which is supported by the Chinese government to weaken Lhasa.

One could call Kalimpong a British-developed ethnic melting pot, also widely accepted as receiving rare texts in wake of the Chinese invasion at Zangdokpalri. The Roerichs lived here, Lama Kazi Samdup was born here (translator for Evans-Wentz and David-Neel), HPB stayed here at Ghum which is under the same tulku; the Darjeeling patron personally gave Rinpoche the Ghum retreat house (year unknown). The modern practitioner Sangharaksita was here and in "In the Sign of the Golden Wheel" he mentions having to go to Maitri Bhavan, Bangalore, to study even rarer texts. This was in fact the local ULT center, the residence of B. P. and Sophia Wadia, with whom he became great friends. They heavily focused on Buddhism in relation to what HPB said, and Sophia spoke of taking police protection in Argentina due to the Jesuits.

If Wadia was not successful with Dion Fortune or others in England, here we finally find the English person (Sangharaksita) who "got it". He went to Kalimpong in 1950 and was friends with Lama Anagarika Govinda (German), who had met the same tulku. From here you have the modern public domain.

The tulku in question is Shariputra or the student in the Heart Sutra. His nineteenth century body (1866-1936) was discarded but continues to meditate posthumously:



His embalming was a rare honor as he was seen as a southern Tson kha pa. He was not only spreading Gelug monasteries around the trans-Himalaya but was also doing so with the Ghantaprada lineage, Demchog or Chakrasamvara-Vajravarahi tantra. And this is basically what we have rephrased as one sequence.

On his order, Govinda founded Arya Maitreya Mandala in 1933. His next body created Dungkar Gonpa Society and he has passed to a new one.

So it is completely accurate to say that in the nineteenth century, inside Tibet, the Dalai Lama was highly vested in scouring teams of sorcerors and shamans that filled the towns, and, particularly towards the south is a widely influential tulku seen promoting Tson kha pa's method. This is completely the odd sounding Blavatskayan claim. And to keep it relevant, these are the two main characters of the Heart Sutra (Dalai--Avalokiteshvara and Shariputra).

The pro-Dorje Shugden does sound much like HPB's "pure Tson kha pa" thesis. Tson kha pa was guided by Manjushri. It is claimed that Dorje Shugden is also Manjushri. This movement was opposed to Mipham's non-sectarian Rime'. However adherents such as Pabonkha deviate by example moving Vajrayogini to the forefront of tantra, which Tson kha pa did not. He got this idea from his teachers and they do use "Set of Initiations into Manjushri from the Secret Lineage of Tsongkhapa"; this does represent the oral tradition of Ganden, and the head of Gelug is not really the Dalai Lama, but the Ganden Throne Holder. He also emphasized Tara Cintamali which is non-canonical. The thing we may note of them is their chanting is usually deep bass, while others are mostly normal.

We can definitely credit Tson kha pa with being an early guy who trained in basically the whole corpus of literature and was a genius reformer, and if needed, we can elaborate some of his specific points and see how different it really is, which we have, and perhaps his main issue is excluding Shentong. From a Kagyu perspective, which is senior, that's mostly it, and so we may say his personal innovations do not derive from the Indian scriptures.

At this point in time, it is impossible to make Vajrayogini go away, so attempts to veil her are obsolete. To his credit--like Theosophy, and like Haribhadra on the first attempt in Tibet--he emphasized Sutra prior to Tantra. I have been to a Kadam pa center a few times and really most people have not even figured out these questions exist and it makes little difference in ordinary practice.

Like with Shentong originally, this nineteenth century dispute unfortunately tangles with politics, with the Gelugs here reaching to a Chinese opium triad.

If I stick to the original Manjushri, I am not looking at a Gelug power scheme, but a link from Nepal to China. Since Heart Sutra is pretty common across all schools, I can understand something new about Shariputra. And here we should keep in mind that the subtle "bodhisattva imperfections" or "vajra ignorances" involve the ability to perfectly explain Dharma to all beings. So instead of looking at a dispute or provocation, it should be considered as seeing a far stage on the bodhisattva path, how to answer this question perfectly to all.

The name Dolgyal for Shugden is used by the Fourteenth Dalai Lama, Trijang Rinpoche, Pabongkha Rinpoche, among others, and in Sakya texts--Dol in south Tibet plus Gyalpo, whom we have met. Sakyas don't worry about him as they consider him bound by Four Face Mahakala. We have found their proper status is only "lieutenant" with the Chinese problem being due to one getting in charge.

H. H. 13th Dalai Lama favored Rime' and the main Shugden movement swept out from under him against Mipham and particularly against Nyingma in the 1900s. Kagyu does not use Shugden. There does not seem to be any Panchen Lama involved with it. H. H. 14th Dalai Lama says it is disturbing to Palden Lhamo. What got them in trouble was in the 1970s publishing a list of twenty three murders. So...this is not what we meant, Tson kha pa via the sword, of course not.

[shaberon]

So we do in fact have such things as a deck of cards written in ideograms:



That one is the Vajrayogini initiation, and it is the same thing as seen in thangkas and friezes where there are twenty or fifty pictures, each is a scene from a story. That deck would be a way to memorize the entire ritual.

The whole thing is a bit beyond us as we are not going to do it unless being initiated by a Vajracharya, but we are using it like Sutra or Kabbala as a way of explaining the Path. In the nineteenth century, she was still mostly a jealously guarded secret, but now, you can get thrown right into her.

Don't do that. There are a ton of others one may pick up casually and put to immediate use: Tara or Mahapratisara. Vajrayogini herself requires a lot of esoteric groundwork and also practical groundwork, in other words, this is strictly a study until one has a solid and knowledgeable Guru Yoga routine. In terms of "esoteric skandhas", we would probably have to say that just as Vajrasattva is not really real or a primordial part of a human being unless you make him, Vajrayogini is nothing unless you have Vajrasattva samaya.

She is not Root Guru, what is she really doing, initiating us into Root Guru. In other words, this operation brings us to the "real" guru resultant from purifications and meditation work of prior years. Root Guru is of course Adi Buddha teaching tantra, and the way we know Vajradhara is in a simple blue form with bell and dorje, which is relatively rare, except for Bodhisattva Marici, who is part of this procedure.

As we apply the Method of Manjushri, Throat Energy obtains us a very rare selection of special Red deities. It may have other meanings, but we are looking at the issue of Mortal Desire versus Divine Desire, which is considered to add a red hue to primordial white light. One special deity is Red Varuni Guhyeshvari of stage four; Hayagriva; or the highly occult visitor who has much do do with the Hosts or Maruts internal to the body, related to Wind Horse and Om:

This is the main reason we are able to succeed at some of the preliminary or outer activity, Red Vidyadhara mantra knowledge.

There are not many Red Taras and when I was going over them, I saw no reason to have Red Tara first "Ekavira--Hero", but she's going to have to be changed back. I didn't find any Tibetan explanation why they did it that way, but it has to do with summoning Root Guru Vajradhara. Here he is with one of his few emanations, Red Vira Vajradharma:





His Blue Dharmakaya form does not, itself, teach, and he emanates Red Vira Vajradharma. "Vira" means as in this picture with drum and skullcup, and losing the prefix reverts him to his regular items. We will see who shares these same "vira" items. Here he has the Three Red Sakya Vajrayoginis, from Naro, Indra, and Maitri.

Vajradharma's preliminary Bodhisattva is Vajrapani, and himself is Red Lokeshvara, which is a Red Bodhisattva Avalokiteshvara in the Family of Amitabha. So there are Manushi, Human, or Nirmanakaya Bodhisattvas, the kind that directly interact with us and we can invoke, and we have to have this to get Vajradharma, being a Dhyani, or interior Bodhisattva.

Vajradharma is Enlightened Speech. This is the common meaning or goal of Agni Fire Priests, Manjushri, and Amitabha. The Nāmamantrārthāvalokinī is the commentary which explains using Manjushri names as mantras and so it has a sadhana to raise Vajradharma and he is supposed to be loaded into the Vajradhatu mandala. Namasangiti itself is Vajradhara, Lord of the Yakshas of Adakavati (possibly Kubera's realm), asking Buddha to teach the Method of Manjushri, the operation of Vajradhatu with Mantra.



This is Naro and Vajradharma summoning Vajrayogini:






We have found our use of Red has something to do with the breakdown of Green into Blue and Yellow, and in most cases a deity is invoked by a particular form, and, as one trains in the Four Activities, it changes them. You bring these in and you have the Shakti or power over a state of matter and consciousness. Vajradhatu is like a combined total.

Because Vira Vajradharma is Red, then Vira Tara should be Red. To call them Vira or Hero means they can tame that which is hard to tame, and cannot be defeated.

So the Red goddess is inherently part of Nepal itself and she is a teacher to Manjushri. She basically gave him this Red energy straight from the earth, or all time, or perfect enlightenment, and he is guiding us through it.

Guhyajnana is Simhamukha when Wrathful and generally the lineage seed or transmitter to several Mahasiddhas. She has a Red form, 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.




Most of the later yoginis replace the trident with a dorje at the end of the staff as done there. Guhyajnana is the female version of Red Avalokiteshvara. She arises from Red Hrih, has Two Arm Red Avalokiteshvara in her heart, and in his heart is a seed syllable. Her mantra is:

Om mani padme hum / Om bhuma bhaye nama svaha / Om ha ri ni sa raca hriya

These next two pieces are a very powerful combination. Recalling Red Vajradharma and his items, here we find Red Jinasagara Avalokieshvara first at a Yoga level in a training mode, and then at an Anuttara level with a Refuge Field.

In this Karma Kagyu view of Jinasagara Avalokiteshvara, Amitabha is the top, and the lineage Guru is Siddhirajni, with Guhyajnana on the side:




This Jinasagara form works exactly the same as Achi Chokyi, i. e. Yidam or Meditational Deity is the center, and the others are the Guru, Wrathful, Dakini, and Protector; different order, similar roles.

Here is a more advanced Mindroling version of Jinasagara with two Amitabhas. White Siddharajni is in the upper right; Guhyajnana lower left, Tseringma lower right, and the bottom center is Lha Chenpo, which is Avalokiteshvara as Mahadeva with Uma. This meditational practice in its earliest form is said to have come down through the Indian lineage of the female Tantric practitioner Siddharajnyi (Drupa'i Gyalmo) - pictured at the top right side - white in colour, holding a damaru drum upraised in the right hand and a skullcup in the left. Especially here, the combination of Red Ghuyajnana with White Siddharajni is a more subtle way of showing the Red and White Celestial Women than usual:





Tiphupa was another teacher of Rechung and gave the Kagyu lineage the "nine-fold cycle of the formless Dakinis". Siddharajni's only biography is in that of Rechung. Tiphupa composed a song to her. He calls her Vajravarahi, Vajrayogini, and Pandaravasini and says she met Vajradhara, Chakrasamvara, Avalokiteshvara, Hayagriva, all the dakinis of the sacred sites, and Simhamukha. She has a skullcup and knife. She is also shown with dorje, bell, and third eye. She transmitted the Padmanarta--Guhyajnana meditation, wherein the Four Arm form is the beginning and Two Arm is secret practice. She calls the fact that anger is baseless, Hayagriva, and that desire has no root, Ghuyajnana.

Taranatha's Secret Accomplishment Avalokiteshvara is just with Red Guhyajnana Dakini in the aspect of Varahi with a drum and skullcup. As Ocean Victor, he personally contains Hayagriva and Guhyajnana.

It is explained fairly well in Lord of the Dance about the Mani Rimdu festival. Jinasagara Avalokiteshvara is Lord of the Dance, he contains Hayagriva, who contains Contemplation Hero. Around them are Four Dakas, and the gates have four female Tramanma or animal-headed deities--the Four Activities. Six Syllable Avalokiteshvara as a Karmapa Yidam introduced by Rechung, is lord of the dance of compassion or incarnation, and has nothing inherently to do with a dance festival. In Nepal, he is Padmanartesvara. He tosses a syllable of his mantra into each of the six realms, preventing rebirth there.

In this sadhana, Guhyajnana is Avalokiteshvara's consort. Hayagriva has an unnamed light red one with two hands holding knife and skull. When not consorting, Guhyajnana is more wrathful and holds the knife and cup just below chest level. Her mantra in this rite is:

Om Dhumagaye Namah Svaha

Snellgrove thought she was Pandara. Her role is the same as Sarvabuddhadakini with Jinasagara Avalokiteshvara. This would be similar to Nairatma or Varahi. What sets Guhyajnana apart is being the highest dakini in Padmasambhava's story, his guru, also called Suryachandrasiddhi or Queen of Karma. The dance manual also attributes the Four Immeasurables to the Activities.

Pacifying or Summoning...White...Vajra Family...Raven head...Hook...Compassion
Increasing or Tying...Yellow...Jewel Family...Pig head...Lasso...Love
Magnetizing or Binding...Red...Lotus Family...Dog head...Chain...Joy
Destroying or Maddening...Green...Karma Family...Owl head...Bell...Equanimity

These Goddesses in pure form are the Four Immeasurables. In other sadhanas, like Book of the Dead, the heads and names may change. The traditional goddesses on the curtains to a secret Newari puja room are Blue Kakasya and Green Ugyasya, who are Raven and Owl, holding a skullcup in two hands, staff and drum in the lower pair. Finally they mention another way of doing deity yoga is the deity goes in the flask.

Padmanarta "Lotus Dance" is lord of the dance, depicted with Vajravilasini in the act of penetration.

Mindroling is source of Lord of the Dance.

In the 17th century the Mindrolling Tradition of the Nyingma popularized a form of Jinasagara (usually a Four Armed form) known as the Minling De Kun. In the later part of the century Lelung Zhepa'i Dorje popularized an entire cycle of meditations and teachings focusing exclusively on the female deity Guhya Jnana Dakini. Four authors stand out as significant contributors to the tradition of Jinasagara, (1) several Shamar incarnations, (2) Karma Chagme, (3) Minling Gyurme Dorje and (4) the 3rd Panchen Lama Palden Yeshe.


This drum of Guhyajnana--Varahi is held by Siddhirajni, Niguma, Achi, and shown on Shangpa Kagyu White Buddhadakini:





Those are almost at the end of the book, followed only by Tseringma Five Deity.

Taranatha has a quite similar white five-deity method with Amoghapasha, Hayagriva, Ekajati, and Bhrkuti; however, this Bhrkuti is White, and in her mantra, she is named Pandarani--so here, really, White Pandara is in Amoghasiddhi Family, whereas in another, similar version, she is Yellow, and Bhrkuti in her mantra. In the next version, she is Red and has no personal mantra.

He has Rechung's Amitayus, whose mantra refers to Saraha. Three and a half Syllable version refers to Aro. Vishveshvara is a large from that splits Pandara out of his body. In the next one, they embrace, emitting syllables I have never heard of. He also has a White form with a wheel on his chest. So he is toe to toe with everything.

As Amoghapasha, he is often Four Arm Red, but may be White or Yellow. There is a relationship between this form and Khasarpana. In a 12th century text, History of Amoghapasha, Sonam Tsemo writes that Amoghapasha is a nirmanakaya form of Lokeshvara while Lokeshvara himself is in sambhogakaya form and can only be found on mount Potalaka. This is the same classification as we mean by Mahasri or Khadira is on Potalaka, and that her Nirmanakaya is Peaceful Guhyajnana--Wrathful Simhamukha.

Khasarpana means "Sky goer" although this is difficult to derive. It is a specific use of Lokeshvara, usually Two Armed and often seated just as Tara.

In his self-relationship between Khasarpana form and his Red and other Amoghapasha, the five deities are white Lokeshvara, red Amoghapasha, red Hayagriva, black Ekajati and green Bhrikuti. This text says green but she looks yellow here:






He works about the same as Tara, but with different relationships. I am not sure, but it appears to be showing the weird Red male force sent to work in the generally female solar plexus or Red Drop himself has direction from the normal White male seed. So this is a type of mirror image of the strange White Varahi which emerges to function as a male and/or affect the normally male White Drop.

This name Pasha means Noose activity, and with the same amogha as Amoghasiddhi. This is often translated as unfailing or all-powerful, but what it means is he is not spiritually ignorant about Noose. Amoghapasha lacks (a) ignorance (mogha) about what Noose is or how to use it. Lasso is perhaps a better word for what it is intended to do which is to cause to remain. Whereas we operate this on a conceptual level and try to render it to a more natural or self-arisen process, he lacks these issues. Full enlightenment in using this power is this deity, those are the same thing, he is completely internal or can only function within Nirmana kaya, i. e. a mantric force field.

Avalokiteshvara's white sambhogakaya form is called Khasarpana and has one configuration:

- Center: Khasarpana Lokeshvara
- Right: Tara (green, two arms)
- Right: Manidharin (yellow, two arms)
- Left: Bhrikuti (yellow, with four arms)
- Left: Hayagriva (red, slightly wrathful)

So Bhrkuti is in Sadhanamala and is a part of the older pantheon, regardless of her Tibetan application. Here she is specifically Four Arm Yellow and Peaceful, has nothing to do with a scowl:





Manidharin is a male, who, from Ganavyuha, arises with Six-syllable (Om manipadme hum) Avalokiteshvara, along with a goddess just called Shadakshari, which means Six Syllables.

We adjusted Tara's roaster, and, whether it is ok to be doing this, there are so many lineages of Tara, that a Jonang suggestion is for us to figure it out ourselves. They correctly reference the Sadhanamala and the older Suryagupta tradition, and actually give two additional Taras; the initial pledge being is Mula Syama Tara or Root Green Tara, and also Khadiravani is separated out. So that page is Taranatha's and gives the Sanskrit names as well. They specifically suggest to dig up the Sadhanamala Taras which are not even known in Tibet. We get this suggestion after actually doing it. Also, since 2010 H. H. 17th Karmapa has been interested in reviving Sanskrit.

Prajna Taras are not Yidam Taras, and we need to see how Red Tara or Kurukulla relates to Vajrayogini; Kurukulla herself is not always Red. In tantra, Kurukulla may be emanated by Tara or Hevajra (Wrathful Vajradhara). According to Atisha, Magzor Gyalmo is a lineage holder for the First Red or Vira Tara. That means if Narasimhi is my Protector, she can give Red Tara.

Kurmapadi is bow-legged "Tortoise pose" of Yellow Vajrayogini. White Varahi is mostly a cemetery goddess; Red usually comes in beautiful surroundings.

--------------------------------------------------------


There are two "Outer Activities" having rings of protectors. One is Maha Pratisara, an outer activity of Prajnaparamita, Vajrapanjara, and Mamaki. This specifically means Outer Activity of Vajra Tara, and we need to show this as the Vajra Path which goes beyond simplistic views based on void or Prajnaparamita only

Green Mahattari is similar or is an Outer Activity, except she is never shown with anyone else, or rarely (possibly Amoghapasha). She has the epithet Varendra Vana Iccha; Varendra is in north Bengal. She may be a prequel to Green Mahasri but is clearly a branch of non-Buddhist Matangi tantra.

Vasikara is "enchantress" but also from the old yoga books, a degree of Vairagya, which closely follows the planes of Kama loka: "Vairagya means dispassion for worldly and heavenly objects. A person who is satisfied with the worldly objects craves for Swarga- heavenly pleasures. A person who knows this world as an appearance do not crave for money, power and sex and do not acquire worldly objects except the bare necessities. This is called Vairagya. It comes after discrimination." Firstly one refrains from obstacles, then sees objects as appearances and hindrances while still having subtle attachments, in the third stage one burns off the subtle attachments, and the last or Vasikara stage is the knowledge path resulting from freedom and elimination of citta vrittis. Vairagya has also been called Samjna, so Vasikara Samjna means the same.

Kurukulla is expert at Vasikarana or bewitching others; Vajravarahi can do this; Vasya Tara generally means Arya Tara or solo. Green Vasya is the only one who sits in bhadrasana posture, whereas Kadhiravani lacks a specific posture--only difference is she may have attendants. Vasya meaning to increase wealth and subjugation, which has a certain materialistic meaning, and a different esoteric one. Vasyadhikara is the extended title of Vasya, meaning is the rightful authority or owner of, or manages the office of, Vasya. This specifically is a siddhi, not a group of them but just the power of controlling others. Arya and Vasya are used as identical names. So Arya Vasya Tara has only one sadhana, and she (Vasya) is the only one to be shown sitting this unique way, which is both feet dangling straight down. Arya is her in Ardhaparyahka. Then it is fair to say Kadhiravani has her same features but may be in any pose and has Fig Twig Marici and Ekajati for companions.

The intent of Suryagupta is that Khadira does not have a verse or is not in twenty-one Taras, but like Durga or Sati she is the root of all forms. Outside the circle, you have Mula Syama and Kadhira Vani; it can start with a Red Hero; Arya Vasya should be a deliberate step or verse among it. Mahasri is a simple form of Green, but with four companions. We have framed her as the earthly invocation which "goes up" to meet Kadhira's Abode. Nagarjuna's Kadhira lineage went to First Karmapa Dusum Khyenpa. His set was Tara, Hayagriva, Vajravarahi, Chakrasamvara and Hevajra. The transmission lineage for all except the last one are still extant in the Kamtsang tradition. This tantra has always held a special place in the Kamtsang Kagyu tradition; it was transmitted from Nagarjuna, through one of his four principle disciples, Nagabodhi, in an unbroken transmission until it became part of the Kamtsang lineage of realisation at the time of Karmapa Wangchuk Dorje.

Green comes in as Mula Syama Pledge Tara; who is not tantric and may be started by anyone at any time. Green Dhanada related to dana "giving" paramita will give you the book, Prajnaparamita, and how far you go with this, is up to you; it simply begins void philosophies, Chod rites, tantra, etc., and so we use Heart Sutra from it. This equates to the sixth or seventh paramita, so she is closely designed to the Path.

Dhanada holds the book Prajnaparamita, and from its goddess (or three colors of Prajnaparamita) come Durgottarini and Kadhira vani (Nagarjuna's Tara), also greens, the one being like a perfected Fortress of Durga and the next, a special Akanistha Pure Land. This evolution of Green exactly matches the Path, and so if Khadira is something like achieving the Abode, then it is from here that one can shift or obtain Red which can only be found starting in such an Abode.

It is still a bit fuzzy, but Vajrayogini is not exactly just a name for Vajravarahi. Vajravarahi is Dorje Phagmo, who since the 1400s has has a tulku at Samding, considered the third after Dalai and Panchen. Also in the Kumari of Nepal (Vajravarahi and Vasudhara). She is Tara who became Vajravarahi when Buddha became Tamdrin, "Horse neck" (Hayagriva), to defeat Matrankaru, and they succeeded with their horse and pig voices without violence. She is Sera Kandro and Indra Dakini. All brides are "potential Vajravarahi", i. e. potential unlocking of the powers of the male.

Vajrayogini is Naro Dakini; Maitri Dakini is Akashadhatvishvari or Sky goer. Naro Dakini is an acolyte of Vajravarahi.

Kurukulla is considered a Tara, but not by Suryagupta, using Yellow Hum svaranadini instead. She is from Uddiyana and associated with its King Indrabhuti (there are three). She is one of the Sakya Three Red Deities (not three red yoginis), and is in Sadhanamala and in Lotus Family. Her attendants include Vajragandhari and Red Gauri. Hindus see her as Tara--Sundari--Matangi (the latter two being Aum and Om). She is similar to Siddhi sambhava, i. e. gives powers. Sakya also has Three Small Red Ones, Kurukulla-tara, with Red Vasudhara and Tinuma Yogini, the Activity of Vajravarahi. This is the specific blend of Kurukulla, Tara, Vajravarahi, and Vajrayogini; Tinuma's retinue includes Taras.

Vajra Charchika is a Red Tara in King Indrabhuti's mandala which shows the pan-Indian aspect of shakti tantra, this one being the Orissa Chamunda.

Pitheshvari Tara is likely Arya Red Tara. This may mean Uddiyana or Kurukulla. Marici has an Uddiyana form and a fat form like Pitheshvari, or, the fat form is Horse head consort of Hayagriva. Pitheshvari was introduced by Vajravati, who equates her with a full Buddha. She is far from the first Tara, but is a major new thing sent by a woman specifically Buddhist and using Vajra methods.

Durga's mantra calls Prasanna "Jagadamba", although Suryagupta's Jagad akarsana is Black; this is the question of who's eleventh. Ellora cave shows Sarvavarana Tara, and Prasanna is also related to Sarvavarana; Ellora's Tara is with Mayuri. Mahamaya Vijayavahini is given the epithet Sarvavarana-ksayamkari; Sarvavarana comes from Usnisa Vijaya Dharani where it shows up just prior to Durga purifying apaya or the four lower worlds. The special Vijayavahini "War" form is venerable to Vajradhara, and, as Padmapanipriya, is consort of Avalokiteshvara--Padmapani. Mahamaya equates her to Lakshmi tantra. Her name Ksayamkari appears to mean "eliminating" and comes from a Sword or Khadga Strotam of Shri Devi, pertaining to the Sri Yantra. Red Prasanna is in Kurukulla's retinue; Yellow has Brahma's head.

Sarvavarana is used by Patanjali to mean "All Veills", almost the same as Buddhist Sarvanivarana "All Hindrances". It seems distinct from mala or impurities, and seems to be the underlying ignorance which causes kleshas or impure thoughts. In Sadhanamala, the term or phrase is translated "Destroys the veils of ignorance". So this is subtle, she has no pre- or non-tantric appearance, and so as Sarvavarana Ksayamkari, destroys the veils of vajra ignorance.

Prasanna is a very advanced Yellow and Mahamaya is a special related Fat White (at night).

Full text Shakti Cult and Tara

Full text Sri Chakra Amrita Puja

Yellow Tara is most frequently introduced as Vasudhara, the Gatekeeper of Shamballah. The few other Yellows are purely tantric: Vajra Tara who has an Outer Activity, Pransanna who links to Red. I think these are the only three who are or almost always are Yellow. Bhrikuti (Amoghapasha's consort) we may have replaced with Mahattari. In verse fourteen, we may prefer to highlight Sparshabhumi: "Homage! Goddess with palms pounding and feet stamping on the surface of the earth; lady who, wrinkling her brow in wrath, rips asunder (the Lord of Death) seven levels beneath the ground with (vajras streaming from her) syllables HUM."

namaḥ kara-talā-ghāta-caraṇā-hata-bhūtale
bhṛkuṭī-kṛta-hūṃ-kāra-sapta-pātāla-bhedini

(Index of Sanskrit originals)

Bhrkuti is not necessarily a proper name; we do see her hitting the earth with her palm and affecting seven talas. Tala is also the word for palm, and kara we have already used for hand and the meaning of maker or doer. What her Hand does to the Underworld seems a little more important than her frowning, or, really it means furrowed brows, so this is a step towards conjuring Sita. We already have Sita coming in a special snake way on Sarasvati's coat tails, white vajrayogini. This soon involves Sukhasiddhi, who is standard for seventeen, which is where we have Prasanna. The verse does indicate at least a semi-wrathful Vajra goddess. The Sparshabhumi itself is Mara Vijaya, Death Victory, and so if this emits the White or long life (cheats death) Sita Tara, this seems to be in keeping with her as a daughter of earth and the special "earth fire" drawn by the Horse Head rite, which has much to do with this fountain of life. First Karmapa was a disciple of Gampopa who specifically used Kadampa White Tara to cheat death. And so she ultimately builds the deathless Vajra kaya.

Dhvajagrakeyura, a Blue or Yellow Tara of Akshobya, should be entered. Turns out she is the very important Banner, and again, Banner and Parasol are indicators of transcending the form world all together.

Vajrashrinkala may be used (any deity with chain); as in Alice Getty's banner including Simhavaktra, or Blue Maha Pratyangira of Akshobya. Lion face protector, Lotus Family; Pratyangira Tara is not Lion face, but the original Pratyangira is, and is the Kavacham or Armor of Ugra Tara. Akshobya's version originates from Hum and seems peaceful, so perhaps she is the same one after Vajra work, finished with the Lion aspect. Anything with an animal head is at the highest a bodhisattva. Remember she derives from sage Angiras which is Jupiterian and indicating Lord of Speech.


For our seventh mandala, we would need to have Green Tara with Kubera and White Tara with Acala. Janguli is tantric Sita. Sita develops into Sapta Lochani, special to Zanabazar and Mongolia. White is not a pledge being, and perhaps could be described as contacted in Pandaravasini and washing red off of her.

There is a triangle of shakti pitha at Kashi, seats of Kali, Lakshmi, Sarasvati; Vagishvari is under the temple in a cave; there is an abode of Nava Durga, and the overall goddess is Mahagauri Annapurna. Similar to Maha Shri Lakshmi's presence at Potala and Khadiravani's.

A good Tara list should be able to show the inputs of pithas, legends, lineages and a bit of the process giving the output to Mongolia. This is realistic because the bodhisattva or tulku lineages were formed in Tibet out of Indian myths, and there is only one syncretic result or outpouring from here, the Mongolian system.

Her origin like Janguli and others cannot be placed in the written word, however, Tara Pitha is in rural Bengal, and has a cremation ground. In one legend, Vasishtha was requested by Buddha to worship her with Vamacara. As this ancient Sati Tara, her form of concern is when she suckles Shiva after him drinking Halahala poison. This is considered a Siddha Pitha or focal point for wisdom and siddhis. By placing a Vasishtha incarnation in Buddha's time, this is also indicating a Vedic Rishi Gotra or Sage Family. Adi Shankara calls him the first Vedanta sage. His is attributed the Kamadhenu or divine cows, which work with Marici and the concept of luminous cows and the chariot of her Mother aspect. He is believed to have written some of the Vishnu and Agni Puranas. Marici is ultimately Dipper Mother and the sages relate to the stars. Vasishtha is Arundhati Nath or her husband. His Vedic hymns are seen to transcend bigotry, increase harmony, and are particularly Indravaraunau. This is to say they declare Indra and Varuna as equal powers; and if we look at Taras 6, 7, 8, then 7 and 8 hold the same intent as Indra-Varuna: seven and Indra defeat all adversaries, eight and Varuna are undefeatable. Six is just about as wrathful or destructive but is her Bharavi or conqueror of three worlds, her inner existence which meets the Bhairava or underworld traveller of the meditator.

Also this matches Indra having lordship of Kama loka and Varuna being the central for a higher or watery plane, his wife and daughter operating the six mayavic Agni seeds via Ganga-Ganges, whereas the secret and pure, Arundhati, is with this sage. This is the important esoteric story of the stars, and so Tara, "Star", indicates Arundhati.

One of her first acts during the cycle of the universe was to leave Jupiter for the Moon--again, the two main clock hands for Kali yuga--and with Jupiter we found the important family Lord of Speech with Valmiki, author of the Ramayana, the Adi Kavya or primordial poet. Ramayana begins an epic cycle starting with Sita (White Tara) and Bala (Hercules), and it appears to be exactly this which leads to White Tara's Mongolia as well as the profound levels of practice and eventual end of the universe cycle.

The Sakya scheme is quite clever for Red; so Red Vajradharma is Lord of Yakshas, and Red Vajrayaksha is Manjushri, and in the Vajradhatu mandala. Their total basket includes Simhamukha, but is mainly three sets of three reds:

Kurukulla--Ganapati--Vajrayaksha
Kurukulla tara--Vasudhara--Tinuma vajravarahi
Naro Dakini--Maitri Dakini--Indra Dakini vajravarahi

Naro Dakini + Vajradharma seems to be the starting point. Vajravarahi, again, is Buddhadakini and Vajravairocaniya. In Nepal, there is Naro Dakini and Indra Dakini (Guhyeshvari, Sati's vagina), then they distinguish Vajrayogini as Akash Yogini or Vidyadhari (Maitri Dakini), whose temple is located at Bijeshwori from the ‘Raised Foot’ form of Vajrayogini, whose temple is located at Pharphing (also a Vajravarahi, where Tara and Ganesh make their own images and where Naro "hid" the lineage). So this fourth is not really a different lineage or yogini, but a special place. If anyone has something unique for here, it would be Sakya Trizin from a recent terton.

They are all Vidyadharis, but Maitri Dakini has a place of that name and is distinguished by flight. So Vidyadhari Akashadhatvishvari names her accurately. Indra's is Guhyeshvari Vajravarahi Varuni; like calling them the knowledge holder and the secret itself.

If we follow this, the tri-kaya of the goddess is (Wrathful Guhyeshvari) Narasimhi--Nirmanakaya, Vajravarahi--Sambhogakaya, Vajradhatvishvari--Dharmakaya, which together is Chinnamasta or Sarvabuddhadakini. Narasimhi's mantra targets Kalaratri, so this is all built together.

Red is convoluted enough to be the topic of a 449 page Oxford dissertation which seems to cover the same ground; I am not sure if we can see the whole thing.

Yakshas are Kubera's host, related to hidden treasure. So Red Manjushri and Vajradharma pertain to taking ahold of Yellow by Vajra means.

Vajradhatu practice starts with oneself as Mahavairocana surrounded by empty moon seats, and then as additional deities are formed or conjured, you populate the room and become Bodhicittavajra.

Whereas Vidyadharas or knowledge holders bring the secrets of using throat energy, the yakshas are guhyakas or secrets themselves that are the fruit of the process.

So Green is really the breakaway from general Mahayana into Nagarjuna tantra passed to First Karmapa. Red is a throat powered accelerant--Vajrayana. Yellow and White are more like fruits, results, or accumulations of Secrets and Life. Blue-Black is like a necessary tool from the throat poison, suckling pose etc., and in the Deva Deha or Divine Body it could accurately be described that she uses such forms "Wrathful Enlightened Protectors" to keep her Nirmanakaya clean. The difference between these Wrathfuls and the Mamos is highly similar to the difference between mundane and occult intentions with yellow/white or wealth/life; opposite poles and directions.

Takkiraja is another name for Vajradharma and in this case the consort is called Sukha Bharati. Kurukulla should be used but I am not sure about her usual fifth spot. The key phrase appears to be Tuttare Hum Kara, i. e. the hand or maker of filling the Space of Sapta Loka with sounds of Tuttare and Hum.

I am prone to make Vira Pitheshvari first, because she immediately identifies us with all Shakti Pitha, moreso on certain ones, leading to the special Guhyeshvari Pitha of Nepal. She is obscure and hard to trace but is the language of the whole theme. And because she is fat she immediately identifies all the Lambodara Taras. We can go with this for cutting edge research as I know nothing about Sakya Trizin's Phampi Dakini.

I don't believe Pratisara is specifically named as a Tara, but, some of her retinue deities are, and, since her Pramardani does not match the sloka well, we will substitute Pratisara instead and use her elsewhere. Then Mahattari of a different circle of protectors would feature as Pramardani or the Destroyer. Pitheshvari would be removed from thirteen which is another destroyer--Janguli's Poison Kiss. Twelve never was resolved but must be Amitabha Family. So Kurukulla.

Taranatha had a rare Tarayogini practice passed to Jamgon Kongtrul and others. She is very wrathful and one of the last ones added to the group. They use the same picture I used for Samaya Tara. But this was one of several called Tara Samaya Yogini. Hinduism places her as one of its 64 yoginis and say she is Akash in the head. Again, her name was repeated as a Mother and as a Yogini.

So Tarayogini is really Samaya Tara and her practice is not remotely rare, except Taranatha must have had a special sadhana. In Kagyu, she is used every morning, with the twenty-one praises. As a preliminary, the main difference between Tara and Vajrasattva is that the latter is purifying, and you visualize his lights as draining and melting your impurities, whereas the light of Tara enriches you with Buddha qualities. So you give these praises and maybe the names mean the way Atisha did it, or Suryagupta, or we can change them in some way that makes sense. For instance, the phrase Bhrkuti comes up at least twice, not as a proper name, doesn't mean frown but wrinkled brows, and so if it is a little awkward to give this Sanskrit name to a Tibetan queen, we don't have to use it. That Fourteenth verse looks critical and should be well explained.

Taranatha catalogued 417 deities including 42 Taras. His are mostly Tibetan, but they do have Mahamaya Vijayavahini: "Tārā who is peaceful by day and wrathful by night (Sgrol ma Nyin zhi mtshan khro). The peaceful aspect appears like the standard green Tārā. The wrathful one is white, with one face and two arms, standing upon a lotus and sun. The right hand holds a vajra, the left one displays the threatening gesture. She is surrounded by fire and wears tiger and leopard skins as well as snake garlands and jewel ornaments." He calls Pitheshvari "Urgyan Sgrol ma gnas kyi dbang phyug ma".

He has a Yellow Tara "Sgrol ma Gser mo gtso ‘khor gsum Paṇ chen śakya śrī’i lugs" who appears with Dzambhala and Vaisravana, who are both yellow with a mongoose, but this shows they are distinct. He has a White Dream or Svapna Tara, "Rmi lam ston pa’i Sgrol ma". He has a Green Five Deity Tara, "Sgrol ma Lha lnga", who uses the same Ekajata, Marici, and Varahi we often use, but also includes Pratisara. I am not sure if it means Kurukulla, but he also gives Red Tārā of the Sakya Tradition (Sgrol ma Dmar mo sa lugs).

Without reading Tibetan, we can only find minor amounts of Taranatha online, such as Origin of Tara Tantra (The Golden Rosary). Vajra Tara is found in the Vajravali of Abhayakara-gupta, who found two more at Narthang.

[shaberon]

The Profound View from Manjushri could be called the original system of Nagarjuna or "the system of Tara and Avalokiteshvara".

Historically this system clashed versus the Methods system of Asanga which was oriented towards monasticism and ceremony, and so this episode is largely repeating what happened during the first Buddhist Councils, which had a hardcore monastic institutional crowd, and others who insisted on a practice for all kinds of people.

The first Nagarjuna retrieved the Prajnaparamita from the Nagas, and there was a second or tantric Mahasiddha Nagarjuna many centuries later. This original system of Tara--Avalokiteshvara uses forms that are hardly mentioned any more. So we want to stay close to this Profound View, and observe that it has the evolution of the basic pledge being Green Tara into Prajnaparamita Tara and Vajra Tara, Amitabha or Lotus Family.

What this is mainly mixing with is the system of Manjushri--Sarasvati--Lakshmi, Vairocana or Tathagata Family.

The original Mahavidya Tara is Wrathful--and what the system does is also contain Wrathful Chamunda and Varahi. These three are all harnessed and used with Vajra names. Some of Tara's earliest images are found at Ellora with the Seven Mothers. She retains many of her pre-Buddhist sources, especially the Naga--Yaksha cult. Mahavidya Tara is Mahacina (Blue Sarasvati or Ugra) and her consort is Akshobya (as a snake--Tara Nath); this name from the Vasishtha incident has been kept by the Buddhists. He got her to become the Green suckling form. His Tara Pith is Seat of Five Skulls.

So if we examine her clearly, she starts as Prajnaparamita and attaches Wind Horse and Ayurveda (White) and Vajrayana (Red and Yellow). She explains the Wrathful Rite will employ Moon and Stars overhead, and, in terms of the Peaceful Rite, she is needed for the highest Manjushri mandala.

I found enough question about spot fourteen that I think anybody who is familiar with it should ask why there are no Taras that actually have the form described and in terms of the symbol it seems to be asking for Taras of Akshobya. Actually I found the answer from Taranatha.

Kurukulla in Sakya arises from Red Tara (her syllable is Tam or Hrih or Hrim). However Arrow Dakini (Hum) means the Red Pitheshvari Tara of Saraha, the first Mahasiddha and promoter of Sahaja and Mahamudra. Saraha was a student of Haribhadra and learned Mantrayana from Covesakalpa of Orissa. He then obtained a Dakini from a consort. Perfection is only possible with the help of Vajra Tara (Kundalini) whose path is Avadhutika, the Arrow.

Sahaja could be conceived as the use of tantric twilight language across multiple faiths (e. g. Nath, Baul, Vaisnava, Sri Kula, Kali Kula). In Buddhism it is used for the Root Esoteric Community, Sahaja Guhyasamaja, for which Taranatha gives the deities Vajradhara and Vajradhatvishvari. Even amongst the Hindu scholars, it is generally found that Sandhabjasya or twilight speech came from Buddhism and was adapted into the other groups.

Taranatha gives White Vajrayogini as Reversed Sahaja Lady Vajravairocaniye. His bag of tricks is largely the same as what we are dealing with, he starts back at Parnasabari and goes through Kalachakra. This is from an old typewritten version.

That we also have Red Vajra Charchika is to take the ancient Chamunda and use her name that is only found at the Pitha in Banki and in another temple in Mathura near river Yamuna.

Saraha's Arrow Dakini here is shown in white:





Historically, they made arrows for a living. An Arrow continues to be held as an item by Mandarava and Sri Laksmi deities.

Taranatha does not mention Pitheshvari, but names Saraha's Arya Red Tara for Uddiyana. This is a Red Eight Arm form with a drum, and an internal Pancha Jina, with white Bhrum at her crown, red Hrih at her throat, blue Hum at her heart, yellow A at her navel, and green Kham at her secret place. Her mantra is:

Om tare tuttare ture hum phat

I am not sure if this Uddiyana Red Tara is the same as Pitheshvari. In Prajnaparamita illustrations, what we have done is included "missing" Six Arm Sita and shown a fairly streamlined deity progression. Herein, Parnasabari gains a special relationship to the Serpent deities, and the result is, she gets Hayagriva. If you browse this filtered set, Pitheshvari strongly resembling the Saraha version shows up in a specific way. Although called a Saraha lineage, her sadhana is supposed to have been composed by Vajravati, who is barely ever mentioned, except in the large Pratisara Dharani. So it may be more accurate to say that White Arrow Dakini was a human female adept, whereas Red Pitheshvari is built into the earth or the Pithas. Even Niguma can be found in a peaceful white mode. If White can be seen mostly referring to a human incarnation, this starts with Sita. All the incarnations represent a high realization of the White Sherab deity, who also comes from the earth, in a certain way.

Red form of Jnanadakini may emerge from Red Avalokiteshvara, and then Hayagriva is mandatory.

Kurukulla is a different Red power. Her arrow is loaded in a bow, and she herself rarely has a consort. Kurukulla is also an Archer usually. But she has a simple basic form. Kagyu White Kurukulla, drenched in great compassion, exuding nectar from her body:





She is part of the Garchen tradition of Drikung.

So far, we interpret this form physiologically, if she is exuding nectar, this corresponds to a stage in the disciple's progress, doing the same.

Here is the same white form with garland and vase in the foreground of her common appearance by Trehor Namkha Gyan ca. 1700s:





So she is after the main Three Red Dakinis; Manohara continues the basic Red Hook power, but Kurukulla is related to Sarasvati's syllable, Hrim, the chanting form of Amitabha--Hayagriva's syllable Hrih.

This is a very rare Kurukulla where she also has a drum and is over an unusual Manohara type couple:






Hayagriva is related, here, under Lion-face and Varahi (both forms of Jnanadakini), who together are under Naro Dakini. But she is not in her original state. Hayagriva has gotten her to drink blood, which makes her into Buddha Dakini:





It is that Buddha Dakini who becomes the basis for Chinnamasta. At least one of her sadhanas is said to have been composed by Laksminkara. Sadhanamala gives Chinnamasta as Yellow Vajrayogini (basic peaceful form). In Hinduism, she would broadly correspond to Bhairavi, with more specific names such as Chandika, Chamunda, Charchika. In practice, we would already have a Bhairavi from Sarasvati as Vetali (corpse), which becomes one of the components of Chinnamasta, along with a Solar or Vairocana goddess. This higher Bhairavi is given Mother level names, and generally held to be Wrathful Green Tara.

Chinnamasta is the Tri-Kaya. And in practice, Narasimhi is her Nirmanakaya, her Sambhogakaya is Vajravarahi, her Dharmakaya is Vajradhatvishvari.

Shaktism uses Varahi and Kurukulla:

The bindu of Sri Yantra is the same tantric internal bindu or the red and white drops. The Shaktas give Varahi the white drop and father aspect; she is always the fifth Matrika listed, and is a Panchabhuta or center of five elements. She has five forms including Matsya (similar to Tilo), Bhairavi, Canda, Krcca, Svapna. She is the General (Dandanatha, Vira Nari, Kriya Shakti) to Sundari and is Yama shakti. Kurukulla is given the red drop, mother aspect, passes five dhatus (shaktis) to child. Mahavidya "Varahi Devi became Tripurasundari’s father while Kurukulla Devi the mother, and they duly performed the marriage of Tripurasundari with Kameshvara Bhairava. The couple had a son called Mahaganapati and a daughter called Bala Tripurasundari." Mahavidya Bhairavi is Chandika, the main Yidam or meditational deity of this system, in conjunction with Dakshinamurti Bhairava.

So instead the Buddhist system gave the White Drop to male divinities, and shifted kundalini awakening from the root or muladhara center to the manipura or solar plexus, again, part of what we mean by not using physical techniques, but mental ones. Like Varahi, Mahamaya will become male.

Here is Arya Tara Kurukulla, Mahamaya, and even Mahasahasrapramardini sadhana translations by Dharmachakra.

There is some overlap because Varahi is Yama shakti, so is Chamunda. Manjushri Yama Dharmaraja has for his Outer consort, Chamunda; his Inner form is Four Activities, Secret form is Red. Yama has also had Urmila (Deep Sleep Lakshmi or Nidra), Dhumorna (Dhumavati), Syamala, Vijaya for consorts. But Kurukulla lacks this role, and her Tibetan name is not a real translation; she is seen as very similar to Sundari, i. e. Sodashi, "Sixteen", etc.

Chamunda is the only Matrika to display Bindu Mudra.

This essentially places Varahi in the chief position who is Indra's Dakini and Tilo's. Naro Dakini is same as Phampi/Pharping. Taranatha gives Red Guhyajnani Dakini as mKha'.'Gre.gsang.Ba.Ye.Shes who is four armed, arises from Hrih. She is the female Red Avlokiteshvara and her mantra includes om mani padme hum.

The main rites to gain and increase Varahi are:

Vajrasattva + Jnanadakini Vajravarahi (intro form in Satchakravartin Mandala no. 25, Dharmadhatvishvari, and she "scales up")

Mahamaya + Buddhadakini Vajravarahi (these are both Yellow Archers)

Varahi's Armor Deities are the Wrathful Prajnas, given as herself with Akshobya, Yamini--Locana with Vairocana, Mohani--Pandara, Sanchalini--White Tara with Vajrasattva (or Yellow Vajradhara--Vajradhatvishvari if Varahi is with Vajrasattva), Samtrasani--Mamaki, Chandika (Charchika--Mangala)--Green Tara.

Males protect the body and females protect the subtle body.

Chinnamasta is also called Prachanda (Wrathful) Chandika. There is also Trishakti Chamunda of Navarna Mantra who is an esoteric form of Chandi: Om Aim Hrim Klim Chamundiyai Vichhe, "Triple Goddess, untie" (i. e., the knots in avadhut), with vichhe also being the fourth or silent phase.

From Thousand Names of Kali:

kAlikA-sahasranAma-stotram:

sumatiH kumatishchaNDA chaNDamuNDAtiveginI || 31||
prachaNDA chaNDikA chaNDI charchikA chaNDaveginI |

Charchika is also close to Chandi in Chandi Path.

If correct, Chinnamasta = Charchika = Wrathful Chandi = Wrathful Green Tara Prajna. Chandi is already Triple Goddess Kali--Sarasvati--Lakshmi, whereas Kurukulla is Tripura Sundari. So roughly, I think you get Varahi as a basic unit, elevate her to a Wrathful Triple Goddess, and pacify that into Chandi, or Sabdabrahman Shakti.

Is this actually known to be the same with Navarna Mantra, yes, Varahi Mata is the one who comes to the aid of her disciples. What does she have, the Lion, Sarasvati, and Durga vehicles. Matshya Varahi, the chief deity of Varahi Temple Shakti is the concept or personification of divine feminine power created from male gods as consorts bearing female names similar to their male gods. She is Kritantatanusambhava, Death Personified Being, Varahi and Chamunda are both Yama Shakti--one via males (although not a copy) and the other not. Marici is believed to have emerged from Varahi. The Marici Temple in Ajodhya, Orissa, is Hindu and Buddhist and, despite the name, shows Marici flanking Durga. And at Varahi Mata temple they call her White or Sweta Lakshmi. Varahi has a rare mate called Chandochanda.

According to Varahi Tantra, her Five Forms are Swapna/Sweta (Dream) Varahi, Chanda Varahi, Mahi Varahi (Bhairavi), Kruchha Varahi and Matsya Varahi. Vaarahi is represented with a third eye on her forehead and is the Kamala Vidya of Dasa Mahavidyas. Kruccha Vrata is a type of vow for seeking Parama Shiva; for three days, one might consume only hot water, three days hot milk only, three days hot ghee and another three days only consume only Vayu.

In this thought (Traditional Yoga), Chinnamasta, Chamunda and Varahi are both Shachi, or Indrani or Indra Shakti (Vaidyut). Kamala (Varahi) is Indrani in the form of Ushas (Rig Veda Viii 1.6, X 42.9, X 47.5) or Rajeshwari (RV I 174.1). The higher form of Kamala is Sundari (Crown center, Mahasukha, Uddiyana, Shakti of the Moon). Chamunda also means "Remove Head". Maha Bharata or the national epic of India means Mahar Loka or Kama Loka.

Kurukulla is practically never shown with a mate, but Varahi sneaks off and does it as Vajravilasini. The peaceful side of her is Asta Mahabaya "Eight Armed Sahaja Reversed" Green Tara, who may be called Vajra Pitha Tara. So Green Tara is intended to be peaceful Vajravarahi.

Someone else spit out the answer to one mysterious thesis, In "Traditional Yoga: Insights into the Original Yoga Tradition, Book 2", p. 42, we find the author states that Chinnamasta's attendants are the Ashwin Shaktis, that Dadhyan "feeds" them in the same way. Then mentions she is the spouse of Vishvarupa, who, in Brihadaranyaka Upanishad, is a disciple of the Aswins.

Vishvarupa is the Son of Tvastir, beheaded Brihaspati, Ganesh. That article does a great job explaining Chinnamasta as Cosmic Sacrifice. Vishvarupa is the future Celestial Bodhisattva in the final cycle under Amoghasiddhi with Maitreya as his Manushi or human form. Vishvarupa is the real initiatory process used in our system. This is why you see Ganesh gathering all Shaktis and then himself being offered up.

The two Chinnamasta attendants are Vajravairocaniye and Vajravarnaniye (Jaya and Vijaya, also friends with Annapurna, whose Mahavidya has a consort called Kabandha). Vajravairocaniya (solar channel, grasping for taste, rasana) is Form or Kaya Vajra, Indra Dakini, Vajravarahi. The accompanying Vajravarnani "She who colors" is Sarvabuddhadakini (lunar channel, that which is grasped), Vach Vajra. Those seem to represent two levels of Vajravarahi as per the rites (she also has a Vasya form, and Arthasiddhi with full sow head), as well as the merging of Buddha Families.

The Jewel Family may merge into the Tathagatha Family to form the Thunderbolt of Body, Kaya Vajra, and the Karma Family may merge into the Lotus Family to form the Thunderbolt of Speech, Vach Vajra. The mind is Mahamudra Bodhicittavajra or Akshobya plus vajra elements. So to say, Mahamudra Amoghasiddhi merges into Akshobya; Vajra Family is Thunderbolt of Mind, Chitta Vajra.

Marici both has an Uddiyana source, a fat form that consorts with Hayagriva, and a Vajradhatvishvari level. This is why I think she is the final perfection and removal of vajra ignorance; she is a Bodhisattva, in essence her path is the Bodhisattva path to complete Vajradhara--Vajradhatvishvari.

According to a Shakta, the incarnations of Shakti are the Mahavidyas plus Annapurna and Durga. Their main doctrine is Puranic and is called Devi Mahatmya which is the same thing as Durga Saptashati and Chandi Path. The Esoteric understanding is that subtle ignorance remains under passions and sins, or even after their removal. This is what we call "vajra ignorance". Mahatmya is a descriptive form of Mahatma, and it is explained as the worship of Mula-prakriti. So this is a "belief in matter alone" conjoined with not simply tantra but explains Tara.

The oldest Orissan temple is Parasurameswar, i. e. Parasu or Axe Rama, who is behind all this. It is a Shiva temple, but one of the first to show the Sapta Matrika with him and Ganesh.

Parasu got the mysteries of Divine Mother from Dattatreya, whose fierce form is Chamunda. Datta Pitha is at the feet of the Chamunda mountains, and he is seen as a fusion of Chamunda and Narasimha. Datta also produces the Om sound like Ganesh. Parasu placed the deity Ayyappa at Sabarimala. He also gave the earth to Kasyapa. This very ancient system is that of Matangi (Parvati--Sarasvati), Ganesha's consort, prime minister of Sundari. It also digs at the ninth avatar, possibly Vishnu as female (Mohini) or her son with Shiva, Ayyappa (much later, 1100s). With Agasthya, Parasu started the kalari payattu or martial arts aystem, and, with Dattatreya, the guru system. So Parasu starts this, Rama chandra picks it up via Sabari and Sastha Ayyappa (Makara Vilakku), and later the Mohini Ayyappa uses a non-Hindu mudra, and there is chanting of Saranam Ayyappa, basically the same as Refuge Vow.

Taking Vamana to be the last symbolic or pre-cosmic avatar and Parasu to be the first truly human one, we find he is the only avatar considered Chiranjivi or immortal at Mahendragiri, as well as destined to be or to help the final Kalki avatar and bring the end of time.

Bhuvaneshvari (Aditi Maya) is Indrani in the form of Ishani; Ishana begets Surya, so Indra as the Sun is Bhuvaneshvar. Bagalamukhi is Pranayama, Shakti of Varuna and Yama (controller of prana) and Indra's Golden Vajra Shakti (RV X 96.3). Yama "forebearance" ,"respect for others" is Yoga discipline, as well as Yama "twin" or Death. As Death, son of Vivasvat and of Saranya, the daughter of Tvastar, the literal translation is Mrtyu.

With Chandi, the moon was considered a god one month (Chandra), a goddess (Candi) the next.

Here is a Saffron Crocus view which comprehends the European dawn goddesses as being Ushas-Marici and extends this to Yellow Tara, Yellow Gauri, and Bagalamukhi. Gold is Mahendra and Kundalini, Lakshmi, Completer of Wisdom. Red and Yellow are the blend of dawn colors resembling the inherently luminous mind.

So it looks like Tara goes from a pledge being to Yellow Vajra Tara which is where this Gold Kamala Lakshmi Tantra concept attaches. Kamala is our Gold and also has two levels:

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.

Those are the Two Drops, being the same as Bindu of Sri Yantra. The first more or less being Vajra Path and the second being the Fruit, which are, indeed, inseparable.

"Varahi Devi became Tripurasundari’s father while Kurukulla Devi the mother, and they duly performed the marriage of Tripurasundari with Kameshvara Bhairava. The couple had a son called Mahaganapati and a daughter called Bala Tripurasundari." Sundari is also an Archer. These arrows are about the straight, direct shot or Mahamudra and the Avadhut keeping the energy straight in the center. Her whole story is full of arrows and she had no parents because she is Adi Parashakti, but she gains this appearance of parents, during the stages of cosmic manifestation. Probably one of the most important stories.

This is well hidden in general survey statements:

"In the institutes of Manu the Loka palas are represented as standing in close relation to the ruling king, who is composed of particles of these his tutelary deities. The retinue of Indra consists chiefly of the Gandharvas, a class of genii, considered in the epics as the celestial musicians; and their wives, the Apsaras, lovely nymphs, who are frequently employed by the gods to make the pious devotee desist from carrying his austere practices to an extent that might render him dangerous to their power. ..The interesting office of the god of love is held by Kamadeva, also called Ananga, the bodyless, because, as the myth relates, having once tried by the power of his mischievous arrow to make Siva fall in love with Parvati, whilst he was engaged in devotional practices, the urchin was reduced to ashes by a glance of the angry god. Two other mythological figures of some importance are considered as sons of Siva and Parvati, viz. Karttikeya or Skanda, the leader of the heavenly armies, who was supposed to have been fostered by the six Krittikas or Pleiades and Ganesha (lord of troops)."

He becomes Ananga, or body-less, which is the definition of the Dharmadhatu. Sundari is a later result in the larger story of how Shiva came to be incinerating Kama.

In one Panchajina view, "The fifth Mother, yellow Vajradhatvishvari (Tib. rDo-rje dbyings-phyug-ma ), as the prajna of Ratnasambhava, is usually assigned to the central position of the mandala, where as the ‘Mistress of the vajra realm’ she may also become the golden consort of Manjuvajra, or the blue consort of Guhyasamaja."

Kurukulla with Kubera (or Vaisravana) provided the wealth for First Dalai Lama, and some see her as the wife of Kamadeva, Rati. Sarasvati is the Shakti of Manjushri. Parnasabari--Gandhari may be most closely related to Jagganatha. The earliest text of Buddha's use of mantra is Matangi sutra from Sardulakarnavadana and begins the use of low or outcaste names for generation and kundalini goddesses. A Chandika image was held by Sabaris in Mizrapur, but this was probably a later addition, and seeing Parnasabari over Chandi tells us something like this. The earliest stories of Matangi (Raja Syamala, Jnana Shakti) are not Hindu, but from the Buddhist Divyavadana.

Sabari is not Nagarjuna's Tara, but we find her as an un-White in the scenario related to Sita's appearance. And thus she is found deep in Ushnisavijaya's retinue with Hayagriva and Nagarjuna's Vajrapanjara Mahakala. This also has Green and White Tara and two sets of Pancha Raksa:





So this is something like add Red, blend all colors, synthesize. The real Pacifying or Healing isn't happening much until it has these legs under it. Sabari as well as Mayuri, most Nagarjuna and Green Taras are in Amoghasiddhi Family. Matangi starts out dark and becomes emerald, much like Green Tara.

Matangi and Varahi are so close that they are 75 and 76 in a Thousand Names of Sundari. Matangi is Thought, the Source of Word or Speech. This Thought is in form of Jnana Kala in Hridaya Guha (Cave of the Heart). And she is the mistress of Om and Mantra. Its four stages:

Unmanifest Vach (Para) : Tripura Bhairavi

Pashyanti : Tara (Superior Logos)

Madhyama : Mantrini (Matangi, transition of thinking, or thought to word)

Manifest Vach (Vaikhari) : Matangi (Manifest Logos)

Matangi is the first Great Cosmic Wisdom that allows the knowledge of Her great powers, through direct revelation (Abhisambodhi), to the sincere and devoted aspirants. As Sarasvati, from Rig Veda, the three Saraswatis are Matangi (Occult), Tara (Wrathful), and Vina-Sarasvati (White). The three are the spouses of Ganesh or Matanga Rishi, Brihaspati the Guru of the Gods or Akshobhya Shiva, and Brahmanaspati or Brahma.

Her Thousand Names is the only one of its kind which does not repeat anything; it is a dialogue between Hayagriva and Agastya in Brahmanda Purana. All others were collected by Vyasa, this is the only one delivered by Vach Devis. Sundari usually has Matangi's Parrot and a Sugarcane Stick, similar to a sugar bow. Her emergence concerns Taraka and another conflict with Bandhasura (who stole the Devas' Virya or Vital Air) and the birth of Karttikeya--Mars from her original status in Ardhanarishvara. Matangi and Varahi are clearly her highest two officers. It explains that Rasa (taste, or prana) is the basis for accomplishments, as even devas weakened without it.

Tara resides in five voids. In the first void,She is creatrix; in the second void, she is Vishvarupini; in the third void, she is Nirguna Brahman; in the fourth void, she is the sustainer, and finally in the fifth void, she is the annihilator. The void in itself is Brahman, where all-transcending Kali resides. Tara Pith is considered so for the Third Eye of Sati, and in the adytum, the suckling (primordial) form is subordinate to a four-armed fiery one (vermillion and marigold).

Kali kula includes Tripura Bhairavi, Chinnamasta, Bagalamukhi, Dhumavati.

Sri Kula includes Tripura Sundari, Bhuvaneshvari, Matangi, and Kamalatmika (Kamala or Maha Lakshmi). The tenth Mahavidya is a turnaround: "The path of the Mahavidyas begins with Kali’s blow that cuts off the head and brings us to Kamala’s glance that opens the heart. The path does not end here. Instead, a previously hidden secret path is revealed. It is one of softening and allowing, melting and opening. Kamalatmika initiates a deeper level of alchemy, where harsh resistance to the totality of life is transformed into the sweet nectar of love. The allure of sense objects is the magic of Kamala; without her, no object would hold our interest or desire. While the beauty of some objects seems obvious, Kamala’s grace results in opening to the inherent beauty of consciousness beyond the appearance of objects. Thus, even situations, people and objects that were previously unacceptable are welcomed with a renewed vision. No circumstance or action is seen to be “gross”, “dirty”, or “immoral”. Her exquisite beauty is seen in all manifestations as equally valid and beautiful." She is the only one not directly related to Shiva.

Mahattari is a type of varada Tara with a flaming halo, seated in vajraparyanka. There is a broken image of her at Ratnagiri with Panchajina centered on Amoghasiddhi, along with Avalokiteshvara and Manjugosha. She has Mayuri, Janguli, Fig Twig Marici, and Ekajata, Varada Tara's four companions, and Mahasri's, ca. 10th century. In Sadhanamala, her posture and varada is also used by White Mrtyuvacana, and Nagarjuna's two armed Vajra Tara--almost identical to the prior, except the meditator adds a wheel in their own heart. Then Green Mahattari is equal in pose.

She is often shown alone; her first two companions are Blue Fig Twig Marici and Ekajata, and this way she sits in lalitasana. This Marici is terrible with serpents in hair and a vajra. Multiply referenced in ways indicating Varendra Vanna Iccha Mahattarayi Tara of Bengal. Green Arya, Vasya, Varada, are her ascending scale in ardhaparanyaka pose. Mahattari has added Vairocana--Marici and Akshobya--Janguli. Whereas Parnasabari can come from Amoghasiddhi or Akshobya.

In Sat Sahasra Samhita is where we find her as the center of a Panchajina. The first component of the Astavimsatikrama is the series of Four. It consists of the four Mahapithas Odiyana, Jalandhara, Purnagiri, and Kamarupa. Next, Astavimsatikrama has a set of Five Syllables and Five Goddesses including Matangi and Sabari, the continuous stream of Kulakula, which is Kula and Akula, or Shakti and Bhairava. Next, the Six of Kriya are in the "Place of the Jar" or Throat, including Sundari, who have an opposite Wrathful Six. Next, the Four of the Heart, Mitranatha, Oddanatha (or Jyotisa), Sasthanatha, and Caryanatha. So this includes the Natha or Lords Uddiyana Natha and Sastha Natha, Sastha again being Root Guru of Ayyapa. It goes on with further classifications of chakras and deities, less strongly related to our theme, but this 4-5-6 is certainly an esoteric progression that starts in Uddiyana, and goes through Matangi to Mahattari and Sundari.

The Mahattari is in the transcendent position above the Five Goddesses, and is the place or residence of the stream. Kubjika in this entourage is child (Nine, Sabari or Kumari), young (Sixteen, Bala Sundari) and old (Bhairavi), and another Newari secret. Pulindi is an obscure bandevi forest goddess. Campaka, related to flowers, was a mahasiddha or a vidyadhara. Once he visited the banks of river Yamuna with his wife Madalasa when they got from the forest nearby a child. The child in later years became famous as Ekavira, founder of the Hehaya dynasty.

Bala Sundari is indicated as Kurukulla, Sodashi, "Sixteen". Here is the Siddha Siddhanta where that seems to come from and I don't think we've found before. Tripura Sundari is Amba or Ambika, Mother. One of her epithets is "Lady of the Guptatara Shaktis", and Mahamaya.

Here are nuts and bolts of Kubjika Tantra which equates Matangi to Candali. Malla kings were her main devotees. In this Jagganatha artcle, she says, of the Sri Mandira in Puri, mahalakshmimaya pitha uddiyanamtah param, it is the pitha of Mahalakshmi. Later Jagganatha's mantra is given as Pradyumna mantra. Kubjika's technical relation to Seven Shaktis is given by Sri Kamakoti who also found that Tara is Arundhati. Kubjika's relationship to Mahacina revolves around virgin worship. Her consort is Navātma-bhairava. In Kubjika Tantra there is a reference to yet another interpretation of the meaning of the name 'Bagala'. In the initial chapter of the text there is a verse - 'Bakare Baruni Devi Gakare Siddhida Smrita. Lakare Prithivi Chaiba Chaitanya Prakrirtita' ('Ba', the first letter of the name - 'Bagala', means 'Baruni' or 'She Who is filled with the intoxicating mood to vanguish the demon'. 'Ga', the second letter, means 'She Who grants all kinds of divine powers or siddhis and successes to human beings'. 'La', the third letter, means 'She Who is the foundation of all kinds of sustaining powers in the world like the earth and is Consciousness Herself'. Suryagupta offers Kalyana-da Tara on verse twelve, which would mean Bagalamukhi, but there is a form of Lakshmi of this name. Previously eleven was Jagad akarsana--attraction or magnetism, Krishna-- then Lakshmi (Kalyani, Jagad Ambika or Jaganmata).

The secret of both immanent Kula and transcendent Akula is called Kulakulamnaya.
The twelve-fold goddess of this tradition is identified with the powers
symbolized by the twelve vowels and is called Malini of the Sequence of
Exertion. Prabhakali or Twelve aspects of Kali behind the Sun, with Kumari at the center of them. Malini, the power of letters which holds the entire universe within itself. Sabari was in her previous life named Malini, an Apsara, daughter of a Gandhari king. Malini is the first female Ganesha who suckles Ganapati. She is Ganesh Jnani who only wears a mala of flowers. As Sabari, she helped Rama and Bala rama unearth Sita. This is Vinayaki, "no lord (nyaka) above her", Elephant goddess, including Pisacha Sundari, guhya vidya of Ucchista Ganapati. She holds this whole universe in her belly thus she is Lambodari. Gajamukhi and others.

In Sadhanamala, Uddiyana is connected with the Sadhana of Kurukulla, Trailokyavasamkara, Marici and Vajrayogini. The Sadhanamala also connects Uddiyana with such Tantric authors as Saraha. The Jnanasiddhi of Indrabhuti is stated in the last colophon as having started from Uddiyana (Odiyana). Uddiyana being one of the four Pithas sacred to Vajrayogini should be at least near Kamakhya (Kamarupa), and Sirihatta (Sylhet) in Assam and it is not unusual to think that all these four Pithas received their sanctity from temples dedicated to Vajrayogini. It also mentions Purnagiri.

The normal Triple Om mantra is followed by offerings via Vajrapushpe to:

Uddiyana--Dharmakaya
Purnagiri--Sambhogakaya
Kamakhya--Nirmanakaya
Srihatta--Mahasukha

Table of Pitha correspondences. Or here is expanded detail on the Pithas.

So from this Shakta view, Varahi and Kurukulla are residents in Sundari's Sri Nagara city. Chinnamasta is Vajra Prastarini (type of flower), a Red Archer who has a Crescent Moon diadem. Devi Kurukulla is, like Varahi, a balidevata, that is a receiver of offerings. She is one with Lalita and is identified, at least in the Tantrarajatantra, with Tara; they use Tara's mantra for her. There is a special Fast Ganesh, Kshipra Ganapati, who works with these forms. Nath explanation of the expansion of her mantra, or initiation through her progressive forms. Bala Sundari sadhana. Lalita story. And the Guhyeshvari of Nepal is Guhyakali:







One of her names is Jagad ambika, World or Universe Mother, similar to Jagad vasi and Jagganatha. She is the dark form of Sundari. This Guhya form is not her normal one; her mantras are uniquely generated from her own faces rather than Shiva's. She is 707 in Lalita Sahasranama, Guhyarupini.




Here is reversed Vajrayogini, where it obviously is Varahi:





No color is given; in White, she often seems to lack the snout and be called Vajrayogini.

Here is a quick glance at Buddhist Animal Vehicles which helps see who groups together on this aspect. We can immediately see that "Buffalo" would be greatly expanded with Hindu components.




Again, the main meaning of yogini divisions:

The primordial base-of-all of all sentient beings, the clear light mind that has been pure from the beginning. (Sarva Buddha Dakini or Indra Dakini)

In interdependence with that, there is there is the inner Vajrayogini [taking the form of] a short A, or in this system a VAM syllable, in the middle of a triangular [matrix of] channel-knots at the navel. (the Consort)

In dependence on this there is the co-emergent (Sahaja) sambhogakaya Vajrayogini who abides in the Akanishta heaven, arising as an appearance of the outer nirvana and samsara. (Kadhira and others with Abodes)

[Further,] there are the field-born nirmanakaya [vajrayoginis] that abide in the twenty-four, thirty-two etc. sacred places of Jambudvipa. (Jnana Dakini, i. e. one who receives the pledge Tara)

[Finally], all the women who abide in various countries and locations are the karma-born dakinis.

[shaberon]

The Mahattari form is inclusive of the Kubjika--Sabari--Matangi--Candali heritage. Kubjika refers simultaneously to virgin worship in China as well as the Blue Sarasvati Tara who is Mahachina, i. e. protector of China, Ekajata of Bon and Tibet, as well as of the very Tara Pitha where this Tara was propitiated by none other than Vasishtha.

We find an intricate hypostasis and it turns out that Buddhism is virtually identical to Sri Kula or Shaktism. Buddhism lacks a Tripura Sundari to call anyone's mother in the same way that Hinduism lacks an Amitabha to have anyone in the family of. When you adjust for that, the internal working components are almost identical. Both work almost exactly the same way concerning the Bindu, the Red and White Drops. This concerns the Red forms of Tara. In both schools we see a sort of Red--White bleed over as with Pandaravasini and this is Desire and Arrow Dakini.

The Yellow form from Janguli--Vasudhara leads to the ultimate Vajradhatvishvari, and we see that Chinnamasta should perhaps start in this Yellow line. This coincides with Sri Kula which runs you through the Mahavidyas until Yellow Kamala, and you start in a new way, she has lower and higher tantric levels using the same components. And when we checked with Agni, we found that Lakshmi Tantra and Mahamaya was the highest stage. So this is the same.

The Sabari heritage is completely in line with the appearance of Sita or White Tara and what we found to be the most occult procedure or Ashwin Shaktis which is only possible after the initial round of Ganesh Shaktis, who is intimately related to Sabari--Matangi as well as Mars, and so we have an occult adventure of Ganesh running with that of Mars and the one element or virgin essence. This seems basically the same in both schools. We are, for the most part, using each others' Pithas, cremation grounds, and other sacred sites.

Mahamaya serves as androgyne and has a very brief Mahamaya Tantra. In Anuttara Yoga, Shangpa Kagyu for instances carries four Indian forms for Completion Stage: the Hévajra tantra is the zenith of candali (heat) yoga, the Chakrasamvara tantra is the zenith of consort yoga (karma mudra),
the Guhyasamaja tantra is the zenith of illusory body and clear light yogas,
Mahamaya tantra is the zenith of dream yoga. This last tantra also culminates in the gift of flight. It is also important in Ngok and attributed to Kukkuripa or dog guru.

Mahamaya is generally a Vairocana Family member in the center of Pancha Dakinis and/or as Buddhadakini. A transmuted Heruka like Guhyajnana is a female Avalokiteshvara and Vetali is female Akashagarbha. This all has the nature of Root Guru's Wrathful aspect interacting with Queen of Space.

Mahamaya arises from Hrih, so, if we have Hayagriva, we have this syllable.


Both Varahi and Vetali are inputs into Marici. So it's heavily implied she does consort with Hayagriva but so far I am not sure anything shows this the way Alice Getty said.

For the Bhairava, the Three Sarasvatis are Vajra Vetali, the female consort in wrathful aspect embracing Vajrabhairava; Sarasvati, the peaceful aspect; Ochen Barma (Blazing with Light) the protector aspect of Vajra Vetali, an aspect of Palden Lhamo. This is about the Blackest and not to be mistaken for the normal Wrathful Sarasvati Protector, Magzor. Ochen Barma is for instance shown under Black Vajrabhairava in union with Black Vajravetali, so, she protects them.

Vetali on her own leads the Eight Gauris surrounding Heruka, and, he then goes into multiple forms with whom Vetali consorts. Originally, however, he is with Nairatma, or i. e. leader of Pancha Raksa.

The Sakya cycles culminate in four final practices, and we will note three "alternates" for the finals are Simhamukha, Amaravajra, and Amitayus.

Chinnamasta is the eventual attempt to perfect the Tri-kaya of the meditator. Her first preliminary is Jnanadakini. This thangka shows Jnanadakini under Chinnamasta who is a very unusual Green:




Jnana herself also works in Blue, and here we see a sort of doubling of Blue power and Red rotated North when she is in stupa:




NSP gives her as an Akshobya goddess. Her directional deities are out of order, but, East, Vajradakini, North, Ghoradakini, West, Vetali, South, Candali. Names in the other rings are not intelligible to me.

Next, Jnana Dakini is the precursor to Buddha Dakini, originally Vairocana's consort, who mates with Mahamaya. Mahamaya also color changes but just has Two or Four arms. This is actually centered on Mahamaya; there are two kinds of Buddha Kapala on top, then Yogambara, and finally Chaturpita Jnanadakini lower right:




Yogambara is a Five Buddhas "Akshobya first" emanation being embraced by Jnanadakini. His retinue is the same as hers, with an extra four weird like Kapali, then the Eight Offerings, Eight Hindu gods, then Sixteen more directional deities and a color pattern. Jnana can come from Akshobya or Vairocana. She is here twice, so, perhaps as each kind.

Mahamaya is another Akshobya emanation, who takes Buddhadakini to the Middle Space, and leaves another Akshobya goddess, Vajra Dakini, in the East, simply followed by Ratna, Padna, and Viswa Dakinis.

In this view, the lower left is Jnanadakini with multi-colored dakinis, lower right is Indra Dakini in her hexagram with Naro and Maitri Dakinis beside. The upper figures are Herukas and the consort is Buddhadakini:




After Jnanadakini and Vajrasattva, the next stage is Mahamaya and Buddhadakini. This Mahamaya was a woman who only recently turned into a man. It is, of course, the same name as Lakshmi and the main lesson of her tantra. With the Dakinis, we see how their feet indicate increasing energy levels until she is able to fly. From that meaning, what Buddhadakini is doing is a new kind of flying:




Mahamaya arguably still has womanly flowing hair. They must be pretty good at flying if their hands are free to be Archers. I haven't checked the relationship thoroughly, but it is said the Wrathful aspect of male Akashagarbha is female Mamo Botong and the right Sanskrit name for her is Vetali. This is probably a good name to keep since it keeps showing up in the mandalas, it must mean either her or another form which was produced or influenced by her.

So Mahamaya and Buddhadakini are usually shown together:




But the would-be male Mahamaya is a recently changed god, Mahamaya is female Buddhadakini, she is both here at the same time progressing towards the Androgyne.

Buddhadakini can meld with him or her (Mahamaya is still sometimes called "she" in these unions) so they can both be Yellow:




One leg up is a trait likely shared with Bhairavi or Vetali, but if she can get both feet going, it's Buddhadakini.

Here is a mural painting in the old temple of Dege Gonchen Monastery College where Buddhadakini is blue-green. The other thing here is it looks like we can find a Six Arm Sita who has a flower and a bowl of flowers:






Part of the background seems to be that Vajrasattvava is also having these consorts the Wrathful ones are taking.

Taranatha so consistently has Vajravairocaniye in mantras for Varahi that it's almost at the point of a name change.

Buddhadakini is closer to Vetali or no sow face, and she is Vajravarnani.

Marici has Twelve Arm forms using Vetali and Varnani, then her own Uddiyana form, and then Two Sow Face may be the culmination.

Hayagriva's consort is usually just called "consort". She is understood as Varahi, who would have an extra snout. She is also understood as Vetali, who always has a skullcup and knife. Vetali seems to be limited to a Jnanadakini type pose with one foot on the ground. Aside from color changes and the fact they also go to Wrathful Manjushri, these two, are basically always the same, in other words, it is usually a single thing like a knife that will identify or distinguish her, not the color or companion.

So this thangka is roughly the same as almost anything out there. Despite it being so dark, this is one of the only ones where appears in the retinue a Buddhadakini form with no feet on the ground. The consort kind of has two faces and there is a stranger third face falling off her back:





That conceivably also has Mahasri with Six Shaktis to the left.

In her symbol mandala, Mahamaya is Skullcup and Banner.

[shaberon]

From the Sri Ayyappa Sangha, the reason Nepal currently operates royal Kumaris may have something to do with this:

"As the story goes, once upon a time Palingna, King of Nepal, wanted to live for ever and undertook foul means repugnant to Dharma to accomplish that aim. He got attached to a religion which profitiated evil-spirits and advocated sacrifice of human lives in fulfillment of one's vow. Accordingly, the King started sacrificing the lives of virgins to please evil-spirits longevity. Once the turn befell on a virgin highly devoted to Lord Shiva. She prayed to Shiva to save her and Lord Shiva nominated Sastha to stop the atrocities of the King and save the devotee. Lord Sastha descended on Nepal, stopped the killing of the innocent virgin at the right time and exhorted the King at length that his sinful act and its consequences would make his soul irredeemable. Realising the gravity of his misdeeds, the King prayed for clemency at the Lord’s lotus feet and got pardoned. Highly pleased with the merciful charm of the Lord, King Palingna offered the hands of his daughter Pushkala in marriage to the Lord. The Lord accepted Pushkala as His Bride and returned to Kantha Mala after the wedding ceremony."

So when you dust off this neglected Mahattari form, what you have is an indication towards the original yoga system of Dattatreya and Parasu Rama. The main wrathful aspect in his system remains Chamunda. We want Chamunda because she successfully drank all the blood of Raktabija, each drop of which grew into a new serpent, which is the recurring delusions of the mind. So...this avatar is immortal, which means he lives through the period of other Vishnu avatars. His peculiarity is because he is that Vishnu who has realized the full trinity of Brahma-Vishnu-Shiva (similar to Tri-kaya Chinnamasta). And then in the future he becomes guru to the final or Kalki avatar, which is usually seen as the Buddhist rejoinder to Hinduism, as it appears in Kalachakra.

He is the only avatar said to be physically immortal, although they all are mentally immortal, in the following way: "In the Spiritual Sky in different-different Spiritual abodes all the incarnations co-exists. For e.g As per Vedic scriptures Krishna lives in Goloka Vrindavana abode, Vishnu in Vaikuntha loka and Sri Rama in Saketa Dharma. All these avatars are actually multiple forms of Sri Krishna but they exist in different abodes which are attained by his devotees as per their transcendental moods." (Manohar Patil)

In Balarama Dasa, Vasishtha and Rama are terrified of Parasu, however it turns out that Rama is able to string and load Parasu's Bow, which was supposed to kill him. Rama thus acquires his power and goes off to get coronated and Parasu goes to penance. In this lifetime, Vishnu Rama's brother Bala rama is named Lakshman, and these reincarnate in the next epic/incarnation story. Bala rama is Adi Sesha and Hercules and ultimately ends the world with Parasu.

In Mahabarata, Sanskrit original translated for Krishna and Bala Rama to meet Parasu Rama, now he is a sage who is Yellow on Mahendra Mountain, preparing to milk the Kamadhenu or magic cow.

"The Codified Mysteries" explains Mahabarata in almost identical manner to HPB. Again, Arjuna was called "Nara" or "man" something like thirty-nine times. The book explains that Krishna is advising him how to defeat the Kaurvas (material bondages) and that the common wife Draupadi is the Kundalini shakti of the five Pandava brothers, who are the same primordial five rays, senses, Pancha Jinas, etc--relatives of the Kaurvas. Then the episode of Arjuna--Nara hitting the eye of a fish is the controlled use of Sagittarius (Archer) energy with the help of Pisces (the Pandavas). Yudhisthira is the Heart and Arjuna--Nara the Throat. So this sounds like a fairly consistent esoteric view of the story.

"Receptacle of the Sacred" helps us trace the hypostasis. They tracked down unique manuscripts and found a singular example of Marici posed under a trefoil arch--she is shown facing Vajrasattva, which qualifies her as Vajradhatvishvari. Prajnaparamita is becoming Vajradhatvishvari by appropriating Marici and radiating light. Then, in a thing which can only be described as the MSD4 of the ASP at the Museum of Fine Arts in Boston (an article commissioned by a private benefactor, probably near Varendra--it is unsigned), the same "mate by facing pages" is hidden in the very middle of the book:

On the male side, Vajrasattva has become Manjuvajra. There are Buddhas and consorts, about to but not yet embrace. Interestingly, those of Manjuvajra and Krishna Yamari are called Svabhaprajna or Svabhadhatvishvari. This assembly as a whole faces the next page which is the assembly of Prajnaparamita.

In her highest register, Prajnaparamita is preaching with the Eight Buddhas (including Kalki avatar), Adi Buddha, and Manjugosha. Then she has emanated her Five Paramita Taras. They are over Mara Vijaya and Manjuvajra with four esoteric deities. There is a story, and their lower fringe is Manjushri, two Green Taras, Mara Vijaya, and Maya giving birth.

The piece shows an incredibly accurate technical knowledge of all the characters involved, and a master level of artistic detail. This is why we noted the Paramitas could go with those certain male deities. There is no other Marici in an arch. However it confirms our concept of Tara's evolution and mesh with the system of Manjushri. It's not just a coincidence of names, it's a complete working unit.

The Sadhanamala is perplexing with respect to the important Green Tara, Khadira. She should have one hand in varada mudra, and the other holds a lotus, but no pose is given. They call her "divya kumarini", or, a celestial virgin. I'm not sure why she should be known as Syama, as other things suggest she is a lighter, emerald color. The color for her here is Harita, which is Green, or specifically the derivative of Pita and Nila, Yellow and Blue. In Pali, it connotes pale or yellowish green, hence fresh, and fruits and vegetables. The term is used in Nagarjuna's Dharma Sangraha as one of twenty rupa or form objects. Parnasabari is also "Haritam". Dhanada is "Haritasyamam" which sounds mid-toned. Dhanada's animal vehicle is not mentioned and Newaris portray her on a human. Mayuri is "Haritavarnam", harita colored. Green Mahasri is Syamai. As far as I can tell, Green should come in multiple hues, which has been mentioned about Yellow as well.

She is Green, an Amoghasiddhi Tara, but her name is shared by Yellow Kubera; also with Lakshmi, and it is not uncommon. Her practice is called Dhanada Krama Sadhanam, which is unusual, and krama is a method or initiation.

In Sadhanamala, she is invoked simply as Nama Aryatarayai; there is emptiness mantra, and Om Amrte Hum Phat. Something happens with the syllable Pam or Bam, and then there is a large phrase based on "Parinata". Red Repha, Ra, becomes Suryastha, "Sunset", and from a Dark Blue Hum emerges a crossed Vajra. Along with this:

vilokya tatkiraṇavajrair vajraprākāraṃ vajrapañjaraṃ vajrabhūmiṃ ca dhyāyāt

Mediate that the Blaze, Fence, Tent, and Ground are seen.

Then the Crossed Vajra emits a Red Pam or Bam with a Kamala or Lotus above, a Lunar Bhrum syllable becomes a white disk with Bhrum. Something else happens, then Dhanada appears. This follows:

Om sirasi, ta lalate, re caksusoh, tu kanthe, tta bahvoh, re hrdaye, tu nabhau, re guhye, sva janunoh, ha padayor nyasyet

Which is the mantra strewn around her body.

Then other Family Taras, Offering Goddesses, and Activity Goddesses come. Her normal mantra is:

Om Tare Tuttare Ture Dhanam Me Dada Svaha

She is identical to Taranatha's Green Vasudhara from the Kashmiri Pandit:






This is the Sadhanamala and Taranatha/Sakya Pandita form. She is more or less our Princess who gives all the stages of circle casting. You find her rite in Orissa in medieval times, and Taranatha picked it up in or from Kashmir almost a thousand years later. The above image is from a 19th century Mongolian set of Rinjung Lhantab housed in Zurich. Unfortunately, most of it is just given numbers around 40,000 to 40,700. Some of it is identified, which seems to include mistakes, and some like the above have no label whatsoever. Similarly, the translated Sadhanamala is set up mostly towards the categorization of art, there are no mantras or practices included. Putting together the proper image with its meaning and explanation is rather painstaking in this case. However, it reveals itself for what it is: the original way, still re-published in the 1980s as a Taranatha find, which is still basically smuggling the meaning, which is plainly in Sadhanamala, available but un-translated.

In this case, let us include the whole Sadhanamala Dhanada:

nama āryatārayai /

tārā haritaikamukhī caturbhujā dvinayanā stavatuṣṭā /

yasyā maṇḍalacakre dvādaśa devyo dvinayanāś ca //

bhagavaty āryatārāyā viśiṣṭam atidurlabham /

pravakṣyāmi samāsena dhanadākramasādhanam //

prāptaḥ kṛtabodhicittotpādo yogī svahṛccandre haritatāṃkāraṃ

dṛṣṭvā kṛtamukhaśaucādikaḥ oṃ svabhāvaśuddhāḥ sarvadharmāḥ

svabhāvaśuddho 'ham ity uccārya oṃ amṛte huṃ phaṭ ity anena

nānācchaṭābhir daśadigvighnānutsārya svahṛdi paṃkārajaraktakamalopari

akārajacandrasthaṃ svabījaṃ vibhāvya

tatkiraṇākṛṣṭagaganasthagurubuddhabodhisattvān

sampūjya pāpadeśanādikaṃ vidhāya śūnyatāṃ ca dhyātvā 'dhiṣṭya ca purato

raktarephapariṇatasūryastha-kṛṣṇahuṃkārajaviśvavajraṃ vilokya tatkiraṇavajrair vajraprākāraṃ

vajrapañjaraṃ vajrabhūmiṃ ca dhyāyāt /

atha viśvavajravedikāyāṃ raktapaṃkārajakamalopari

akārajacandrasthaśubhrabhruṃkārapariṇataṃ

sitacakraṃ bhruṃkāramadhyaṃ dṛṣṭvā padmacandre

cakrabījapariṇāmajaṃ sarvaratnamayaṃ caturasrādiguṇayuktaṃ dvipuṭaṃ

garbhapuṭasthakamalāṣṭadalakarṇikāsu navacandrarūpaśobhitaṃ

caturdvārastha-catuḥsūryabhāsuraṃ kuṭāgāraṃ paśyet /

tato madhyacandropari tam eva tāṃkāram, tataḥ sphuraṇasaṃharaṇam, tatas tadbījāṃ

tārābhagavatīm ātmānaṃ bhāvayet candrāsanaprabhāṃ

saumyāṃ sattvaparyaṅkasthāṃ haritaśyāmām ekavadanāṃ dvilocanāṃ

caturbhujāṃ akṣasūtravaradotpalapustakadharāṃ vicitravastrālaṅkāravatīm /

tataḥ oṃ śirasi, tā lalāṭe, re cakṣuṣoḥ, tu kaṇṭhe, ttā bāhvoḥ, re hṛdaye, tu nābhau,

re guhye, svā jānunoḥ, hā pādayor nyasyet /

tato hṛdaye padmacandrasthasvabījaraśmisañcoditalocanādibhir

devībhir abhiṣiktam ātmānam amoghasiddhimukuṭaṃ dhyāyāt /

atha vā puṭasthacandreṣu vajratārādidevīr jhaṭiti dṛṣṭvā paścād vibhāvayet /

pūrve vajratārāṃ kṛṣṇāṃ vajrahastām, dakṣiṇe ratnatārāṃ pītāṃ

ratnahastām, paścime padmatārāṃ raktakamalahastām, uttare

buddhatārāṃ puṣpadāmadharām, naiṛtyakoṇe dhūpatārāṃ kṛṣṇāṃ

dhūpakaṭacchūhastām, vāyavyakoṇe dīpatārāṃ pītāṃ dīpayaṣṭidharām,

aiśānakoṇe gandhatārāṃ raktāṃ gandhaśaṅkhadharām /

imā viśvapadmapatrasthacandreṣv aṣṭau śaśiprabhāḥ sattvaparyaṅkaniṣaṇṇā

vāmenotpaladhārikāḥ

smeravadanā nānālaṅkāravastradhāriṇyaḥ /

pūrvadvāre vajrāṅkuśīṃ kṛṣṇāṃ vajrāṅkuśakarām, dakṣiṇe vajrapāśīṃ

vītāṃ vajrapāśahastām, paścime vajrasphoṭāṃ raktāṃ

vajrasphoṭadhāriṇīm, uttare vajraghaṇṭāṃ śuklāṃ vajraghaṇṭāhastām /

etāścaturdvārasūryeṣu paśyet sūryaprabhāḥ piṅgalordhvajvalatkeśā

ālīḍhapadasthitā bhujaṅgabhūṣaṇā vikṛtavadanā

vyāghracarmāmbaradharā vāmakareṇotpaladhārikāḥ /

tato jñānasattvena sahaikīkṛtya svahṛtkamalagatasvabījam atisūkṣmaṃ

bhāvayet viścalena manasā /

tato mantraṃ japet oṃ tāre tuttāre ture dhanaṃ me dada svāhā /

tata utthānasamaye oṃ akāro mukham ityādinā mantreṇotpalamudrayā baliṃ dattvā

praṇidhiṃ vidhāya devatācakraṃ svabīje antarbhāvya svadevatāhaṅkāram

udvahan yathāsukhaṃ viharet /

madhyāhnasāyāhnasandhyayos tu svahṛdbījāt jhaṭiti devatācakraṃ saṃsphārya pūrvavad

dhyānajapādikaṃ kuryāt /

sāyāhnamadhyāhnasandhyāyāṃ punar ayaṃ viśeṣaḥ /

puṣpādinā jñānamaṇḍalaṃ sampūjya oṃ tāre tuttāre ture mur ity anena visarjayed iti /

// dhanadatārāsādhanam //


Taranatha's version skips the beginning, it presumes a circle and mansion, at whose center is the eight-petaled lotus with Tam. This becomes Dhanada, and then it just lists the twelve deities and says to repeat the mantra and use general Tara praise. Sadhanamala has an Amrita mantra and Bhrum before Dhanada appears. The middle part is the same, and the end includes something about sunlight, suryaprabha, and a few other things after her mantra. It contains everything in the translations, but has more, in the original.

From the original, we would get slightly different colors than the translation.

Blue Vajra Tara, Yellow Jewel Tara, Red Lotus Tara, Buddha Tara.
[White Puspa Flower is missing], Blue Dhupa Incense, Yellow Dipa Lamp, Red Gandha Perfume (these groups peaceful seated on moons)
Blue Hook, Yellow Noose, Red Chain, White Bell (wrathful, warrior pose on suns)

They call Krsna Black and Sulka Yellow, which we do not.

Next in Sadhanamala is a Three Jewels Dharani, then Sragdhara, then a major amount of Vajra Tara, and then Durgottarini.

Here we go, from the Orissan research: Khadira, Standing Astamabhaya, and Four arm Durgottarini:




Most likely the first two are bare breasted and Durgottarini has put on a white shirt. Astamabhaya is somewhat enlarged because that helps us with fears. If that's not enough she'll copy herself ten times.

That Durgottarini is at Ratnagiri, which is gated by Gaja or Abhisekha Lakshmi, and filled with Tarasarana dharani seals. Dhanada is said to be found in a niche of a Varaha Temple in Jaipur, and also at Kapilesvara, who doesn't make a very big deal about it if they even know. These seals are so abundant that pointing out that Amoghasiddhi has twelve secret Dharani goddesses is almost moot there. We would like to have sub-mandalas of these groups, they are all more or less like the Paramitas, these goddesses are mostly just different colors of simple forms like the Atisha Taras. However their hand implements change.

A Durgottarini image preserved in Calcutta shows Durgottarini-Tara Flanked by Sudhanakumara and Ekajata on the Pedestal and by Arya-Sarasvati/Mahattari-Tara and Bhrkuti above with Aksobhya and Amitabha at the Upper Corners. She is hard to find, but she is supposed to be in white clothes. Ratnagiri Archaeological Survey which discovers Durgottarini.

She is invoked as: Namo Bhagavatyai Aryatarayai

Her mantra is:

Om tare tuttare ture vire dugad uttaraya hrim hrim hrim sarvaduhkhan mocani bhagavati durgottarani mahayogeshvari hrim namo 'stu te svaha

She has another small puja. "eṣā bhagavatī durgottāriṇī kathitā hraṃ hrīṃ sapta vārān puṣpam abhimantrya dātavya" means something like seven kinds of flowers are offered to her. "Vamavartena" means to the left or counter-clockwise, and what you do is:

saṃmadhye khaṃ tāṃ vāmāvartena vuṃ āṃ jīṃ huṃ /
vāmāvartena loṃ māṃ pāṃ tāṃ

Which distributes ten seed syllables. I would guess Kham and Tam are for the vertical axis, and then you circle twice. The last set are Prajna initials, in which case Durgottarini has taken White Dhatvishvari's position. The middle set does not exactly match anything so far. Going left does seem backwards. Looks weird, but is perhaps Ten Directional Deities. So if it adds Ten Directions, then the circle is fairly complete, and most of the groundwork for the greater Vajra Tara seems to be in place.

Mahayogeshvari is immediately recognizable as Durga (or Parvati).

Her whole piece from 111 in Sadhanamala is:

saṃpūjya devīṃ karavīrapuṣpair
aṣṭau śatānyeva japet trisandhyam /
iṣṭaṃ varaṃ yācitam ekam eva
māsena dadyād dhruvam āryatārā //
oṃ jambhe mohe svāhā, namas tārāyai, nama āryāvalokiteśvarāya
bodhisattvāya mahāsattvāya mahākāruṇikāya,
namo bhagavatyai āryatārāyai, oṃ tāre tuttāre ture vīre
dugād uttāraya hrīṃ hrīṃ hrīṃ sarvaduḥkhān mocani bhagavati
durgottarāṇi mahāyogeśvari hrīṃ namo 'stu te svāhā /
etāṃ bhagavatīṃ dugottāriṇītārāṃ muhuḥ śyāmāṃ caturbhujāṃ
vāmena pāśaṃ dakṣiṇenāṅkuśadhāriṇīṃ bhaktamāśvāsayantīṃ
dakṣiṇena varadāṃ divyamālāmbaradhāriṇīṃ vāmena nīlotpalahastāṃ
sitavastrarāvṛtadehāṃ padmāsanasthāṃ trikālaṃ
dhyāyet / sarvaduḥkhebhya uttārayati / bandhanāt mocayati /
śṛṅkhalāviniveṣṭitaṃ pāśena baddhaṃ grahagrastaṃ vā uttāryati /
bandhasthena japtavyā / sahasram aṣṭaśataṃ vā dine dine japet
mocayati / yadi na muñcati tadā mūrdhānaṃ sphuṭati
[bhūmfyāṃ] luṭhati / svastho vadati amukaṃ muñceti / taṃ yadi
na muñcati tadā śirovedanā bhavati, jvaro mahān bhavati,
viṣamā visūcikā bhavati, sādhakasya darśanaṃ dadāti,
saptame divase 'vaśyaṃ mocayati / eṣā bhagavatī durgottāriṇī
kathitā hraṃ hrīṃ sapta vārān puṣpam abhimantrya dātavyam /
pūjā / saṃmadhye khaṃ tāṃ vāmāvartena vuṃ āṃ jīṃ huṃ /
vāmāvartena loṃ māṃ pāṃ tāṃ /

// iti durgottāriṇīsādhanaṃ samāptam //

That says she is Dark Green, Four Armed, noose in left hand, hook in right, lower right hand does varada, lower left holds nil-utpala or blue lotus. No family seems to be mentioned, unless the white clothing and apparent stand-in for Dhatvishvari tell us. Her name--Fortress Tara--seems to mean she is born when the fortress, or circle, is complete. If so, she is like a mirror of Amoghasiddhi's Sita, being Vairocana's Green Tara. That sounds like everything to do with Green-White Inversion, the peeling of the most material color compound into the primeval, which appears to be a main theme of meditation and how colors work in it. She is unlikely to be an Amighadisshi Tara, since Tam Tara is in the ring.

There is a common Durga chant which includes a line beginning Om, or Namah, Durgottarini Durgey. This is just translated as "Oh Durga,", whereas Durgey is a commmon alternate spelling of Durga, they apparently have not noticed a larger word before her name.

Dugad has little meaning other than maybe an alternate of Dugar, a Jain gotra. Their protector was Suswani Mataji, an incarnation of Amba, who is Adi Shakti, or the Mahalakshmi at Kolhapur. Padmavati was this same deity as protector of the twenty-third Jain Tirthankara; she had been a snake with a naga husband he saved, apparently spiritually, while they died in a fire and were reborn as Padmavati and Indra--Dharanendra. This Padmavati's iconography says "A snake's hood covers her head, and she sits on a lotus flower. Often a small image of the Lord Parshvanatha is placed in her crown. She may be depicted as four-armed, carrying noose and rosary (japa mala), elephant goad, lotus and a fruit".

However, this is her at the Met, where I would have to suggest her primary item is a Buddhist vajra:





23rd Tirthankara has the same serpent hood as Buddha or Amoghasiddhi, Naga Raja, etc. He is so close that, if the Met says this is him at the crown, how is he any different?



Sundari tantra carries the same concept of meeting her at the Bliss level prior to gaining Sudari Atman, just as with Manjushri we have shown an increase from Maha Vairocana to Vairocana Atman. Varahi is called Chaitanya-bhairavi at the yogini level corresponding to Vajra Prastarini--Chinnamasta. She is the New Moon, Kurukulla is Full. Again, the Adi Shakti concept was received by Parasu Rama from Dattatreya, son of Atreya, a Rishi of the Great Bear. But there is no longer really any Kashmir Shaivism, many of these old yoga lines are simply fading away. They have done well in Nepal and Tibet due to state support. It would be difficult to join most of them even if they were looking for converts. Buddhism is much more open and accessible, continuing to expand.

We could look at formats of the Path amongst Nyingma, Sakya, and Vajravali, and we have a majority of explanation to it. We want to take into account the lesser-known Shangpa, Drikung, Drokpa, Bodongpa lineages as well.

Thinking in terms of someone old, relatively unknown, but perhaps inspirational and representative of attainment, The most elegant one of all, Manibhadra, gained her realization from Dog Guru Kukkurija in seven days. Then, she dropped her pot, and at that time, her samsara shattered. She then levitated for twenty-one days and was gone.





In the Three Families of Kriya, Red is constantly given the wealth function of Yellow. And so the female Mahasiddhas and most of the white yoginis are consistently Pandara and Arrow or a white robe on Red. Manibhadra's name is shared with a Yaksha general, who, unlike her Aerial White Red form, is a Subterranean Yellow. In Tibetan, he is gnod sbyin nor bu bzang po’i gzungs bzhugs so: Om Manibhadraye Svaha.

In the Seventh Panchen's text, it is the secret mantra of Jewel Family: maṇigotra guhyamantra, which confers empowerment as master of all. Being mindful of this as similar to Ratna Gotra Vibhaga or seven vajra mysteries.

There is an expansion. “If you recite this [Dhāraṇī] seven (7) times, then there will be accomplishment.”

“The ritual of this Dhāraṇī is as follows: If, on the fifteenth (15th) day of the waxing moon, one cleans oneself, scents with the smoke of aloe wood [akaru] during the three times of the day, and recites this Dhāraṇī seven thousand (7000) times, then gold shall be found.”

NAMO RATNA TRAYĀYA/ NAMO MAṆIBHADRĀYA/ MAHĀYAKṢA SENĀPATAYE/ SYĀDYATHEDANA/ HILI MAṆIBHADRA/ HILI HILI MAṆIBHADRA/ KILI MAṆIBHADRA/ KILI KILI MAṆIBHADRA/ CILI MAṆIBHADRA/ CILI CILI MAṆIBHADRA/ CULU MAṆIBHADRA / CULU CULU MAṆIBHADRA/ TURU MAṆIBHADRA/ TURU TURU MAṆIBHADRA/ KURU MAṆIBHADRA/ KURU KURU MAṆIBHADRA/ CURU MAṆIBHADRA/ CURU CURU MAṆIBHADRA/ SURU MAṆIBHADRA/ SURU SURU MAṆIBHADRA/ SARVA Ā-ARTHA MAME SAṆGHAYA SVĀHĀ/ TADYATHĀ/ PŪTANE SUPŪTANE SURUME SUMĀTE/ SURATHE/ SUSMABATE/ HILEKE HILAKALI/ PUNYA SIDDHI BHADRA/ HILI HILI SVĀHĀ/ EHIKO NIKŚE/ EHIKO NIKŚE SVĀHĀ

So if Panchen is Amitabha tulku, and Om mani padme hum has no "in"--it just means Om Jewel Lotus Hum--it is more like a simple invocation of two Families, who are illustrated by this dual meaning of Manibhadra. It appears to say, primordially, Red and Yellow emanate in a certain way, and then what we do with practice is switch everything around backwards, and this is why the Vajra invoked Trikaya does not have a "jewel in lotus". This is what Lakshmi is talking about as her Divine Powers are a twisted re-arrangement of her lower ones.

To re-enact the emanation of matter is to descend a second time, which is forbidden.

Mahasiddha Manibadhra has gone to do something in the Nirmanakaya of Pandara, and the Yaksa has gone to what we call Jewel Family which is "discovery of that which is desired" and metaphysically represented as Amrita. Making it an elixir of the formless immortal principles, the nectar in the aura, filling the unknown or the underworld with light. Seven vajra mysteries, Catuskoti, and a following diagram are synonymous with Jewel. Gold light which is Indra's invincibility, who is shown worshipping Marici. also applies. Color of Earth Element, Mercury or One Initiator planet, are included as part of the treasure or wealth which is the only real kind, which is inner.


Not much further along, we can get someone highly acclaimed, tangible, who has a body of doctrine to be preserved.

Niguma:





Anyone in Kagyu may reliably include Naro in their lineage, however, his sister may not be so. In all fairness she should probably be just as colossal. Her framework is:

Three Action Meditations: Guru Yoga, Deity Yoga, and Illusory Body.

Then Flowers, or two dakinis, Red and White Celestial Women (Khechari).

The Fruit is Deathlessness and Non-Entry (of either samsara or permanently still nirvana).

Guru Yoga itself has four degrees:

Outer Guru Yoga (Vajradhara)
Inner Guru Yoga (Vidyadharas)
Secret Guru Yoga (Peaceful Avalokiteshvara)
Most Secret Guru Yoga (Quintessence)

Deity Practice (selected from Vajravali):

Outer Deities of Vajravali include Usnisa Vijaya, Mahavidya, Pancha Raksa (Pratisara), and Marici; Guhyapati Bhutadamara; Vajradhatu, Dharmadhatu Vagisvara. We found Parnasabari and Janguli start an important process here. Everything indicates starting in a basic way, which is more or less wrapping Kriya, Chara, and Yoga levels into this "Outer" assembly, in terms of meaning, and not in terms of all possible details of ritual behavior.

Inner Deities of Vajravali include Guhyasamaja Manjuvara and Akshobyavajra, Vairocana Mayajala Manjuvajra, Krishnayamari; multiple Varahis, Amritas, Humkara, Jnana Dakini and Mahamaya; Vajrasattva, Kurukulla, and Vajra Tara. Sakya begins with Three Red Vajrayoginis, then Kurukulla comes in the second cycle with Vasudhara and Tinuma (Varahi). In the third she is with Ganapati and Takkiraja. Here, we are able to take Anuttara Yoga in terms of its meaning, but, unless we receive an empowerment, we need to confine our practice to the Outer version.

Nyingma expresses Deity Practice as Peaceful, Wrathful, and Dakini:

Peaceful (Outer, Inner, Secret)

Wrathful (Blue; also Red Hayagriva & Garuda)

It comparatively appears to be Blue & Red Wrathful Yamari prior to Black Vajrabhairava the way we know it. We might say Blue shows up first; Red is perhaps more elusive, but they may be quelled to Semi-wrathful. The point of a wildly screaming Hayagriva and what must be experienced to tip over the fulcrum; Green Horsehead.

Dakini Practice

Outer - Prajnaparamita
Inner - Twenty-one Taras
Secret - Lion Dakini

The good thing here is they give us the thread from Prajnaparamita to Completion Stage, and it has three levels. All of those dakinis have a basic presentation as a book, as pledge Tara, and a protector. They all grow together.

Lion Dakini can do Completion Stage, as well as Marici and Amaravajra, Bhutadamaru, Vasudhara. And Parasol. That is already a full house without adding anyone else that may also be strongly suggested. So you get a combination of some you can meet in an early, Outer manner, and none of it will work unless you do the things it means.

Aside from Pitheshvari, the main Red line runs sort of like three degrees of Dakinis:

Naro Dakini + Vajradharma seems to be the starting point.

Next, Flying Maitri Dakini, Vidyadhari Akashadhatvishvari

Then Indra Dakini Guhyeshvari Varuni (Varahi).

Red Vajradharma is Lord of Yakshas, and Red Vajrayaksha is Manjushri, who is in the Vajradhatu mandala. So he sparks it off, and then gets out of the way until the end of the cycle. These are the first Three Red Yoginis. Red Varahi and Kurukulla would be the next layer with Tinuma Vajrayogini. Kurukulla should be emanated as a Sherab.

Varahi or Vajravairocaniye is male-ish, affects the White Moon, should be emanated as a Sherab, and uses the rites

Vajrasattva + Vimalasri Jnanadakini and

Mahamaya + Mahasri Buddhadakini.

Vetali or Vajra Corpse is Vajravarnani, "the grasped". She will generally be the darkest of Chinnamasta trio.

Both of these are required for Chinnamasta and Marici or Sarvabuddhadakini. Sow and Corpse are the main two branch nerves or Solar and Lunar channels. Chinnamasta will likely emerge as a Yellow Vajrayogini. The Marici we have in mind here is her Bodhisattva or in other words ourselves as a reflection of it.

The Red cycle is a bit more on the side of Mantra, whereas the appearance of the White initiatory leader seems much closer to the activity of nectar in the subtle body. Or, her initiation is really a blessing and sanctuary to an achieved state. Something like building a charge, and adding better wires as it goes. There's no way you can learn a basic Sita and just re-name her to Kurukulla, the latter being an experience you may gain from the former.

Kurukulla is practically never shown with a mate, but Varahi sneaks off and does it as Vajravilasini. The peaceful side of Varahi is Asta Mahabaya "Eight Armed Sahaja Reversed" Green Tara, who may be called Vajra Pitha Tara. So prior to this we found: Reversed Green Tara and Reversed White Varahi. So far, the reversals seem to come from taking an exoteric form, and then dis-assembling it from the inside, and seeing from a new state of mind.

They mentioned Most Secret Guru, which is Quintessence:






I admire a lot of the art, and realistically, a lot of it is for the story and explanation. A lot of people are probably forced to say their most coherent visualization resembles the above. So, this secret guru, is that, with the knowledge and feelings especially, that is how it lives. In our time with Vajradhara or whatever guru we choose, we want to establish this existence. That is the important thing, never really to fuss in our minds if they don't draw all the details. Italian Ganden tradition of Five Mothers:




Examined closely, they are using a pattern of seed syllables. So, within the nucleus of the most secret guru, Quintessence, evocations blossom in this way. That one is in the same order as the one before.

The Jewel of Reality used to help find one's hidden dakini, associated with the doctrine of Four Lamps of Transcendence:





This art comes very close to Seven Rays by switching the spectrum around, and it continues to use Taranatha's Red and White Lotuses.

Amitabha is usually seen as an Outer deity, he is rarely shown "with consort", they don't mention or explain Pandaravasini as such. To pursue the chain, here is "consort", or still, Mandarava with her Arrow, and you can then find Achi Chokyi, Mahasri, Takki and Manodhara, and Prajnaparamita:






Almost everything we have done so far is just her coming out of the sea at the bottom as the half-Naga to that lower court of Takki and the forms of Sri. Mandarava's Long Life Practice is called Chime Soktik, and occasionally, there is such a thing as a Mandarava Raised-foot Dakini.

That image is very expandable and really stands out. In this scene it can be reasoned that no deities are in union and this is an Embrace, and so it is very useful. Manohara has brought Mirror and Vase. She is right over the outer deity with an aura, Prajnaparamita, and the flaming one, Mahasri. It looks like a successful blend of the ingredients. In the upper row Hayagriva and Garuda are starkly contrasting. You could almost call it turquoise horse head. This puts a lot together showing what we are trying to get with Hook and it does burn off Pandara's white robe.

This--I'm not sure it's just Mahasri, but the whole affair--continues.

[shaberon]

Due to Maya, we are unable to perceive Three Shaktis as they are with Saguna Brahman. They twist and make a different team of Iccha-Jnana-Kriya in Vishnu's Dream, which results in the different material elements or states:

"In the Devi Mahatmya - The Murti Rahasya khanda describes that Adi Shakti has three main murtis:

Mahalakshmi or Sattvic Shakti with 18 arms
Mahasaraswati or Rajasic Shakti with 8 arms and
Mahakali with 10 arms who represents Tamasic Shakti.

From Mahalakshmi there came Brahma and Lakshmi both with golden complexion. From Mahasaraswati there came Shiva and Saraswati who were white in complexion. Mahakali split into Vishnu and Kali with dark complexion. Thus Brahma and Lakshmi are siblings, Shiva and Saraswati are siblings so are Vishnu and Kali. Now these sibling pairs married in between like Brahma was paired with Saraswati, Vishnu was paired with Lakshmi and Kali was selected for Shankara."

Lakshmi as Bhoodevi and Sridevi

Sri Mahalakshmi appears in two forms, Bhoodevi and Sridevi, on either side of Sri Venkateshwara or Sri Mahavishnu. Bhudevi denotes the complete representation of the Material World and is an energy called the Aparam Prakriti, Mother Earth Herself. Sridevi, on the other hand, constitutes the Spiritual World or energy called the Param Prakriti. Both Bhoodevi and Sridevi are but two manifestation of a single deity, Sri Lakshmi. In fact, some legends of Sri Lakshmi state that the different goddesses in the Hindu pantheon are but manifestations of Sri Mahalakshmi.

Parasu Rama is credited with lifting South India from the sea, and to the credit of the Tamils--which they deserve, because, like the Sri Lankans, they are highly averse to whitewashing their history--a random strand of their principal tenets includes "Seven Stars (Saptarishi), Six Stars (Pleiades= Skanda), Pole Star (Druva), Arundhati (Alcor), Amrita (ambrosia)". Here again, same basic formula--Six Stars being surrogate mothers of Mars, son of Maya, brother of Ganesh. Pole star and ambrosia being the methods or Path, which, studied in a Buddhist manner, very forcefully showed the same procedure, Mars and Ganesh walked all over what came out of Namasangiti.

Parasu's Mahabarata chapter begins: rAjA ShADguNyavaktA vai rAjA mantrArthatattvavit.

Namasangiti is who? Mantra King endowed with Six Powers.

Split up, the sentence is something like Raja Shad Guna Avakta Vai Raja Mantra Artha Tattvavit.

Their translation is "The king who has the six qualities is capable of understanding the essence of the meaning of advices."

But we know the Namasangiti commentary called Explanation of the Name Mantras is Nama Mantra Artha Avalokini. So Artha is an explanation or meaning of something. And their sentence is a copy, it's the same Mantra Artha, an explanation of Mantras. These Mantras concern Tattva, or the elements of reality, which are Shaktis when understood by gnosis. Tattva is Tat + Tvam, which is That (Brahman) plus You (Tvam), so the word is inherently the same as the mantra Tat Tvam Asi, "You are That".
And so Tattvavit is an expert transcendentalist, one who knows the supreme spiritual science or Brahman.

It looks to me like this really says, Mantra King endowed with Six Powers knows Brahman.

Kali Kula says she has two forms, Blue and Red. The Red is Chandi, which when Wrathful is Pracchanda Chandi, or Chinnamasta. This would equate Chinnamasta to the whole Mother Chamunda or Charchika. It's kind of necessary to at least keep an eye to this system. The original yoga lines or amnayas were slung in multiple directions according to the faces of Shiva, but what survived is Kali Kula (Northern) and Sri Kula (Southern). So the branches were set out with slightly varying descriptions and styles of practice, and the difference now is instead of someone trekking off with a pile of manuscripts and hopes their school would thrive, we can keep the permanent archive of everything. But instead of being "within" the Kali--Shiva type of school, we mostly just use them for additional reference.

The difficulty with Shiva, for example, is getting ahold of the personification, and thinking something like this is an actual guy or some kind of individual being other than me. Buddhist Hevajra tantra calls him Amoghasiddhi and we indicate this is nothing other than the (true) mind of the meditator. But the thing we have done that a doctrinaire Buddhist would dispute is in changing his Wisdom Family to Mahamudra. Has this actually changed him? We put Vajrasattva in his original place of "Successful Performance of Best Actions" or Karma Family, because, now, it is esoterically Mantra and Vidya Family.

Well, Mahamudra is probably a much better and more direct teaching of Shiva's actual meaning. And Vajrasattva is a conjured being. This isn't really a drastic change of the deities themselves, so much as it is saying these two aspects of the mind have attained a new level, and increased intensity, a powerful bond. Amoghasiddhi is more or less being propelled by Vajrasattva.

So if you do this kind of rite, and you get to the point where you pretty much leave earth behind, and you trigger something in your body that will cause a gazillion unconscious things to come to life, if you do the right things--the right karma and purification and so forth--then you can completely let go of the mind, and Amoghasiddhi knows what to do. He knows how to successfully perform the ritual with flowers, incense, etc., to summon the Dharmadhatu, to hug it, to crack the unknown and make it known. You don't. What you have to figure out is how to ask him properly, and then he does it. He's just waiting for the conditions to act, like electricity does. The certain conditions are Mantra, Vidya, and Mahamudra. The uncertain conditions are Hatha yoga, or a forced shortcut. Either way, when you quit doing things and "something" pulls you unerringly into some weird new level of transcendence, that's what we mean by Amoghasiddhi. You simply have to do everything right in the outer world for him to work in the inner. He knows how to go a very long way from here. There are people overgrown by tree roots, or who have not personally moved for fifty years, so his ability is nothing minor. But in the Buddhist school, the major key is a stable emergence in reverse order. Much like when waking up gently, you remember your dream, but even tiny tugs to the consciousness will dissipate it.

Balarama Dasa mentioned previously was not the correct name of a story, but the author of a version of Ramayana from medieval Orissa, who equated Rama to Jagganath. It was the first version in their language, being translated into multiple Indian languages, allowing for some regional variation while adhering to the central theme. So he was allowed to speculate, who is Jagganath. He is the consort of Vimala or Mahalakshmi, perhaps Jagad Mata, Jagad Vasi, or Jagad Akarshana. It is from the latter epithet that the Vaishnavas themselves declare the name "Krishna" is made from: meaning magnetic or a magnet. Jagganath was first mentioned in writing by the Buddhist King Indrabhuti, as Buddha or All Buddhas; Buddhism really kicked off in Orissa in Ashoka's time, and so they are closely entwined. But he was there since the Sabari times as a formless deity Niranjan or Neel Madhav. His sister is Subhadra and his older brother is...Balarama. Nepal is closely connected and the king still has special rights in the Puri temple of Orissa. They say the idols have Shaligrama (fossil stone), and everyone says they contain a substance called Brahmapadartha, thought to be the blue stone, Krishna's heart that floated around the Indian peninsula on a log. But the idols and temples are not "who" the deity is, which appears to be that of the Sabaris, subsequently claimed and attached to every strand of Hindusim, Buddhism, and the Jains. Sabaris realize him as Adi Narasimha.

In the tantric view, the corresponding Vimala Temple is quite important, presenting the triple goddess as Sarasvati, Lakshmi, Vimala. And by the last name is meant tantric Lakshmi, presiding at the Purushottama (Puri) Pitha. In her inner sanctum, she has no particular weapons of Durga, and is more specifically identified with Katyayani and Bhuvaneshvari. Her attendants are Chhaya and Maya. She is Simhanada or on a Lion Throne, Four Armed, holding a rosary, doing varada, holding a nectar vase, and an unidentified object something like a half human half serpent noose. In Jagganath tradition, Lakshmi is the orthodox consort, Katyayani the tantric one, making this one of the only times Katyayani is partnered. We still cannot say much about Jagganatha, but you probably could say, the tantric language and meaning was Buddhist in origin, migrated across faiths, and eventually the site became Vaisnava. Kubjika tantra is mentioned there, but no link, so, at least we are ahead of Wikipedia on this one.

Vimala is Manjushri's Pure Land and Jnanadakini.

Jagannath when worshipped alone is called Dadhi Vaman, Sanskrit for the Dwarf (Vamana) who likes curds, similar to Dadhyan and the luminous curds rite. According to the Blue Vishnu temple, the Blue Stone was worshipped first, and the daru, or log that floated in, an object of refuge in the Rig Veda, was later. If there was a blue stone prior to Krishna, then the origin can reach into Satya Yuga. It seems the most basic or primal things we can say is that it definitely is the residence of the Sabari cult, and is related to Narasimha (with company) and even Vamana (alone).

At one time Nepal was called Palinga as a dialect of Chinese Bo Ling Cai which means: spinach. Yes, this delicacy from Persia apparently was well received by Nepal on its way to China in 647. I am not sure if this corresponds to the King Palingna, especially since Ayyappa was born in different times. If we try to go back to Parasu Rama times, I am not even sure how far that is. Rama Chandra was ca. 5,000 B. C., so he's slipping off the scale of the historical period some time before then.

Manjushri aims us at China in some unreasonably remote era, as Parasu links to South India in a way that humanity has nothing else to contend with it. Yajnawalkya to the "Great North" in the same way.

Reversals

Here we will observe because we don't know. In limited situations, instead of being male, the central deity is female, with a smaller male in her lap, this is considered reversed or female dominant. It is pretty limited as to who does it. Green Tara is the main prominent one, as that scene involves many deities.

One of the most bizarre is that Mahasri reverses Bernargchen on horseback under H. H. 2nd Karmapa:




Her lower items are Vajrasattva, Sarasvati, and Janguli.

Vilasini is Peaceful White Varahi reversed. Nothing so far exactly resembles that, except maybe the full Vajrasattva mandala. This is close but called Vajrayogini:





Having a Green Halo and Crossed Dorje implies the presence of Amoghasiddhi. This is closer to Taranatha's version where Heruka has knife and skullcup; the lady holds a lotus with vajra and bell and is called Yogini, not Varahi. Vilasini's regular items should be bowl and dorje (Varahi items). In her texts, the teacher is Sabara or male forest dweller. He learned this from Karuna around the mountains Manovibhahga and Cittavisrama. Virupa's form is the initial Vajravilasini who may have a consort, then Sabara's second kind always does. The first may be two-handed holding a kulisha and a lotus, or two handed with a skullcup and vajra. She is red in color like that of dawn and has three eyes, two of which are half-closed expressing the supreme bliss of the shriingara rasa. Her mantra uses vagbhava, maya, and manmatha seed syllables. She comes with Ten Vilasinis who are also used with the second form.

As Guhyavajravilasini, or Mahsri Nagara Vilasini, she is Red or Yellow, and is shown elevated on her partner Padmanarta's penis. In this form she has a chopper and noose. Her mantra is em hlim rim rum blim, similar to Saivist arrow syllables. Her pendulum is that the syllables start on the sex of the female consort (vidya), enter the male via his penis, exit through his nostril, enter the vidya via her nostril, and again pass into her sex. Rambha and Tilottama, that used to tempt the sages, now become controlled powers, who also confer blessing on the rite. Here is Vilasini Upasana explaining her seed syllables and showing a "doubling" of Pancha Jina to ten. The ten are outer attendants, and the close one is highly erotic VidyadharI. She has 3 heads and carries a skullcup from which she drinks wine and a staff. 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 mantra is similar to that of Chinnamasta. These Vilasinis are not reversed.

Again, some of the "official" names are just guesses; if we cannot find a snout, or particular item, it can be difficult to say for sure. One could just as easily call that last one White Tara. And she is slippery because she is usually just described as "with consort". At times, this is Amoghasiddhi, and there he is dominant--he gets reversed by Green Tara. That is probably why it is the first main one, since we mean, reversal of green.

White Tara can do it to a white deity:





Or Red one:





She is over Mahasri or Tseringma as Five Long Life Sisters; the dancers are the Activity Goddesses; and the upper right is a very unusual emanation from colored flames.

So as Sita, she can take, probably, either Vairocana or Amitabha. In that case, it would be difficult to tell her apart from White Pandara, unless you see an Arrow or something.

Pandara may be Red or Pink:




But she is also White, and appears to have reversed in this Chime Nyingtik, along with another Drokpa specialty, White Jambhala on a Dragon:






This is a standard reversal, or, the whole tradition always shows it this way, and the male deity may be red or white. Specifically, the couple is supposed to be Mandarava and Padmasambhava. Chime Phagma is Tibetan for Immortal or Deathless Tara. Mandarava is Pandara, and, Pandara has almost the identical role to Sita, except she turns Red or Reddish, sometimes. Both of them reverse red and white males. Sita may be obvious with seven eyes or Mandarava with an Arrow. These are an advanced version of the Outer Long Life Trinity, Amitabha, Sita, Usnisa.

Drukpa could be described as Bhutanese survivors of the time when Mongols were used to oppress Tibet around 1642. Since this was H. H. 5th Dalai Lama, we see we are on both sides of the conflict. Drikung is almost as old as the Karmapas, from around 1200, with early establishment in Ladakh. These two similar-sounding Kagyu branches are seen as retaining a lot of the Nyingma tradition. Bodong is older, established in 1049, closely entwined to Shangpa, and mostly interior to Tibet. Shangpa is from Niguma, slightly before this, being Indian. Its name simply refers to Tsang region of Tibet. It is no longer an institution, but instead merged into multiple streams:

Samding (Varahi tulku) lineage, the Jagpa (Tsonkhapa) lineage, the Thangton lineage, and the Jonang lineage (continuous, Jamgon Kongtrul).

None of the coupling is Amitabha + Pandara, it all uses his Bodhisattva, Amitayus. About the only way you might find Amitabha doing it is in a general background of dhyanis, not featured on his own. Amitayus and Vajradharma "do" most of their dhyanis' actions. In Sakya, then, Amitayus is also able to handle Completion Stage.

Following Gampo, Five-Fold Mahamudra is taught after the mind is steadily benefiting from Guru Yoga (Bodhi, Yidam, Four Kayas Guru, Mahamudra, Dedication). It has "far-lineage", to historical Buddha, "near-lineage", to Vajradhara, and the part of this that is specifically Drikung is Yang Zab, or, the Dharma concealed by Yeshe Tsogyal, and discovered by Drikung Tertön Rinchen Phuntsog in the 1500s. This is equivalent to Zhitro or complete system of Liberation by Encountering Peaceful and Wrathful Deities.

Drikung Garchen Rinpoche's Mahamudra Teaching is about fifty pages of this version of increasing Guru Yoga. Tsarita is verse form of it. "A practitioner will first practice the Emanational body Guru-yoga practice where the Teacher is visualized in the form of Shakyamuni Buddha (herself in her ordinary form). She then meditates on the Teacher on the Enjoyment body level as Vairochana (and herself as the yidam) Buddha and for the Reality body in the form of Vajradhara Buddha. Finally, when she arrives at the Nature body level of guru yoga practice, the Teacher meditated on without any form, color, name or shape." (Garchen Buddhist Institute)

This system uses daily White Tara, and temple construction may place Amitabha as the center of Pancha Jina. A tantric shrine would normally show Kalachakra, Chakrasambhara, Hevajra and Guhyasamaja, Yamantaka (according to the Drigung Tradition), a White Zambhala (according to the Treasure Text of Chögyal Dorje), and a figure of Golden Vaishravana, the wealth deity. Aside from these tantras, there is little sign of Green Tara and other familiar elements.

Most of the images pretty clearly use Seven Eyed Sita where the practice calls for Mandarava--Pandara. The main difference from the Outer level is the deities are embracing and this uses Bodhisattva Amitayus. This is one name or one meaning who just changes colors. Sita and Pandara are different Wisdoms, different Families. The confusion derives from the seven eyed form, which we know is not original and was slipped in. Mandarava is about the most primeval version here, which means Pandara. Sita can participate or do whatever she wants to Amitayus, but those two names do not correspond. It would be the same as calling Vairocana, Amitabha.

The difference between the Outer Trinity and the consort version is that the consort Sita has to be a real, cultivated field of prana. Much like the difference between her gaining Five Buddhas influence, to now having it and using it. Theoretically, like the minor Prajnaparamita inaugurates the first circle of Yidams and Sherabs, this full Sita is a living spark which begins to function across the various colors it mastered, quintessence.

Because of this, you get a certain stream of reversed goddesses, Green Tara (mind and emotions), Sita (life force), Pandara, Vajravairocaniye (Varahi), Mahasri.

And with that naming convention, here's what happens. Varahi or the ignorant mother of hell has been previously harnessed as Vajravarahi, and we have doubled down on her into a specifically White essence having the ability to reverse, to affect the White Moon male seed, and to arise as an attendant to Chinnamasta, Vajravairocaniye. Such a name implies she is White, and this form really means a state of being that really says something about the use of Bodhicitta instead of all the other ways one may have activated inner heat or Red Moon. Because of that, Varahi may appear or manifest to you in Red, and you would still want to set the White condition.

Mahasri's more mystically veiled role is not exactly Long Life or Vajra but in being Pandara. "According the Sutra of Golden Light, Chapter of Lakshmi (Nine), during the era of Luminance Tathagata of Merit Ocean of Precious Flowers Glazed Golden Mountain, Mahasri planted virtuous roots. Therefore, by her mind, through her view, or with her presence, she is able to satisfy all beings with all manner of joy and happiness. If a devotee recites the Golden Light Sutra, makes offerings to buddhas, makes offerings of fragrant flowers, perfumes, and delicious food to Mahasri, and recites her names, the devotee will certainly obtain fortune rewards such as wealth, treasure, and so forth.

Flowers, incense, etc., are really offered to the Dharmadhatu itself, and her fortune is entirely within it. The full abundance of her fruit is Annapurna. Across China and Japan, Mahasri is shown almost exclusively in Peaceful form like the Indian Lakshmi. So she is really something like Pandara Bodhisattva mistress in all colors.

Taranatha has White Heruka + Red Varahi for Long Life. He has reversed White Vajrayogini (Vajravairocaniye) with White Heruka. Amitayus should be available if you can do Usnisa (he is a Bhrum deity) and when White, his consort is Red Padma Kundali. In this form he has the unusual mark of dhyani buddhas and prajnas in his chakras. One of his mantras mentions Saraha, so, we have a bit of Arrow Dakini as well as Usnisa leading to him. Taranatha's Pandaravasini, Gokarmo, is also from the Pandita Purna Vajra speech, she is simple, Red, Pam syllable (Bam or Vam). Aside from being clad in white, she really does not do anything. Almost a Red equivalent of Durgottarini.

Sri is similar at first to Sita, but already an Arrow Goddess--her Vajra form is Yellow, and ultimately she is Pandara.

"Vajra Prajnaparamita" or the text goddess of the whole Kagye' cycle is called Guhyajnana, Kungamo, Lekyi Wangmo, Karma Indranila, Karmeshvari. The primordial transmission is Vajradhara to Vajrasattva, Heruka, Vajradharma, dakini Karmeshvari. Tantra of the Sun of the Brilliant Expanse was taught by the female buddha Samantabhadri to the dakinis of the five families. After she taught this, the dakini Karmeshvari retained its hundred and forty chapters, wrote it down with golden ink on lapis parchment and placed it within a crystal casket. This tantra was kept in the dakini mandala in the mystical charnel ground Blazing Fire Mountain, within the uppermost part of a jeweled stupa with one hundred and eight tiers standing at the roof of a pagoda made of five precious metals. And here it remained until the lineage was passed to Hayagriva and Vajra Varahi, and from them to the Vidyadharas.

Indranila is Sapphire and something that may have a black appearance but is blue in better light. And the dakini's simple name is: Karma Ishvari. So this relates both to esoteric counterpart of Amoghasiddhi (Karma Sattva) and quite well to the final Paramita, Vajrakarma. It looks like she isn't real or doesn't start until there is an All Buddhas Sita and then is Wisdom Deity Mother for the rest of the Path.

The stumbling point is that you can easily find the statement: White Tara is Vairocana's consort.

When, where, and how? Most of the apparent Sitas are really Pandara. The special Four and Six Arm forms are emanations of Amoghasiddhi and do not consort. There are no Sitas left to be his emanation, or, there are Astamabhaya and Mrtyuvacana or basic Varja which we cannot get materials for. I would like to wave a hand and resolve it by, them being together really in the peaceful assembly at the heart. But you can look at almost any Zhitro or Hundred Deity mandala, and you will find the Yellow, Red, and Green Families are all matching. White and Blue are almost always mixed. So here we can find a Pink Pandara and a Pale Khadira, but when I get to the White Family, it's just a Blue Heruka sitting there:




In this version, he manages to pick up a Green consort:




This almost explains it, there is a doubling of Blue & White and White & White:




Almost. I don't quite get it, yet, but a pattern is forming.

There is no bigger, weirder Sita than the Six Arm kind. The one that keeps expanding is Parasol, who, occasionally, is Yellow. There is very little Sita that is shown with Vairocana, whereas, both Sita and Pandara are heavily involved with Amitayus. Parasol is as well, but, not as a consort that I am aware of. There is some kind of trade going on, as (Dark) Blue is always Wrathful, but Red may be semi-Wrathful. You won't perceive the Zhitro until using these colors to enter and pass the Black Bhairava. Beyond is something inverted and mirrored compared to all we know.

Four Arm Sita, from Sadhanamala, to Bari Gyatsa, to One Hundred Methods of Accomplishment by Konchog Lhundhrub, comes out as: "White Tara with four hands. The first two perform the utpala gesture. The lower right holds a wishing gem together with [the gesture of] supreme generosity. The lower left [holds] bunches of utpalas. [Having] the same ornaments, garments and seated posture. At the right on a moon is yellow Marichi, holding in the right [hand] a white yak-tail fan and in the left a branch of the ashoka tree. Wearing a red inner garment and a blue lower garment. At the left on a moon is green-yellow Maha Mayuri, holding in the right [hand] a yak-tail fan [and in] the left a peacock tail feather. Wearing various garments."


Not being a Sakya, I should probably start calling Takkiraja, Vajradharma, who has both a Hero (Manjushri Vajrayaksha) and Bodhisattva aspect. So this is who hooks Manohara. This is Vajradhara's Bodhisattva, and must not be confused with another, of Amitabha, who has the same name.

------------------------------------------------------

This is intriguing. We have linked this site before and I believe what it is, is that they have copied out the Siddha Siddhanta--it's incomplete, no Varahi article--but it's more readable than the condensed text, with useful links. So in looking at the set of Red Devis for Sundari's Island, well, I don't think any Buddhist ever told me that Kurukulla is Bala Sundari in flat equivalent terms--this is the Shaktas' own claim--but there she is number one. And then we will find Chaitanya Bhairavi--Varahi and Vajra Prastarini--Chinnamasta amongst them. Just as with Tara, they say Adi Shakti emanates limitless devis in all the colors, but Red is described as "important". The Prajna corresponding to Sundari would be Pandaravasini, although the crux is more strongly shown by her consort, Amitabha, as the source of Avalokiteshvara and Tara. So you have Amitabha as the basis for Tara tantras, and then once you apply Vajra methods (Akshobya), then you get to the special Red Tara line. Manjushri is similar, originating from Vairocana and then applying Vajra methods.

They also have a note about how the more intricate mantras are evolved from the basics; doesn't fully explain it there, but some of the Shaktas and Saivites still have a very in depth knowledge about the how and why of these codes. I really don't. We are doing pretty good to at least learn a bit of Sandhabasya or Twilight Language to get somewhat of a pan-yoga understanding between the branches. For instance, one mantra translated on that page refers to moisture, so this is about a certain state or transition of matter, just as it has been said the "three witnesses everywhere" are light, heat, and moisture.

[shaberon]

In attempting to trace Tara's origins, we found the sage Vaisishtha went to Bauddhadhesh, the country of Buddhas, to find Buddha practicing Vamacara, who told him to go do the same thing at the Tara Pitha in India.

They don't specifically say which Buddha, and so really, it was not Gautama but one of the Historical Buddhas. And so their relatively strange claim is that: Tara is a Vedic goddess, however, her mode of worship is from outside the Vedic areas: Chinacara or Cheenacara, which means China, and/or Tibet. This story also claims Buddha as a Vishnu incarnation, or this is why Vasishtha should go, because it is Vishnu in Buddha form. It says "Buddharupini" and I do not think the term "avatar" is actually used. We do not believe Buddhas are born avatars, but as Vi-buddha or fully expanded, it seems to mean their consciousness increases to that of Vishnu.

Tara in one of her dhyana slokas is called “Sakya darshana devathah”. Her form was first seen and worshiped by Sakyas even before Aryans worshiped her. In this sense, Sakya are the Kshatriyas or Warrior Kings generally around Nepal and Tibet. Remember, the Brahmans specifically appealed to the Warrior Kings to obtain the Upanishads.

According to the Hindu view, the Bhagavathi Durga who is extolled in the Durgasuktam of the Rigveda with the verses “sutara sitarase namaha” is verily the form of Tara worshiped by the Sakyas in the mode of Cheenachara. This form is the Mahavidya Tara, Ekajata-Mahacina-Ugratara, Blue Sarasvati. Durga Suktam is actually stanzas devoted to Agni. And her Gayatri uses Katyayani and Kanyakumari.

So to quote from their best way of understanding, and why there isn't exactly "Hinduism", the real Indian Sanskrit perspective is that "All these ‘isms’ that we created such as Hinduism, Buddhism, Shamanism are recently systemised and organised forms of one religion. When you go back in time, the walls and boundaries that we have built with so many ‘isms’ disappear completely and only a nameless way of life called Sanathana dharma shines gloriously like the sun with all its multifarious sampradaya and acharabhedas."

We usually write it as Sanatana Dharma, meaning something like eternal truth, and this kind of eternity is one of recurring cycles of Mind-born Sons of Brahma, the Sages that follow them, the Buddhas that arise in the world, the end of the world, move on and repeat.

I have not been through all 400 pages of Durgati Parishodana Tantra, but we do have its mandala in the NSP. Firstly the full tantra includes rites for the dead, so this Sanskrit version pre-dates the Tibetan Book of the Dead which is a terton or revealed treasure from the 1300s. However the mandala includes Simhadurga. This is nothing new, it means Durga with or mounted on a Lion, usually her more peaceful side. With a Tiger she is more wrathful and violent, perhaps the Assamese Budhi Pallien. But in this mandala, nothing is obscure--you don't have to decode Palden Lhamo--she is right there in a Buddhist article, Simha Durga as plain as the one celebrated all over India.

This is not really the mandala or tantra we are focusing on, but is it related, yes, in this Vairocana mantra:

Om namo bhagavate sarva durgati parisodhana rajaya tathagatayarhate samyaksambudhaya tadyatha Om sodhane sodhane sarva papam visodhana suddhe visuddhe sarva karmavarana visodhanaye svaha!

Homage to the Bhagavan Sarva Durgati Parisodhana Raja (The King that Annihilates All Evil Destinies),
The Thus Come, The Holy, The Perfect Buddha
Om Destroyer, Destroyer of all sins, Pure Pure The Purest that Deters the Unwholesome Karma, Svaha.


Further, the mandala includes Surasundari.

Surasundari is not usually a proper name, but the whole class of celestial nymphs or yakshini. However, even the older yoga books recognize an individual Surasundari Yogini, who arises from Hrim. She is one of the ratnas or precious gem that emerged from the samudra manthan or the churning of the cosmic ocean. In West Bengal, she is considered the most important of these Yoginis, and that Kubera became the Lord of Wealth by worshipping her. She is important in Bhutadamara Tantra, along with Katyayani, Yakshas, Aparajita, and others.

In that she and/or they are considered yakshinis and yoginis, the main distinction is that yakshinis are part of the natural environment but yoginis are human. They can protect or destroy. Destruction is what entangles them with Dakinis, of whom Kalaratri (or Durga) is queen (of witches). Yoginis can also be the subtle body, attendants of higher goddesses, astrological powers, and so on. So yakshinis are hard to find, but these are really the unknown and the treasure of wisdom. Dakinis only have any value because they have been harnessed. What have we done, but attempted to aim her destructive impulses at our own ego. No other resource will do it. We have to have her (Durga) but it must be in the condition indicated by Purity of Sense Objects.

Surasundari is also called Rambha who is in the Vamana Purana about the origins of Shiva Linga.

Vamana seems to be a purely esoteric Vishnu incarnation. He doesn't re-appear or get used for much. But there is such a thing as a Vamana Yaksha, which is a dwarf yaksha, usually pot-bellied. This itself is still unusual or rare, however, there is indeed such a Vamana Yaksha Hayagriva. He frequently has this form when with Tara and Avalokiteshvara. Hayagriva is not mentioned in the avatars of Vishnu, considered minor, but he has been found to be the path to the Aswins, and he is a high stage involving the door to the inner chapel of Shamballah, associated with Yellow, Kubera, and Vajra or tantric Tara.

I am not sure if we can see a translation of the actual Sundari Khand from the Sakti Sangama Tantra, which also has Kali and Chinnamasta Khand. Its own Sundari Philosophy again ties it to Parasu Rama and the author of the Khand estimates it to be 8-9000 years old.

The school is rare, however it still has temples all over Himachal Pradesh for Tripura Sundari, Vajreshvari, Jwala Mukhi, Chamunda, and others. This culture is the same as Nepal in that many people participate in both Hindu and Buddhist activities without really questioning any difference.

We are making heavy use of the Three Sarasvatis: White Sarasvati, Blue Sarasvati Tara with Brihaspati Jupiter or Akshobya, and Tantric Sarasvati Matangi with Ganesh. Tantric Lakshmi is Kamala, and Tantric Sita is Janguli. I cannot find any way in which the major name, Tripura Sundari, is carried forward in Buddhism, although her working components clearly are. Part of this is Sarasvati, who has a temple of eternal flame where Sati's tongue fell, and her nerve in the body is the tongue. Sarasvati has been found to anchor us in the Fixed Fire of the Body, which, in the Agni ritual, is precursor to Lakshmi.

Now it seems like we are getting carried away, and according to Dzongsar Khyentse Rinpoche there are 100 million Taras each with details and forms. And so it is not that much to have twenty-one or so for the nuances of all the problems we have. What mainly is the problem? According to what he said only about a year ago at Deer Park, we say we have this divine nature, "But the problem is you don’t act like a deity. Do you act like a deity? You don’t act like a deity. You don’t think like a deity. You don’t look at things like a deity. You don’t swallow like a deity. You don’t listen as a deity. You don’t taste as a deity. You don’t move like a deity. You don’t chew like a deity. You understand what I’m saying? You don’t look like a deity. Look at you. I mean, look at me too. You don’t look like a deity. You don’t think like a deity. You don’t smell like a deity. And anyway, what is the deity’s smell? Ah, you see this is the thing." His intro to Tara to the Deer Park crowd.

So in the Sakta school, they almost completely lack the presence of any male force. In most of the Far Eastern Buddhism, they lack female prajnas and other females. It is really mostly in Nepal and the Trans-Himalaya that both are equipped and much more universal than even Tibet. And so our Deity Yoga re-iterates male and female pairs in ever more esoteric or subtle ways. You have to make your own Pledge Being and use that to evoke a primordial Knowledge Being. You have to make this a firm base so "one's siddhis and samaya are guarded" before rushing to any new thing.

The clearest exoteric portrayal of our Seven Dhyani Buddhas is the Six or Sat Chakravartin mandala:





This is centered on Vajrasattva and he is called Jnanadaka. Daka is the male version of Dakini. It is here that his Shakti is variously named Jnanadakini, Vajravarahi, or Vajradhatvishvari. The Pancha Jina stamp no longer exists, as they are all arrayed around Vajrasattva. The Chakravartins are supposed to be earthly rulers over all four continents who generate a Chakraratnaya in the sky and can travel anywhere. It can take them to the lower heaven or Trayastrimsa or Indra Heaven. But if you make that a personal, internal, esoteric interpretation, it makes sense in line with how all the outer charnel grounds and sacred sites are also an interior map of the subtle body.

So this is showing all those male-female pairs in non-dual union, and then if Jnanadakini is going to change names, then also on the male side we are evoking Red Vajradharma, becoming Yellow and eventually Blue Vajradhara, and this process would involve Hayagriva. This higher process is a move away from earth into the void completely, which has the nature of Three in One.

Root Guru and his consort become Blue which is of a different hue than that of the Wrathfuls. So you have distilled all the manifested colors into White, which takes place within Atman or the individual perception of Brahman, only described as a dark pavillion in which the rest takes place.

Wiki's Mahavidya Tara indicates that Maha Saraswati emerged out of Matangi, who turned dark into Kali and Ugratara. The Tara that goes with Akshobya produces the sun to heat the earth in a manner suggesting the earth physical globe might have been traveling around looking for a sun to host it, rather than being produced by the formation of that sun. Sita binds her hair with Akshobya.

It's intriguing because I applied the Mahavidyas to the mandalas mostly just because they had planetary correspondences, and then it turns out they are inextricable from trying to explain the Buddhist Taras and Agni. It gives us a heritage to Parasu rama, who killed all the Warrior Kings he could find, but then the more recent ones are credited as sources of the Upanishads and Ugratara. And there's an issue with Ghost Kings which is international in scale and directly involved. After almost a year of this Namasangiti...method of indexing...doing its thing, it's performing rather well.

From the thangka above and Vajrasattva or Sixth Buddha, and the mandala sequence of NSP, seeming to place it rather deep and abstrue, it's really not. The oldest Four Arm forms of Avalokiteshvara simply use the six syllables of Om mani padme hum and the format is already there. A potential Seventh Buddha could be nothing other than Chinnamasta or, perfected tri-kaya of the meditator.

Her attendants are Varahi and Vetali or Wrathful Sarasvati. These types of forms have no real capacity wherein they are not Shakti, or, embrace of a male.

Vetali ascends the forms of Wrathful Manjushri from Red, to Black (Blue, Krishna) to complete Black (Terrifying).

Wrathful Black Manjushri is not a Protector. The Protector is the little goddess Ochen Barma, Blazing with Light. She has a special bag of disease and is the Protector aspect of Vajra Vetali who is the consort here. Black Vajrabhairava considers them both Sarasvati along with her normal form. They hang out with Vajradhara and Tsonkhapa:




Ochen Barma with flames fanning like a peacock tail, over horse, mule, and wolf riders:






So we found that just as Dayanand Saraswati did in India, so did Pabonkha in the Himalayas. He is, of course, identical in terms of doctrine. The argument is about whether Dorje Shugden is an Enlightened or Wisdom being or just a preta. This is a non-issue or none of our business, and it bothers Palden Lhamo. Again, even from the old Hindu sources, I am free to say Narasimhi is my Protector, and it turns out what this means is that Durga has been ported to Palden Lhamo. Furthermore, this is Shri Devi, which name has a twofold meaning.

Magzor Gyalmo 'The Queen of the Weapon Army' is the wrathful aspect of the very peaceful wisdom goddess Sarasvati (Tib.:Yang Chenma). Any serious undertaking of the practice of 'The Queen of the Weapon Army' is always done with a self-visualization of some wrathful form of Manjushri. This two hand form has a peacock canopy and a donkey, and is not Devi herself but is the main attendant to Shri, who has four hands. The four hand form is Lakshmi. She also has peacock feathers and a mule, here she is with Tilo and Naro:





The donkey is basically showing us that Kalaratri has been subdued and that our Activity of Durga is taking place in the Sambhogakaya. Essentially this is what her wrathful appearance is there to protect. The first few mandalas are to see what a Dwelling in the Akanistha is, and, the last few are starting from that point to raise the Dharmadhatu and dissolve the voids, which can seem quite technically abstruse, but in this case, HPB's terms are a good guide and accurate with the originals, and so we could say we are going to light up the Vajradhatu and enter No ego, Suchness, and Ultimate Meaning, which are like Space, of one taste and without differing marks.

So without really even using the Tibetan, if Narasimhi is my Protector, then I know I am doing a purification of Durga which unlocks Sarasvati and Lakshmi. Same Lion Face that will come to us in the first Gatekeepers and will ride with us into the Akash until her services are no longer needed or she becomes completely peaceful. If I stick with this meaning, I can follow that my young Lord of Speech is going to be forced to interact with Wrathful Sarasvati and she is going to ripen all the karmic seeds from instinctual sexual patterns to all things dead and evil. The Namasangiti mandalas have placed Red at the top with Varahi who is, so to speak, Mama Kalaratri, and then we do this special thing and turn her Red. We call her Vajravarahi which binds her into a condition relevant to the Path. And then we don't really use this name, but call her Vajrayogini, who has a Dakini form related to Queen of Space. Queen of Space is Mamo Botong who is the only Wisdom Being of that class. Subduing Kalaratri is what makes Mamo Botong useful and relevant. All those things need to be coming together before one should really try to "meet" Vajrayogini.

By protection, we really mean from mental disturbances. So if stage three could be called the Lion and the Sword, an example of a relevant mantra such as Ham Ksham is intended to be done in place of agitated reactions you would usually have to something. The speech equivalent is the Sword; instead of saying a lot of angry stuff, you say something that directly works. It's something you don't know how to handle today, but you start doing it and perfect the ability. So that Sword efficiently and effectively redirects the minds of others into peace. Part of the proof remains in the opposite, if you look at how easily it is to get disturbed with what someone says and how much this happens, and even how quickly this can spiral out of control. That "spiral" is the Mamos. It's not just anger, either, it's anything that would throw us out of the purified Fortress of Durga. External things. Post-Durga is another goddess set done completely internally. Or, Durga concerns memories and thoughts about things that can be sensed, but then beyond her are thoughts about thoughts, or just thoughts or ideas or archetypes themselves, Manasic Plane or Akash.

Sarasvati White and Red Vajra forms at the lower left and bottom center here:




It is an Eight Fears Tara, with seven Kurukullas above, another Kurukulla lower right, and Bhrkuti. This and the big Ekajata are Drukpa Kagyu Sadhanamala-based.


Hayagriva and Varahi:




They have the secondary faces, and she's not waving implements.

NSP does not provide a color for Yamari, as if there are not two. But does say he has emanated his own Shakti.

Vetali is the Vidya of natural light. She could be wearing Naga Kings and crowned with Vajrasattva. There are larger versions, but Pancha Jina here becomes five couples and this is the standard practice. When Vetali is with Red Yamari, 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, below (east) is white Moha Yamari embracing the consort black Charchika, to the left (south) is yellow Matsarya Yamari embracing the consort light yellow Varahi. 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. Surrounding the mandala figures is the geometric form of a celestial palace placed squarely on a double vajra with only the prongs and makara heads appearing on the four sides. The structure is surrounded by a circle of lotus petals and five coloured flames.

Here is the first or Red Vetali with Yamari:



That depiction shows seven, shown of the Eight Offering Goddesses. Starting from the left is white Arghuam, green Padya, white Pushpe, blue Dupe, red Aloke, green Gandhe, and yellow Naivedye. The substances they hold are a white conch with water for drinking, again a white conch with water for washing, a bowl of flowers, a bowl of incense, a lamp with flickering flames, a white conch with scented water and finally a bowl of food (peaches). The eighth and final (omitted) offering goddess would be Shabda, sound, which is normally considered live music and therefor is not an item on the table.


Here she goes again:




There, the center attendants are Aksohbyavajra and Mahamaya, and the bottom is Vajrabhairava, Krishna Yamari, Secret Accomplishment Hayagriva. So the middle swath distinctly houses Vajradhatvishvari, Vajravetali, and Buddhadakini.

This is one of the oldest survivors, ca. 1300s, among the earliest in Tibet:

[shaberon]

Hand gestures or Mudra are derived from an original set of eight obtained from classical dance, with others for further meaning. Such as the teaching gesture Dharmachakra:




uses the right hand to show the Initiation Vase and Peacock Plume:





Verse sixteen seems to be the one calling for Vajra Tara:

"Homage to you, who is surrounded by joyous ones

Who completely scatter the bodies of enemies.

You liberate all with your speech, adorned with ten syllables

And HŪṂ: your pristine awareness."

She is occasionally alone, but, her main form has ten accompanying goddesses for the ten syllables of her mantra. She is, so to speak, a "bigger version" of Prajnaparamita whom we found hiding in the middle of a book with her array pressed against that of Vajrasattva.

On verse five, Atisha uses a "Hum Svara Nadini" Tara that doesn't mean anything in the Indian system. However the verse says "namas tuttāre-hūṃ-kāra" and there is a famous hand gesture vajra humkara, usually as seen by Vajrasattva, Vajradhara, and limited others, which is hands crossed over the heart with vajra and bell (usually). This gesture originates from the Root Tantra or Guhyasamaja and is ultimately used by Kalachakra. Samvara also uses it. Akshobya's syllable Hum is from the Solar orb. This mudra is significant enough to have its own deity, Humkara, who will help us with the hypostasis.

Firstly Humkara is the same as Vajravali lineage held by Dolpopa and shared with the original Bodong-pa rare school used by Tibet's highest female tulku.

And what he does is come in on the lower right, and the other three courts are Vajravarahi in Red, Yellow, and Blue, each of those being a full Thiry-Seven Deity Vajravarahi mandala:




NSP simply tells us that Humkara's retinue is Ten Wrathful Direction deities, old or new system. Here, they are twenty because coupled, but he does have them in eight directions and then above/below--nothing on his left or right gates. So his gesture indicates the collection of Vajravarahis moving forward to produce the strange Wrathful White line of deities. Samvara himself has a White or Sita Samvara, his version of a Sherab that comes with many others.

In the center of the next thangka he is said to be with Red Varahi holding a knife. The top goddesses are not called anything other than Red Vajrayogini. The males are Rechungpa's White Amitayus, White Samvara, and Blue Avalokiteshvara Heruka.

At the lower left is the peaceful goddess Vijaya (Tib.: nam gyal ma. English: Victorious), white, with one face and two hands holding a gold visvavajra to the heart in the right hand and a begging bowl in the lap with the left. Adorned with various silks, gold and jewel ornaments, she sits on a white lotus with a pink hue surrounded by a blue nimbus and bright red aureola. At the right side is White Wisdom Illuminating Vajravarahi (Tib.: pag mo she rab sal che) with one face and two hands holding upraised in the right a gold vajra and a skullcup to the heart with the left. Adorned with bone ornaments and a garland of skulls she stands surrounded by flames of wisdom fire.

This is summarized at the bottom by the very rare Amaravajra "Adamantine Deathlessness" also called Maha Pratyangira "Great Repulser". And this multi-armed goddess arises from Hum and shows us vajra humkara gesture:








"At the bottom center is the slightly wrathful long-life deity Amaravajra Devi (Tib.: chi me dor je lha mo), white with eight faces and sixteen hands holding various objects. Adorned with a crown of skulls, wrathful ornaments, a necklace of heads and a tiger skin as a lower garment. Standing above a sun disc and multi-coloured lotus she is surrounded by the orange flames of wisdom fire." The top right is Seven-Syllable Samvara-Avalokita with Lasya.


Amaravajra showing Vajrahumkara:




She is in the Sakya basket of doctrine as Completion Stage.

White Vajravarahi is an Akshobya goddess who arises from Hrih, usually the syllable for Amitabha emanations.

So we see Vajra practice activates Wrathful White, and we have looked at Durga and seen the inner driver as Agni, now blink twice because here is a Chinese Tara Homa which invokes the Yellow goddess of Earth to bring Green Tara in her Potala Palace. There is a Tibetan-accented Sanskrit sadhana using Hum, and, because it is a Homa, we tribute the White Fire God, here called--Arya Sabarivara. The text mentions nothing about this, but we have just done a pretty good dig on the Sabari lineage, and so what appears there is Dravidian Agni.

So this suggests you must have at least a little Yellow Prajnaparamita in order to land in an Abode or a Palace. It looks much like colored Vajravarahis go into Humkara and White emerges. Hum comes from the sun through some very dark things which makes White go ballistic until you can stabilize it. Because what we call an Abode is similar to where Shaktas would probably place Tripura Sundari, perhaps that is why we have replaced the name, because we are going to populate it specifically by Vajra methods.

In this case, Pratyangira is an extremely confusing name, applied to both Sarasvati and Lakshmi. The Hindu Pratyangira is encoded into Lionface, Simhamukha, Narasimhi (Sarasvati), and instead, here, Pratyangira is Palden Lhamo and has the context with Wrathful White Usnisa (Parasol), and her dharani, Sitatapatra-maha-pratyangira dharani (Shurangama Mantra - White Umbrella Deity Mantra). We have encountered the Shurangama Sutra which is massive and involves Matangi. The dharani, or Shurangama Mantra, is also very large. However this itself as explained by Gold Coast Dharma Realm or Venerable Master Hsuan Hua show this as one of the main underpinnings of all Mahayana Buddhism. On her own, in the Sadhanamala, Pratyangira is a Blue emanation of Akshobya arising from Hum. Pratyangira is Amaravajra, Overcomer of death, the repulser of samsara, this goddess is understood to represent the mind of the practitioner.

More simply, Maha Pratyangira (Lakshmi) is Amaravajra who is a Completion Stage goddess, who indicates by Humakara the relationships with Vajrapani, etc., signified by the gesture.

Possibly the most comprehensive name of the large Usnisa mantra is:

Arya-Tathagata-Usnisa-Sitatapatra-Aparajita-Mahapratyangira-paramasiddha-nama-dharani

So the short Usnisa mantra and magic syllable we already gave, and so aspects of this Sita Tara practice are thrown forward in a way you can pick up with brief study and use.

Lha-mo Lha-tso:




Flags are covered with the medium Usnisa mantra I believe.

The Rainbow Swastika of Prajnaparamita:

[shaberon]

We have tracked down a number of the Buddhist deities and found they have legitimate Hindu (or other) origins, such as Akshobya is Vishnu as a snake. However, we cannot do this with the consort of Green Tara, Amoghasiddhi. He's not from anywhere. And his Umbrella is unusual because, most of the items and animal vehicles have meanings and explanations, but this does not. It is the Seven Headed Snake:









He shows Abhaya mudra, which wards off fear, similar to Sragdhara Tara's meaning. Mucalinda used the Seven Headed form during Buddha's Enlightenment; he is sometimes considered a Maharoga or Dragon who sheltered Buddha for Seven Days. But nothing connects or explains the similarity. Buddha is shown this way all over Asia so you would normally just think it was him.

Long ago, in a universe called Manifold Light, there was a princess called Jnana Chandra who was extremely devoted to the Buddhas. Every day for a million million years she made offerings to the Buddha Dundubhisvara ('Drum-Sound') and his Sangha. And the princess was Tara and this was when she refused the advice to be reborn as a man and swore to remain female. Drum Sound Buddha is Amoghasiddhi. Since then, they have manifested in Multiple Universes until Tara was invoked into our world at Potala by Avalokiteshvara. Tibetans call her Yeshe Dawa.

Amoghasiddhi is the source of all the Green Tara Yidams and Parnasabari, as well as two forms of Sita (Four and Six armed) and Green Mayuri. So he is the parent of Green Mahasri Tara, and Sadhanamala has preserved her mantra: Om Tare Tuttare Ture dhanam dade Svaha. Dhanam means wealth and so she is a wealth or tantric goddess. So she is only slightly distanced from Green Dhanada Tara, who is one of the only ones of them to ride an animal, and should have eight companions for eight syllables of the root mantra. She is there in sattvaparyanka with four companions--and her first or Eastern is a special Black Vajra Tara. Amoghasiddhi also emanates Vajrashrinkala who is Bhrkuti or described with a fretted brow, and Vajragandhari. All those and only one male emanation. That one is Vajramrita, who seems to be the chief of the Amrita gods. In a typical Eight Heruka list where Wrathful Vajrasattva is Vajrakilaya, Vajramrita is right above as Wrathful Samantabhadra. Vajrakilaya came from Karma Family; Nyingma claims Vajramrita for Ratna Family, but Ratna has Amritakundalin for this group. Someone mixed up the Nectar Gods' families between India and Tibet.

That reflects the Kagye' which was received from Indian Vidyadharas. It involves the Wrathful aspects of Eight Bodhisattvas. That does not apportion to the families equally. The Five Dhyani Bodhisattvas from Pancha Jina are heavily changed to make the group of Eight. Then Chemchok Heruka may be added for nine. The Full Ten Directions can be staffed by a further category of Ten Wrathful Ones of the Vajrakilaya mandala. Ten is Pancha Jina doubled, and if we go from Longchenpa, the generic formula in ten directions is two wrathful ones above and below, of the tathagata family; those to the east and southeast, of the vajra family; those to the south and southwest, of the ratna family; those to the west and northwest, of the padma family; those to the north and northeast, of the karma family. So Above-Below is the axis of the Middle Space.

Amoghasiddhi's wrathful side is Phurba or Vajrakilaya. This is the ritual "dagger" we have covered before; Vajrasattva is involved, so here you start Wrathful White activity. The main purpose of Wrathful Activity is Removal of Obstacles, inner or outer. The "wrathful dagger" may remove outer obstacles, but as demons, ghosts, etc., the idea is to subdue, not kill. It is also said to cut our karmic affinity with harmful thought patterns and remove them same way. Because it affects karma, it is related to Amoghasiddhi, Karma Family. With both Phurba and Wind Horse we are taking into account our karmic relationship with invisible entities. Ultimately this ends the karmic cycle.

We changed his Karma Family to Mahamudra, which can kind of only be a more intense version of the first family. He is still the same wisdom or Kriyanustha Jnana, Transcendental Insight of Perfect Performance, at Mahamudra intensity. He is Green and said to be obscured by jealousy, but, moreover, by fear, as shown with his pose Abhaya mudra (also a stoppage of karma). Jealousy is often a fear of inadequacy compared to someone else, or a failed wish to succeed. Green Tara deals with fear. So I think they are together on this. Amoghasiddhi is the opposite of a lousy time feeling it must be better for others, dread of the future, and other neuroses. The Green rite is that of Fearlessness (Abhayakarma) and not among the cycle of Four Activities. The gesture is also considered welcoming, or congratulations on success.

His vehicle is a Vamana Dwarf, Garuda, or combination Centaur or Kinnara, half man half bird. When he flies Garuda embracing Tara, the creature makes music with cymbals, and this is called either shang shang or Harpy Throne. His syllable is Ah: Om Amoghasiddhi Ah Hum.

This dhyani is under-represented, has little to no of his own sadhana or practice and is rarely imaged. He does have a House in Savradurgati Parishodana. But here he is at the Met over Pratisara and the Pancha Raksha:





So he's indirect. You have Green Tara as the pledge being which develops via him, as well as Vajrasattva for the Phurba and White Wrathful aspect. He's kind of running in the background because he is success as obtained by these Samaya beings. There is little to say about him because he lacks content. His Dharani daughters in the seventh mandala are lost content. The most noteworthy thing is his hand emblem or Vishvavajra, Double or Crossed Vajra. This is expressed in the Phurba and the Khatvanga staff of similar design and use. Its handle has a similar totem with a Wrathful Nirmanakaya face, the middle Sambhoghakaya face of a divine being with the all-seeing Wisdom-Eye or Third Eye, topped by a Dharmakaya Skull.

"The skull is symbolic of transcending-death and thus represents the Dharmakaya THAT IS Deathless, and Fearless, Suchness Itself. The Divine-Being with the Buddhaic Wisdom-Eye represents invoking such Beings as the Dhyani-Buddhas on the Sambhogakayic-plane. The Wrathful-Being is THAT power that is invoked which effects all phenomena, particularly on the samsaric-material (Nirmanakaya)-plane." (Unborn Mind)

Vishvavajra is indestructible because before time began, there was only darkness and the emptiness that is the Void. A gentle wind arose from the four directions that, over time, filled the Void. It began to grow in power until, after eons had passed, the wind coalesced into a substance so thick, so heavy, so solid, so immutable that it formed Dorje Gyatram, the vajra cross that is the basis of the physical universe. Cardinal, Fixed, Mutable Crosses, made out of a condensed wind or breath.

Khatvanga was originally Shiva's trident and there are variations. Here is a Vishwa Vajra Parasu Khatvanga:





This is part of the rationale in making a goddess-based framework. About Amoghasiddhi, there is little to say, however, his main emanation is Tara, and she more than fills in the blanks. Vajrasattva--Vajrakilaya seems to condense the Families.

This is an old mural and, I am not sure if this is him with Samaya Tara and Sky is an expression of White:





One of his Bodhisattvas is Vishwapani (World-bearer, Maitreya, possibly Akashagarbha) or Vajrakarman. I am not sure if we can get Vishwakarman from that, but it's close. The only Buddhist prayer hall in Ellora is called Vishwakarma for some reason; cave twelve is said to house the Dharinis of Amoghasiddhi. Vishwakarman's day is Kanya Sankranti, or when the sun enters Virgo; on this day he gave the plough (Sita, etc.) to humanity. He shapes babies in the womb. He produced five sages who unlike Rishis (who produce ideas) they produce things. After her death, Buddha's mother Maya was stuck in the Indra Heaven, and he stayed there too long trying to liberate her until the disciples asked him to return to earth. Vishwakarman made the ladder Buddha used to Descend. That ladder is worth looking at; it's "national amplifier" day.

Vajrakarman is slightly higher than Amoghasiddhi's other attendants, being the Master of Karma Family, and in five colors. It is through him that Amoghasiddhi makes a gift of the goddess Karmaparamita to Vairocana.





Mongolian ca. 1800s.

"Chakna Natsho Dorje, In his right hand he holds the vishva, a 5-colored double-sceptre, which symbolizes his deeper nature: the coordination of the wisdom and
power of all 5 (6) elements. This enables him to bring all karmic bondages to a
quick end. His mantra is: OM AH KARMASATTVA HA HUM SVAHA."

Wrathful couples are also used in Armor Deities, wherein males plate the outside of the body, and females protect the chakras or subtle body. The standard Wrathful Male and Female Buddhas, per family, are: Vajra, Vajrasattva and Vajravarahi; Tathagata, Vairocana and Yamani; Lotus, Padmarteshvara and Mohani; Desaka, Heruka and Sachalani; Ratna, Vajrasurya and Samtrasani; Karma, Paramashva and Chandika. These may be called Heroes and are not Bodhisattvas but are the Wrathful Dhyanis and Prajnas. So at the very end, it is giving Chandika as Wrathful Green Tara. That means Wrathful Vairocana is still called Vairocana. This is a Six Buddha system with no Mahamudra Family, and so it lacks considering Vajrasattva separately from Akshobya, because he is Wrathful Akshobya. This has the feel that our seventh element doesn't stand on its own but rays out six. A point in a hexagram. I can agree that Mahamudra is not an innate physical sense and we are working with a generated extra skandha so to speak, so it arguably is a Wisdom Level, but in terms of a Family, I am not sure it has any new members. If you look at the meaning of Amoghasiddhi joining Mahamudra Family then I think it definitely marks an initiation or level of accomplishment (Bodhicittavajra), which, in the Profound View, could potentially be self-initiated. It looks like the whole meaning of the Family move is that it is originally expanded by Peaceful Vajrasattva and then returns with him in the strange Wrathful White line of deities. It looks like when this one goes Peaceful he will be transcended. Similarly, Vajravarahi will consort to Vajradhara and become transcended by Vajradhatvishvari. Vajra methods produced the original Samaya Vajrasattva and will eventually Remain in Union with the Perfected Consort from Vajravarahi: the embodied radiance of Sesha at the bottom of the Talas (solid frozen winds) dissipated in the sphere of the Sun. The "seen" process which accompanies the "heard" process of Hum.

Reversed mirror image of starting the Samvara cycle when Akshobya went to the Middle Space. We get mad, change colors, swap partners, and clone children and parents into other families, until this stuff is going back to him. Hum syllable, from the sun, through the underworld, back out of one's personal aura. Mirror Wisdom. Six Powers will then reduce to a Trinity of pairs, Kaya Vajra, Vach Vajra, and Chitta Vajra. Using the most powerful Bodhisattvas Manjushri--Vairocana, Padmapani--Amitabha, Vajrapani--Akshobya. The real Root Guru is inside all that.

The scheme for this current Fourth Age in terms of its regency of Dhyani--Celestial Bodhisattva--Human Buddha is Amitabha--Avalokiteshvara--Gautama. The next or Fifth Age will be Amoghasiddhi--Vishwapani--Maitreya. I can't say anywhere it literally says this Bodhisattva is Vishwakarman, but, if the latter is the One Initiator, they can't be far apart, and both are involved with the Cross. We have been thinking Yellow Kubera is the Initiator. Vishwakarman also produced the woman Tilottama or Tilo + Uttama, sesame seed + finest, indicating small particles and fine, subtle qualities. He is a pinnacle deity (Vulcan) from the Hindu literature who fashions all the vajra implements, then helps Buddha one time and apparently recedes from view for some reason. The Bodhisattva Vishwapani is not even practiced or imaged. Like being stashed away as a treasure for future use as Yellow indicates. Crossed vajra itself is a common mandala and theoretically should have five colors:





The first three Buddha cycles were presided by Vairocana--Samantabhadra--Krakucchanda, then Akshobya--Vajrapani--Kanaka, and Ratnasambhava--Ratnapani--Kasyapa. As three cycles are complete, three families are closer to Adi Buddha. Yellow Ratna already is, and we are secretly using Red Lotus to enter their domain, which is probably why our Trinity is only a 2/3 match and some Red--Yellow interplay of Taras in these stages. Mining unknown Yellow Yakshas and offering as many as possible to Kubera and Vasudhara. There you also see the shift from Seven Historical Buddhas including Vispawsi and Sikhin, to being in the Fourth or middle stage of our present Seven Age cycle. Of Amoghasiddhi, we don't say much other than he has been going round with Tara for multiple Kalpas, so he is less talk and more experience--Mahamudra.

Jampa Gompa itself is a guided tour of this very thing. Photos are made of the whole place, and it starts on the Right Hand Path in the East with three phases of Vajrasattva with: Eight Nagas; Fiery Wrathful with 8/9 planets; and then 10 Directions. He then moves to Vajrapani and the Four Kings; then Amoghasiddhi, and proceeds to our Sixth and Seventh mandalas. Almost a literal walkthrough of Namasangiti.

As to its place in the Gompa, Amoghasiddhi Initiation spells out the doctrine of elements, skandhas, etc., starting in Waterry Fire, and is considered the final initiation. Looking at the index, It is the Seventh Initiation, after Phurba, Hayagriva, Red Yama Manjushri, and Vajrapani. These initiations seem to come from a Tsonkhapa commentary, translated at the Kong Ka Lamasery, Meinya, Eastern Tibet. It is our exact same scale except it starts around mandala three and runs into the compression in seven.

The actual translator Ci, Chang Chen, or Chen-chi Chang according to Evans-Wentz had for his guru Living Buddha Kon Ka Lama, and this monastery is a Kagyu institute from 1285. It is actually in Sichuan beside a peak more people have died on than climbed. Gangkar Namgyel Ling or "Konka Gompa" is the seat of Gangkar Rinpoche. He is Avalokiteshvara. Alternate version.

The text supports the Argument-Free Adi Doctrine of the Red School against the scholasticism of the Yellow School, and originates from the Treasury of Garma Linpa, who turns out to be the terton for the Book of the Dead, part of the larger Profound Doctrine of the Self-Liberation of Thought by Encountering Peaceful and Wrathful Deities.

I can't find a difference between this and HPB's Esoteric Yogacara, and it appears fairly evident their major "secret" is in being crypto-Red Hats. This again is the same dispute between Nagarujuna's Profound View and that of Asanga, whom she really spit on: the awakening mind itself versus academics and rules. This fits exactly with our Namasangiti presentation, in that we are starting from a study and basic practice which goes on to the whole thing. The Tsonkhapa one is of course for real and starts high compared to any lineage. If correct, this means that Koothoomi took the Vajrapani initiation in suspended animation for three months. I never would have guessed the whole thing would be capped and revealed by one of the most non-descript, overlooked deities in the whole tradition, however, Tara is really the one who showed it.

The first initiation is in the close succession line of Mingyur Dorje, identified by Karmapa as a tulku, leading to the Moktsa or Katok tulku line. That body died at twenty-three, but had walked around with a secretary writing whatever it would say, and left three volumes. His main teacher for seven years was the first Chagme Rinpoche who held the Nyingma lineages plus Kagyu. He composed Sadhanas for Manjushri and Usnisa and a commentary on Transference and seventy-seven volumes. He specifically says Usnisa is a form of Pandara and her purpose is to bind male and female. The mantra was heard without Buddha speaking. It is even defined as kriya tantra that can increase to the highest. So that's quite potent. He is in an interregnum although the last body was housed near Pharping in Nepal, and the main seat was Tashi Choling. The Namcho or major basket of Nyingma terton scripture was worked out jointly with Karma Chagme and Mingyur Dorje as the terton. This is Space Dharma or Buddha in the Palm of Your Hand. Chagme Rinpoche is considered one of the greatest uniters of Nyingma and Kagyu. So for example the near succession in modern times would be Thrangu Rinpoche.

This interception of Blue Vajrapani is shown in a modern Newari design:




Frequently overlooked, there are some who manage to catch a glimpse of him properly, as Vidhuma in Vajra Bell magazine puts it: "An introduction to Amoghasiddhi begins, as do all proper introductions, with names.

Amoghasiddhi is not a mere appellation but a name that describes who Amoghasiddhi in fact is. It tells something of importance about the essence of this Buddha. The “A” that begins Amoghasiddhi’s name represents a
negative prefix that modifies “mogha” or “moha,” which means perplexity, confusion, spiritual ignorance. Thus we learn that Amoghasiddhi is not confused, not spiritually ignorant. The remainder of the name, “siddhi,” tells us Amoghasiddhi is a master, one who is accomplished in the extreme - above and
beyond the usual human limits of competence - at not being spiritually ignorant.
In fact he is the complete opposite of one who is spiritually ignorant. “Mogha” can also be translated as failure, unfruitful, or unsuccessful. Thus Amoghasiddhi
is also the master of success, the one whose success cannot be obstructed. This is perhaps the most common epithet for Amoghasiddhi, “the Buddha of unobstructed success.” You have now been superficially introduced to Amoghasiddhi, the one who is an accomplished master of spiritual understanding,
of unfailing success. But truly, whoever you are, you may rest assured that you need no introduction; Amoghasiddhi has met you before.

Spiritual understanding is the deepest and fullest grasp of the universal truth that every experience and every object arises out of certain conditions. Likewise, every object and every experience becomes part of the conditions out of which
other objects and experiences in turn arise. To see this, to understand this, to grasp this comprehensively - in its fullest reach and meaning – that is Amoghasiddhi.

A dynamic, moment-to-moment arising of actions, their consequences –
new actions, new consequences - unfolding, unfolding, and endlessly unfolding. That is Amoghasiddhi’s field, his home. So the wisdom of dwelling in this place is the wisdom of actions that are perfected. Actions are performed for the
good of all beings, and the actions accomplish that perfectly. This world of perfected action is one of perfected conditions: harmonious, serene, pure.

Amoghasddhi’s direction is the north. His time is midnight and so in visualizing Amoghasiddhi he is surrounded by a sky of midnight blue. His element is air, and
thus he has the power of the wind, both fierce and gentle, warming and cooling, a baby’s breath, a tree-breaker. His particular wisdom, as we have discovered, is the wisdom of all-accomplishing action. He is described as the Buddha of the realization of the Bodhisattva path, a Buddha of actions, actions perfected and free of karmic consequences, actions that are pure, crystallized, transparent. The mantra of Amoghasiddhi is a simple and beautiful one (as I suppose all mantras are):

“OM AMOGHASIDDHI AH HUM.”

To see the words written is not to hear the sweet sounds as they move from your ear to saturate your mind. Imagine the soughing of tall evergreens against the stars of a clear and moonless night. Add the rhythmic hum of waves sliding on the deserted evening beach, and then the long reverberation of a cymbal or bowl singing one low steady note. Imagine something like that. Amoghasiddhi’s color is the color of action, a deep and dark, lush and living green. As you may have guessed from the mantra, the seed syllable is “AH,” the soft long breath that mysteriously never quite comes to an end except in the beginning of the next
breath. Mysterious also is Amoghasiddhi’s animal. Unlike the animals of the other four mythic Buddhas, Amoghasiddhi’s animal exists only in imagination, perhaps because imagination is precisely the necessary force for Amoghasiddhi’s work.

The garuda, or Tsang-Tsang is a human form to the waist with the wings, tail and feet of an eagle-like bird. Lama Govinda says of this half-man, half bird that it symbolizes “man in transition towards a new dimension of consciousness...the transition from human to the superhuman state, which takes place in the mysterious darkness of the night, invisible to the eye.”

Amoghasiddhi’s mudra, formed by the right hand held palm facing outward in front of the heart, is the Abhaya mudra that protects and dispels fear. That quality of fearlessness is essential to living the spiritual life.

And Amoghasiddhi’s object? Only the object of the greatest power imaginable will do. The double vajra, one crossed at right angles to the other, the object that symbolizes the highest comprehension of truth, the incomparable
power of a Buddha. Finally we come to Amoghasiddhi’s skanda – the skanda of volitional activity or tendencies of mind. To meet Amoghasiddhi as I have presented him here, in such a brief and passing introduction as this, says almost nothing of the Amoghasiddhi who befriends you slowly, and steadily becomes your inseparable guide. You can continually find him in the night sky,
in the wind, in the deep green of moss and especially in your mind’s best aspirations." (January 2009 lead article)

There is a bit of a wishbone about Vajramrita and Amritakundalin and which Family. On a goddess basis, Vajramrita ia a Green--theoretically Amoghasiddhi--mandala chief in NSP who has a retinue including Four Offering goddesses and a dozen others that are completely unfamiliar. An older Amrta goddess became the subject of Vajramrta Tantra. Vimalamitra is credited with her tantra, and so this newer version came, transmitted by Vairocana. Her name was changed by Vajrapani along with other Vajradhatu goddesses. She does however get placed with Ratna Humkara, so she moves around in that cycle. NSP has nothing for the other name Amritakundalin. But the same names are also used for males which may not be in the same place.

In Mahayoga, the five transcendent sadhanas are Manjusn Yamantaka (enlightened form), Padma Hayagriva (enlightened speech), Visuddha (enlightened mind), Vajramrta Mahottara (enlightened qualities), and Vajrakllaya (enlightened activity). These are again five mysteries of RGV, but in a different way. These have Guna and Karma, which is the end. Because Mahottara is defined as a state of proficiency in Sat Sahasra Samhita, enlightened qualities or guna are of Mahattari, and the phrase Vajramrta Mahattari would roll right in as the goddess and meaning intended by Mahottara in its own text.

HPB never mentioned Guru Rinpoche and his disciples, usually considered the Tibetan tulkus. However of the One Initiator she says, " In the first or earlier portion of the existence of this third race, while it was yet in its state of purity, the "Sons of Wisdom," who, as will be seen, incarnated in this Third Race, produced by Kriyasakti a progeny called the "Sons of Ad" or "of the Fire-Mist," the "Sons of Will and Yoga," etc. They were a conscious production, as a portion of the race was already animated with the divine spark of spiritual, superior intelligence. It was not a Race, this progeny. It was at first a wondrous Being, called the "Initiator," and after him a group of semi-divine and semi-human beings. "Set apart" in Archaic genesis for certain purposes, they are those in whom are said to have incarnated the highest Dhyanis, "Munis and Rishis from previous Manvantaras" -- to form the nursery for future human adepts, on this earth and during the present cycle. These "Sons of Will and Yoga" born, so to speak, in an immaculate way, remained, it is explained, entirely apart from the rest of mankind.

The "BEING" just referred to, which has to remain nameless, is the Tree from which, in subsequent ages, all the great historically known Sages and Hierophants, such as the Rishi Kapila, Hermes, Enoch, Orpheus, etc., etc., have branched off. As objective man, he is the mysterious (to the profane -- the ever invisible) yet ever present Personage about whom legends are rife in the East, especially among the Occultists and the students of the Sacred Science. It is he who changes form, yet remains ever the same. And it is he again who holds spiritual sway over the initiated Adepts throughout the whole world. He is, as said, the "Nameless One" who has so many names, and yet whose names and whose very nature are unknown. He is the "Initiator," called the "GREAT SACRIFICE." For, sitting at the threshold of LIGHT, he looks into it from within the circle of Darkness, which he will not cross; nor will he quit his post till the last day of this life-cycle."

And in Voice of the Silence she does correctly identify Nagarjuna as: Dragon Tree. He is a Shingon Patriarch. Both he and Guru Rinpoche are called "second Buddha". So Padmasambhava "Lotus Being" could be a re-iteration.

The next post shows this Hydra claiming a Tara.

After Mucalinda left, the Gracious One spoke:

"There is happiness and detachment for the one who is satisfied, who has heard the Dhamma, and who sees,
There is happiness for him who is free from ill-will in the world, who is restrained towards breathing beings.
The state of dispassion in the world is happiness, the complete transcending of sense desires,
(But) for he who has removed the conceit ‘I am’ - this is indeed the highest happiness."

[shaberon]

That nearly flummoxed us and you see what you have there. Published in 1961, an inscrutable "Tsonkhapa commentary" which gives us Seven Initiations. The generically-titled book is not saturated with references or attributions, and superficially nothing would make it stand out from any basket of x number of tantras. There are no outside reviews or comments about this book anywhere as if it has never been seen.

We are looking at it for one reason: it was never copyrighted.

Dorje Shugden likes to say that Vajravarahi was Tsonkhapa's secret personal practice but we did not find that. I'm sitting here coming close to figuring out the intricacies of a system I am certainly not initiated in, but so far, had gotten pretty close to exactly what it is. So in recognizing what's here in the Seven Initiations, one would see Phurba, Hayagriva, Vajrapani, and know that a pretty high mark has been set. You'd expect it to end on Adi Buddha or Avalokiteshvara or something obvious like that. Instead, it ends on a deity who is just like this book. You can look them up and find the same generic tidbit copied a thousand times and nothing else. Neither one is a topic at all. This is not "known in the schools". And it is advanced, from what I can tell, four or so Kalachakra initiations are bundled into the first one here.

And so you find this nobody showing up in the wrong place, but this initiation turns out to be the whole Kagye' system of Peaceful and Wrathful Deities plus Catuskoti or Jewel of the Doctrine, Ratna Gotra Vibhaga. And of course this is exactly what we set up with Namasangiti. But the initiation they're giving, it really just doesn't exist. That is unique. And so it's coming from a place that doesn't quite exist either. We figured it out, but it is really, really remote, which probably befits a 600 year tulku who precedes Tsonkhapa and usually seems to reside in our Kagyu realm.

So we find this esoteric initiation which to me resembles something that a Theosophical "full adept" sounds like. Not so much learning the system but experiencing its meaning. We have a fifteen-year headstart and ten times the information on that one page, and are no closer to the accomplishment.

Then this esoteric deity shows up in a completely corresponding way in Jampa Gonpa with Namasangiti mandalas. The initiation compiler thought it should have had other dhyani meditations, but if you see how Amoghasiddhi is set up in the temple, he looks like his own phase. He has Zhitro or the whole system. It's basically everything that makes the "Book of the Dead" work. Modern perspectives from having seen the....massive treasury it came from, seem to indicate that it is not literal or is not about the dead but is a method of dhyani meditations and map of subtle reality.

Human attention definitely goes more towards the deity's symbol, crossed vajra, which still begs some consideration regarding Vishvakarman, and we have questions about the Tree or One Initiator, such as Kubera, or whom.

We had the notion that Kubera is not identical to Vaisravana, found that our esoteric deity shows up under the same kind of Hydra that sheltered Buddha for Seven Days, and we have a Tara plainly stated as Maha Sri Lakshmi but not much to go with something that would seem to be quite plain.

We pursued Nagarjuna Tara until we saw her consort has this Buddha Hydra, and Nagarjuna plainly is Dragon Tree, whereupon we should indicate that Nagarjuna has a Rainbow Hydra:




White Prajnaparamita makes this same mudra.



Mahasri's father:





They say Vaisravana is her brother.

Her mother is Hariti, an ancient Avestan or Bactrian cannibal goddess. Magian tantra. Her problem is she had 500 children and would go out every day and catch 100 other children to feed them. Buddha converted her to Dharma.

Now Hariti is an ogress of some kind, but this point in history is the Greco-Bactrian style, and the appearance of Hariti is:




That seems a little off the wall, however, the fact is there is a Hariti Temple almost right beside Swayambhu in Nepal. There, Abhirati Hariti takes the Kumari girls in oracular possession like Tibetan Chohans (this is very popular). She also makes skulls talk. Her mate is Pancika, the Yaksha Jambhala (Kubera). He is not Mahasri's father. Pancika had 500 children with Hariti.

She has a khatvanga:




Taranatha not only carries a practice for Hariti, but calls her a Yakshi. It summons all five hundred children and they make food offerings with a type of meal or cake into which they press their handprints. She is considered a Dharmapala. The 2008 Exotic India article mentions Hariti near the beginning. It then also has a picture of Buddha and the special ladder, as well as what they called Bhrkuti, which we found to be the only image of Four Leg All Planets Marici. We are veering away from "Bhrkuti" because it is in two or more verses as an adjective, and it passes through an issue of a specific Tibetan queen, which, again, like Gesar and many things that are probably fine, all the local Tibetanisms are not pertinent to us, we wish to extract the meaning from Aparajita, Bhrkuti, etc., and try to use distinguishing names about the ideas more than the things (people, places). If we actually had Nirmanakaya then we would generate our own people, places, etc., but that time has not yet come.

Mahasri's father is Naga Raja Taksasa from the beginning of the Mahabarata. He also has a son named Ashwasena which is also the name of Kamadeva's Five Arrows. He shares one tiny little village with Dhanvantari, the god of medicine. Long ago his presence was widespread. No one has directly stated that Taksasa shelters Amoghasiddhi, but he is Tara's father generally as Taksasa is of this specific form, so I don't think you would be wrong placing all three together, considering that is how the Dragon Tree seems to work.

Gahvara is the Northern (Amoghasiddhi) cremation ground related to Mandara Giri, which has the Bodhi as its Tree, Kubera as Protector, and Taksasa for its Naga. Nagas hang out under the trees, so here, you get a seven headed serpent under a Bodhi tree, just as in Buddha's Enlightenment. According to HPB, Adi Buddha philosophically means Primordial Bodhi, so this is the next thing to saying Adi Buddha Tree or One Initiator. I thought it was Kubera (Mercury--Hermes). So this northern or final direction has residents indicating achievement and initiation, which is more like the Greek tetelestai--less about starting anew and more about successful accomplishment of best actions.

This cremation ground brings us right back to Satsashara Samhita which has a "Prastara and Gahvara" system that is part of Kubjika Kula. It starts with a Malini (Para Yoni or Matangi) Gahvara, which is a grid of forty-nine letters for the Sanskrit alphabet--this is a code system, required to read the Pascimamnaya. The grids are switched around and re-shaped and follow algorithms like Tibetan astrology. This is really difficult, but we are bringing it in tow since it comes with Mahattari.

Mahasri resides at the Akasagarbha court in the Garbhadhatu Mandala (Womb Realm) and attends Thousand-Armed Thousand-Eyed Avalokitesvara. She can see the future although she and her horse both have eyes going backwards. She told Buddha she lives in the Northern Auspicious Palace of Vaisravana. In Japan she has a Phoenix Crown. She can be fierce but loves cleanliness and is easy to enter union with, especially to virgins or females. Her sadhana uses Lotus Mudra and she is on a Lotus Platform. Celestial garments means of Sambhogakaya nature. She provides guidance in dreams.

The Garbhadhatu mandala is not directly part of our cycle and is hard to find, everyone talks about it like you have already memorized it. So we don't know quite how she works in there, but it pertains to Akashagarbha, a male Bodhisattva whose reflex is the female Mamo Botong. This has to do with approaching Akashadhatvishvari Tara. Mahasri appears to be "crossing the Akash" to obtain Dharmadhatu or Nirvana. Again the idea being this is summoned in a Womb or potential state before being developed by Vajra methods. It sounds to me like this has a lot to do with moving towards Amoghasiddhi initiation. That matches the scheme: an adept can obtain Nirvana, so this initiation is incredibly powerful, but the Path goes beyond that in Bodhisattva stages.

So when we talk about "whole system" and Zhitro is a Tibetan or Nyima term for what we think of as all the Peaceful and Wrathful Deities from the Book of the Dead, we should not be distracted. It is all Vajrasattva Tantra. This Zhitro is Mayajala or Net of Illusion or Indra's Net. The Root Guhyagarbha Tantra is Vajrasattva Mayajala, with the Hundred Deities, plus Vidyadharas, Vajrayoginis, and Vajrakilaya. Classically, the extension or subset of this is Namasangiti. So although the seventh mandala is Dharmadhatu Vagisvara, the chapter is Mayajala. That is how those three sentences contain the entire teaching.

"Inside the bodily form of a truly and completely awakened buddha these wheels and channels, energy currents and their vital essences, transcend the set-up of the normal human body, in a way that its almost unbelievable. Each chakra-wheel is an infinite city with billions of universes. Each pore on the skin on a buddha’s body contains billions of realms inside of which there are billions of worlds each with billions of buddhas teaching billions of sentient beings. At the same time, rays of light extend from the center of each chakra into an infinite number of universes, where a holographic living replica of the buddha is present in every other buddha’s realm. This is indeed a magical net that totally blows the lid of an ordinary dualistic mind. Enlightened practitioners have seen this with their mind’s eye, not as imagination and not as visualization, but as a grand magical illusion, that is the domain of the awakened ones.

Today the tradition of imitating this, while yet not being there for real, is taught as a skillful means to transform our incomplete way of seeing ourselves, our life and world, so that we become able to perceive the grand vista in actuality. This method is called the sadhana of the magical net, Mayajala. The most famous is based on the tantra entitled the Magical Net of Vajrasattva, the buddha of the indestructible nature. May everyone connect with its meaning and realize it, truly and completely." (Levekunst)

If you were adept at the Amoghasiddhi initiation, you would, for instance, find these luminous Mayajala deities spontaneously dawning in the sky.

In Namasangiti, Peaceful Manjushri is the "cause", Wrathful Yamantaka is the "effect". Wrathfuls are the brain or head center, and again similar to Talas or the underworld.

Most of the Tibetan translators have Tibetan names, except Vairocana, whom, according to HPB, was the best. We may see his version of Vajrasattva Tantra. This is something heavily emphasized by the Buryat tulku Dandaron. Note that it is not in the Tibetan Kanjur even though their entire system derives from it, and it is basically the subject of the Tsonkhapa initiations.

In 1894, L. A. Waddell got some notes on the Suryagupta Taras that seem to have been misplaced. 1 is the same as usual but "very" fat and strong--peaceful though. Rabtu pawai drolma. 2 is whitish-purple. 3 he thought might be Gauri Tara. 4 is Yellow Usnisa. 8 is normally on makaras. 10 is Black Nyangan Selwai Drolma. He gives a Pradhamsita Tri-mandala White Tara with Yellow Marici and Black Ekajata in a way that sounds like Tri-kaya Chinnamasta. Similarly, Mrtyuvancana Tara with Kurukulla and a male Wrathful Niladanta Krodha Raja. Then for Kadhira, he gives mtshon as "three holy ones pointed finger" and she is with Yellow Marici and Black Krodha Ralchikma. Eight Taras defending fears are the shakti of Avalokiteshvara.

Our esoteric initiation manual includes an initiation of "Five Wheels", which is a standard term for five chakras and "five inexhaustible wheels of ornaments". Usually we ignore the lowest two chakras as Vajravarahi is understood to fuse them to the solar plexus. The ornaments are usually body, speech, mind, qualities, activities, or the Tri-kaya, Guna, and Karma. The Tri-kaya are also understood as the Refuge Objects Buddha, Dharma, Sangha, and so we are back to five of the seven RGV mysteries Buddha, Dharma, Sangha, Dhatu, Bodhi, Guna, Karma. RGV is sort of the doctrinal apex or culmination which hints at expanding all of the tables of five up to seven. HPB mistakenly applied "Buddhakshetra" to the Kayas. She was trying to say there are Seven Kayas, and instead said there are Seven Pure Lands; we already found the whole Pure Land is the Seventh Heaven.

In the debris of Tara, we found a vestment that I'm calling, for lack of a better word, Hydra, which has been shown over Buddha, Amoghasiddhi, and Nagarjuna, with the Hydra Taksasa being considered Mahasri Tara's father. Amoghasiddhi is important in the unique Tsonkhapa manuscript we found, which would have been controversial to his own school, and this seems to "fit" in Jampa or Maitreya Gompa, where he is preceded by a hypostasis of Vajrasattva, and followed by the Namasangiti mandalas. Mahattari links this to the oldest known lineage of Dattatreya. Those few sentences show a living practice from the oldest recorded times, what it is, and what could be done to be of use to Maitreya.

Maitreya's Dhyani Boddhisattva Vishwapani turned out to be one of the few multi-colored entities; there are only a few more, including Yidam Nagaraja:





He usually is with Nivarana-vishkambhin white in colour, Maitreya red, Manjushri yellow and Avalokiteshvara white. This is a Nagarjuna practice. Nagarjuna is one of three humans to have an usnisa. As well as being Dragon Tree, he is also known to have cut his hair and tossed it all over Vulture Peak, saying "May all kinds of trees grow here!" And of course that is where esoteric Buddhism started. The One Initiator is Mercury or Hermes, generally, but HPB also gave it as Hermes-Anubis, and this figure would be close if he is a mix of Vairocana and Akshobya by the colors. So we talk about our Yelllow Shamballah chapel gatekeepers, and Nagarjuna is a prelude to Abhayakaragupta, author of Vajravali, who is Amitabha, "Infinite Light", disciple Subhuti who became the Panchen Lamas.

Nagaraja's gesture is utterly unique, and so is Kurukulla for taking Bhutadamara from Vajrapani. You have no way of knowing this unless you find her lost forms and figure out that's what Trailokyavijaya means.

Because the Tibetan Taras do not convey Nagarjuna's, that is why I am trying to collate the Indian ones. All the Indian Vajravalis were destroyed, so we must use Tibetan, along with its companion work the NSP or Nispannayogavali. These are the main parts of the Abhayakaragupta system. Also in conjunction with lotsawa Vairocana's Vajrasattva Tantra, which never made it to Tibet.

As to whether Manjushri is really involved with Prajnaparamita and Vajrayana, here is his Wrathful form Nagaraksha under Nagaraja and Avalokiteshvara:





The triptych style seen in Mysore uses a Hydra with a Nag Kanya, and entwines them round like a caduceus:

[shaberon]

Here is an example where Achi Chokyi graced a wedding in Maryland:





We don't know her that well, but, we went through a considerable amount of digging in source materials, found some special things about Marici and Janguli, and only recently discovered them in a thangka of the Drikung, filed under the special Ekajati we used. If Achi is special to them, and, her Protector nature is of this Dharma or of a certain revelation of Marici, then we must be talking about the same thing.

Aro lineage uses Lion-face dakini in five colors. These are depicted as slim (peaceful), voluptuous (joyous), and obese (wrathful). Red is fat, and her pendulous breasts glimmer with the radiance of the limitless expanse of reality, in which everything arises and dissolves inseparable from primal purity, but here, Green is Fabulously Obese Green Lioness of Genocidal Gluttony. She is the naked corpulent magical mother – the virulent voluptuous vajra-sadist who lacerates the deceptions and connivances of Tirthikas i.e. those who convert Dharma into monism, dualism, nihilism or eternalism. Those are the violations of Catuskoti, which is the Jewel of Doctrine. Her breasts are alarming, and her belly is boisterously callipygous.





Green is the fattest, meanest one of them all:







Her Lion face is the most obvious thing there, and, to our common understanding, she remains as Nirmanakaya, Red Simha Mukha or Seng-ge (Sarasvati); Sambhogakaya, Yeshe Tsogyal (Sri); and Dharmakaya, Samantabhadri (Vajradhatvishvari).

I am not that familiar with the role of Tramenma other than as the Six Yogas. Ulukha-mukha or Owl-face is Aro's principal dakini:










She is tasked to prevent subtle misunderstandings of Dharma.





She comes across sharply as Mahamudra. Correspondingly, the practice also involves Wrathful Garuda, with a Wisdom Mirror, in multiple colors of purified elements (Shabala).

Within the dimension of her inscrutable darkness, monism, dualism, nihilism, and eternalism fail of their own inability to represent reality. Her white plumage is the radiant rainbow-window on the nine skies. All colours manifest within the whiteness of her plumage as rainbows are reflected in pearl. In her right hand she holds the white lotus of dream awareness – and in her left she holds the red lotus of the nang-wa bardo. They eschew New Age and explain Nine Bardos. Owl Dakini is based on Five Precepts, which are esoteric expressions of do not kill, do not steal, etc., much like the Eight Fears should be read. They also use Bat Face for mental and emotional healing.

In the Kalachakra Yogas, that version includes Sanskrit names for all ten winds (five degraded and five pure, the "doubling" of five to ten directions) and says it needs to be associated with Six Elements/Six Prajnas, as we are trying to do. But from another version, we found Owl Dakini to be Dhyana. With these yogas, it is reasonable to say, that a novice will not be doing abhsambodhis, so we could simply list four dakinis of the basic cycle like Activity Taras: Crow-Faced, pratyahara (sensory withdrawal); Owl-Faced, dhyana (meditation on the nature of Tathagathas); Dog-Faced, pranayama (control of the winds in five colors with diamond-muttering, vajrajapa); Boar-Faced, dharana, retention of wind with purification of mind (cittta-visuddhi) and personal blessing (svadisthana). This is the only way we really "know" Owl Dakini, and would have to say as a vehicle or companion, owl is restricted to Chamunda and Lakshmi.

Due to her assignment, Ulukha could be called Dakini of Dzyan.

We have already been around with Garuda and this is the same as our Vajradhatu plans. He is built in to the study, and now, here he comes as an occult boomerang to complete the circle, in a crucial trinity here at Zanabazar Museum:





Garuda with Hayagriva and Vajrapani. Representationally, what has happened here is Red flew out, brimming with enthusiasm, burning with desire, Hayagriva was screaming, it's highly kinetic, and something has happened to restrain or calm it, i. e. White Bodhicitta, which would make this Vajrapani appear. His Horse head becomes as Varahi's Sow. This is why we do not need a prelude to this deity or try him because this is what he does.

The Garuda which symbolises Dzogchen is inextricable from the name of the Lady gTértön who discovered the Aro gTér: Khyungchen Aro Lingma (Khyung chen A ro gLing ma, 1886-1923). Khyung means Garuda and chen means great – so Khyungchen Aro Lingma means The Great Lady Garuda who tastes the Primordial A. The Garuda is born spontaneously from its egg and is immediately in full flight in the same way that the Dzogchen yogi or yogini discover themselves born spontaneously into the primordial state.

Colored Garuda from Jambhala's Golden Vajra:





A general Nyingma curriculum is Longchen Nyingthig:

Foundation Practices (ngondro)
Guru Yoga

Outer Guru Yoga
Inner Guru Yoga (Rigdzin Düpa or assembly of Vidyadharas)
Secret Guru Yoga (dukngal rangdrol or peaceful Avalokiteshvara)
Most Secret Guru Yoga (Tiklé Gyachen or quintessence)

Yidam Practice

Peaceful
Wrathful (Blue; also Red Hayagriva & Garuda)

Dakini Practice

Outer - Yeshe Tsogyal (yumka dechen gyalmo)
Inner - Twenty-one Taras
Secret - Lion Dakini (seng ge dong ma)

Continues after Dhanada.

-----------------------------------------------------------------------

I was trying to find where Tara went since, for example, Atisha, one of the main lineages in Tibet, out of nearly two hundred writings, transmitted three Indian White Cheating Death Taras--that's all.

Vajra Tara's unique mantra-based retinue vanished.

According to "The Alchemical Body", Nagarjuna not only distributed Tara, but also the physical substance mercury. This is not found in the Indian sub-continent, and has been imported from Yunnan since ancient times. This uses the eastern Silk Road access through Assam.

As Buddhism declined in India, Hinduism did all it could to absorb "Alchemist" Nagarjuna and Kubjika.

Brian Hodgson was faulted for terms like "dhyani" and "svabhavika" which have turned out to be relevant. He also unearthed a Nine Dhyani system, which was reprinted in The Phoenix, and exists nowhere else. There are actually two major differences about this system. It does not expand from a Kriya tantra Three Families to a Chara tantra Four Families. It starts at Pancha Jina, explains the Vajrasattva Six Families, and then mysteriously goes to Nine. Hodgson found this elaboration "frail and shadowy". He took it from Dharma Sangraha, which if we look currently, contains nothing of the sort: Sri Ekamnayadi Navamnaya Devatah Sampatah. Dharma Sangraha is attributed to Nagarjuna of second century.

I am not sure about Nine Families, but if you look at how it's done, it uses terms such as amnaya and names like Karmavajrini, which have one source, Kubjika and Satsahasra Samhita. Now Ekajata (usually considered Black Vajra Tara) has explained that the Wrathful Rite and virgin worship are one cult (Kubjika). And if we explore these terms, it brings us to Vajra Avesa or Vajravesa, which indicates "trance possession by vajra" at an extent resembling that of oracular possession. These additional goddesses come from yoginis of the manipura chakra in their complex 9x9 system.

Abhayakaragupta did not want to break the system down into Kriya, Chara, etc., stages of expanding the Families. This was done to satisfy the Tibetans' suspicious nature. Abhaya is the author of NSP or Nishpannayogavali that we have been heavily relying on. He also produced Vajravali, which actually is the more comprehensive version. As seen above, it does things like use a mandala of four mandalas. Thus it shows connections, for example, Marici in a Stupa and what that is related to. Also he apparently selected a dozen Tara dharanis to be given goddess forms, including Usnisa, Parnasabari, Janguli, Cunda.

So the Families are extraordinarily important and the current reigning Family is Lotus. And this is who Abhaya is. Amitabha is considered to have four Indian and three Tibetan incarnations prior to the Panchen Lama. He starts as Buddha's disciple Subhuti, and eventually becomes Abhayakaragupta. This is why we are trying to move towards the Indian version of his system. Although the Kriya tantra, etc., is excessively pedantic compared to how he wanted to do it, its Three Families remain the most important or are the trinity we make by vajra methods.

HPB says the Three Families are formless, I think this is semi-correct as obviously they manifest, but it is reasonable to say that the three exist in or as the formless.

These are usually known by the Three Lords, who are not Protectors. Called Lords or Masters, these are the Dhyani Celestial Bodhisattvas.

The Tathagata Family is largest or has eight categories. Its Mother is called Marici and Panca Raksa, which would be Pratisara, Jewel Family. This fits the vajra trinity which states Jewel merges in Tathagata. Their Wrathful deity is Chundi, i. e. Chandi or Charchika. Their Messenger is Parnasabari. Eventually you get to Eight Great Bodhisattvas, who are only above Nagas and Yaksas. However the Chinese count Ksitigarbha as a fourth celestial, and these eight contain the celestials repetitively.

Lotus Family then uses a non-specific Tara or twenty-one Taras for its Mother. Its Messenger is Maha Lakshmi, who, otherwise in Buddhism, is usually thought of masking as Vasudhara. Although in Mahavidya terms, Maha Lakshmi means Kamala.

Vajra Family then claims Wrathful Amritakundalin, which we found disagreement with Vajramrita and Jewel Family.

Hodgson's Six Families gives Samantabhadra as Tathagata Dhyani Bodhisattva, and Ghantapani for Vajrasattva Family.

The subtle thing about his expansion is that it is a triple goddess league arranged like the refuge objects, except as Prajna--Dharma--Sangha.

This sangha is made of Bodhisattva Taras, Sita, Maitrayani, Bhrkuti, Pushpe, Ekajata, Dipa, Vagiswari, Dhupa, Gandha. The Dharma is our familiar Prajna Taras plus Vasudhara, Pratyangira, and Guhyeshvari. What's called Prajna is some new Devi Prajna rank of Vasudhara, Vajravidarani, Ganapati hridaya, Usnisa, Parnasabari, Marici, Grahamatrika, Pratyangira, Dhvajagrakeyura. I might guess this system was composed to work with Nava Durga, especially when considering all the Kubjika terms, although there is also Nava Naga puja.

MSD7 at Philadelphia uses a trick to distinguish Prajnaparamita from Vajra Tara. In the folio, they fold to face each other, and both are inverted with respect to the text. This relationship is shown, but not described in any sadhanas. The meaning is that Paramita, alone, is not enough for full Buddhahood, and Vajra is necessary. The underlying procedure is that Prajnaparamita becomes Vajradhatvishvari by appropriating Marici and radiating light.

Vajra Tara has a rare White form which might be extended from Mrtyuvacana/Sita. Her bronze statue, the unfolding rose, has her attendant goddesses although the sadhana specifically calls them Mothers: Matr mandala madhyastham, i. e. middle of circle of Matrikas. Then Pushpe is said to emerge from "Om". And here Vajra Tara is Kanakavarnan, i.e. golden rather than Pita "Yellow". She is golden, but emits red light. So perhaps the "set" of Offering and Activity goddesses are intended to match the Matrikas. They are certainly the mantra syllables and paramitas.

Partly what Dharma Sangraha shows is that people would shift between the group of six, ten, or thirteen paramitas, arbitrarily and depending on context. Because the mantra is ten syllables, we want ten. Our system has a unique Ratnaparamita prior, and one after, but the ten main ones are standard.

Mahattari is the one very strongly suggesting there is a more fundamental Nagarjuna/Abhaya system which is more closely linked to the esoteric Tsonkhapa and Jampa Gompa. She is the one broken statue at Ratnagiri that shows Pancha Jina centered on Amoghasiddhi. She is likely equivalent to the Sixth or Vajrasattva Family because she is over her own Panca Prajnas, including Kubjika. So she represents multiple suppressed components, starting with herself. Dubbed "Varendra Vanna Iccha", Vanna is related to Varnani or colored, coloring, form, and Iccha is desire or impulse, same as Iccha Shakti.

Usnisa has been stated as a form of Pandara (a Vairocana emanation who is holding Amitabha).

"Black" Mahasri was probably an error, as this was translated from Syama, which only means dark, i. e. Syama Green Tara. In Hinduism, Maha Lakshmi's eight forms include Sri Vidya (Tripura Sundari), Raj Lakshmi (Kubjika), and Dhyana Lakshmi (Annapurna). Kubjika describes the center of Orissa, the Sri Mandira in Puri, the abode of Mahalakshmi: mahalakshmimaya pitha uddiyanamtah param. As a name of Mahalakshmi, Kubjika means "she who sleeps curled up".

Kubjika is the goddess of the eastern amnaya or Purvamnaya and guards the eastern gate of Sri Yantra. There we find the important four Pithas and Ganapati interacting with forms of Tara. Kulesvari is also a name given for the eastern chief who "devours the Kumarikula", apparently a Saivist version. And in those cases she is given the West, the eastern Purvamnaya being that of Purneshvari, i. e. Annapurna. The Saivist version places Kubjika with Pascimamnaya, which matches the procedure we found for decoding it. So the Shiva and Sri versions are a bit different.

These Hindu tantras may never be totally classified; they do also, like Vajrasattva, have the emergence of a "Sixth face", a lower one for Varahi tantra. Adi Sankara's school uses this system in Mathamnayopanishad, wherein Kubjika has the West. Most modern Sakta schools say they are in the Kula tradition, which is perhaps Buddhist in origin, these meaning the Sri and Kali Kulas. This is an initiation scheme somewhat different from the Kashmiri Krama system. And it is an instance wherein a guru will actually assign the disciple to one or the other.

The Tibetan Books of Kiu-te include "Amnaya teachings", and I have no idea what this designation means. The list shows the scale of tantra classes and has Samaya Tara Vajrayogini and Varakilaya way up in Mother tantra.

Here is a fairly clean Tattvasamgraha which has to do with the Wrathful Rite.

Buddhism uses the term Kula for Family and we see that this was force to break down and re-evolve in Tibet. And three of the families were well established but then, they added dhyanis without Hindu roots. So they already had Kubera and Vasudhara, and coined Ratnasambhava to go over them. He has few other emanations: Pratisara, Vajra Tara. Initially, his consort was Vajradhatvishvari. She has a white form that can consort with Vajrasattva. This is Kalachakra or Akshobya tantra style: their upper tier is Kalachakra with Vishvamata, Akshobya and Prajnaparamita, then Vajrasattva and Vajradhatishvari; Marici is a shakti around them. However, in Nepal, when Prajnaparamita consorts with Vairocana, she becomes Vajradhatvishvari and has no form, only an empty niche. Eventually she is the Prajna of Vajradhara. The flow of this is not described, but it makes sense. There never were "four families" as that was a convenience; clearly the five represent the senses and main elements in every system, so this primordially is a human being, to which we are saying the sixth may be perceived, added, invoked, with a little attention, and the seventh only exists as a result of that. So you do kind of have to keep this Vajradhatvishvari evolution.

Only a handful of goddesses show all five dhyanis: Sita, not widely worshipped, Vajra, Prajnaparamita, and Mayajalakrama Kurukulla who rides Taksasa. Vajra Tara is very prominent, used in peaceful and wrathful practices. Mrtyuvacana seems to be accepted as Sita or White Vajra Tara. The other Sita Tara sires are Five Dhyanis, Amoghasiddhi, and none for Vishvamata. Prasanna also shown without sire.

The Kurukulla form just mentioned is impossible to find, same as her eight-armed--which would be wearing the Naga Kings as clothes and ornaments. It came from Krishnacarya's Mayajalakrama Tantra which is lost. Mayajalakrama is also one of the earliest forms of Avalokiteshvara from Asoka's time.

At least seven Taras in varada mudra with an Utpala are said to go with the mantra: Kadhira, Arya, Vasya, Mahattari, Varada, Eight armed Sita with ten syllable goddesses, and Sita--Mrtyuvacana--Vajra. Dhanada has eight syllable goddesses from "her" mantra, and we see Eight Mothers on the "folding rose" Tara which are then described as ten directional guardians. Other Taras at least in Varada include Durgottarini, Four armed Sita, Mahasarasvati, Ganapatihridaya, Vajravidharani, yellow Bhrkuti, Janguli, Mahapratyangira, Vasudhara, Usnisa, Six armed Sita, Dhanada, Mayur, and most of the Panca Raksa. Eight armed Kurukulla does it and she had a unique all red retinue of Prasanna, Nispanna, Jaya, Karna, Cunda, Aparajita, Pradipa, Gauri, all having a five buddha crown: intended to personify all dhyanis. She and Marici both have "Kalpoktam" and "Uddiyana" forms. The few other instances of "kalpoktam" suggest it could mean, related to a kalpa-text, or, what is more likely, it is a variant of Kalpakka Durga Puja, popular in Orissa and Bengal. This is growing internationally by the Venkateswara temple, named for the form of Vishnu in the Tirumala hills who cannot return to Vaikuntha until he repays Kubera, and therefor the temple receives donations from lakhs of devotees.

So this is mixed up with an eight syllable mantra for eight mothers, and the ten syllable mantra for specifically which Taras, we can't say, but it does point to the older Nagarjuna Taras. Actually when there are eight, the Zenith and Nadir for "svaha" are not represented.

Encyclopedia of India states Abhaya had selected twelve forms for the mantra, including Usnisa, Parnasabari, Janguli, and Cunda.

Dhanada is in Lakshmi tantra, and there is a Dhanada Yakshini sadhana, but unless using a basic Om namo Dhandaye svaha, they get too big. But eight syllables just means no "svaha". In her own Pancha Tara form, she is equal to Pancha Jina centered on Amoghasiddhi.

Ratnasambhava is the Dhyani with Varada Mudra.

The White and Green Taras, with their contrasting symbols of the full-blown and closed lotus, are said to symbolize between them the unending compassion of the deity who labours both day and night to relieve suffering, although this is reversed on Mahamaya Vijayavahini. Utpala should mean the closed night lotus which releases its scent by the moon.

I believe the main key is in the comment on MSD7, that Prajnaparamita is becoming Vajradhatvishvari by appropriating Marici and radiating light. I am not the only non-initiate who sees this. She is offered from Ratnasambhava, to Vairocana, at which point she vanishes. So, in terms of the deities, it is easy to get either Green Tara or the Prajnaparamita book in an early, casual fashion, and their simple presence can occupy a normal person forever. They become more difficult and challenging in ways it is hard to ask the question for.

So I think if one wants to get into Prajnaparamita deeply, then this is Dhanada, as shown prominently at Alchi. She is one of the only ones with a mount, or, this philosophy is her way of reaching into the world or nirmanakaya.

The next major stage is in establishing a Sambhogakaya Abode, for which there are limited goddesses, but many in between. As for the Dhyanis themselves, they are very simple, they do not take multiple forms and do all this stuff. And they all sit in vajraparyanka or dhyanasema, meditation posture. There are very few other deities which do so.

Vajra Tara with ten attendants all do. So does Mrtyuvacana, who is close to Nagarjuna White Vajra Tara. Kurukulla does it. Prajnaparamita. And two of the major ones do, out of this group of "same four companions" Taras, Mahattari and Varada do it--Mahasri "might" do it, because no posture is given. Varada herself is likely a series of Taras showing Varada Mudra which were probably the original Vajra Tara retinue. Varada and Mahattari are Green, Mahasri is Yellow or has a rare red-white form of Taksaka, and Mayajalakrama Kurukulla rides Taksaka. Chigme Rinpoche also says a rare Usnisa is also like Pandara and binds male and female. Yellow Chandi is under Yellow Parnasabari who is under Usnisa.

In NSP, Krishna really means Blue, or dark blue, wrathful color. So this Wrathful Rite is kind of its own thing that starts it all. Green dissolves into Blue, Yellow, and White, and then we come through with its opposite, Red. It looks like you have to experience the Wrathful and then Dhanada will give you the Yellow Prajnaparamita who has Five Emanations. This would go from Six Paramita to Ten Paramita Yellow Vajra Tara with Yellow Chinnamasta and so forth, all her attendants and eventual hypostasis with Marici, to whom Varahi is the acolyte. Beyond the Abode.

Mahattari is usually shown alone because she is hiding the five Kubjika goddesses and Mahasri seems to be equality to the Abode where theoretically first is Kadhira. So here Mahattari is "Six" like Vajrasattva and Mahasri seems to mean that is fully activated, approximately similar to Vajradhatu mandala. Usnisa has Yellow and Red under her appparently, or, more and more it's described as red-white.

There is for example a Pradhamsita tri-mandala which may represent the same thing as Chinnamasta.


In Nepal, the Kumari houses both Vajradevi and Taleju--Durga in herself.

Jampa Gompa is the oldest Gompa in Mustang and its name means Maitreya. Europeans were not allowed into the country until 1952 and visitation is still extremely limited, six per day. The Vajrayana mandala set (108 in all) is on its second floor, generally closed to the public.

Looking again at the Four Activites mantra:

om vajrankusï akarsaya jah, om vajrapasi pravesaya hum, om
vajrasphota bandhaya vam, om vajravesa vasïkuru hoh

The first phrase of attraction, akarsaya, is claimed by Hindus as the root word for Krishna, which also means black; syama is "dark in color", but the black deities are Krishnas. Further, "bell deity" is also Vajra Avesa or like a state of possession. In Kalachakra, the guru apparently causes the disciple to become possessed by Krodha Avesha, Krodha being the Wrathful Deity.

A Durgottarini image preserved in Calcutta shows Durgottarini-Tara Flanked by Sudhanakumara and Ekajata on the Pedestal and by Arya-Sarasvati/Mahattari-Tara and Bhrkuti above with Aksobhya and Amitabha at the Upper Corners. She is hard to find, but she is supposed to be in white clothes.

[shaberon]

The Tibetan language distinguishes the English "Wisdom" in two ways lost in translation.

The Yidam or meditational deities themselves are perfect enlightenment or Yeshe p'ai lha.

However, there are a quite limited number that actually increase the wisdom of the meditator, in terms of arts and sciences as well as transcendence. These are the Sherab kyi lha. This includes Sarasvati, Manjushri, White Acala, Akashagarbha, Prajnaparamita, White Vajravarahi, and Bodhisattva Maitreya. These are mostly White forms, and, in terms of the hypostasis we are considering, we may find the rare White Prajnaparamita and White Vajravarahi together with the teacher Buddhashri (1339-1419). It is not prominent, but they are very much some "signposts up ahead". Sarasvati herself is not of Buddhist origin; elsewhere she is pretty much the same, minus Buddhist ideals and commitments. So we immediately convert her and place her into our main book, Prajnaparamita. She continues by developing herself and by triggering other chakras and deities. Further along, White Kurukulla is the stage wherein nectar circulates from head to jewel and back, and later, White Varahi is luminous mind with its skandhas cleansed or purged by that process.

This represents a primarily mental method of affecting the subtle body in a directed manner.

In the Namasangiti mandalas, we already made a conjunction of Sarasvati with White Vajrayogini, primarily concerned with forming the Nirmanakaya. And then White Prajnaparamita is a pretty close form to White Mrtyucana and Sita Vajra Tara. Similarly, Vajrasattva is a basic white character who never changes much. So we see a pattern of preliminary white entities consistently used for increasing one's own wisdom, followed by a vast array of Yidam forms, resulting eventually in Dhyanis who revert to very basic appearances.

Here is a relatively modern design with normal Sarasvati at the bottom, and then a type of Sita Tara in the center of Pancha Jina:




She is not basic Sita because she has two lotuses and no third eye. I have no idea what the artist's intentions were, but, it more or less is Prajnaparamita, because the left lotus is Red. She only has one book, which has gained Manjushri's Sword. The other one is opened and removed as if a revelation from the new items: Nectar Vase (Vasudhara) and Vajra or perhaps Vajra Tara. She is fully robed and perhaps golden. It indicates Sambhogakaya nature from the rainbow aura, and Blue has been distributed to lesser planetary orbs in the outer spaces, so completely Peaceful. The floral crown is what should come from the increase of Mahasri, who, following the meaning displayed by the forms, should mean something very similar to this central Tara. And still this is "Outer Guru" for the Dharmakaya.

This emblem is borrowed from an Ayurvedic society in Singapore: "Yuthok Nyingthig Outer Guru Yoga Retreat: According to Yuthok's teaching, Guru Yoga is the absolute key point to eliminate all disturbing emotions and discovering our inner most transcendental wisdom." So this is highly similar, they do a Guru Yoga and increase basic Tara to this pattern which, at the very least, presents various sounds.

So when Sarasvati enters our domain, she whips out this little mirror, and also we keep seeing a spear or giant arrow with Mahasri. And upon further examination, we see something in Shangpa Kagyu and the female-dominated Aro lineage. This latter is modern and shown there in Hungary. They are controversial like Shugden. In simple terms, not even Aro herself can be "proved" to have been a real person, similar to Yeshe Tsogyal. At the same time, there are examples of those who seem well-proven such as Niguma and Lakshminkara.

In actuality, the view on such adepts is Agnostic. And so while we are whittling Tibetan Taras into an older, Indian style, we find that most of the Sanskrit names are actually preserved by the Nyingma. And this Aro lineage is Dzogchen, completely family-oriented, non-monastic, Ngakpa. At a minumum, both Yuthok and Aro are focused on "the awakening mind itself", and not on extended, elaborate ritual, intricate mandala visualizations, or massive set of rules and instructions. They seek the same results, but more from within a system that blends into householder life.

Shangpa is not really its own school, but this bundle of traditions as preserved within Kagyu. And now we can watch this Sarasvati-based deity and/or human incarnation or disciple, and over time, she has items resembling those of Mahasri, as well as a drum, which recalls Drum Sound Buddha and Tara's Enlightenment from another cosmos. On the newer designs, she then shows something about the Red and White Moons and Green--White inversion. And then finally in the Shangpa view, this is indicated as a real or inner White Buddhadakini, which would mean a type of physiological state preceded by those of Kurukulla and Varahi.

At times, there is a sister or friend, but no matter how many people are involved or whether it may be literally true that one or both of them is a tulku, it is both the emergence of a mental goddess, as well as a sector of human female-originated teachings without equivalents in most other settings.

Original Sita, a Daughter of Earth (Bhumi, Prithvi, Vasudhara), immune to harm from Fire

Prajnaparamita, or in Tibetan, Yum Chenmo descent:

Saraha's Arrow Dakini ca. 8th century. They are usually shown under Sita Tara.

Mandarava (Long Life) ca. 8th century, considered to be Pandaravasini, usually having a dadar (arrow):




She is at the same time as Yeshe Tsogyal and is also Padmasambhava's consort. Also called Siddharajni, and Drubpai Gyalmo in Tibet.

Usually four female Mahasiddhas are decribed; Manibhadra (Happy Housewife who levitated for 21 days), ca. 9th century Krishnacarya's disciples Mekhala (Elder severed-head), Kanakhala (Younger severed-head), and also Lakshminkara (Srimatidevi, Mad Princess), Indrabhuti's sister:






Konchog Bang is a Tibetan name of an Indian king ca. 9th-10th century, influenced by Vimala Guru and Guhyajnana Dakini (White with a drum). This Dakini is also Hayagriva's consort, and appears with Jinasagara Avalokiteshvara, wherein sometimes Guru Rinpoche is replaced by an Indian tantrika named Siddhirajni (Machig Drupa'i Gyalmo), a Niguma-like figure, Red with a drum. Both Dakini and Guru may be Red or White. Hers is not even a name, but a title, "Sole Mother Queen of the Siddhas", which was given to Mandarava. She was a teacher of Rechung, the founder of Shangpa.

Niguma ca. 10th-11th century (Mandarava incarnation):





She is a flesh-eating cannibal dakini, Naro's sister. Sometimes appears Maroon or Black. She is called a 10th degree Bodhisattva. She is called Nigu, Nigupta in Sanskrit, said to mean ìndefinite secret or definitely hidden, although her name is really from the dakinis' symbolic language. Also called Vimalashri and Jnana Dakini, she should be viewed as one of the most important teachers.

According to Jamgon Kongtrul, her prelminaries have Three Action Meditations: Guru, Yidam, and Illusory Body. Then Flowers, or two dakinis, Red and White Celestial Women (Khechari). The Fruit is Deathlessness and Non-Entry (of either samsara or permanently still nirvana). So, it is Guru Yoga, followed by Yidam, or a deity capable of the Wrathful Rite, then Illusory form or mayavi rupa comes from Sambhogakaya, which activates the Khecari. By Fruit, they mean this type of samadhi circulated across all bardo moments, to include dreams, moment of death, and various afterworld transmigrations. A successful practitioner gains tigles which are like bindus off the syllables of deities which can assist them when the time comes. They train you to die or watch your ego disintegrate at the moment of sleep, which, they say, is a shock that ordinary consciousness "falls" through. Ultimately, the whole bardo cycle is to be mastered.

Her Six Doctrines are the same as Naro's. One of the main difference is you can read Naro's, but Niguma's are empowerments. Here is the Shangpa Basket of her and other lines they hold. Most of the empowerments are done without items, by radiating and absorbing lights. She is the subject of Lady of Illusion. Her words there are not much Sanskrit like mantras and so forth. She has a long Arya-pranidhanaraja-nama which may work well for a Bodhicitta generation. She has some whispers about helping the body when doing the Dharmas, Her description of the Six Dharmas is nice and is attributed to Vajradhara of three Kayas and Seven Branches.

Formal training in Six Dharmas requires Hevajra, Cakrasamvara, Guhyasamaja, Mahamaya or Vajrabhairava empowerment. According to Jamgon Kontrul, Hevajra has more to do with inner heat, Guyhasamaja with illusory body and lucid clarity, and Mahamaya with dream yoga. Niguma's method as a whole is found to be rooted in Guhyasamaja Tantra.

Beforehand, Niguma uses ‘The Purifier, Hollow Interior of AH’. This practice involves visualising and reciting the syllable ‘AH’ as it moves through the central channel and throughout the whole body as a purifying elixir that is inseparable in nature from the guru. Later traditions developed a five-fold preliminary practice similar to Ngöndro of the other major traditions. The only variation is that the hollow interior practice replaces that of Vajrasattva. Instead of replacing him, we add this in Om Ah Hum muttering, and the syllable is connected to her and to Manjushri, either one can do this, all of these three syllables should be trained on their own as well as together. So you can have an Om Monday and an Ah Tuesday and things like that.

There are variations of a, ah, aa, like hrih and hrim.

Niguma and Sukhasiddhi were the teachers of Kedrub Kyungpo Naljor, who started the transmission of Shangpa Kagyu. Jonang stems from there. The Shangpa teachings are known as the Five Golden Doctrines (shangs pa gser chos lnga), which include the Nigu Chodrug, or (ni gu chos drug), the Six Doctrines of Niguma, a grouping similar to the Naro Chodrug of the Marpa Kagyu. Apparently Naro-pa and Nigu-ma varieties of Completion Stage. The Shangpa have also entwined their lineage to Sabara or Shavari-pa, another Mahasiddha, without any information. However he is the transmission of Six Yogas of Kalachakra, or, more accurately, what we have explained as an esoteric mirror of the ordinary Eight Limb yoga of Patanjali. So Yogas are Kalachakra style meditation, and Naro's or Nigu's Doctrines or Dharmas are the inner heat, subtle body, stages of bardo, etc., which the Completion Stages of various deities are designed to accomplish.

Aside from the resemblance of his name to an ancient heritage, Shavari-pa's role in the lineage is something like (Saraha + Nagarjuna) Mahamudra --> Shavaripa --> Maitri --> Marpa (Kagyu) and Khyungpo Naljor (Shangpa Kagyu). Shavaripa also transmitted that Vajravarahi which begins her consort practice called Vajravilasini or Vajra Erotic Play Woman who has humongous sadhanas. We can't train it but again see what is going on. For one thing, Buddha was not a virgin, he had a wife and kid and a harem. He renounced everything for a long time and said that severe asceticism was not necessary. HPB was just asexual and the only woman Koothoomi ever knew was his sister. I am not sure how much that may have colored their writings compared to some of the sometimes contradictory Buddhist views on sex. It's a field of awareness where one may witness the clawing of instinct to rupture luminous mind. And this is the main thing we are trying to work with in all emotions and experiences.

Here is a thesis on Avesa or trance possession for Vilasini. It's Matangi: she shakes. I don't know if they know that, but we know that.

Majji or Machig Labdron (Niguma or Tsogyal incarnation ca. 11th-12th century); in the lineage of Machig Labdron, "Unique Mother Torch of Practice", the practice of Mahamudra Chod begins with The Yoga of the Transference of Consciousness.

Achi Chokyi Drolma ca. 11th-12th century composed herself into a Protector tradition and departed the world on a Blue Horse like Mahasri. She also sometimes has a drum like Niguma or a mirror like special Sarasvati. She is particularly charged with the Drikung Kagyu order, but may be practiced in any branches. Her practice states her to be not merely a Dharmapala but also a Yidam who can lead to Completion. And also she is Guru like Tsonkhapa or Padmasambhava are to others. As a Protectress, she is seen on horse with drum, and then, I suppose, as Yidam, with the mirror. She does Long Life and Prosperity. She is also shown on horse with mirror and jewel, accompanied by Five Long Life Sistars including Tseringma, who also sometimes has a yeshé mélong or wisdom mirror; her pike is to crack the shell of indifference, similar to Katyayani. All we can do here is indicate Achi Chokyi's existence and likeness to Mahasri and Sarasvati. Her sadhana requires you to have an Anuttara Vajrayogini empowerment. You have to have a Vajrayogini retinue in order to summon this goddess from a White Hri which shines through Dakini Pure Lands in Five Colors to coalesce into her. One may also request a version from the Drigung they ask us not to copy.

Drolma or Dolma means Tara, Achi being Lady or Elder Sister, Chokyi being Dharma. She is also given the titles "all accomplishing" and "auspicious". In her sadhana, we can again find the term "Kyerim", there meaning visualization, or generation stage. Tibetans believe that television crippled man's ability to visualize. We make effort to draw and assemble. The right way is more like the flow of arising from void, happens more on its own. Like when the old story tellers would speak, the audience would for example see horses in the fields, their minds took the suggestion and translated it into vision.





Achi's Nanamza Pure Vision Pancha Jina is unique because it is only herself as guru (centre), yidam (top-left), long-life dakini (top-right), wealth (bottom-left) and protector (bottom-right). I am not full prepared to say this is an actual person who bound herself to a liturgy and departed the world on a horse rather than rainbow body. But the meaning of her is there, Five Mahamudras, Five Long Life Sisters, five personal roles, etc. Called Achi Chodron (Lady Dharma Devotion or Dharma Holder) in wider Kagyu schools. She is an Eastern or Akshobya emanation. These schools give him Dharmadhatu Wisdom, and Vairocana the Mirror Wisdom.

A full set of Achi sadhanas would resemble those of Tritsab Gyabra Thubten Rinpoche (1921-1979). This text includes the entire pure vision collection consisting of: The Most Secret Sadhana of the Guru, Concise Ganachakra, Inner Sadhana of the Yidam (Vajrakilaya), Secret Sadhana of the Dakini Dharmatara, Ritual of Summoning Prosperity, Practice of Divination, Outer Sadhana of the Life-force of the Dharma Protectress Dharmatara, Concise Smoke Offering, Golden Beverage Offering, and Summoning Longevity. So, they have named Achi, Dharma Tara. This is not exactly an original Tara name that I know of, but, if she is called auspicious, this is Sri, which is also just a venerable or respectful title for Lady or Achi.

Here is a thesis on Achi.

Here is Secret Achi; at a glance in there, she is Palden Lhamo. Again, one should seek permission for this. They say in other schools she is bstan srung gtso mo: You are the lha and klu doctrine (dharma) protectors (bstan srung) of the four directions of dBus and gTsang in the center. Palden is often viewed as the chief (gtso-mo) of these kinds of local and elemental beings. Her offerings use Om Ah Hum repeatedly. Here is a paper on general bsan rituals. The bstan ma are usually standardized to "Tenma", and Dorje Yudronma, (Vajra Turquoise Lamp) the Longchen Nyinthig lineage-protector who bears an arrow tied with five-coloured silks in her right hand and a divination mirror in her left, is sometimes considered the chief of these.

If Dzogchen is based from what they call Inner Tantras, it means that Kriya, Chara, and Yoga tantras are bundled into a small simple packet and she fairly quickly guides you to Generation Stage. So we see something close to the same style over centuries in human and deified forms, basically the same name, and it strongly seems to me that Mahasri is the proper name for the original, Sambhhogakaya reality of her, which may be perceived in various Nirmanakayas or mantra-born yoginis "in uncertain places". Mahasri associates to Nirvana as Chokyi to Dharma, which also corresponds.

Therefor we may fold in whatever of her and her line that we may appropriately use as Mahasri. They are somewhat unclear about whether you can just grab her for a Guru, like if you have no one on earth, you may use Vajradhara. We should get used to her first anyway. To an extent, this is to Indianize something Tibetan, but it is really originating from Niguma and others, and furthermore, the source is always Vajradhara and Tara themselves, everything we say about the Path is simply an aid.

We could say Achi shows a solar-arising Hum passing through the underworld, and, similarly, in colored Hum visualizations, there are different kinds. One being for pure elements. The impure one for beings in the Six Realms uses dusky or smoky lights: The colours of the Hung according to the liberation of beings from the six realms is different from that of the five elements though. We are not just adding black gTérma marks – the entire sequence changes. From the top down: the thig-lé is off-white; the crescent moon is olive green; the Ha is dusky red; the ’a is pallid yellow; the gi-gu is brown; and the gTérma marks are black. When we Sing Hung in this manner we visualise each of the degraded colours of the six realms becoming the play of the three colours of the three vajras of Body, Speech and Mind: white, red and blue.

So we will train the syllable Hri in a basic way, and if you are fortunate enough to receive her empowement, then you could do that practice. Otherwise, to welcome her as White Buddhadakini--which is the intention of White Vajrayogini being her preliminary attendant--we may use her praise:

HUNG HRIH!
CHOEYING MIGYUR PEL GYI YUM
TEN SUNG ACHI CHOE DRON MA
RIG KYI TSOM BU TRUL KHOR CHE
DECHEN THINLE DRUB LA TOE

Hung Hrih!
The mother of the glorious unchanging dharmadhatu
Is the dharma protector Achi Choedron ma.
I praise you and the assembly of your family,
Including the emanations and retinues,
who enact the activities of great bliss

Om Mama Chakra Svaha Yar Du Sarva Du Raja Raja Du Mama Du Hum Phat Svaha

Knowing what this means, to an extent, we could Sanskritize it. Du appears similar to Dus or Time, and Yar can mean upper or waxing moon, those are Tibetan words. For instance, "Sum" is three, and H. H. First Karmapa is called Dusum Chenpo or Knower of the Three Times. Achi is conjured from Hrih but herself is Hum; her barren parents went to Swayambhunath, and there she joined them from the Eastern Pure Land. The translators have already given us Dharmadhatu and called her the Mother of it. In our tables, it is the fifth degree, coming in at a time of something like Vairocana's empty niche filled by Prajnaparamita--Akashadhatvishvari who becomes Vajradhatvishvari by appropriating Marici and radiating light. Mahasri is a non-conceptualized but really perceived Pancha Jina.

Hrih is effective with her, with White Varahi, and with White Kurukulla. Of course it is also with Hayagriva and Red deities, but it clearly delineates a white goddess in both halves of the bindu and at its unity. All three may be called development stages that are not really a part of a untrained person.

The relatively modern spokeswoman is someone who cannot be shown to have lived outside of visons, etc., but we understand her reality in Sambhogakaya, and that the lower and outer forms, are just ways to get there. And she again shows a procedure with a mirror and spear. Her symbols are more true as the Path than she is a person.

Aro (Tsogyal incarnation) ca. 20th century:













The staff is siddhi and she points it at the White Moon. I cannot speak for them, but her progress derives from a set of thirty-five elemental exercises, which are seven animals run five ways. It would seem to suggest itself as similar to what we mean by a ray of consciousness for each shakti in seven degrees of matter, which a completely enfolded, or withdrawn from the five senses, human mind may perceive.

Shangpa Kagyu Buddha Dakini style:




This is identical to Niguma. In this system, the Vajra, Ratna, etc., Dakinis, are simply this in their own colors. So, along with secret Red Buddhadakini, Varuni, here is her White. The first is somewhat invocative--you mentally involve Varuni as the Cup--and the second is a result of the nectar's circulation through one's channels and nerves.

This is a reverse to saying "female is Red" and she only operates that way. The inherent Red female has here been extracted into a White form, or, to some extent, feminine forces affect the White male seed or moon, which in turn has a cooling or restraining effect on inner heat or prevents the Red from burning the subtle nerves. This is the indestructible unity of the Two Drops.

If White Buddha Dakini accurately portrays this inner meaning, then she needs to be incorporated to the extent possible. She would seem to have everything to do with the adjustment of Varahi to Marici or the Bodhisattva Grounds of removing minor imperfections and vajra ignorance. The Drikung flag specifically gives Achi as White Moon around a Sun and Hum syllable.

We foxed her out, and the accurate naming associations are: Vimalasri--Jnanadakini and Mahasri--Buddhadakini. On the physical plane they may well have been Niguma and Achi. Even if we do not hold their lineages, we use the same inner meaning or White Moon Goddess. We want something like a pearl rosary of her to shine within many colors and forms. She will merge with Lakshmi Tantra.

Sarvabuddhadakini is Naro Dakini pouring blood into her own mouth, the immediate precursor to Chinnamasta.

Meanwhile Mahasri continues.

[shaberon]

We get that far along and encounter a line of Hydra deities that are esoterically related and shows this is nothing we have invented.

As a little reminder of who they are, Nagarjuna gave Lion Face Dakini (Wrathful Guhyajnana) the practice of Prayer Wheel, and from her to Tilo. This is widespread in Tibet and what it does is broadcast the Avalokiteshvara mantra: Om Manipadme Hum. They used to be filled with paper scrolls of them but now they have started using microfilm, and have an ordinary wheel with 11.2 billion mantras.

Nagarjuna sent Master Ludrup to get the original prayer wheel from Bodhisattva Naga Raja.

He says it relieves transmigrators from the great suffering of the three lower kinds of birth.

Tibetans chant this very fast and it sound like omani baymay hoong. So the actual Sanskrit way is very different.

There actually is kind of a rub between Nagarjuna's Profound View and that of Asanga, and recently H. H. 17th Karmapa has discussed the situation of taking "Mind only" to be a "lesser view" after a similar question about the validity of ritual. There is a similar train of thought with the Vajravali in that only the most apt should be initiated into it, and everyone that was going to question the process should just go to the oceans of sadhanas and follow the complete technique of Kriya and so on. The underlying intention of Vajravali is to be more concentrated, to use less material for faster progress. This is not much different than any school system that has to provide faster and slower classes.

Along with Vajravali, Abhaya also promoted Pratisara's practice, she is seen as a Bodhisattva. When they first came out, Tibetans were concerned about guarding their secret words and tantras, but now they see it is mostly self-secret. It is difficult to learn, but both the Pancha Raksha and Usnisa Vijaya are really available and recommendable for early attention.

Kurukulla almost always looks the same but if we check the records there are ten or so various sadhanas of her and then the full Sadhanamala has nineteen. We can thank the value of a partial translation because we are told the majority of these are almost identical, and the exceptions are brought to our attention. By "identical", there is no shortage of Four Arm Archer Kurukulla. Because there are more, it would be appropriate to say her minor White form represents a stage of nectar production, and then she brings more intricate details adding to the stage where she starts.

Sukla Kurukulla is White, but this means bright, brilliant, and this way she is supposed to be wreathed with all the Naga Kings. Her Eight Armed All Buddhas form is Indrabhuti's Kurukulla.

There are no images for it, but that is the one we want for verse six, because she does the Trailokyavijaya or Bhutadamara mudra:



If we do it that way then on verse five and six we are teaching these rare mudras on some of the most esoteric and powerful deities, Amaravajra and Astabhuja Kurukulla. Both mudras match words in the verses. Six does not exactly use the full phrase for the mudra:

namaḥ śakrānala-brahma-marud-viśvêśvarârcite |

bhūta-vetāla-gandharva-gaṇa-yakṣa-puras-kṛte ||

And it says nothing about form either. It only describes Tara's character, which is honored (Arcite) by Indra, Agni, Brahma, Vayu, and Vishvakarman Ishvara, and then it is honored (Puras-krte) by Bhuta, Vetala, Gandharva, Gana, and Yaksa. So there is not necessarily anything horrible going on here. She may have used the mudra and it simply worked.

This is to keep Pitheshvari Uddiyana Tara who arises from Hum as first. I may be mistaken but it seems to me correct to say this is Arrow Dakini, and Kurukulla frequently goes masking as her, but is distinct. It looks more like Arrow Dakini is a prelude to other goddesses that have Uddiyana forms and other Reds. This kind lacks a Bow.

As for the gesture itself, this is Bhutadamaru Vajrapani, and what is interesting is not his mandala, which is four rings of mostly Hindu deities. Here, it is for everyone else added around that, said to be Sadhanamala versions:




In their assessment, upper register figures include 1. Janguli or Yellow Tara, 2. Arya Janguli, 3. Vishvamatra, 4. Janguli, 5. Chunda, 6. Vajradhara, the rest Ekajatas. The corners figures are Ekajata, Four Arm Sita [who seems to be with Marici on a boar], and two Maricis at the bottom. Bottom register is more Maricis with Uddiyana in the middle, and the sides are her Kalpoktam retinue or close. This is from ca. 1300s. Green Janguli is a standout.

That lineup is almost identical to the Bhutanese big Ekajata with multiple Maricis and Green Janguli. Cunda is as old as Manjushri Mulakalpa at least in terms of being a Dharani. She has other forms, but her three stand-alone Sadhanamala versions are all Four Armed with varada, lotus with book, then two hands with a bowl.

"...of the many mahasiddhas to come to Tibet, Acharya Tathagata Raksita made famous the teachings of the short Charya Tantra of Bhutadamara. In the Vajravali of Acharya Abhayakaragupta there are three mandalas of Bhutadamara, these, extracted from the Tantras contain the essence letters, the long mantra is not taught...now, for the Non-dual Anuttara uncommon explanatory Tantra to the Hevajra, called the Vajrapanjara, it is said; Trailokyavajra's greater and lesser Bhutadamara meditations are based on this - which is found in the Sadhanasamgraha [Sadhanamala]." In this Charya level form he tramples Ganesh, but his Anuttara form has no retinue and tramples the male Aparajita.

Like Parnasabari, Sri's Red, Blue, or Black forms are Wrathful. Red Mahasri is called Lhamo Remati:




Nepal's Kumari girls are more like Pandara showing Red added to White:




If we go back to Agni where we decided to admit the phrase "Sikhin Vidyut", it would be this. Something like Sarasvati plus Peacock plus flame like Buddha Sikhi's hair. We should conceive that some of these girls successfully embody the Nirmanakaya. They are not avatars, it is a selection for special yogini training.

This Nirmanakaya is something like those Bodhisattvas who have cheated death and are able to remain connected to the earth plane, with the most earthly form being the mantric force field. So for a meditator to generate nirmanakaya in themself is to enter the force field, and is hardly the same as a Bodhisattva relationship to an incarnating Jiva. It is the hem of the garment. But as long as we follow Bodhisattva nature, the rest will come unlimitedly.

Here is the Homa to Dravidian Agni and Kurukulla.

"Red is important". This is generally Lotus Family. In the concept of Buddha cycles, we say the chiefs are the Dhyani Buddha, the Dhyani Boddhisattva, and the Manushi or Human Buddha. The way it works is the Human, Gautama, is in charge while he is on earth. The whole rest of the age is in the hands of the Dhyani Bodhisattva, in this case, Avalokiteshvara. Amitabha himself doesn't do much besides produce the Bodhisattva. If Avalokiteshvara is held in seemingly high regard and as the synthesis of dhyanic consciousness overall, this is correct for a major part of our planetary cycle and is currently the state of being.

One may not have a Prayer Wheel, but, this may be the most popular mantra on earth, and we may be confident it is flowing straight through the Dragon Tree. We discussed part of its meaning at Kashi, but also, Jewel Lotus, which is really one word, in terms of Families, has something to do with this interaction of Yellow and Red. Ratnasambhava really has nothing of his own to give: his few emanations such as Jambala can also be emitted by other dhyanis. Calling him "Jewel" means "that which satisfies the desire", with Red being Desire itself.

We are repacing earthly desires with Divine ones, and this is like what Kalachakra calls de-materializing the body. You really are removing its coarse content. The earthly state. Discarding lower outer vibrations for finer, subtle ones. The Ratnasambhava we need satisfies that desire. It is mostly the flow of Amrita. When this is cause by Desire turning to the Dharmadhatu instead of the outer world, then perhaps you are looking at how Amitabha's consort Pandara is Red-White.

My guess is you can really start White in a preliminary way with Prajnaparamita. Dhanada is just very giving, very generous, you will easily get the form or the words and if you take them up, you have basically got the Prajnaparamita Tara with her retinue of five. The step up would be Vajra Tara and her retinue of ten.

So you are starting with a Green Tara, and her blue is siphoned off mostly separately in the Wrathful Rite. Her Yellow and White may be addressed almost immediately with Mahapratisara and Prajnaparamita who are both those colors. Red is special Vidyadhara Throat Energy, involving a Method of Manjushri (Vairocana) that intensifies to Vajra (Akshobya). That is sort of the kaleidoscope nature of it.

Most of the Vairocana goddesses such as Usnisa and Marici can be found in a stupa, but otherwise the Pure Land forms are limited.

The following is a "cluster" we know nothing about, but seems to have another piece of the same story. When Gopala and Manohara appear, they are followed by Wrathful Jambhala, whose Red appears mixed as with Hayagriva or Ganapati:




He speaks for a moment and then someone we don't know, but who is probably Avalokita, shows up in White bearing the Hook:




Ganesh does a few things:




Then finally White Ganesh is trained and the Hook is lowered to passive position:




Moreover, how this was done, reveals a Yellow Jewel-bearing Naga King. And then there are a few Taras excluding Yellow. However, they all have the same Jewel Family items--a Vase and a Jewel--and simply hold these in different aspects.

[shaberon]

Vajra Tara

We will not be able to find Prajnaparamita in the form of her emitting five other retinue paramitas: Kadhira, Marici, Durgottarini, Vajra Tara, and Sita. The idea is that once Prajnaparamita is working to some extent, then Vajra Tara comes along. She becomes the major theme of Sadhanamala and Vajravali. Numeralogically this is Ten. And so what we are going to do as a practice with this name is to successfully produce a minor White form to start shining the non-vajra or outer White Tara we use as a pledge being.

She will wave her hand at colors which results in us referring to multiple deities in order to increase the refinement of the teaching from Five Buddhas to Ten Directions, Tenth Durga, a full Vajra Tara retinue for her Eight Arm form.

Nagarjuna's other White Tara, Mrtyuvacana, gave us some more colors, and to gain a good stream of all five would be All Buddhas' influence, marked by Four Arm Sita. The next tantric increase to her produces Four Arm White Janguli as will follow below. The next destination is the Graveyard as Six Arm Sukla.

So the underlying scheme is that the real White Vajra Tara is Aparajita Parasol, and that the main distribution of color is with Vasudhara. And these are the witnesses to Buddha's enlightenment. This is what we are focusing on, and not so much the Long Life Trinity with Usnisa Vijaya as is available elsewhere.

At this point we should already have a decent vision of the famous Sarasvati and Prajnaparamita and her syllable Hrim, Tara and Purity mantras, Vajra Muttering of Om Ah Hum. And so now perhaps the singularly most crucial next component is really this direct personal vajra confrontation with voidness provided by simple Vajra Tara. And when you look at her and see most of it repeats preliminaries, one could really attach her practice to the end of the Prajnaparamita one.

When changing presences, one uses the Purity mantra as already seen. And so there are different ways to do this depending on how much time you want to put into it. You can take a samadhi per goddess. Or you can go through to the final, in this case Vajra Tara, and just do it with her. One may do Vajra Tara alone, or in a manner that makes sense with the teaching, but when you have a good feel for the prior mantras, this one...this one is the true platform. And it makes a living lotus that the bigger version will later be born from. Highly important mantra she gives here necessary for any further progress.

So keep that in mind as a kind of central (Avadhut) clear method for White Vajra Aparajita Tara who is an aurically detectable increase in coats of nectar so to speak, along with the wheel method towards Vasudhara and color. When we are able to perform at equality with Tathagatas, they will sign for us.

The Prajnaparamita book itself--carried by Prajnaparamita, Manjushri, and Sarasvati--would be illustrated with all of these deities and lineages. That version obviously has Tibetan additions.

Dhanada is the Green Tara represented as generously offering the book. Dhanada is in Lakshmi tantra, and there is a Dhanada Yakshini sadhana. She too is supposed to get eight goddesses for the main Tara mantra, but unless using a basic Om namo Dhanadaye svaha, her mantra would be too big for a retinue. Eight syllables just means no "svaha". In her own Pancha Tara form, she is equal to Pancha Jina centered on Amoghasiddhi. She is one of the few with a mount. So, we have used her as part of the rallying cry in this direction.

This is the closest I can find to Prajnaparamita and retinue:




Those images are unidentified, but we are close to being able to say Khadira at top, Marici on the left, the lower right is Janguli, who is tantric Sita. You could maybe say Vajra is a wrathful or yellow one. We still never find Durgottarini at all. She should be Four Armed Green in White clothes. Obviously sounds too much like Durga, and so she has been forgotten like Kubjika and why no one says what a "Kalpoktam" form is. That Prajnaparamita who has gained the influence of all Five Dhyanis should have a lotus growing from each armpit, as the top Green Tara here.

The manuscripts at Philadelphia show the expansion of Prajnaparamita to Vajra Tara, both related to Vajrasattva, but there are no pictures of it. We want to find a way to show this emergence but so far that remains unavailable.

The Sadhanamala has one sadhana for a very basic White Vajra Tara, so we will take an old Indian Pala era simple one to use in her meditation:



That, at least, is a Vajra Tara due to the flames, and vajra feet. Notice Prajnaparamita also has vajra feet. The standard Tara has her right foot hanging out, that is how you can spot a seated Tara instantly, and so it is only whenever indicated that she may sit differently. But this is the main dhyani pose, vajra feet. And, it is the correct form for Nagarjuna's Vajra Tara, including the flames. Only difference is having the companions, although Marici and Ekajata are understood as the visible and the central sun. She has two eyes, and this has nothing to do with being worldly or enlightened. It is not quite a strict rule, but for the most part, a two-eyed deity is Peaceful, and the third eye is semi- or fully Wrathful. Janguli comes up both ways below--same form, slightly different mood. Here, we have a nice mood for a teaching moment of the experience of emptiness of self.

This is a version of her original meditation. In this one, the hands seem reversed. In almost no cases is a mudra given with the left hand as it says here. This one teaches the real Emptiness mantra which is then used all the time. So that is her "spark". The emptying of one's subtle body to void nature. After speaking the mantra that does that, the instructions are to do her mantra mentally.

Vajratara Sadhana by Mahamati Nagarjuna

(English rendering by Swami Paranand)

"Obeisance to Vajra Tara

[Namo Vajratarayai]

For the well-being of all sentient beings, I depict the method of spiritual practice of Vajra Tara after making obeisance to her. Vajra Tara is of a fair complexion and she is agreeable to the mind. A Yogi who has been ordained in the adoration of Tara through the spiritual practice called Bhavana should proceed with meditation etc. in the following manner:

The Yogi should meditate on the seed syllable Tam in his heart as seated within the lunar orb before the ablutions like washing the face or brushing of teeth etc. After sitting on a very comfortable seat on which one can sit comfortably for a long time, he should meditate on a pencil of spiritual light as emanating from the seed syllable TAM from within his heart.

ताँ

The Yogi should feel that the Great Empress Tara is attracted by that ray and is incarnating in the mental space before him. Having seated her on the seat of a flake of cloud and a blue lotus with the lunar orb within it, he should perform retrospection and compassion before the Guru, the Buddha & the Bodhisattva. This includes confession of sins, laxity in self restraint, seeking consent, conversion, and surrender to Buddha, Sangha and Dharma.

Germinating Buddha consciousness bodhichitta is the greatest resolution of the Buddha that he will not accept nirvana for himself till all sentient beings are delivered from miseries. Whatever meditational practice a devotee of mother Tara undertakes should have this objective. The devotee should resort to the path and a type of Bhavana called roaming with the four Brahman virtues (ChaturbrahmVihari) i.e. cultivation of four virtues namely Amicability, Piety, Pleasant mindset and Indifference towards vicious people (meti, karuna, mudita, upeksha). These four virtues are called the four brahmvihari.

oṃ śūnyatā jñāna vajra svabhāvātmako 'ham

Om (my essential nature is the concrete awareness of the experience of emptiness of essences) [I consist of Vajra Gnosis of Void]

(not a personal mantra, but the correct Emptiness Mantra--the "svabhava shuddoh 'ham" mantra is really "Purity". This one transforms the Skandhas into Sunyata.)

After the maintaining of awareness of consciousness, one should meditate on BimbaNispatti--the concomitant disappearance of the object & reflection.

After this the Yogi should meditate upon the syllable TAM as turning into eight petalled white lotus. Then one should feel that the syllable “A” has concentrated into the moon and the letter TAM has turned into another white lotus. Within the moon inside the white lotus the syllable TAM contains the entire ether and the universe as an embodiment of mother TARA. All the sentient situated in the three realms are projected as the projections of the syllable TAM. Then one should meditate upon the syllable TAM that transforms into Goddess Tara as seated inside the moon within the white lotus..Mother Tara should be meditated upon as a sixteen year old charming maiden bearing a fair hue, sitting on a dais of Vajra (Diamond) within the lunar orb inside a white lotus. She is ornamented with various gems and jewels and displays a gesture of granting boons (Varada Mudra) with her left hand and carries a lotus in her right hand.

[Arya Vajra Tara Mahatejah]

She terminates all upsurges of her lower nature (Mara). The supreme Goddess should be meditated upon as producing enlightened beings, the Buddhas and Bodhisattvas from the follicles of her hair. After one is steady in this meditation one should proceed with Japa or the repetition of the Holy Mantra. The Yogi should meditate upon an eight petalled lotus within his heart, with all eight syllables arranged on each petal and SWAHA in the pod. While meditating thus one should repeat the Mantra mentally.

Just by meditating in this manner one becomes immune to the relinquishing attempts of all negative forces (Mara). The fruition of above mentioned meditation as mentioned by the bearer of the thunderbolt Vajrapani is as follows:

Attainment of Poesy, Eloquence, Refined Intelligence, Longevity, Favour of the Rulers, and tranquility of his/her subjects. He/She is not hurt even while surrounded by foes in a battle. The noble Goddess Vajra Tara is highly effulgent and grants all accomplishments. This canon should be learnt by a sagacious scholar with great devotion after giving gold and silver as Fee (Dakshina). One must receive this with due faith and devotion to the preceptor after the obeisance sacrament. Jinas have said that only one such aspirant is entitled for receiving this knowledge. None else can attain perfection in this worship by any other means not even Buddha himself."

That's the end of it. By "Bhavana" (cultivation), means one has previously contemplated Tara and imputed her with the ability to make a Vajra Samaya and to be an exponent of vajra nature in general. So you take your normal Samaya Tara for a month or three, and then when changing the meditation to the new kind, she is charged up with that energy. As far as I know, there is no existing lineage of Nagarjuna's Vajra Tara (in simple form).

This is her grander form on a basalt stele from Bihar, ca. 1100. Vajra Tara is under the dhyanis, and her ten goddesses are six on the bottom and four on the second row:






They are hard to see, but that is the "doubling" from Prajnaparamita with five paramitas, to Vajra Tara with ten. Prajnaparamita is included in "Six Paramitas", whereas Vajra Tara is still a secret addition to "Ten Paramitas". In our system, the secret eleventh is Vajrakarma Paramita, who is one of the rare multi-colored goddesses, and if anything we may be able to find her as a tiny speck in Dharmadhatu Vagisvara mandala. She would have no other existence that I know of, aside from Brian Hodgson's list.

In Vajravali, "Vajra-tāra (Rdor rje Sgrol ma). Appearing from TĀṂ, she is yellow with four faces and eight arms, sitting on lotus and moon. Her central face is yellow, the right one is white, the left one is red and the rear face is blue. Her right hands hold vajra, noose, arrow and conch. The left hands hold yellow utpala, bow and hook. The fourth left hand displays the threatening gesture. She sits in the cross-legged position and is adorned with silks and jewels." The one in the main Tara post is this exactly.

Vajra Tara and her Usnisa and modern retinue are emitted by Ratnasambhava in the NSP. As a Ten Quarters goddess, Usnisa Vijaya is Two armed White holding a Chakra. As a Dharani she holds a Jar of Moonstones.

Encyclopedia of India states Abhaya had selected twelve forms for the Tara mantra, including Usnisa, Parnasabari, Janguli, and Cunda, but in this case it means he assigned them as Dharanis, not the Tara mantra. Parnasabari has a massive dharani.

Mahasri is close to the principle of five, Mahattari that of six, and then you would go eight/nine planets Grahamatrika, and then Ten Directions Vajra Tara. This strongly resembles the process Vajrasattva does at Jampa Gompa and him doing a Wrathful prior to Amoghasiddhi in the Seven Initiations.

So that is the flow from White Prajnaparamita, to Sarasvati, Janguli, White Kurukulla who oozes nectar, various Wisdom-giving or Sherab deities. Janguli is a Hydra goddess so she should be a good mark for getting Sita into the cemetery with Hydra Amoghasiddhi. We see at the Six Arm level that Usnisa holds Amitabha, whereas Grahamatrika (Parasol) holds, what is called in the text at least, Kamala, which fits with gaining more Yellow and Ratna Family; that and also holds a Chakra or Buddha Family.

There is some Janguli material posted where she came up in Namasangiti. I have tracked down a Romanized Sanskrit Sadhanamala; cannot really read it, but we can grab keywords and phrases. The Taras begin with about a paragraph for some basic Greens: Arya Khadiravani, Mahattari, Varada, and Vasyadhikara. Then, the Vajra Tara article appears to run seven pages, compared to the partial translation, which is just snippets. Anyway, the first line says sitavarnam, so we know this is the missing White kind. This does relegate Mahattari to a minor variant. It begins with Khadira, Harita in color, not Syama. Because of already researching "parinata", tambijaparinatendivaram means "Tam" transforms into her. Jnanasattvena does seem to call her a gnosis being, which implies the use of a Dark Green pledge Tara. The next three are all dark. Varada summons Yellow Mayuri and Green Janguli.

It is hard to distinguish much about Mahattari. "Svahrdindumadhyasthatambija..." sounds something like sva in the heart in the middle of Eight Tam Syllables. "Nispannan gurubuddhabodhisattvan dhyaya" is probably close to meditate on her as perfect guru, buddha, and bodhisattva. Then emptiness mantra is introduced. The main thing that may indicate anything more about her is not this paragraph, but non-Buddhist literature, the broken statue, and the fact that Sadhanamala is a collection that may have missed a thing or two. Like even the big Oceans of Sadhanas, 140 or so, have truncated the collection, losing a few that seem to be worth a second look. Taranatha is the second version of an almost complete collection of 400ish, several newer and Tibetan, but some of his Indian ones may be different.

After Vajra Tara, then come more small ones, Sitas, Four Arm Sukla Janguli, until Arya Tara is invoked as Dhanada, there are some others, and another large Vajra Tara thing. Then Durgottarini. Prasanna, Kurukulla, Mahasri, more Jangulis, until Ekajata has a large section, a staggering amount of Marici, Parnasabari. Then Prajnaparamita, Sarasvati, Kurukulla is colossal, Usnisa, Protectors, Dhvaja, Vasudhara, Varahi, up to Nairatma as number 228. The whole thing is 400 or so; not sure if that counts each Dharani, Paramita, etc. It does carry the style of the translation, which seemed a bit backwards, in that big chunks like Vajra, Marici, Kurukulla, give complex versions before basic ones. There's nothing like a table of contents, so, bird's eye view into it. The four Green Taras first make sense, but, you can't blast someone with all that Vajra Tara after two minutes of reading. Four Greens with Dhanada then Durgottarini further along makes sense, but the rest of it needs to be sorted like we are doing.

Therein, Janguli is first invoked backwards: Jangulitarayai namah. The White form, called Arya, is Sukla, or moonlight colored. Her seed, or, in this case, anu mantra, is Hrih, Sukla colored on a moon disk. Another moon disk with Ah Hri Hum is involved. She is "Jangulirupadharinim", which seems to say her body or form is the Dharanis. The phrase "jagati maitrim" appears, looks like Jagad Mata or World Mother. A vina is mentioned, but if there are snakes, they are called something other than naga.

Her last sadhana also appears to use Sukla Four Arm arising from Hrih. In this one, she is invoked as:

Namo Bhagavatyai Arya Jangulyai

Janguli's Green form is the one commonly seen.

Kagyu Green Tara Janguli:




Bhutanese Sadhanamala version:





This form appears to be huhkara or arising from a syllable we usually spell Hoh. However, this is at the end, and the mantra at the beginning, which is a bit backwards. Her mantra is:

Om asijihve srulajihve vajrakaye grasa grasa jvala jvala mahajvale mahayogeshvari hum hum phat phat svaha


We have Janguli's White form in the main post, and here is a more specific Yellow Arya Janguli (Tib.: pag pa dug sel ma).

"Arya Janguli, yellow, with three faces. Having a hood of seven snake heads. [Each face] possessing three eyes and the faces [both] smiling and fierce. The six right hands hold, a vajra, sword and an arrow in a dancing manner. The left, a wrathful [gesture] together with a lasso, a blue poisonous flower and a bow. Adorned with flowers and snakes. Standing in a dancing manner." (Konchog Lhundrub, 1497-1557)."




Yellow Janguli Vidya:






So her Yellow form uses this Poison Flower against the hindrances, whereas Green uses the Peacock or Mayuri power to slurp it all up into Wisdom. Janguli is like a little Mahasri if secretly Mahasri's father is Taksasa and she has a secret Pandara aspect. Akshobya's emanations are mostly Blue and Wrathful, and Janguli is anything but this. Like why Akshobya's Pure Land is as good as anyone else's. Janguli has siphoned the colors off the Blue. Mahasri has Wrathful stuff unavoidably. Sita's trip to the cemetery is mixed in there. Janguli is tantric but not particularly Wrathful.

Here are mantras for her Yellow:

Om namah sabarakumari ye curcchacadi calaya cuccalaya samghattani mattamatangi adaviddhe ahe om jah svaha

Om Janguli sarvavisaprasamani huh svaha

To explain why some older Dravidian goddess like Janguli is tantric, she has a Mahavidya, which begins "Evam maya srutam", although it is not a sexual version, it is like Sutras going to the hosts of bhikshus, gandharvas, etc. It seems to take her Dharani and double or triple it with more stuff that looks like dharanis.

Janguli and Parnasabari are associated, and the interesting things are that the Sabaris did not have an Earth Mother like Sita or Vasudhara, and also the siddhi of this Yellow Janguli is to cross over water. In this case, we lack the original sadhana, but "cross over" may use, or at least mean the same as, Tara, who is well known in Eight Fears form protecting sailors; and water has no required other meaning than the element, water, rasa or taste, asava or thirst, svadhisthana chakra, and so on. In this version from Krisnayamari, Janguli holds a snake, is enormous, loves to ride a peacock, and arises from Phuh.

Starting East, she is with Yellow Mayuri having peacock plumes, Red Bhrkuti with a gourd, Dark Parnasabari with a branch, and Blue Vajrashrinkala with a chain. The mantra with full retinue is:

Om Phuh Jah

Mugdara, etc., are in the cardinal directions, Puspa, etc., at the intermediates.

As per Hevajra tantra:

Candali ignites in the navel. She burns the five tathagatas.
She scorches Locana and the other goddesses.
When Ham is burned, the moon melts.

Buddha dominated Matangi in the oldest mantra, which subjugated any pisachis and assigned outcaste names to the beginnings of inner heat. Dombini and so forth. This Janguli--Parnasabari line is very Dravidian and serpentine. So here we have not only utilized the sixth element, but also the circulation of amrita begins increasing to warmth. Yellow Janguli appears to be intended for that stage.

From Sadhanamala, we should be able to distinguish Yellow goddesses by the arms: Vasudhara, two (frequently with corn) or six; Prajnaparamita, two, four, or six; Vajra, eight; Prasanna, sixteen.

In the first Vajra Tara sadhana, she is Eight Armed with the Mothers. Second, I am not sure; this third one appears to take the basic form and advance it to the larger.

Arya Vajra Tara Mahatejah Sarvasiddhipradayika: something about primordial fire which confers all siddhis; followed closely by Suvarnarajatadikam, gold or peacock king of some kind. Soon it refers to Nagarjuna, and seems to say the mantra raises the Yellow Eight Arm form. After this, something about a Sun Disk, Akasa, Dharmodaya, Gagana, four element mandala, Varuna mandala, yellow Mahendra mandala, Vairocana, Viswa Vajra, to gain this Golden Kumari form. Noose in right hand, left is tarjanam (pointing up, sometimes with rosary). Ten seed syllable devis come. Four Offering Goddesses are named, Akshobya shows up, followed by Mamaki, who, with bodhictta, seems to be meruvahnikundam, or Mt. Meru Vahni Kundam, Meru being the central channel, and vahni is a type of vehicle or gate.

Then something about the mind of Nairatma, followed by omkarena--body, ahkarena--speech, humkarena--mind. Then the Four Activities mantra. Finally, a dharani praises Avalokiteshvara and then reads:

oṃ tāre tuttāre ture sarvaduṣṭapraduṣṭān mama kṛte jambhaya
stambhaya mohaya bandhaya huṃ huṃ huṃ phaṭ phaṭ phaṭ
sarvaduṣṭastambhani tāre svāhā

This mantra is common to each Vajra Tara.

There is an extremely brief Sita which invokes:

Namah Sitararayai

It seems to make Sitara an abbreviation and just gives her the normal ten syllable mantra.

Then shortly we find the real Mrtyuvacana, which, to all appearances, is non-different from Sita. She is given twice; first kind uses normal ten syllable mantra. The next one includes tārāhṛccakrabhāvakaḥ, which probably means the wheel she holds, something like Tara Heart Wheel Being. No companions or additional mantras seem to be given.

Next, on a moon disk from White Hum arises Four Arm Sita, crowned with Five Buddhas. I think there are two lotuses and a Cintamaniratna. Yellow Marici and Green Mayuri are there, and the mantras:

oṃ bhagavati tāre mama hṛdaye praviśa svāhā
oṃ namas tāre manohare huṃ hare svāha

Day/Night Tara gives "Hara twice" mantra, then Manohara applies it in a certain way, and then she is here in the mantra of Four Arm Sita.

It seems to frame an order to train in: Green Tara; Sarasvati, Prajnaparamita; Janguli is tantric Sita with Three Colors; Marici and Mayuri are needed as new Yellow and Green; Usnisa, Vasudhara Manohara are Red; Parnasabari and Mahasri are Five Colors. I think that is equivalent to Four Arm Sita. Grahamatrika and others from there, Sita doubles to Vajra Tara.

Between Five Colors and beyond has been the missing:

Six Arm Sukla (moonlight), who is śūnyatābhāvanānantaraṃ, or of the nature or being of void. She is also Hum bhava or Hum kara, and a Crossed Vajra is involved somehow. She is a Bhagavatim. She is an Archer with two lotuses on the left, Varada and rosary on right.

Her mantra:

oṃ acale animittavare huṃ huṃ phaṭ phaṭ svāhā

I cannot figure out much more of it, even though it is short. Last of the Sita series. It looks very brief and innocuous, but, she is clearly of Sunyata nature, and evokes Acala. This does indicate a shift, however, having presumably gained Five Buddhas, this is the only known form of Sita to select Amoghasiddhi as dhyani of the rite. Also, she is specifically named Sukla, so she may be particularly strong moonlight. Some deities have this in their description, but this is in the title of the sadhana, Sadbhuja Sukla Tara. "hṛccandrasthitanijabījam ātmānaṃ" has not been translated, but is something like Hrd Candra Asthitanija Bijam Atmanam, and, irrespective of the middle word, something like Heart Moon...Seed Syllable Atma. This comes from sadhana 105.

For example, "parinata" is combined twice near the beginning, which has the meaning of perfect, but in the nature of mature, ripened, full, changed into, which can be extended to mean profit. It may help explain this word:

rephapariṇatasūryasthahuṃbhavaviśvavajrapariṇatavajraprākārādi

Repha Parinata Suryastha Humbhava Visvavajra Parinata Vajraprakaradi

(R, Word, Passion, Burning Gutteral Sound, Affection of the Mind) ripened into Sunset Hum Being. Visvavajra became...you think you'd get a book, mace, flower, or something, and kind of understand it. But.

In Keralan Ayurveda, Prakaradi Yoga refers to immunologic modulations on children. It is used with Vasudeveka in a large Jagganatha Indian sadhana. It refers to Ten Directions in a large Lakshmi mantra. Furthermore, it is used in a Viswakarman text on Astrological Architecture which is written in a tantric style, where it seems to be a version of Prakara (temple walls generally).

"Pushparaga-prakaradi-muktakaranta-saptakakshantara-kathanam: Description of Srinagara-Place allotted in the city for the devotees of Lalita, the Siddhas, Apsaras, Gorakshas, etc."

I'm guessing it is Vajra Fence intended here. It arises from Viswa Vajra on the floor. So then we find in the proper mantra for Vajra Fence, it invokes Vajra Prakara. I believe this is why it is then a relatively advanced Amoghasiddhi initiation, because this Sita says Crossed Vajra made into Fence--magic floor and circle.

She is also:

pañcamuṇḍavibhūṣitamastakāṃ

Munda are severed heads; munda and mastakam can both mean head, the latter more in the sense of upon, or on top of, so possibly even the hair knot. This is something like Five Heads All-Pervasive Sita and Topmost Part. This is right after Amoghasiddhi. Jatamukuta is matted hair piled up like a crown, or, artfully plaited braids done so; Amogha is like a hairpin there.

If Fence is its own stage, we may see that in a fairly massive Tara Sadhana. It's too big, Tibetan, and we can't self-generate that way. The self-generation is Arya Tara, who isn't described any further, so we must assume Green. It works up to the point of Fence and then does Offerings. Somehow they came up with "Chittamani Tara" instead of "Cintamani Tara", and they replaced Vajrasattva with Padmasambhava. Within the protected space, offerings are being made to Khadira.

You can't do it that way without the initiation. In Tibet, they probably give it to babies, so no real issue. Anyway, it shows Khadira as being a higher phase of basic Tara, and that Fence is a definite practice where you are trying to get in good with a new deity or at least a higher form. Therefor, Sukla Tara would be used in a highly similar fashion. Tibet recorded her by this name, although they lost her Amoghasiddhi diadem and replaced it with a moon. So, the parts are re-arranged and Tibetanized. It could be dropped back to a Vajrasattva style and using Vajra Fence Tara. they call Fence "Rekha" which is also correct, and probably more common, but the original term Pravara can be shown to have deep roots in all temple construction. In Wrathful mandalas, which have the ring of Eight Cemeteries, and a Ring of Fire outside, the Vajra Fence is a very thin black ring between those, with gold vajras end-to-end. Easy to miss. The Double Vajra of the Ground can often be seen extended around the gates. Vajravali is an acceptable term for "Vajra Circle", but fence is Rekha or Pravara.

The stages of Fence casting are elaborately described in The Yoga of Tibet: The Great Exposition of Secret Mantra 2 and 3 (Tsonkhapa) within the Preliminaries. Quoting Vairocana Abhisambodhi, they mandate two concentrations: with and without repetition. They say that Tathagata initiation opens three families, Lotus two, and Vajra just itself. By "repetition", it is really a daily bathing ritual. So, this is too compulsive. Most of us are going to use a regular toothbrush, are not accustomed to bathing in dirt, and do not have a stand of kusha grass to make handy items with. So at a minimum, there needs to be a properly arranged place and one should be clean. Otherwise the deity does not come.

So, without all the external rituals, we can list the more meditative parts. It will be the whole thing, so for instance at Fence meditation, you would stop at that point and do a sadhana like above. Like most exercises, it is best to build slowly, and the first part for early in the day would be beneficial by itself. Just to get started with a Fence meditation, you would only need to start this at Vajra Armor. Your armor will be cheap and not very good at this point, but it would make a template to improve on.

The suggestion is to work a different Family per day. For example, in Tathagata Family, Prajnaparamita; in Lotus Family, Usnisa; or in Vajra Family, Jangulii. We can meditate on these without causing some huge violation. So let's say I just cycle through them in order. It is a way to mutter Om Ah Hum where each word lasts a day. Each Family has a different Mudra and Mantra to start the day (three more Family seeds are Hoh, yellow at navel, Ham, green at crown, Kshah, blue in private area):

Tathagata: cup the hands widely, bend the forefingers slightly, place on top of head.

Om Tathagata-udbhavaye svaha

Lotus: from a typical prayer gesture, open the hands about halfway like a blossoming lotus at the heart, like holding a bowl.

Om Padma-udbhavaye svaha

Vajra: join the backs of the hands, right on top, slide the end of the left thumb and little finger over the right ones at the navel.

Om Vajra-udhbavaye svaha

Homage to Tathagatas of Ten Directions:

Om sarva-tathagata kaya-vak-citta-vajra-pranamena
sarva-tathagata-vajra-pada-vandanam karomi

Offer yourself, do refuge, bodhicitta aspiration. The next part may be particular to Mahabala for protection, which is also recommended for eating and going to the bathroom. Interlace the fingers like a fist, extend and touch the forefingers with the thumbs placed along their sides; extend and separately straighten the little fingers.

Om vajra-krodha Mahabala hana daha pacha vidhvamsaya uchchhushma hum phat

Probably any Protector is fine; then there is purification.

These letters with inter-connected flames are stirred: Ma (Vairocana) on a moon disc in the heart, Ha (Acala) in the head. Then use emptiness mantra:

Om svabhavah-shuddhah sarva-dharmah svabhavah-shuddoh 'ham

So from there it is the course of the day with outdoor bathing, etc. There is expulsion of obstructors. Wind Horse is probably more effective, or Usnisa, Long Life, or so on.

Create vajra armor:

Om vajra-agni-pratipataye svaha

Put on the armor:

Namo Ratnatrayaya om khakili hum phat

All kinds of bathing and dispelling goes on, wherein the European sign of the bull is the water-stirring mudra. After all of that, try to get a rosary bead (or stone, symbol, etc.) of the Family and use its Prajna Mother mantra:

Tathagata:

Om ruru spuru jvala-tishtha-siddha-lochane sarva-artha-sadhani svaha

Lotus:

Tadyatha kate vikate kamkate kata vikate, kamkate bhagavati vijaye svaha

Vajra:

Om kulandhari bandha bandha hum phat

100 times with incense is recommended. It then calls the lineage essence syllables jinajik, arolik, and vajradhrk. There is a type of active vajra, more dispelling, and then magnifying the offerings of flowers, etc.:

Tathagata:

Om tejah tejah sani siddhi sadhaya hum phat

Lotus:

Om divya divya dhipaya, avesha mahashriyaye svaha

Vajra:

Om jvala jvalaya bandhr hum phat

Bless with Amritakundali mantra:

Namo ratnatrayaya, namashchanda-vajrapanaye, maha-yakshasena-pataye, namo vajra-krodhaya, tadyatha om hulu hulu tishtha tishtha bandha bandha hana hana amrte hum phat

Repeat essence mantra. More dispelling, then the mantra for all activities:

Tathagata:

Om tram bandha svaha

Lotus:

Om namo mahashriyayai, sau me siddhi siddhi sadhaya, shivi shivamkari, abhaha, sarva-artha-sadhani svaha

Vajra:

Om kilikila vajra hum phat

Then you can cast a circle. You, of course, have some holy water, even if it's just a cup of tea or something. Tell it seven times:

Om kilikila vajri vajri bhur bandha bandha hum phat

Make a ritual dagger by extending the little and forefingers without touching, join the thumbs pointed back to you, with the other fingers wrapped in an inner circle joined at the tips. Repeat the previous mantra while setting the dagger into the earth; it pins down your obstructors and paralyzes them. Bind deities of the upper regions with your incense smoke using:

Tathagata:

Om jvala hum

Lotus:

Om padmini bhagavati mohaya mohaya, jagad mohani svaha

Vajra:

Om susiddhikara jvalita, ananta-murtaye jvala jvala bandha bandha hana hana hum phat

Sprinkle holy water in Ten Directions using your kusha grass switch. Bind obstructors everywhere with the secret Vidyadhara mantra:

Bhrum om amrtodbhava udbhava hum phat, namo ratnatrayaya, namashchanda vajrapanaye, maha-yaksha-sena-pataye, om sumbhani sumbha hum, grhna grhna hum, grhanapaya grhanapaya hum, anayaho bhagavan vidya-raja hum phat svaha

Now, the dagger mudra becomes fence by separating the thumbs out at right angles. Create a circular fence with:

Namo ratnatrayaya, namashchanda vajra-panaye, maha-yaksha-sena-pataye, tadhyata om sara sara vajra-prakara hum phat

[you have a circle and can proceed to sadhana until you have completed that initiation and are ready for the next part]

Point the mudra down and draw circles while a vajra canopy completes the upper portion:

Namo ratnatrayaya, namashchanda vajra-panaye, maha-yaksha-sena-pataye, om visphu-raksha-vajrapani hum phat

Empower the structure with the Amrtakundali and Kilikila mantras.
Kilikila is the one that was used on the water. Those two fierce ones will abide protecting the fence, canopy, and whatever daggers are pinned down out there. Separate the hands, make fists with extended forefingers. A blaze then covers the tent completely and closes the area:

Namah samanta-vajranam, om tara tara, turu turu, mata mata, bandha bandha,
sarvatra apratihate, sasime samabandha, kuru kuru tara tara samanta-vajre, kuru amale kuruna, maye tutaye tutaye, bara bara, kara kara sumima samanta, vidhvamsaye jvalaya svaha

[that completes a supporting mandala, from where one could generate a Bhrum goddess and add a supported mandala or Completion Stage]

That is pretty much it, and then Buddhaguyha asserts front-generation practice prior to true Deity Yoga. This is disputed by some as unnecessary, but, we have to do it that way.

So this Fence is what to accomplish prior to the Dharmadhatu, or, Vajra Tara provides all the components until the last part where you need Banner and Parasol. Do Fence over and over again, maybe one time you get a better understanding of Locana, maybe another time you figure out what a maha-yaksha is doing. A practice of making each piece bigger and stronger. It should be built in stages, whereby we might say, Six Arm Sita is the Fence. Build everything methodically and properly. There isn't a dagger without a Wrathful rite. So for circle protection to have any viability, there should be some wrathful and some Sita experience. It's not really a dagger, but Kila or peg, so, it indicates the Wrathful Sarasvati--Manjushri up to Vajrasattva--Vajrakilaya. This is to follow the Dharmadhatu mantra, Vajradhatu mandala, and then Vajradhatvishvari, in order to replicate Buddha's Vajra Samadhi. This has been occasionally called Lion's Roar, Buddha Nature, Prajnaparamita, and Surangama, in Mahaparanirvana Sutra. Alternate Vajra Samadhi Sutra, which was only preserved in China.

So one would take the first parts, just the idea of Family mantras, work up something with those, and slowly build up the rest. This just keeps the parts related to Guru Yoga and does not claim to represent the entire daily routine, which only a monk or a person with few responsibilities could do.

It may have been a bit understated, because the fence must be of full Vajra nature. You can make a nectar fountain, and when the first drop hits the ground, it creates a massive Crossed Vajra, so large it instantaneously extends across the universe. The inner hollows of the vajras fill in with smaller and smaller fractals, forming a platform, the Vajra Ground, with your circle in the intersection. The Vajras become immeasurably fine like Tilottama. With all of these creations, the idea is that the surface facing you is smooth as glass because the vajras are so fine. The exterior surface is rough, shaped and contoured like vajras.

The circle is the fence walls, which are something like vertical raindrops forming a perfect cylinder around you. Panjara, tent or canopy, is the third part to cover it, which can be grown by making concentric rings of vajras from gigantic down to miniscule. It is vast. The whole thing is vacuum tight, there is not a single pore of opening, and it is impervious. Vajra Ground, Vajra Fence, Vajra Canopy. Past here, you would ascend Mt. Meru and use Bhrum or Dhrum to conjure the Celestial Palace.

However some traditions may add various decorations or symbols. The main things we will add are Parasol and Banner, and the various details of armor. To learn and practice components of Dharmadhatu mantra. If Fence is a certain stage of training, it is involved with Graveyard, Cremation Grounds, etc. We see it involves Acala and progress leads to Vajrapani.

The method has clearly shown that Mahasri is Prajna Mother of Lotus Family or is none other than Pandaravasini. I believe the way the initiations work, intends for the series to go from Tathagata, to Lotus, to Vajra. Doing Vajra first sounds like only of benefit to those who also benefit from Atiyoga, or tantra taught from the view of Completion Stage, it seems more for tulkus and others who have incarnated in the stream. We set up the main Yidams that way, Tathagata--Manjushri Namasangiti, Lotus--Tara, and have not quite progressed to Vajra.

Being positive Sadbhuja Sukla is equivalent should earn her the title Vajra Pravaradi for Fence, It is hard to make a more definite symbol of boundary, stage, initiation, threshold to cross. She takes her quintessence of prior Tara practice and sits in the middle of cemeteries, attempting to shut the doors, repel or nail down adversaries. Obviously, no one is using this name, in fact there may be someone else common in Tibet who does it, but so far it fits. The relationship is probably inverse to Grahamatrika. In other words, if this Sita becomes still, then All Planets Mother proceeds with her teaching, which doubles the quintessence. Sita never comes back as her plain self, unless forms of Parasol could be correctly counted.

In rough terms, Parasol sort of puts down her umbrella to become Sita to do these initiations. After Grahamatrika finishes doubling the numbers, Sita becomes Yellow Vajra Tara, and Parasol gets her item back and turns Yellow. Then she and Banner can become additional items besides the Vajra Panjara or Canopy.

So in Sadhanamala there is a tiny blurb about Amoghasiddhi Sita. Tiny about Mahattari. And also tiny about Amoghasiddhi Mahasri. That's extraordinarily bizarre. We can find later Tibetan sources going to older Indian ones that all have her Pandara version. That's about all you see, everywhere, and it would have been equally obvious when Sadhanamala was composed. This suggests to me that, although it may be the case that it does not include every sadhana there was...perhaps it excluded some. This is like a college textbook. Why bother to avoid using the name Lakshmi, and then turn around and use many of her 108 names, retinue, and so on, and substitute all the ways someone knew her, with an Amoghasiddhi version they don't. There is no Peaceful or Wrathful Protector version here, only this plain one who has four companions, who is at the end of all the Green Taras pretty deep in the more advanced sadhanas. Almost to say, the only way we would even think of Lakshmi is some oddball form locked behind a ton of practice, without any mundane nature.

Amoghasiddhi has Green Taras that are hiding something, and he also has White Tara, now hidden by others. Sadhamamala uses the invocative "Mahasritarayai namah" and there is not much to her, aside from the companion group. Why would this be in the middle of the book, which starts with a string of four almost just like her. She follows something called "Aryatarabhattarikaya", wherein "bhattari" is a noble lady or tutelary deity.

[shaberon]

Mahasri remains slightly difficult to distinguish from Prajnaparamita. She is only once in Sadhanamala, wherein she is green and has two arms, doing Dharmachakra mudra or teaching gesture--not many Taras do this, except these two. In this version she is Green, has two lotuses, and should be decked with flowers, and has four companions.

But from other sources, she seems to be in almost all colors. Tibetans want Sri Devi to mean a category of wrathfuls, but in India, it would mean Lakshmi specifically, whom they never really show in a fierce manner. In Tibet, Palden and Remati are her main wrathful forms.

I have a sense this is standing Green Mahasri, due to the flowers and extra clothes:




They say they almost never show her Yellow form, which might be more common in Mongolia, but this is Yellow Mahasri:




That is tantric because of her flame swept hair.

However, if I wanted to start thinking of her as an Abode or Pure Land goddess, and I wasn't afraid to say someone might have made a mistake, I'm pretty sure this is not Kadhira:




That would satisfy the two lotuses and some decking with additional flowers. Kadhira is never not Green that I am aware of; Alice Getty says Yellow, but this is otherwise unconfirmed. Tara is supposed to reside at Potalaka with Avalokiteshvara, who occasionally manifests as Pashupati or (Nirmanakaya) Amoghapasha. So it is true that both Kadhira and Mahasri are supposed to be there, but, these are given as distinct forms. The one above is curiously ambiguous.

They are less bashful about showing Mahasri in White, and, to make sure she is a Tara, here is right foot out:





Vajra feet:




Or maybe her left foot is out, but there you can see Six Shaktis and this is sort of like a review moment, let's see, are these working right? If so, maybe we can get some Yellow. Half of those are Kali. Verse nineteen is often translated as "against" Kali, but we're not against her, personally, we're against losing control of her. With the verse and considering Kali's potential nightmare with the concept of Deep Sleep Lakshmi, those are opposite poles; Svapna Tara helps dreams, and Mahasri can see the future and provide guidance in dreams. So she is ensuring the color aspects are at least somewhat functional before Sita goes to the cemetery.

Her large, colorful arrow, or mda'-dar, has silk ribbons and a silver divination mirror, from which, dice or conch shells may be hung. This is Body (shaft), Speech (conch), and Mind (mirror). Hers, the tshe-sgrub, is the Long Life Arrow shared with Amitayus, Tseringma, etc. There are other kinds "auspicious", "wealth", an Agni fire arrow with Ram for Homas, a Vayu wind arrow with Yam, and arrows for classes of beings, and ones that will use goose, raven, owl feathers, etc., to make the relationship.

The "Vaj" root of Vajra means "to feather an arrow".

This version could almost be titled "Lakshmi Tantra":





Three (Usnisa, Parasol, main figure) sleep peacefully one way, three stir the other. She appears to be over her White Mahasri self due to the horse, also, Kalachakra and Shamballah symbols. She is under Usnisa and Parasol beside possibly Hanuman or the monkey from Ramayana. Horse and Lioness goddesses are at her side, and a multi-colored Garuda. She has eight arms and appears to be in Vairocana Family because holding a Wheel. There is also a Hare which is the symbol of the Androgyne. So this may be one of the complex Eight Armed Sitas, but it is at least vaguely close to the idea of White Vajra Tara accessing a parallel Sita of some other kind, or what Mahasri is trying to do with her collected colors.

In the collection, the big betty was called Jamgon Kongtrul's Accomplishing Prosperity, which is a Yellow form. The small Taras are then given as the Eight Fears. However if a Horse is involved, it practically has to be Sri, so the collector probably does not have good information about it.

Esoteric suckling a child while a mongoose vomits jewels:




This work was a gift with a tulku and several other children that were surrendered. The reverse contains Om Ah Hum and another mantra: om sarva vidya svaha. om shriri duru ro racha pala ashugme bhyoh dza dza. om vajra ayushe svaha. om maha devi kali remati bhyoh jnana supra tishta vajraye svaha. So they just called her Kali and Remati and enchanted her into the thangka.

Nothing says they are equivalent, however, Tseringma is highly similar. She is a peaceful Protector of Kagyu and Bhutan and similar to Panca Raksa, being the center of Five Long Life Sisters. One of these has a Dragon mount and so their meaning and function is very similar to Wind Horse:





So Peaceful Lakshmi is also a part of the Path, although they do not use her Yellow much, which seems to be passed off to Vasudhara whenever possible. If Sri travels with your children when you give them up, then she must have gained some consideration which isn't immediately obvious from the diffusion of the Mahasri form. Lakshmi herself garners little attention in Hinduism. Despite all that, we find Lakshmi Tantra to be one of their most accurate texts.

Her name Sri or "auspicious" is quite close in meaning to Mangaloka or Kalyanida usually given in the previous verse. We are choosing to keep her in the verse related to Nirvana, with the intent to disregard any exoteric Yellow connotation, and also maintain her rare Pandara form. She particularly is Five Colors and has Peaceful and Wrathful aspects. At this, her Yellow is more like the result of the Yellow line we developed up to Five Colors Vasudhara. Her White is both plain Sita and Parasol oriented, Peaceful Protector, which slightly differently is White Sarasvati giving an Amitabha syllable, which progresses to Long Life Trinity and Red-White mystery.

This continues so we can further see Mahasri amidst the Prajnaparamita Goddesses and Yoginis. We have never really looked at most of these, and they help make her story come to life. Or really we see the main form and meaning arising in different times, some of her blending with humans, and some of her imposed onto local protectors.