Does Anybody Else Have Clear Body Experiences? [Archive]

shaberon

1st July 2020, 06:39

Is the Sarvadurgati Parishodana currently available? I looked up and found an edition by T. Skorupski (1983), it seems out of print. There is an online edition at Archive, if I can get the print big enough I will take a look, thank you.

It is interesting that you mention a Buddhist "Book of the Dead". I had ended up having to read Lama Lodu's Bardo Teachings: The Way of Death and Rebirth to make it through some of the shaking visions last year (it's the Chikai Bardo rather than the Chonyi Bardo which is the text translated in the Bardo Thodol translations), specifically about the Phowa for dying. I'm confronted with it again recently.

That is the English version--1983 typewritten PhD thesis. We also have one in Sanskrit and probably Tibetan.

Its details are also recorded in Nispanna Yogavali (i. e. the main mandala design).

This is Sarvadurgati Parishodana with its ancilliary mandalas:

https://www.himalayanart.org/images/items/resized/1800px/3/0/6/30693.jpg

1. Sarvavid Vairochana with 37 principal deities

2. Body-Shakyamuni (8 deities)
3. Mind-Vajrapani with 4 deities
4. Speech-Amitayus with 4 deities
5. Qualities-Chakravartin (numerous deities)
6. Activity-Jvalanala with 12 deities

7. Vajrapani and the 4 Direction Kings
8. Vajrapani and the 8 Dikpala (bottom right)
9. Trailokyavijaya and the 8 Planets
10. Vajrapani and the 8 Great Nagas
11. Trailokyavijaya and the 9 Bhairavas
12. Trailokyavijaya and the 8 Mahadevas

Those are not necessarily in visual order.

It is not among the highest systems, because it is centered on Vairocana, meaning Form and the Sense of Sight, which is the main basic thing in the same fivefold symbology used by Pythagoras, Ayurveda, or Shiva Pashupati. Space Element--90% of our waking consciousness is occupied by Sight.

Guhyasamaja is more advanced because the obvious--Sight or Form--is replaced by something else in Space. Part of the key in there being different kinds of tantras is how the middle part or Space evolves.

It is a basic system because the Body Mandala is Shakyamuni Buddha. And then it makes a reference to Five Buddha Families: Body, Speech, Mind, Qualities, Activity. In various tantras, Body Mandala is done as various deities, and so then yes, there are males taking female form and vice versa. However, the function, as taught in this system, remains constant; for example, the main mandala of thirty-seven deities refers to the same thirty-seven point enlightenment that is used everywhere, like in Shingon in Japan. It is a pretty big list that might work if you are a monk, but, by analysis, the thirty-seven consist of multiple duplicates, and so there are ways of learning mostly the same thing based on smaller groups.

So the list is Omniscient Vairocana followed by Five Families and then Vajrapani in various states or planes of Kama Loka, which is almost the same thing as Hinduism or for instance the planets are Skandha, Shani, Bhrihaspati, etc. And so this largely is translating Hinduism into Buddhist practice; and it is the framework according to which any Buddhist system is patterned. They add a few more details and teachings, without changing or removing this unit.

In my personal practice I have found Sarvadurgati is suited incredibly well for Janguli Tara. I tried to critically kick her off the meaning, however, she carries the meaning, and what's more is it turns out that she also works the same way in Black Yamari tantra, or i. e. a closely equivalent level or degree as is being done here in Sarvadurgati. It is all about Death. And so yes I work with Janguli and pieces of the 1983 text. That is non-canonical. I am not saying I am transmitting anything. The material itself is just as it is by definition, I just match it up and follow the teaching as closely as possible.

The Tibetan terms you mentioned are from the three states, Chikkai, chonyid, and Sidpai, Moment of Death, Transmigration, and Seeking Rebirth. And then when you say Phowa this is Transference which, on one hand, is the same as the technique of entering a corpse or possessing a living body, but with respect to the Bardo it means something more like transferring above or beyond them. And so for instance this means Moment of Death will not affect you; it just happens, but you do not swoon or lose lucidity. So then you are talking about the highest part of the Path that we can barely define.

I personally do not expect to achieve this kind of Phowa in this lifetime, but, in saying that Guhyasamaja is like "flipping a switch", it is the same thing, causing an experience of death while in the body. So the concept of Bardo or Antara means happening due to physical death, but, these Voids are the same as experienced when going to sleep, or, during spiritual practice that uses them, Guhyasamaja meaning "esoteric community" and being the technique that begins Completion Stage tantras.

Being initiated to do it as a ritual is not the same as getting it to work.

I can't say I know any special kind of evidence about Kennedy or 9/11 or anything, but, if testimony carries any weight, I will say this thing we are talking about Guhyasamaja doing, is completely real. Because I know what it does, I am in a position to say that if you follow this Yoga system, it is safe and reliable. There are ways to do it allowed by the philosophies and "rules" of Buddhism. Much of what is published for the west is too advanced and it does not work without this grounding.

The main Tibetan canon or Kanjur and Tanjur was mostly compiled by Bu-ston. Obviously he was familiar with everything. And his teaching was the same: get the Yoga path. Even the most basic Wiki article for Yoga Tantra (https://en.wikipedia.org/wiki/Yogatantra) refers to the same texts and says the praxis is:

Deity Yoga

Lha Naljor

Devata Yoga

And that is why it is considerably beyond meditation or a mantra. It also does not use "a deva"--the word Devata means it does what the mantra says--it may appear as a deva, but is reliable.

The Highest Yoga is called Yoganiruttara or Unexcelled Yoga. And how are we supposed to do that, if we do not have a single Devata?

Can we catch one like a butterfly?

No, any deity in Buddhism is an entire praxis consisting of at least all the elements delineated in Sarvadurgati Parishodana.

Any one of them could theoretically Enlighten one into the condition of complete Phowa, which is trained by applying a Guhyasamaja-type method to them. If one is able to gain such an ability quickly, it turns out Death is Cold, and so we are training not just to be Awake but also Blissful.

Vajrapani is important, because, in any tantra Hindu or Buddhist, the main cathartic, for the world, was the destruction of Shiva Mahadeva. And so to the Buddhists, Vajrapani is involved. The original system is heavily Hindu Puranic with a few customizations like that. None of these are mere name changes, they are something in the mind or body, and it may be difficult to explain this is not a philosophy, it is an occurrence.

"Body-less" is so to speak an incipient condition for Guhyasamaja. Body-less is the main teaching of Yajnawalkya, King Janaka Videha, and his daughter Sita of the Ramayana--and this crew is from the same place and closest known historical predecessors of Buddha.

Sita is accepted in Buddhism and so in actuality one may honor Sita without making a commitment to us. She is the Daughter of Earth and Immune to Fire. And so even in a non-Buddhist perspective I would suggest study Ramayana as if every word were magic; or in a Buddhist view I would study her to establish what we call Nirmana Chakra, which is our first chakra, made of mantra on the earth plane. This Yoga is not the same as any Hindu or New Age Yoga.

In Buddhism we call Body-lessness "Empty Niche". Vairocana is looking for his wife and when he gets to her position, nothing is there, she is Body-less. And so if you can stabilize this, then, you become suited for the esoteric changes, as when Visible Form is no longer the center of Space. So the Path is definitely saying there is something "else" inside this invisible disguise.

You can see this in architecture in Nepal, the symbolism is publicly displayed, few understand it.

Agape

1st July 2020, 09:19

Couple of key points are essential to the manifestation of the “body of clear light” that are commonly understood as “holding your chi”
following techniques of pranayama( literally “restrained breathing”).

The “holding of prana” exercises are more advanced but known to chi-Kung practitioners and advanced martial artists similarly to practising yogis.

Not sure I understand this one, do you know the Chinese for it? When doing my standing I do several types of breathing, some from tradition and one derived from Lama Yeshe's book on Inner Fire. When I'm doing my shaking there are periods of other breathings, I don't evoke them consciously I just "listen" them.

I used to know even the Chinese name for it but can not recall it correctly now 🌈

May find it for you later though if you can hold.

Holding of the Chi, as in by firm grip. Perhaps even google translate would help..

It was described within certain yogas of Tibetan Buddhism but mostly kept secret.

Do you have a teacher?

You’re supposed to be shown the most appropriate way to do this by your teacher.

Technically, it still probably belongs to the category of Pranayama in Yoga system of Patanjali and it’s commendable to master your breathing as a guideline of energy practice.
Breathing should never be forceful if Pranayama if done correctly.

With exception of some exercises like Kapala Bhastrika that involves short and powerful breaths and forcefully “cleaning the skull”,
it can not be safely recommended for everybody or online.

People who don’t know their actual physical condition could induce themselves brain stroke, heart stroke or, in better case, twig their neck muscles.

Even if you’re very advanced practitioner already and I hear you have lots of heat accumulated in your body, mind-energy need to be treated with cautions.

The ancient system of Yoga where from most of these techniques originated but grew like tree branches to all sides emphasises “unity of mind and energy” as its sole purpose. By unifying the energy with your mind, knowledge is achieved and everything else is accomplished spontaneously.

Shaking as you’ve described it, is form of pranayama and releases energies and opens channels.
But the full experience of your “clear light body” probably appears because of your still meditation.

You may want to learn something about the highest state of Vajradhara (https://www.encyclopedia.com/environment/encyclopedias-almanacs-transcripts-and-maps/vajradhara)

Dharana is Sanskrit word for holding among other meanings and the Yogic Seed Syllable( Sanskrit: Beej Mantra) is “Dhrk”.

Chi Jin Gang seems to be one of the Chinese names for Vajradhara.

http://www.highestbuddhistmasters.org/english/ebook/ebk00006.htm

Jin Gang (https://www.google.co.uk/amp/s/chenscotland.wordpress.com/2010/09/22/what-is-a-jin-gang/amp/) seems to be one term for energy holding practices.

🙏

I don't know how I would fare at this, I have healed myself of things like migraines and I alleviate breathing problems, and I have a lot of heat coming out of my hands at times, but other than that, I wouldn't know where to start.

You may choose to reduce the excessive heat through “lighter diet”. I’m not a meat eater but to purify your energy field, you may reduce oils, meat, too much nuts, dry fruits and excessive proteins and fats, that is some of them.
Also replacing tea, coffee and soft drinks with herbal teas and pure water helps some people to cool the system, long term.

What I figured out is important to do is find your comfortable way with it. Strict diets of all kinds produce kind of YoYo effect.

If you can asses your body condition yourself you keep yourself always in good health, or a pay one visit to Ayurvedic doctor or naturopath around you.

It seems like more of the near opposite, two complete bodies each very cis. I "dissolve" sometimes and then I "am" bodily nor a body at all, sometimes the mud on the bank of a stream, sometimes a valley, occasionally a desert breeze, sometimes a corpse rotting or a seed germinating.

Wonderful🌸 yes it’s very complementary, holistic state of being.

I may have missed or deleted something accidentally as I’m editing slowly , on phone:)

But can add more later if I recall. Best of good luck

🙏🍀🙏

Open Minded Dude

1st July 2020, 10:32

I have not a lot experience in or knowledge of the Yogic or Chinese techniques or teachings. If you want to go about it from a more 'mundane' angle I'd recommend Robert Bruce's books. Either 'Energy Work' or 'Astral Dynamics'. They contain lots of 'training' tips on how to develop and stimulate the energy body/bodies for healing, psychic development and astral projection and similar.

Old Student

1st July 2020, 20:56

Many thanks shaberon, for the mandala and for the extensive explanation of it. I will spend some time on it.

The Tibetan terms you mentioned are from the three states, Chikkai, chonyid, and Sidpai, Moment of Death, Transmigration, and Seeking Rebirth. And then when you say Phowa this is Transference which, on one hand, is the same as the technique of entering a corpse or possessing a living body, but with respect to the Bardo it means something more like transferring above or beyond them. And so for instance this means Moment of Death will not affect you; it just happens, but you do not swoon or lose lucidity. So then you are talking about the highest part of the Path that we can barely define.

I personally do not expect to achieve this kind of Phowa in this lifetime, but, in saying that Guhyasamaja is like "flipping a switch", it is the same thing, causing an experience of death while in the body. So the concept of Bardo or Antara means happening due to physical death, but, these Voids are the same as experienced when going to sleep, or, during spiritual practice that uses them, Guhyasamaja meaning "esoteric community" and being the technique that begins Completion Stage tantras.

I am aware of the three Bardos, the Chikai Bardo is the end of life one, and it came up in the context of my shaking, as did its Phowa:

When I shake during the night it is an instruction and training. The "trainers" self-identify as Dakinis, they further have names that are the names of actual Dakinis (some are I think classified as yidams instead) in the Buddhist (vajrayana) pantheon. I don't visualize them often, most of the time they identify by a specific kriya which may or may not have anything to do with any trait they have in that pantheon, I didn't choose the kriyas. When I do visualize them sometimes they look like they are depicted in vajrayana art, sometimes not. They teach things: muscle movement and volition, states of consciousness, techniques, experiences of dissolving and of interpenetration or vast space or more mundane things like how to connect my mind to a point in my body to experience bliss there.

In that context, they move my body in a (not sure if kriya is the best word here) movement sequence I began calling the "torso gathering bandha" since it was a rippling downward on the sides of my torso followed by a flow of bandhas up the center of my body moving bliss/energy/my awareness towards my head. Simultaneously, the previous bandha has given rise to two things I had called onions because that was what they seemed like the first time, one inside my head near the crown, white, and one at my root, red. In other contexts, these meet at my heart and produce a mandala. In the context of the torso gathering bandha, everything gets moved up into my head, my crown feels like it is open, my crown feels like the tip of a penis and my scalp like the walls of an infinite vagina. The "stuff" that was moved up by the bandha climaxes.

I chased all this down and it is very close to the Phowa for the Chikai Bardo, if you accept it that Vajrayogini is involved. That was the connection. I was pointed to it by trying to find an explanation for a name, "The White One", which came up in the context of a mandala that displayed at my dantian during other shakings.

It has come up recently again, this time over the location of the opening in my head. In this rendition, the passageway goes to my Shen Ting (spirit palace) instead of my Bai Hui (crown chakra). I have been explicitly told that is the passageway to death, but am still trying to figure that part out.

Old Student

1st July 2020, 21:34

Thanks Agape. I did some digging based on what you said here. BTW, Jin Gang (金剛) in the context of Chinese Buddhism means "vajra".

I used to know even the Chinese name for it but can not recall it correctly now 🌈

May find it for you later though if you can hold.

Holding of the Chi, as in by firm grip. Perhaps even google translate would help..

It was described within certain yogas of Tibetan Buddhism but mostly kept secret.

Apparently, American practitioners of Qigong just call it Kumbhaka, the pranayama term. I do the following breathings when I stand, depending on circumstances:
1) natural breathing
2) reverse breathing
3) qi-follows-yi microcosmic orbit
4) wind-circle breathing
5) vase breathing (from Tummo)
6) ocean breathing
7) a kind of reverse breathing/vase breathing thing I evolved myself

Mostly, right now, I start my standing doing (1) then move to (6) and then do a combination of (6) and (7) and sometimes pile (3) or (3) and (4) on top of it. During certain periods of doing that, some breaths convert to (5) by themselves.

The breathing in (7) is to bring my breath down into dantian (usually by ocean breath inhale), and box it the same way as for Tummo, but extremely gently, until it rolls under and will go up my spine during the exhale which is also usually ocean breath.

Breathing during shaking is usually just natural (which is sometimes heavy because shaking is a lot of exertion), but there are movements my abdomen does that can become like a fire breath (the Kapala Bhastrika you mentioned). When they do, they are generally around 2-3 breaths/second and vary from very shallow and superimposed on my underlying breathing, to deeper and the only breathing.

Do you have a teacher?

You’re supposed to be shown the most appropriate way to do this by your teacher.

Interesting question. My formal training was Liuhebafa, and some Soto Zen. My liuhebafa teacher died in the 1980s. I have been practicing the standing meditation from that, and the form when possible, off and on for now 45 years. Part of the reason I sat zen was to gain some insight about problems at the time with my standing meditation.

As for my training in all of this, I have done reading. Mostly to keep up with the experiences. As I related to shaberon (http://projectavalon.net/forum4/member.php?29736-shaberon), when I shake, there are Dakinis who teach and train. Your call as to whether or not that means I have teachers, I would say that I do.

The method of training follows a pattern: They show me some state/skill which is always easy when they move me through it or manifest it. Then I have to do it myself. In between those two, there are often a lot of shakings I refer to as calisthenic, when I basically either build muscles or try the same thing in different ways trying to get it to work. There are some shakings which seem like a test -- I have to do the new technique and they watch and don't help me. There are also occasional ones (only three in a year and a half almost every night) when they "operate" on me -- install something or remove something. Install usually feels like a nerve connection or extension, remove is removing something blocking me. One at least of those was conducted with me able to watch but not move from the sidelines and took the form, in the vision, of an operation.

Most of that is about achieving new states. Sometimes it is therapeutic. The entire thing, start to finish, runs on bliss (redirected "mental" orgasm). But recently, I have been learning about nausea as a mirror opposite to bliss (because my breathing problem can be alleviated by generating nausea for a brief period of time). The initial training (as might be imagined) was in generating and sustaining such bliss.

As I said, I don't know whether this qualifies as having a teacher. It's a little hard to talk about, people say, "Who are you studying with?" and I mumble something about Dakinis and wonder what they think.

Old Student

1st July 2020, 21:41

Agape

2nd July 2020, 05:35

Very beautiful and truthful, thank you for sharing and detailed explanation 🙏🌟🙏

I’ve practiced my meditation in different systems, i prefer to think I was on my own :) but if I look back, I sat together with many different groups and collectives,
taught guided meditation groups as well which I’ve nicknamed “Vajrayana group”
for it’s always been a mixture of philosophy lessons, practices conducive to meditation itself , some pranayama, some chanting, energy work and quiet meditation practice at the end, as long as I could hold people in :)

Spent years in meditation in the Kalachakra temple in Namgyal monastery and sat out all the long ceremonies, that was my favorite place and lots of energy work.

I had to balance it in later years by lots of walking, and exercise and my need for meditation almost ceased after 6 years,
and very powerful extraterrestrial encounter I’ve experienced in Bodhgaya 2002, at the beginning of huge Kalachakra initiation.

For the benefit of others and since time is sparse,

I’ve tried to turn every life activity to practice. So I enjoy doing chores and learn new things, how to fix sockets and ancient cookers, computers, shoes and other useless stuff 😷

At the same time, most of my meditation happens on subtle energy-Mind level as a consequence of this long human dream ..

Some days and nights I feel I can leave the dream behind and Go :)

Why is there
Another morning

Just floated away

🐳🐳🐳

May many Old Students appear to attain the excellent state of Vajradhara

🙏

shaberon

2nd July 2020, 06:47

When I shake during the night it is an instruction and training. The "trainers" self-identify as Dakinis, they further have names that are the names of actual Dakinis (some are I think classified as yidams instead) in the Buddhist (vajrayana) pantheon. I don't visualize them often, most of the time they identify by a specific kriya which may or may not have anything to do with any trait they have in that pantheon, I didn't choose the kriyas. When I do visualize them sometimes they look like they are depicted in vajrayana art, sometimes not. They teach things: muscle movement and volition, states of consciousness, techniques, experiences of dissolving and of interpenetration or vast space or more mundane things like how to connect my mind to a point in my body to experience bliss there...

...I chased all this down and it is very close to the Phowa for the Chikai Bardo, if you accept it that Vajrayogini is involved. That was the connection. I was pointed to it by trying to find an explanation for a name, "The White One", which came up in the context of a mandala that displayed at my dantian during other shakings.

In that case you are describing Completion Stage or Heruka Yoga.

Yes, Vajrayogini has equivalent mandala system like Sarvadurgati, and the Dakinis and so forth that are involved are inherent parts of one's existence. However one of her main Three Families is Jewel Family. She is more advanced and works formulaicly about the same but in actuality a little different than an image of Buddha, which, perhaps, is a better figure for the main publicly-known ritual or Sarvadurgati.

The Indian system is explained differently than Tibet over this particular word. If you consult almost any reference it is going to tell you Heruka means Blood Drinker and give examples of Wrathful Deities.

However, in art, it just means a simple two arm form.

And so the Heruka Yoga means such a self-arising white one. "Completion" Stage is really just "Complete", meaning this complete working unit.

Then for instance on the Sarvadurgati mandalas if you zoom in, you find Peaceful Vajrapani as more or less a simple two arm white form. Something like this. This is something like the operator of the Devata or Yidam. Heruka is the advanced form of Vajrasattva. And so it is really Vajrasattva that operates the Yidam, but, compared to the prior invocative process, the real Heruka is the actual Yoga of doing it with the luminous operative form.

Dakini is like a bandwidth of elevated energy which I do not experience in those kind of details.

They are traditionally explained as Two Celestial Women a white one like Empty Niche and a red one in the sphere of Bliss.

And then so yes, experiencing the crown as an aperture in the sexualized manner as you have described is the outcome of magnetizing the body. It would be the Body Mandala of Jnana Dakini. Without any further background, I would take you as what we call a self-arisen yogin. This crown condition plus the self-arisen White Heruka would basically be defined as the extent of the Yoga Path that we as outsiders usually take a long time to learn about and develop.

I do not personally have that but what I do know is what is called Nirodha or Cessation and the Eight Dissolutions of Death, such as Earth slipping into Water and so on. Nirakara meditation; or Parasunya. The Parasunya is, physiologically, in Purna Giri Pitha over Higher Yoni Triangle beyond the head. It is Amanasa or a state of no formative mentation, devoid of phenomena all together. An Utter Stoppage of the Winds.

And then the Tibetan usually refers to Transference into Clear Light, which is a possible interpretation of, but not the full sense of, the Indian original, Prabhasvara. It is a form of light, but the adjective rendered ought to have meanings of purity and royalty. I am not sure how to make that in one word if it comes out as Pure Royal Light. If we look at what are called the Bodhisattva Bhumis or Grounds, at first it is Golden Ground, and then takes on more and more fiery and solar characteristics, as if building an aura made from the stuff.

The main thing that makes Nirakara a Buddhist practice is the following: other Yogas may help you find the way in. Buddhism dictates that afterwards you must Emerge in Reverse Order. That is when the deities will dawn to you.

I will continue to testify that works exactly how it says it does.

But since I lack the Dakini perception or the Heruka body or anything like that, I am still in need of something from within the Yoga Path. My experience was more from a general Laya Yoga practice, whereas the Buddha Families of Wisdom and Protection are what I would have to cultivate. The normal trend of consciousness is to be dazzled by the deities in one way or another; Emergence means to harness this.

Vajrayogini's Yoga teaching says that the human subtle body is a Net of Dakinis. The chief of them is Jnana Dakini. And so she is governing this weird activity that starts to go out the top of the head. That is the Vajra Danda or Staff and it can sometimes be seen in a colored mist. And so if one is able to bond with Jnana Dakini, then, all the tantra is like a progression of Heruka and Jnana Dakini.

Without the close bond, or the transmitted initiation, etc., the definition of a "wild-caught" Jnana Dakini is called Guhya Jnana Dakini, and this is the one that is actually used on Tibetan national symbols.

So in Yoga, Guhya Jnana Dakini holds an important position. She is similar to, but not identical, to this chant In Praise of Five Elemental Dakinis which mainly is just calling them by the Family Name:

TzP_TskFWWo

Very Venerable Zasep Tulku does Prajnaparamita Sutra behind the mantra:

Om Buddha Dakini Hum Hum Phat Svaha

Om Vajra Dakini Hum Hum Phat Svaha

Om Ratna Dakini Hum Hum Phat Svaha

Om Padma Dakini Hum Hum Phat Svaha

Om Karma Dakini Hum Hum Phat Svaha

Guhya Jnana Dakini is something similar to this retinue; her role is something like an "organizer" of dakinis, an arranger of hosts. She is unique and there is not another one that works the same way that I know of.

And so a personal practice pantheon has a few "offices", or roles, so I can take a Tara such as Janguli for a Yidam and then Guhya Jnana as a Dakini. One generally accumulates Guru, Yidam (or Ista Devata), Wrathful, Dakini, and Protector. And then the instructions are going to say certain days are for Wrathful practice, and the end of the lunar cycle is for Protection, and things like that. Or it is really almost all following the lunar cycle.

Parasunya is the correct Sanskrit name for the philosophy of Jonang Taranatha as well as the Hindu Yoga name for the most subtle void beyond the head.

Tara Natha was a hound for Tara, but, he did not actually get them all as found in Indian sources. These Indian ones are extremely beneficial for Yoga. Some of them simply are Hindu; Janguli is Manasa. But then one of the unique veins of Buddhist meditation is classes of Taras said to emanate from the crown center of Buddha, Usnisa class deities, who provide, so to speak, the magic word for doing a Buddhist Completion Stage.

The Usnisa hair top-knot represents the growing psychic structure, which may also be depicted as flame or Ketu "comet tail". And so one of the main original names of Jewel Family Buddha is Ratna Ketu, i. e. to portray this image, and then we see the Yoga Tantra Path consists in something like starting Jewel Family in the core of our body as a mantric force field on the earth plane, and, it is usually an eventual result of this process that produces the flame, ketu, staff, etc., at which point the crown is Protected by Wrathful Jewel Deity.

So yes both the crown-as-aperture and White Heruka are the signs of proficiency at the entire Generation Stage.

Old Student

2nd July 2020, 18:37

I can relate to the fixing things, although generally my motivation is somewhat environmental, but it usually takes the form of, "I can't believe they want me to throw out all this metal and plastic and electronics and buy a new one. what a waste," and then i decide to take it apart.

Kalachakra -- I did some delving into that in the form of reading and mostly reading the history of it, and of another companion tantra called Vimalaprabha, but it was in the context of a fixation with ancient Khotan, one of the capitals of the Buddhist world until it was laid waste and the people slaughtered in 1003 C.E. The connection is that some of the texts are devoted to describing a great collapse of the Buddhist world, and it is believed to have been based on the destruction of Khotan, of Mahabihar at Balkh, of the great pillar of Kanishka, and the defeat of Srivijaya by the Chola. The myth version is that Vimalaprabha was a guardian bodhisattva of Khotan, who had once incarnated as the princess, and vowed that she would protect Khotan unless the people deviated from the Buddhist path.

Thank you for not slipping away quite yet.

shaberon

2nd July 2020, 19:08

Vimala Prabha or Stainless Light is the main Kalachakra commentary. And that is also largely correct that at the apex of the university system that Khotan was a very important center.

The strength of the Kalachakra system is that it explains the subtle winds in one place. The trouble is that it is a massive, major daily commitment that does not have a Yoga equivalent, and its unique pantheon of over 700 deities does not really match or flow from the Sarvadurgati-type terminology which works with Tara and Heruka Yoga. The Heruka system appears perhaps a bit "clumsy" because its teachings are mostly in commentaries and other places, so it is more like a system spread across a curriculum than in a single text. Therefor I am mostly talking about Heruka Yoga as related to India, which has mostly the same meaning, but it not quite the same system and terminology as either Kalachakra or the First Transmission that interprets Heruka as Blood Drinker. It is closer to Manjushri and Tara and the spectrum of learning the doctrines and gaining some realization in order to stabilize and strengthen that Heruka, which, would also work for Kalachakra, but is more directly related to Samvarodaya.

Old Student

2nd July 2020, 22:54

I am aware of the five wisdom Dakinis, when the Dakinis first started identifying in my shakings, I spent quite a bit of time working on which one had what name and which direction, color, consort, etc. In the end, some of that was worth it and some wasn't. It was kind of in that context that I was trying to find a name for The White One, I ended up just going with that, although she does embody characteristics at different times of various Dakinis. In the context of that search I came upon the first Kalu Rinpoche's description of her and the Phowa, he also refers to her as The White One.

For context, I have three mandalas which appear from time to time. One is at my dantian, it is an infinite Apollonian Gasket of taiji symbols that "breathe" back and forth between them and Dakinis dancing (the Dakinis move seamlessly with the symbol), and the central figure is The White One. The second is at my heart, it is composed of lotus buds that infinitely subdivide as onions that become lotus buds -- they are all either red or white. It's complex and I see it seldom because it extends temporally not just spatially, and I have to be in good physical shape to do the "push hands" moves for time scales embedded in each other. The third is a jeweled net, at my throat, it is infinite spatially, it is somehow related to Mayajala, Indra's net of illusion. When some of the things that happen during shaking happen, it is instrumental in seeing things like infinite interpenetration. The center of this one displays almost always when my throat is activated, I only see the whole thing occasionally.

Heruka Chakrasamvara is in Lama Yeshe's book, he has one preparation for doing Tummo that requires visualizing him beforehand (and Vajrasattva), so I did do those visualizations when I was doing my experimenting and when I was working on Tummo. I did Heruka with 12 arms, though, in coupling with Vajrayogini.

Thank you very much for the mantra video, it is very uplifting.

Isn't Niguma also referred to as the Secret Wisdom Dakini (Guhya Jnana Dakini)? I learned a stretching exercise that is supposed to have come from her.

Old Student

2nd July 2020, 23:03

I'm not understanding why it is important that Heruka means blood drinker? Dakini has other meanings, one of which is female demon.

But thank you for the information about the Kalachakra size and its relation to Yoga.

Agape

3rd July 2020, 06:26

There’s much in Tibetan Buddhism and any “special teachings” that needs to be approached with cautions. I’m saying that as “old student” of some 26 years and there is nothing more precious than snippet of personal experiences.

Consider that, for any “yidam” ( Sanskrit: Ishtadevata = preferred deity) practice you ought to receive private initiation from Vajra master.
In days of old, students including monastics, even great scholars like Naropa, had to wait years before they received initiation to Mandala and Deity practice,
they had to offer themselves and all they had to their master.

The original masters were Mahasiddhas who had spontaneous visions of mandalas of deities and received direct guidance from them.
Some of us are that way even if we are not quite Mahasiddhas( accomplished beings) quite yet. I’ve had many different visions of deities and mandalas that guided me on the way, without need for further explanation and sometimes I found the names and details of those only years later.

But in gist, most of the original teachings and mandalas come from great and direct visions. They were not put together by scholars of either religion as people often think about it with analytical minds.

In the authentic transmission lineages and it’s still mostly true in Hindu tradition, any “guru diksha” ( master - student initiation) depended on having authentic relationship between the two that was not to be disclosed or broken, for this and following lifetimes.

What has happened to many higher yoga( aka tantric teachings) over centuries would be called corruption these days. Some were passed onto wealthy disciples who could pay for them, others were given “en mass” as public teachings.

From reality view point it’s a total deception to the causality, wisdom and method.

Guru and deity( particular Buddha or Bodhisattva) choose you before you choose them. There has to be natural link and likeness of character between the two.
It’s the only way how to proceed happily with practise.

People who take over certain teachings and methods as if they owned them remind me of “raping the force”.

That itself is strict injunction against the Tantra. It was done repeatedly by people in past trying to accomplish certain worldly goals or rising their status.
It’s always wrong.

It’s how even the portraits of deities especially wrathful ones were always kept secret before this kind of Buddhism got out of Tibet

but even before it happened, its situation in Tibet has already been corrupted by many lamas “doing what they wished”, mostly with the aim of attracting money and disciples.

Certain practices such as those of wrathful deities will never even disclose their real pure nature unless the student is 100% committed, of pure mind and suitable character.
The more complicated the practice, the commitment has to be complete. Now there are people with complete commitments also who practice what’s not quite suitable for them.
There’s no book recipe of what is suitable or not, the responsibility always rests with the guru. If there’s a mistake or a mishap, teacher who are far more advanced can always fix it. The student can not.

As I’ve said earlier there’s much within any particular -ism including famous Buddhists sects that needs to be approached with cautions.

The most common and obvious thing for me was basic gender segregation in the Buddhist order. Buddhist nuns were always placed far behind monks in the Vinaya practice and everything else.
This dates to times of Buddha Shakyamuni of course but it’s not dissimilar to status of nuns in Christian and Orthodox Christian orders and prevalence of patriarchal hierarchies in dominant religious systems.

Even if one accepts the difference philosophically and even if most Buddhist monks are very kind in general, in practice most nuns in Tibet were poorly educated
and sometimes, to put it bluntly lived miserable lives.
It does not mean there were no great yoginis and other female practitioners but in common society, discrimination towards nuns was also common.

Much has been fixed in just about last 20 years or so- education system has improved and nuns can study to receive Geshe(ma) degree.
But they’re still in minority.

When I first came to Dharamsala, 26 years ago, the nuns quarters on the hill close to Namgyal monastery were just shacks, with windows plastered by plastic bags and living poorly. They tried to study, even to learn to read n write as many were illiterate, could not afford medicines when needed and many were so absolutely shy they never talked.

Born to modern and gender equal society, there are things our grand grand mothers struggled for, I could not personally agree to “retard” to such levels
even though there were many foreigners here who went for the experiment.
The problem is often, more humble you are the more humbled you will be.

Both monks and nuns would push each other to hard practice such as prostrations until they had sores on their foreheads, hands and feet. It was considered the proper way to do it.

It’s again, something my subtle Being can not inherently agree on: there is much human suffering that we are trying to heal and alleviate.
There is no need to create new one.

There are countless other examples of what shouldn’t be done in the name of yogic or Buddhist practice.

But I’ve seen the pattern among other non-Tibetan sects too , including Zen practitioners and others, forceful disciplines imposed on students without appropriate discrimination wisdom and more on the humble ones that result in years of abuse,
in some cases.

Buddha himself never ever carried himself and his teachings in such manner.

Buddha was a prince and ascetic and generally, very sublime being who gave advice to those approaching him, in calm and kind manner.

If his self proclaimed students trying to achieve Buddhahood fast devoted themselves to various forms of torture it can’t be quite his fault or teachings.

There had been also many misguiding translations of Tripitaka by Western scholars since about 18th century : if I say misguiding it’s because those people rarely understood any of the ancient languages (Sanskrit, Pali, Chinese, Japanese) really well on Dharma grounds either/or they did not follow their master.
As a result many of those translations are biased towards the opinion of the author.

Buddha himself did not start either “Mahayana”, “Hinayana” or “Vajrayana” perspectives, all those categories came to existence by endless divisions and misinterpretations by unenlightened people centuries later who always criticized each other.
Buddha would give pointed advice to individual students and sometimes gave teachings to assemblies of monks and lay people on philosophical topics,
without any discrimination.

Anyone truly interested in the original Buddhism of many colours should visit Bodhgaya at least once in their life time- it’s unforgettably rewarding experience especially for those who can stop and meditate there for a while.

I’ll share again this beautiful documentary from Werner Herzog with you
about creation of the Kalachakra Mandala( Wheel of Time), Bodhgaya and sacred Mt Kailash, the diamond shaped mountain in Tibet and holiest of Holies to almost 4 religions.

It was filmed in the same year -2002- I spent 3 month in Bodhgaya and when the ET Encounter happened.

It contains some good commentary on the Kalachakra Mandala as well

Source link: https://documentaryheaven.com/wheel-of-time/

http://www.youtube.com/watch?v=UJZAb830qEc

🙏

shaberon

3rd July 2020, 07:15

Yes, Niguma, sister of Naro, is also Guhya Jnana Dakini.

And so if you are more intricately into this stuff, then White Heruka is Reversed by White Vajrayogini:

https://www.himalayanart.org/images/items/resized/1800px/4/0/2/40278.jpg

By being reversed it is talking about withdrawal of the senses, which, historically has often been called Kalachakra Yoga, but is really just Sadanga or Six Limb Yoga. That is why Kalachakra is not an original teaching. It is another application. The term and teaching for Six Limb Yoga permeates the Buddhist Yoga corpus. And so that is another thing we would say "makes" it Buddhism, in fact, it is practically a reversal of the Eight Limb Patanjali system. That one begins with Pranayama or breathing exercises. In Buddhism, Pranayama is a middle stage that means "restraint" (yama) of the winds (prana) coupled with mantra.

So, there is simply a White or Sita Vajrayogini.

There is also Sukhasiddhi.

There is a White Naro Khecari, White Vajravarahi, White Vajradakini.

In describing these things as energy levels, or beings, or anything, it could perhaps be said the Yogini is the Guru of the Dakini.

So in the disciples' training it is generating "a" Heruka which could eventually interface with "a" Dakini or Yogini. That is almost incomprehensible to most people, and so if you can do it, this is advanced.

Maya Jala is from the same Yoga class as Dakini Jala but is more related to Manjushri Namasangiti.

The throat can be considered related to Indra because the entire sensory apparatus is said to join in a point in the Khecari center in the soft palate. That is the "proper" use of what "was" Form in a basic tantra centered on Vairocana. It is Indra who is also the Chief of the Heaven of Thirty-three or the second plane of Kama Loka above the Four Kings. The tantric processes are something like gaining all of Indra's weapons and armor and transcending him to Varuna.

Half red, half white is an accepted form for the Bindu of the Heart which in the Transference done in spiritual sadhana joins the deity or Yidam attracted by the real Heruka.

And so you may be at a point where you are able to expand the Void chakra above the head, to which, Jnana Dakini says:

The crown center is the only permissible point of Transference.

If you leave via the mouth there is at least a chance you wind up in the Sages' realm, but any other way makes one an animal, ghost, etc.

It is just a different system, Heruka as Blood Drinker presents the Wrathful Deities in a system mostly used in the Nyingma lineages. The word Heruka may instead be broken down to interpretations such as Path and Fruit, but most importantly it means the Complete unit formed by Generation Stage. Its evolution is something like:

Dakini Jala

Jnana Dakini with Yogambara

Buddha Dakini with Mahamaya

Sarva Buddha Dakini (Cinnamasta)

Cinnamasta is Tri-kaya Vajrayogini, i. e., means one has mastered all of her aspects. Most of what we have about Cinnamasta is from Pabonkha (through Lama Yeshe and most others). However Pabonkha got it from the Sakya. So what we mean by Heruka Yoga is mostly found in Sakya and Kagyu. It "is" a system of Cinnamasta, more closely related to the "original", Laksminkara, sister of Indrabhuti.

The big Heruka has over 900 deities in Dakarnava, "Ocean of Dakas", male equivalent of Dakini. So it is about as vast as Kalachakra but proceeds directly from the same Heruka pantheon.

The main underlying driver to the Heruka system is Seven Syllable Avalokiteshvara, which is mantricly identical, is Heruka and Chakrasamvara. But this is also to reckon with the Wrathful aspect. If I want to say "wrathful" then it will be Krodha, or Vignantaka, or a few other terms besides Heruka. What he is doing is harnessing Dakinis of Six Families and all together they are the Seven Jewels of Enlightenment. The Jewels are the Path or the mandatory condition for Enlightenment. White Vajradakini is among these, or, rather, is the most powerful.

Dakini, linguistically, was originally an insult, same as all the low-caste women like Chandali who are the consorts of the Mahasiddhas. But the tantra is harnessing increasingly powerful demons up to the devil. So they may be dual natured, Dakinis can cause all manner of problems, and a Teevra Devata such as Cinnamasta or Pratyangira can easily kill you. That is why we want to be careful and not just start trying Pabonkha's rituals because they are fairly easy to find.

Because you have the Three Chakras, then you have Body/Speech/Mind, or Three Families, or basis of the Tri-kaya. The dakini in the core of the body is usually red. Going back to the Sarvadurgati mandalas, the three are easily seen at the top left as Yellow Buddha Body/Navel, Red Amitayus Throat, White Vajrapani Mind. We call it Mind but it means the Heart. In Buddhism, Bodhi Mind means the Heart, and in most instances, Vajra Family lives there.

So if you mean a white dakini at the retinue center at the navel. it is perhaps a bit unusual. What we would have if we followed Samvarodaya is Bandhuka Orange Vairocani. The orange color comes from Amrita or Nectar of Immortality. Sometimes Guhya Jnana Dakini is orange, and it is sometimes found in Long Life Trinity or Amitayus. Amrita is really "the thing" that I am promoting and/or trying to work with. This Vairocani is not a relative of Buddha Vairocana, but is a form of Durga/Katyayani/Vimala.

The more scriptural one, Jnana Dakini, arises with Yogambara in Chatur Pitha tantra. This means Four Chakras, and so a fourth Family is needed, i. e. Jewel Family. They are not a very obvious "thing", but have to do with the generation of Amrita and its flow to the crown.

Jnana Dakini is part wrathful because she has the cemeteries--and if you look close enough, she has a different Quintessence in each one:

https://www.himalayanart.org/images/items/resized/2000px/1/0/1/101367.jpg

So she is handling in some way, eight combinations of life winds. The thing that is asked for Completion Stage, is, do you have precise control of prana? And that is what those shifting quintessences are showing.

When a Dakini has her Staff, it is a sign of accomplishment; this is her Body-less consort. So although Jnana Dakini appears single here, Yogambara is secretly there as her staff.

Agape

3rd July 2020, 09:20

In the Kalachakra, the “clear light body” is called “empty body”.

It’s different from the “illusory body” of Guhyasamaja and other tantras attempting to achieve the illusory body.
As Shaberon said, it relies on unification of purified pranas- the ten winds- ( chi) based on mind principle or whatever we could describe as pure mental focus.

Therefor it’s of different quality that illusory body manifested through energy practice in either Father or Mother tantras.

There’s a reason why Kalachakra is so complicated apart from it being essentially Time-Space physics:) and window to another space time( Kala is Time and Chakra/Vishvamata is Space).
As Einstein would say, there’s no time without space and vice versa. That’s how complicated are definitions of time-space parameters.
Even today’s advanced maths still still keeps writing their equations and definitions for “time-spaces”.

His Holiness Dalailama already discussed the topic with several prominent physicists and astrophysicists or tried to. He is all excited about discovering this hyper space physics coded into ancient teachings.

So yes the Kalachakra requires lots (and prolonged time) of focused concentration.

It’s a sequence and holistic pattern - quite like some of today’s microchips.

The teaching repeats numerous times that the Mandala (knowledge or vision) is NOT a collection of particles or components and does not have “energy essence” as we know of.
Neither can it be attained by either meditation or non-meditation.

The Mandala only manifests as direct and spontaneous vision or knowledge.

The lengthy recitation of 722 deities who represent Avatars of past aeons and their respective times of human history induces the “real time sequence”.
That relates to all the elements of your human body as transformed by millions of years of evolution epochs.

But this is done only once a year during big ceremonies and in preparation and conclusion to it, sometimes years apart if circumstances aren’t conducive.
1 day of Kalachakra equals 12 human years.
It’s also approximate time of orbit of Jupiter, the planet.

Most daily practice in Kalachakra tradition is based on the Mind Mandala of Kalachakra that contains only 32 Buddhas with their consorts.

The way you visualize this strictly depends on dispositions of each disciple.
If there are 30 monks in the temple, each will have completely different inner approach depending on their mind and energy.

But altogether, it’s a sequence that by trained focus and visualization helps to manifest the Mandala and eventually, “empty body of clear light” that is pure mental body.

For those who aren’t completely new to the practice, even the use of painted “supports” of Kalachakra is then discouraged.

It does not “look like” the picture.

The nearest similar modern term to describe it would be something like live holographic body.

But it does not “descend” or “ascend” anywhere, it only manifests from within you- more precisely from the “heart drop” containing mixture of all purified energies.

You see, even holographic technologies have a live predecessors.

Theoretically speaking, the same body or Mandala can become visible to others for short time, either in clear sunlight, in the twilight or complete darkness.
Night time and darkness are one of the best times to practice this undisturbed.

From holistic perspective and another basket I would add that one of the major problems of our times and era of industrialization, electromagnetics and computers, WiFi, 4G, 5G and so forth is that we are very low on Chi,
both us and nature that means our food,
compared to ancients.
Very few healers who live in nature are able to preserve their Chi intact.

So no matter what practice we do, the results may never be so “dazzling” and prove themselves the same way as in days of old.

🙏🌟🙏

My little Minds.com page but I’m not updating it too regularly:

https://www.minds.com/manjuvajra/

You can find some more mandalas there ..

🙏

shaberon

3rd July 2020, 18:53

In the Kalachakra, the “clear light body” is called “empty body”.

It’s different from the “illusory body” of Guhyasamaja and other tantras attempting to achieve the illusory body.
As Shaberon said, it relies on unification of purified pranas- the ten winds- ( chi) based on mind principle or whatever we could describe as pure mental focus.

Therefor it’s of different quality that illusory body manifested through energy practice in either Father or Mother tantras.

Yes that is exactly right.

And so also in the system of Taras it is perfectly plain:

The unified pranas especially from the Heart upwards are Vajradhatvishvari: Vajra Dhatu Ishvari.

The first Body-less or Empty Niche is Prajnaparamita or the textual deity that at least in Kagyu is transmitted in the basic preliminary meditations or Ngondro.

The way Tara works is that:

Prajnaparamita is becoming Vajradhatvishvari by appropriating Marici and radiating light.

And so the esoteric version of the Paramitas which are the same Bodhisattva Path as in all Mahayana Buddhism have the enlightened intent of a pranic process that is beyond Illusory Body.

The Indian Taras are in Sadhanamala which could almost be called The Book of Marici. Whereas Marici is seen in almost any system of Taras and is also honored by the Samurai, they have only a few bits about her and she is not particularly prominent.

Sadhanamala contains no less than sixteen Maricis which convey the same inner meaning as in Kalachakra but the difference is they are Yoga Deities.

And what this means is that it is accessible to outsider trainees. So for instance when you get Prajnaparamita, part of the meaning is to study and explore the system. And then you are able to visualize deities in what is called a Yoga fashion, meaning Front Facing, like you are having a conversation with someone.

The strongest technique you are supposed to use is called Pride of the Deity, which means their lotus seat is on top of your head. So that is what I do with Vajrasattva. Yes, it will do something beneficial to the beyond-the-body chakra without necessarily "activating" it.

Then if you follow the Yoga teaching, it says the things you may not do are either self-generate yourself as a deity, or visualize them having intercourse.

If you want to greet it in some basic way, mostly around their seed syllable and simple mantras, you can do this. And then so if you have Manjushri or Tara, they both support a full Yoga system.

I personally have bonded with Tara almost thirty years ago, so we have a sort of communion. I have tried to punish Manjushri to force him to be wrong or irrelevant in some way, and, he bites back. Manjushri as the founder of Nepal received Chakrasamvara revelation directly from Guhyeshvari. And so I have scrutinized his system and it is congruent with the teachings because it is probably the oldest one.

Probably the most explanatory example of Tara is what I call the big Ekajati from Bhutan, in an attempt to portray Taras from Sadhanamala by the Drukpa Kagyu:

https://www.himalayanart.org/images/items/resized/2000px/8/9/1/89181.jpg

There are only two unique goddesses which are White Cunda with her Begging Bowl, and Green Janguli with her Serpent Hood.

The rest of them are Ekajati and Marici. And so it becomes obvious that Marici is a hypostasis of Vajravarahi, and, she becomes Marici Vajradhatvishvari. And so that completely coheres to the fundamental statement that defines the goddess or shakti, etc., as a type of Yoga progression, based from Prajnaparamita.

And so that shows something as to why I see Janguli as something of a capacitor that takes all the charge I can stuff from the outer path, particularly, in how it is like she is standing for the whole Sarvadurgati, and she is my best Yidam or Meditational Deity to guide me to the enlightened side of it.

She is a Tara who directly attached to Prajnaparamita who is Gold on top of our Kagyu Refuge Tree based on Guru Vajradhara and Vajrasattva:

https://www.himalayanart.org/images/items/resized/2000px/8/9/9/89992.jpg

And so that is the Ngondro or preliminaries or outer form, to which, you are able to attach Manjushri or Tara.

This system works almost completely esoterically by following the inner meaning; Tara, particularly, can develop the majority of it as a Peaceful Bodhisattva.

Open Minded Dude

3rd July 2020, 21:36

Thanks, Open Minded Dude, I have actually looked at some of his stuff about a year ago. One of the reasons I didn't think the clear body was an astral one is because it is always in me, unlike an astral body which goes places. And astral bodies always seem described as very close to the original.

Yes, but he also describes the so-called 'etheric body' or 'etheric double' (iirc) which is very close to the physical body or even kind of integrated in it. He observed it very often in OOBE state (so he claims at least) and states that the etheric body itself then produces the astral body that serves as a kind of 'drone' to be really out and about.

Not saying all of this is true but it's his theory and I find it might have value for consideration.

I myself had etheric projections where I did not get far from my body, so this would confirm it, I know this also from other projectors and their accounts in other forums on AP. In an etheric body 'projection' everything is 'heavier' as it is not made for 'projection' and you do not get far away. It is only the 'energetic overlay' and connection between the physical and astral and higher (mental etc.) bodies.

I also believe that Sylvan Muldoon in his famous book 'The Projection of the Astral Body' described them when he said he produced knocking sounds on walls or so with his 'astral' body.

Agape

3rd July 2020, 23:32

Shaberon, so many thanks for your excellent input.

I admire your great scholarship 🙏

There has to be some free space where I could possibly disclose and discuss
my true perspective on all of the above in future.

I do have yet completely different perspective on the symbolism, its essence and its meaning. But keeping it “top secret” as intended, for now.

Also, there is a reason I protect myself from the female energy and sexual symbolism, that is absolute distance.
It has to be that way.

There are medical reasons and for the subtleties of my long term practice, I can do start bleeding from anywhere on spot when exposed to this and breaking down emotionally( how surprising).
That is I need to protect myself from myself.

Guess I’m horrid😢 feeling that way.

Happy Independence Day 🌟🌟🌟🌟🌟

Old Student

4th July 2020, 04:49

Old Student

4th July 2020, 06:00

Thanks for the explanations, shaberon. Some of these names are familiar. I have other points which are important, some of which are where the chakras are located, some not quite. But these three are the only mandalas I have, all of them either infinite in space or in time or in complexity. There is a sequence of pairs at my crown, the inside of my head, my throat, my subclavicular point, my heart, my solar plexus, my dantian, and then three points which generate bliss at my perineum, my solar plexus, and my subclavicular.

My actual meditation, my standing, as I had said to Agape, I do breathing of various types (pranayama), not so much when I'm shaking, when I'm shaking, the things that matter is the generation and flow of bliss, the ability to listen (as in internal arts, Ting - 聼), the ability to relinquish self - dissolve, and the ability to remain on a fulcrum. Those are mostly my own terms, I don't know what they are called, except that I'm fairly sure my use of bliss is fairly standard, and my use of 'listen' is exact, as in push-hands. So I have no idea what skills or lack of them I have with pranayama, except that I can do dozens of different patterns of fire or bellows breaths, but do not do them purely voluntarily (my abdomen trembles or beats I can if I want control whether it will stop or start, but not how it beats).

It is very interesting what you say about the throat, because Vairocana is sometimes interchangeable with Samantabhadra, I perceive Samantabhadra-Samantabhadri or Vairocana-Samantabhadri if you will at my throat, in conjoined form - yab yum - quite often, almost every night for long periods when my throat is going to be an important part of the shaking. It is complex in those shakings, it has the jewel which centers the mandala/net, it has a stream flowing through it, and it has those two conjoined there.

Ekajati is much different in my shakings than in your description (probably not surprising), she has forms, one of which is Nairatmya, in which she is fierce and empty darkness. She never has one tooth like in thangkas, and sometimes she is even dressed in more Greek looking garb and holding a staff. Like I had said, some of these Dakinis in my shakings don't match their depictions. In my shakings, she frequently gets things that need to flow flowing, but can sometimes fill me with a lot of empty space (as in stars, galaxies sized empty space).

Old Student

4th July 2020, 06:05

Okay, thanks. I can certainly take another look. My clear body would not be able to be projected, it is me when it is perceived, and my physical body moves along with it.

shaberon

4th July 2020, 07:31

Yes, but he also describes the so-called 'etheric body' or 'etheric double' (iirc) which is very close to the physical body or even kind of integrated in it. He observed it very often in OOBE state (so he claims at least) and states that the etheric body itself then produces the astral body that serves as a kind of 'drone' to be really out and about.

In original Theosophy, the physically-integrated thing is the astral body or Linga Sarira.

The thoughtform-body is often called Mayavi Rupa. It exists while it is in use. Otherwise it is a Kama Rupa like a cloud of thoughtforms. When projected it takes the regular appearance of the person, but can be changed. This is called "the highest body". The "higher self" is not a body, is a breath.

So in Buddhist practice, it is like Dream and Illusory Body. Mayavi Rupa means Illusory Body.

It chiefly relates to increase of Sambhoga Kaya.

This leads to/stabilizes one to experience the Dharma Kaya, which is Formless, but the dharma realm has, so to speak, existent mental elements which may be realized as Svabhavika Kaya, Vajra Kaya, etc.

The full Dakarnava instructions allow for seven skandhas and seven kayas, which implies Seven Buddha Families, which we might assert is also the statement of Cunda.

Cunda Tara appears in some of the same early scripture as Avalokiteshvara, and she says:

Namo saptanam samyak sambuddha kotinam tadyatha

Om Cale Cule Cundi Svaha

The regular interpretation here has been that "Cunda is surrounded by seven million Buddhas", but, linguistically, it may also simply mean she is with Seven Buddha Families.

She is possibly the first known Tara, and she is still used in most of the Tibetan systems, although they are unable to translate her--her name is a mystery. They just write Tsunda.

If they expand the meaning of a name then they usually change it such as Marici <--> Ozer Chanma.

But, Cunda is primordial or among the first, and is allowed to carry a meaning which would remain in Dakarnava or the most advanced part of this system. And for some reason the Drukpa have selected her as a significant piece to be represented in the Sadhanamala image above.

Another that Tibet does not change the name of, is Bhrkuti. However, it is like Heruka, they make her mean Angry Frown and her images are made that way. But her name really just means "knitting of the brows". This could be the glance of concentration, or, it could just mean a vibration in the ajna center. And then when we look at Indian sadhanas and images inspired by Prajnaparamita Sutra, Bhrkuti is very serene and happy.

Esoterically Bhrkuti is considered something like a preacher who inhabits the base slopes of Mt. Potalaka which is a sacred mountain of Avalokiteshvara and Tara, as a Nirmana Kaya. And then above her is a Sambhoga Kaya form, Maha Sri Tara. And so this mountain works like Tara's magic mountain and can support celestial palace, etc.

For Agape, most of the commentary for the subtle winds, etc., is contained in Vajra Mala or Vajra Rosary. And of course everyone is unique and there are things I will not print either. The real stabilizer is Acala (who may be in Buddha Family) or Vajra Family as a whole. Acala is Not Moved and Akshobya is Not Disturbed. Iron Mountain Chain. Indra's Invincible Armor. The literal interpretation of Mantra is Manas (mind) plus Tra (protect).

Tra is also the main syllable of Jewel Family and their main function is to Protect the Crown Center while manifesting Six Qualities or Families Equally.

Without some good protection, the forces and deities involved can simply eat one's soul. I have had a fair few of those and so I would have to agree that the wrathful and protective aspects are important.

The Armor Deities are just about the most powerful thing I would attempt to use in a kind of sub-tantric practice. It is not quite a form, it is mainly the deities' syllables on Moon Cushions, which armor six chakras. So the system will sequentially use one, two, three, four chakras, but it protects more. All of Yoga stops at Four Chakras for the purposes of Suksma or Subtle Yoga. The base of the spine is not even involved until full Yoganiruttara Tantra such as Vajra Kilaya.

It is impossible to remove oneself from female energy because it is just power and if you do nothing, you are still running at about twelve watts. One is something like a lightbulb in the infra-red spectrum. Tara has multiple forms that can be used in Completion Stage which are still non-sexualized yoga deities. Same for Manjushri.

So on the big Ekajati above, you can see something else about Janguli, she has Fancy Pants. This means she is in Sambhoga Kaya. She is Tara because Tara usually sits like that, with one foot out. So she must be a pretty close energetic parallel to Maha Sri Tara. It is just that Maha Sri is a basic form. Maha Sri is Green Tara with Marici and Ekajati. So this exposition of Sadhanamala with Green Janguli is like a detailed expansion of the same (original) Mt. Potalaka of India, and, the (ported) Mt. Potalaka in Tibet, Green Tara with Marici and Ekajati, under magnification.

Janguli cures Naga Diseases or Snake Poisons. Nagas, psychically, being a kingdom in the human aura, which "holds the Prajnaparamita text", i. e., purveys the teaching as somewhat of a mystery, revealed by purification in the Eight Cemeteries. The Nagas are like cemetery deities. When they are pleased, they "produce rain", i. e. a flow of Bodhi Mind and Nectar, but, if disturbed, they bring poison and floods and water sickness. Janguli is about curing water sickness like in Ayurveda it is the damp disease caused by Ignorance.

But when Janguli "looks around", there are all sorts of Ekajati, who must have some dakini energy because she is dancing. Ekajati is crowned by Akshobya. She must have a bit of Guhya Jnana Dakini which is Sword Dakini. Janguli has become a White Snake in her hair.

And if we think, realistically, what it means is I must have died a gruesome death many times and then transmigrated and lived in nightmares from Ekajati. But she was just responding to the things I made in life. Not really her fault. If I do not improve my condition, she is prepared to be an eternal slaughterhouse. But if I humble myself and ask nicely, then, her weapons are superb for slicing away anything in me that isn't helping.

You have to get Ekajati the Queen of Space to Pacify the Mamos or you will definitely regret any Ego Death experience. But that just means you are also going to regret actually dying. There's no way out.

The truth in Kali Yug is that anything we hate is as much a part of the One Life as we are.

Vajra Family is the axis of Hatred and they may be called Dvesa or Rage Family. When we understand a Family we may also call it by its opposing sin. The esoteric word for Hatred is Aversion. And so Vajra Family is that type of mystery which mostly stands behind the darkness of everything we react adversely to. It does mean "crystal" or like diamond of ultimate hardness; it is also "to feather an arrow" and means subtle. Vajra Yana means a basket of subtle teachings. Every tantric item is made of Vajra. Vajra Ground, Vajra Fence, and so on.

And we are looking at Laughing Ekajati.

Prajnaparamita and Janguli are in Vajra Family. Vajrasattva and Vajradhara are esoteric hypostases of Vajra Family. Vajrapani is the Bodhisattva of Vajra Family.

A common outer Tara such as Eight Fears Tara is frequently the remedy to identifiable mental and emotional trouble, after all, that is what led me to her. With a more detailed look, Vajra Family practice, generally speaking, is what cultivates stability and resolve. And this is really the Alpha and Omega of practice. Since the basic Abode of a Roaming Brahman is the same as the Hindu version:

Metta (love)
Karuna (compassion)
Mudita (joy)
Upekka (resolve)

You will find Upekka re-iterated three or four times in thirty-seven point enlightenment--but if I follow the Yoga Path to the explanatory sadhana of Seven Syllable Avalokiteshvara, then, the Seventh Jewel of Enlightenment is:

Upekka (Vajra Dakini)

So if the first Tara--Cunda--tells us there is a seventh element, then, by unfolding all the parts that match, we realize that enlightenment of the seventh branch is only to be found by Upekka. In other words, most of the technical occult details are stuffed underneath it in the system of Six, and the highest expression is for the Six to operate Equally while being Permanently Undisturbed.

It is like a day one teaching carried to infinity.

Buddha's Enlightenment is usually told as being witnessed by Bhu Devi "Earth Goddess", which is not very unusual, since in Indian culture a "knock on earth" is binding. However, at Ratnagiri, there is a second witness, Aparajita (Invincible). Because Ratnagiri is the Tara system, then, Tara is pretty blatantly saying something about indestructibility.

One should take whatever is needed from Tara or Acala or Vajra Family to vanquish inner disturbances.

I am not a Bodhisattva, I struggle with the same kinds of things, which are eager for homicide and suicide, and it is just a handful of straws from this system that get me by. Understanding what little of Yoga that I do is about the only thing or reason that prevents or even quells major problems.

shaberon

4th July 2020, 09:30

Ekajati is much different in my shakings than in your description (probably not surprising), she has forms, one of which is Nairatmya, in which she is fierce and empty darkness. She never has one tooth like in thangkas, and sometimes she is even dressed in more Greek looking garb and holding a staff. Like I had said, some of these Dakinis in my shakings don't match their depictions. In my shakings, she frequently gets things that need to flow flowing, but can sometimes fill me with a lot of empty space (as in stars, galaxies sized empty space).

Yes, of course. Buddhism is not saying "this is how things are". It says "training x = result y".

That is why I cannot say another school is wrong or something from Hinduism doesn't work.

You are in some kind of advanced samadhi that most people cannot attain. So I cannot say that a white dakini as retinue center at the navel is not happening or is heretical or anything like that. Dakini gernerally implies standing in warrior stance, dancing, or flying. Their main distinctive item as per Niguma is a Drum. To most people they could be a bit loud and rude. So my question about the way you mean Dakini, is it in one of those energy levels?

Nairatma is not Ekajati.

There has been a lot of confusion around blue Vajra Family goddesses.

This Ekajati is a Yoga view of something much more bizarre from Vajra Panjara, which is the explanatory tantra to Hevajra.

Nairatma is not a Yoga deity although looks like one. She has no existence prior to Hevajra Tantra. The real Nairatma is not a form, is Ego Death. Hevajra Tantra is a branch of the Heruka Yoga, but it has no preliminaries, it works "from" Heruka and not "to" it, is only a Completion Stage. Nairatma is in Sadhanamala and requires a full Abhisambodhi Sequence.

Blue Vajrayogini is Mahacina Tara. And so what this means is Maha (greater) Cina (China) which in the past has been construed as various places; but it a Tibetan import from Assam in East India; which is part of the Kirat, Naga, or Maha Cina culture, which is Mongolian, the diaspora of Manjushri, and if you look at Manjushri's Wu Tai Shan mountain, then, the northwest direction is historically Mongolian. So in this sense, we are not just rooted in the origin of Nepal itself, but in an ancient migration having many other kingdoms.

Tara's actions in East India tell us two things: the replacement of blood sacrifice by symbolic; and Kama Devi whose Pitha is in Assam. Kama having to do with love and bliss, which may perhaps seem a bit veiled by Mahacina Tara.

Hariti sometimes has a Greek look, relics from the Taxila or western area or around Pakistan definitely absorbed recognizable stylings from Greek art.

The blue dakini we have a hard time speaking of is ultimately the Lunar Nerve. If we think of Tara, Marici, and Ekajati, it is the same as Cinnamasta, the Three Main Nerves.

Prana Yama means to constrain the winds into these nerves, and, ultimately, the Central, only. That is what makes Vajradhatvishvari. So Yoga Path and Pranayama means those mantras and visualizations which move the winds from the body surface into the 84,000 minor nerve branches into the bigger and bigger branches into the main chakra system, and then operating it.

Guhya Jnana Dakini "has no use for empowerments and the like". Almost every other lineage does. Almost every deity has a type of rule of progression. However Manjushri and Tara have open doors. So for those of us who are in the wilderness without the luxury of being initiated and trained by gurus, it remains the case that there are some deities one is able to train in, and, that also, there is a Dakini who defines herself as spontaneously present.

Jnana Dakini in the lineage transmissions is Sarasvati who is female Manjushri.

Guhya Jnana Dakini seems a bit different, is heavily involved with Amrita and Generation Stage, and again if we apply the same type of esoteric key, it is related to Lotus Family and continues through the series into Dakarnava.

Lotus Family governs the throat, and, hence, the opening and flow inside the roof of the mouth. It is Speech and so this is really the second chakra.

Guhya Jnana is also Sword Dakini, which is also related to Hindu tantras meaning points towards the center. Mahacina may have a Sword.

At that point we are at the Vajrayogini temples of Nepal. And so this is like the surviving tip of the Indian Buddhist system. Some of it continued to Tibet, but Vajrayogini is rather more specifically Nepalese.

In Buddhism yes it is best to be initiated to the Sangha however possible. In the case of many of the Mahasiddhas, they were initiated by Yoginis. But if one follows the teaching, Guhya Jnana Dakini may be "intercepted" and used in the Pranayama process of Vajra Muttering. Because that is the actual practice, a better name for it is Muttering, and so if I say mutter a deity, it means doing the Ngondro meditation and adding one or more Yoga deities and muttering them. The only actual breathing technique might be Soft Kumbhaka. You are trying to get the upper and lower winds to "handshake" in the navel or core. Other than that you just mutter.

It is hard for me to visualize anything much better than a blob of light and Yoga deities still work.

shaberon

4th July 2020, 19:04

Just making a quick tabulation what the system I am describing is accurate to:

According to Jamgon Kongtrul (https://books.google.com/books?id=wn0SAgAAQBAJ&lpg=PT409&ots=3sm79OnKwd&dq=samvarodaya&pg=PT543#v=onepage&q=samvarodaya&f=false), for the Chakrasamvara system, there are five explanatory tantras:

Samputa (shared with other systems)

Vajradaka
Samvarodaya
Abhidhana
Yoginisancharya

David Gray (https://books.google.com/books?id=Sj5qDwAAQBAJ&lpg=PT26&ots=QRmb2ybT3Z&dq=samvarodaya&pg=PT26#v=onepage&q=samvarodaya&f=false) adds Dakarnava and explains that in Nepal, Samvarodaya is more emphasized than Chakrasamvara itself.

Genesis and Development of Tantra (https://books.google.com/books?id=iggRAwAAQBAJ&lpg=PA177&ots=Or3vVWRl7N&dq=samvarodaya&pg=PA177#v=onepage&q=samvarodaya&f=false) expands on how Vajrayogini--Vajravarahi was propitiated around Nepal and only partially transmitted to Tibet. So for example Elizabeth English's Cinnamasta book is based on the compendium of forty-six rites mentioned there. It also refers to Yogini Jala or i. e. Dakini Jala.

The shared Samputa system is the system of Vajrasattva derived from Pramadya tantra which, in the overall tantra system, is the reasoning for it being attached to Agni.

Samvarodaya is a bit different from most Akshobya-based tantra because it is based on Vairocani instead of Vajravarahi.

Vajra Daka is the explanation of Seven Syllable Avalokiteshvara, which uses the Seven Jewels of Enlightenment such as Vajra Dakini as Upekka.

And so the Yogini or Dakini Jala is the underlying system of Six Families as explained by Vajrayogini or Jnana Dakini.

That is why this is a consistent system which would otherwise appear scattered in forgotten archives, or, relegated to Nepal.

Old Student

4th July 2020, 20:01

You are in some kind of advanced samadhi that most people cannot attain. So I cannot say that a white dakini as retinue center at the navel is not happening or is heretical or anything like that. Dakini gernerally implies standing in warrior stance, dancing, or flying. Their main distinctive item as per Niguma is a Drum. To most people they could be a bit loud and rude. So my question about the way you mean Dakini, is it in one of those energy levels?

The White One at my navel is dancing, yes. In the same pose that you see Dakini statues or thangkas, the dance that when Shiva does it as Nataraj is called amandatandava. I am aware, as I had said, that some of them are not classically Dakinis -- Samantabhadri for one. Originally, it seemed that as they identified, they would all be wisdom Dakinis, and there would be five of them in the five colors, but there were some who only show up from that group occasionally, and two who became Dakinis from historical people, etc.

I have a hard time getting my head around the idea that I am in a state most people cannot attain. I'm willing to accept that maybe it happened to me because I'm suited or because I had a unique preparation, or by chance. But the only thing I did that "most people" don't is follow the shaking when it started, instead of ignoring it and the things that arise in it and waiting for it to go away. However, maybe that was also something I was suited for or something.

If I catalog all of them, most of them are dancing. Two are flying but usually only one of those shows up. More recently, she has been seated sometimes. One is seated in padmasana. One is dressed in a kind of battle dress with a spear or halberd. One is in constant conjoining, but can also be a snake/dragon climbing a pillar. One is in Sukhasiddhi's pose. One is embracing the ocean. One is the emptiness of space and also blue in a "toga" with a staff, and also dancing (that would be Ekajati). When I feel the yab-yum at my throat, it is as it is portrayed in the thangkas except that it is perceived as Samantabhadri and her consort instead of the other way around -- she is the one there, and she is in union with her consort.

Nairatma is not Ekajati.

There has been a lot of confusion around blue Vajra Family goddesses.

This Ekajati is a Yoga view of something much more bizarre from Vajra Panjara, which is the explanatory tantra to Hevajra.

Nairatma is not a Yoga deity although looks like one. She has no existence prior to Hevajra Tantra. The real Nairatma is not a form, is Ego Death.

Not sure what to make of this, unless the Dakinis accept it when I call them the wrong names or something. Your description of Nairatmya is definitely an aspect of this one. But I did notice when you were talking about Cunda etc., above, you referred to "Ekajati the Queen of Space".

The Dakinis have no problem drawing on other symbolisms, perhaps they just reach into my mind and pick whatever will work best to get the point across. Recently when other symbolisms started showing up in my shakings, they did what the White One did with the taiji symbols and "breathed" into them (I am using that word and used it before because it is the best fit, not because it is accurate, the resultant form is both at one time and seems to alternate like breathing).

Including using my math and geometry to effect things that don't fit into normal space. They showed me how to shake my scalp by making use of my visualization skills for thinking about higher dimensional surfaces to create this "peeled" version of my head in which the pieces of my scalp were able to dance individually, and so I could do the same shaking my body does only with my scalp and let it penetrate until it found the knot (sometimes deep inside my head) of the migraine and untied it. (The whole training was rather comical, when they told me to get control of my scalp I spent quite a bit of time in front of the mirror trying to wiggle my ears and so forth).

Agape

5th July 2020, 03:13

Thank you for this post, Agape. I have saved the video and will watch it when I have the time, I have seen accounts of these gatherings, you had said you were at this one, so I will watch it to answer many questions.

About the above lines that you wrote, they bring up a question that has been nagging me since the beginning of the Dakinis visiting my shaking well over a year ago. Does this mean I should seek some kind of initiation? On the one hand, I kind of feel like if it was wrong to get this instruction during "trance" states from these beings, they would not be giving it. On the other hand, the teachers and initiates from these disciplines all say it is wrong to practice without an initiation. What I'm doing isn't maybe part of that practice, but the names and some of the attributes are the same.

As I had said previously, I did a fair amount of study about Khotan. A text from there dated 4th to 5th century has Hinayana, Mahayana, and Vajrayana existing as choices made suitable to the personality of the student or monk in training. The attribute of Vajrayana was that it offered Buddhahood in one lifetime. So things have changed. (The other tidbit from then was that Hinayana and Mahayana differed over the interpretation of rules about eating meat.)

What you said about the treatment of nuns in Tibet is also very well said. Thank you.

Thank you both, Shaberon and Old Student for so much input. Like a good apple plum cake, it always tastes much better the next day 🙏

From my perspective and teaching/learning style, even one bit of what you said already is very precious and to get further, one needs to contemplate on the chosen, useful to either individual, practical little bits/hints.

An ounce of practice equals tons of theory🌾

From what I read here Old Student, you could benefit from these complex lineage teachings along with Shaberon, much further and deeper since you both seem to have detailed visions.

This is where Vajra Master initiation to particular deity/Bodhisattva and Dakini can help since they not only stabilise your insight but also activate the path of blessing.
You are right in saying that the non-human entities do not grant empowerment without permission from Vajra Masters(human lineages) who already built firm samaya with them.
These samayas( vows, secret vows in this case) have to do with adherence to specific precepts, practices and offerings.

I think it’s almost like seeking permission from your parents before getting married: someone from your “family” of human kind has to agree to it.

But the case of your detailed visionary experiences makes you almost perfect candidate to seek “proper initiation” from Vajra lineage master.

How shall that work out “in your part of the world” I don’t know but if there’s even unassuming Tibetan lama running meditation centre nearby, feel free to consult with them. Tibetan lamas have/had the good old habit of sending students from one teacher to another before finding the one you have inner relationship with, at the end but also, it’s customary to go with recommendation to seek blessings.
It differs slightly from the traditional “Rinzai” approach that’s quite like modern European or American approach of bumping straight to people and confronting them.

It means going around things at least thrice:) and inquiring about their whereabouts, style and techniques always helps before seeking initiation.

On the other hand you may also happen to bump to the old dusted lama sweeping yard who will offer you tea and give you blessings and initiation without calling them such that will be the “true initiation” forever. You just never know.

But visiting spiritual centres and practising teachers always brings lots of benefit.

My own visionary experiences have been different and various but much more in the open space. I can always fit to the vast sky of Dhammakaya 😂
But as a matter of fact and I should not say that ever, they’ve been and worked much better for me than what any traditional teacher ever described or implied

and my mind has always been “all over the place”. I’ve seen different entities from various epochs of humans history, many star beings, glimpses of life of Buddha Shakyamuni , historical Jesus, Egyptian pharaohs, Dogon priests,
as few examples. They mostly appeared in livid times of life and signified change, inner empowerment and blessing.
When it happens I never if seldom talk about it since it would not make sense to anyone else.

I try to keep to the precepts of the very traditional Hindu and Buddhist empowerment’s I’ve ever received, there are many -and one should carefully study the culture and precepts first before meeting people, in the same manner you study diplomatic protocol - the inner rules in monasteries and those surrounding spiritual teachers are very much same to such protocol actually-
one of which is not to disclose the names of your personal deities, teachers etc.

So in one way, practising without initiation is much easier because you’re free of such obligations.

I know the manner has spoilt in various Western centres that’s why I never participated there neither I taught deity practice in the West unless people were already “in” but then they have their own teachers and commitments so the only thing one can do is give some advice.

But then, I can always explain the TimeWheel and hyper space physics on Mondays and people go home empowered for the rest of their lifetime 😂

No matter what, it’s always beautiful to practise without dependence on “someone else”, a system or initiations.

One of the innermost visions I had, spontaneously after meditating on the “heart lotus”, listening to silence is what I loved to do all of my childhood,
was completely mind blowing and showed me the last hours of this or some previous lifetime, either. I was just about 18 or 19 at that time.
I was Native American Indian chieftain, last of his tribe in the live vision, his/her tribe and people perished. I was still quite strong even in old age and climbed on mountain top, watched the sky and horizon of the landscape for long time, made a fireplace and started to sing quietly.
Then these beings came from pure evening Sky that had many layers of shades and colors still, from the far and deep blue space.
They looked like you’d look on film negative, with beautiful dark faces and long silver hair. So astonishingly beautiful my heart almost stopped.
They took me by hands very gently and kindness and love filled the space, the silver light circle surrounding them expanded embracing the the mountains, the continent and finally all the planet.
They held my hands and we flew merging to the night sky.

I was seated in meditation and quite “awake” as opposite to sleeping at that point and had to come return to my human timeframe but it was difficult to part with it.

It’s how I’d like to go really I thought, Yeah.

In case of “true visions” and initiations and unless one is mentally disturbed, they’re intense enough not to build any emotional attachment to them.
They appear and do not repeat, give a message and go.

There had been many problems with people of vulnerable minds who tend either to hallucinate or enhance their visions through drugs and else who get initiations accidentally and see things around them all the time
and others becoming attached to particular form of vision. There are always some people like that around any spiritual centre and it’s very difficult to help them afterwards.

So ..follow thine inner guidance is my best advice.

Your mind is your best friend and your worst enemy,
and you are your own real teacher for this lifetime.

🙏🐘🙏

Agape

5th July 2020, 04:30

Shaberon, thanks for your input, specifically for the explanation at the end of one of your long postings. Yes it does make complete sense to me.

Again I’d say, please be very very cautious with the “system” and organic energies involved in it. Whatever is empowering is also all consuming.

It’s about Life and Death. The original meaning of human sexuality is not “friendship” as somewhere else in better Universe would be.
It’s “predatorship” and subjugation of both Male and Female live energy and essence in order to produce new seed- and generation- of advanced life.

Through endless repetition and proliferation of the “sacred rite” the “cat has got out of the bag”, on this planet, globally, very long ago.
Just because it’s widespread it does not automatically imply it is also good for you.

Sure, you may say, if sexuality was not offered there would be more aggression and violence.
Nowadays , it’s mix of both ruining the best of our social environs and relationships.

That’s why, be cautious with it. The East does not have better recipes for treating sexuality than the West, in my opinion.

I’m merely trying to remind you, not to annoy you, that as an advanced entity you do have a choice to say no and stop loathing you live energy to others.

I am sensitive to bits and I do not do that because it isn’t my nature.

I dislike the feeling and all the rest about it as you’ve said, it makes me suicidal on instant. I don’t mind the other is Male, female or a teenager.
If this would happen in real time, I’d have to quit the room and I will never see the same person again unless for keeping greater social distance.

Yes, some people are “like that” including monks, nuns, and aka tantric practitioners, they can’t hold the energy in normal way anymore.
They “leak” all the time , are triggered too easily and are themselves very vulnerable.

If they don’t have protective family or other environment to help them “refocus” they will do just about anything to harass boys and girls in the bushes :)

This is not about egos.

But I would have to apologise not only from this thread , even from the forum,
if my sensors repeatedly detect I’m triggering any such low feelings and tempting someone to play master-slave themes to feel better.

I was almost killed down in South America for someone who sincerely could not keep it together and in consequence to it,
went through another two people suffering from the same malaise.

It’s not that difficult to take care of where I’m now as normal people do not have need for super egos and indecency, and I’m known here as pure Dharma person for good 3 decades.

I can sense this isn’t fine with you, period the end.

Strange as it sounds, I will let the discussion to you and Old Student.

💫

shaberon

5th July 2020, 06:20

The White One at my navel is dancing, yes. In the same pose that you see Dakini statues or thangkas, the dance that when Shiva does it as Nataraj is called amandatandava. I am aware, as I had said, that some of them are not classically Dakinis -- Samantabhadri for one. Originally, it seemed that as they identified, they would all be wisdom Dakinis, and there would be five of them in the five colors, but there were some who only show up from that group occasionally, and two who became Dakinis from historical people, etc.

...If I catalog all of them, most of them are dancing. Two are flying but usually only one of those shows up. More recently, she has been seated sometimes. One is seated in padmasana. One is dressed in a kind of battle dress with a spear or halberd. One is in constant conjoining, but can also be a snake/dragon climbing a pillar. One is in Sukhasiddhi's pose. One is embracing the ocean. One is the emptiness of space and also blue in a "toga" with a staff, and also dancing (that would be Ekajati). When I feel the yab-yum at my throat, it is as it is portrayed in the thangkas except that it is perceived as Samantabhadri and her consort instead of the other way around -- she is the one there, and she is in union with her consort.

Ok.

Well there are only two things that I have an "induction" to. One being Prajnaparamita as transmitted by Kagyu, and the other is Shiva Tandava.

And if you know what that is then you should know "the response of the cosmos to Shiva's vibration is Lasya", i. e. his consort. And then in simple terms: Lasya is the consort of Seven Syllable Avalokiteshvara.

Padmajala is a Dancing White Avalokiteshvara with eighteen arms used in Nepal and related to the Samputa system.

Popularly known as Lord of the Dance at Mani Rimdu festival in a simpler form.

And so as much as Dakini is a widely-known esoteric energy, at some point, the male equivalent or Daka is required. In order to actually do all Six Yogas, the male daka or Vajradaka must become involved.

The point with Ekajati is that she is a Yoga deity who has continuity into the highest or Yoganiruttara Tantra, in Vajra Panjara, which is based on Maha Kala. Panjara means Tent or Canopy. Like a massive Vajra Sphere or shell, one of the finishing touches to a real mandala.

So if you have Atma Vidya, that is if you have self-knowledge of the tantric Queen of Space, then yes you are grounded in a state which is beyond most beings. Someone who is eight years old could learn Tara, Marici, and Ekajati, and it might never be anything more than a name attached to a picture with one tooth. The high end of Yoga is realizing her as Queen of Space, and if you have straight knowledge of this, you may be suited for Vajra Panjara.

And so for example Sadhanamala has around six pieces on her, from a basic Om Ekajatayai Namah up to the massive Viddyujvalakirana Ekajati in the thangka posted previously. There is also White Ekajati. Mahacina is a distinct deity. Nairatma is distinct. There are a freaking ton of Akshobya goddesses, only a few of whom are blue. There is no blue Janguli.

So you have Dakini awareness of:

White One at the Navel
A Flyer
Padmasana
Warrior
Sexualized or Naga
Sukhasiddhi
Ocean
Ekajati with Staff
Samantabhadri at the Throat

And so Samantabhadri is in Reversed Union.

Now what is unusual is that the school that uses that name does not place her in the throat. Guhyagarbha, Bardo Thodol, mainly Nyingma lineages. In the Sarma or New Translation sense she is supposed to be female Vajrasattva or Vajradhara. She is not a dakini, but, a Dhyani Buddha or Prajna.

And so what happens when you are in that Space, and it utterly stops moving, it melts, or peels.

The reasoning behind the colors is that Green is seen as a compound. What the deities do is split it into Blue, Yellow, and White. And so if you manifest Blue Ekajati then you must have some kind of Samaya to Vajra Family and the color can, so to speak, be isolated. Once you have Ekajati, the only remaining direction is inwards, with part of the intent being to rip material coloration and display Gnostic Lights.

With a Staff however that may not be an Ekajati, it may be a Blue Vajrayogini.

And so her "Queen of Space" role is a type of intersection of different deities; such as amongst the male deities, Acala can do it, or Manjushri, or Vajrapani, etc. It is not a trifle because if you slip out of this you are at the mercy of the Mamos, who have none.

And so it is possible that you can ask her, look, are you just using Ekajati as a name? Who are you, really? She may say, I am Kungamo! Or, I am Dechen Gyalmo! It could be more specific, meaning someone who is (an) Ekajati because she has the equivalent realization. This is what happened to some of the Mahasiddhas. Dakinis are coy and have an acidic sense of humor. So sometimes they think they find one by a common name, which turns out to be a different one. Sometimes there are big arguments or magical duels. Mahasiddha means they tamed it and manifested stable realization on one of the Bhumis.

Space or Akash is what is "above" the Kama Loka as depicted by Vajrapani in the Sarvadurgati Mandalas. There is not a higher body than the Mayavi Rupa of Kama Loka; the subtle Kayas are just states of the Dharmakaya, Formless.

Without really locking horns with--what is Samantabhadri doing there??--I am unable to refer to the Path in any other way than using Lotus Family at the throat as the agent of Dharma Speech. It is like a set of handcuffs. Again it is the same as Sarvadurgati, which uses Amitayus. We would say Celestial Bodhisattva Amitayus--meaning he is only really accessible from the Pure Lands--and World Bodhisattva Avalokiteshvara, easier to reach from mortal human consciousness.

Lotus Family Taras are actually very few even though she is said to be the sister or consort of Avalokiteshvara. The few include Cunda and Usnisa Vijaya, who are white.

Lotus Family is there for a couple of reasons. Dharma speech means mantra and pranayama, as well as being able to speak to whatever pitiful shreds we may comprehend of Buddha Dharma. And also because it is talking about Womb of Compassion or Universe Lotus. It is not Buddhism if it does not express compassion leading to successful compassionate actions. Such is the Third Turning of the Wheel.

In the tantric sense it is Fire.

Then in conjunction with the point of focus in the soft palate, it will begin the process of Nectar. This Nectar is what everything ultimately comes to, so far, in order to do the Subtle or Suksma Yoga.

In reference to the unpeeling of color, the ultimate red Prajna goddess is called Pandara Vasini "robed in white". And so it says that Lotus goddess "is" white and "becomes" red by getting close to the male aspect and Desire. And then if there is such a thing as a white Avalokiteshvara, who dances, and has union, he is yet in a desire-free aspect.

Samputa Vajrasattva is quite similar to White Padmajala Avalokiteshvara, is also dancing or a daka. So here again, the high end of the Yoga Path meshes to the explanation of the explanatory tantra. And then if it is possible Samantabhadri means a female Samputa Vajrasattva, who has a peculiarly similar Avalokiteshvara, then it may not be remiss to suggest you have some type of Reversed Padmajala at the throat--but not in a Daka form. If it is a simple Heruka, it could be Amitayus or Avalokiteshvara reversed by someone. And again if the deity is responsive, it is fair to ask her something like, are you a Samantabhadri of Lotus Family? Padma Kula or Raga? Look at it this way: their only purpose in existence is going around the universe answering enlightened questions.

Without further information, it sounds like the pair united at the throat is the most important one, even if she says no, points a finger, and makes a vision of Pandara elsewhere.

Lotus Family may not be the first family anyone understands or is able to bond with, but, if not, it should be second.

If we penetrate the Akash, the only way to go is into Voids which are Gnostic Lights which have a spring-like resistance to an individual. White Appearance, Red Increase, Black Near-Attainment. And so white and red are kind of the main subjects of tantra; whereas Ekajati and Vajra Panjara is handling the black void a little differently, something like "hitting it as hard as possible". With the first two it is more like a struggle to maintain lucidity, and the last is more like snapping through so fast it is not noticed. And then to Emerge in Reverse Order is difficult, if you go flying back out of the black, the tendency is to fall to the floor and crash.

And so Lotus Family has much to do with Bliss and Sambhoga Kaya and being able to stand in any of the Pure Lands or Akanistha, meaning the highest plane of Kama Loka. There you are supposed to find an Abode of a Deity such as a Stupa. This is what we are trying to set up as the stable basis to cross the Akash to the Voids.

shaberon

5th July 2020, 07:48

Whatever is empowering is also all consuming.

That is correct. The first instance of cosmic awakening, the first stir of life in a tiny embryo, is Hunger.

It will spend eternity destroying forms in order to take energy.

It is addressed and handled face-to-face in the tantric system.

I think I get some of the concerns you are trying to express. I don't understand all of it. Yes, overall, in a society where this or these systems are available, not everyone who is into it is a very good representative. I usually expect someone to provoke me about for instance Chogyal Trungpa Rinpoche. First of all he got sucked into the west by Maurice Strong in Colorado. And then most of the traditional Kagyu order was fairly shocked by what happened.

At the end of the day, we are just talking about a system of samadhi.

It is self-secret according to one's merit.

Whatever is "easily triggered" or "vulnerable" does not represent anything from the system of samadhi. The opposite is true, samadhi erases triggers and confers immunity.

So that is the direction we are going, even though there could be said to be numerous failures at it.

The whole thing is risky, one of the basic tenets of all Mahayana Buddhism is to ripen my karmic seeds, to accelerate my karma, and this yields a barrage of the worst sorts against one's Upekka. Therefor I asked for whatever happened, most of it sucked, and if Upekka is not tested it may not be real. Like when one of the gurus went to Bhutan. He urinated on the hand-made thangkas, he urinated on Buddha, and so forth, which of course produced a tremendous shock. But a little later on, they began to see what was happening. It was blasphemy against their holy relics so they would gain Upekka.

My life has been a lot like that, as if humanity's sole purpose is to desecrate everything sacred. And so when we get the sense that all beings have Buddha Nature and want to pursue Enlightenment even though, blinded by ignorance, they deny it, and we want to find a way to encourage it, one of Shantideva's Bodhi Mind enigmas says:

Because of You, I am going to become a Buddha and Purify Countless Realms.

Because of Me, You are going to Hell to Endure Endless Agonies.

That is since I am not perfect, I am not a Buddha, I am not even a Bodhisattva, and so it is possible I could give off something that is harmful to beings. But so far in life I have not only gained Upekka but something living that even animals can sense. So far the aspects of protection and life-giving are very effective.

shaberon

5th July 2020, 19:08

Having said something about how in Yoga that Lotus Family is a major type of gate, it is actually relatively small.

In Lotus Family, there is the widely-known exoteric deity Avalokiteshvara, and a dakini which is the one credited with being spontaneously present.

Are they related?

Avalokiteshvara has Guhya Jnana Dakini in his heart. Guhya Jnana has Avalokiteshvara in hers.

They are consorts.

Guhya Jnana is really the chief of what is called the Four Dakinis: Lama, Khandaroha, Dakini, and Rupini.

These are either the Four Chakras, or, they are together in the Heart. And so this is really the main retinue in Chakrasamvara and it is also in Hevajra. There is only one dakini that is accessible as the bondable form of the main interior retinue which continues through the tantras.

Guhya Jnana is usually red, sometimes white, and occasionally orange. With orange, Rechung is one of the main Amitayus lineage transmitters in Tibet, where historical records are missing or perhaps intentionally altered to obscure the yoginis involved.

This is an excellent view of a Lotus pantheon:

https://www.himalayanart.org/images/items/resized/2000px/6/9/6/696.jpg

Center: Jinasagara Avalokiteshvara [or any Yidam or Ista Devata]
Below: Bernagchen Mahakala [any Protector]
Left: Hayagriva [any Wrathful deity]
Above: Siddharajni [any lineage guru]
Right: Guhya Jnana [any Dakini]

Siddharajni is someone like Niguma, but much less is known of her. And so the Guhya Jnana material is two things: firstly, her dakini sadhana as transmitted by Taranatha; and also, her partnership with Jinasagara Avalokiteshvara which is a tantric series originated by Siddharajni, and progressed into Rechung, Vajra Vilasini, and Mindroling. The oldest known artifact of this Jinasagara is a 1400s Kagyu piece:

https://www.himalayanart.org/images/items/resized/2000px/9/0/5/90541.jpg

Guhya Jnana does not progress by name into the major tantras; it is her Four Dakini retinue, which attaches to different central figures.

And then there is a Dharani goddess who is Padmapani Priya, i. e. "beloved of Avalokiteshvara", who is the Viswa Rupa or Universal Form or 1,000 Arm figure. Therefor if you can garner that much energy, it does have a manifestation.

The thing works to unfold the Pitha system or the map of the aura in Suksma Yoga, which again is really close to Shiva tantra, with Buddhist modifications.

Old Student

6th July 2020, 01:44

Thank you for your advice -- really, it is not that easy wondering about such things, and your answer is helpful.

I was Native American Indian chieftain, last of his tribe in the live vision, his/her tribe and people perished. I was still quite strong even in old age and climbed on mountain top, watched the sky and horizon of the landscape for long time, made a fireplace and started to sing quietly.

This was also quite helpful, I'm not sure why I worried when some of my shakings weren't purely Buddhist/Daoist/Hindu (all Eastern) but I did. Seems like it isn't a very necessary thing afterall.

So ..follow thine inner guidance is my best advice.

Thank you.

Old Student

6th July 2020, 05:15

I do know that the response to Tandava is Lasya. It was something that they taught when I was learning better control of bliss. I didn't know of a connection to Avalokitashvara. The White One at my navel is female. I'm not really sure why I don't know how many arms she has, I know she has two, but until you talked about it I never really realized I wasn't sure if she had more.

I have a bunch of complicated places, it's possible my throat is the most complex, but only because the multiple things that go on there are often happening simultaneously. There is a flow there, like a river, that requires attention when I am in certain positions to make sure it is not impeded. There is a jewel there, that is the center of the net, which is the net of illusion. I don't always see that far out into the net, but when something involving interpenetration needs to be taught, I see whole worlds in each jewel, or sometimes pantheons of Buddhas and bodhisattvas singing. And there is a rhythm there that radiates outward to other parts of my body. I don't always see that, when I do it is the rhythm created by Samantabhadri and her consort in union.

She also is one of the Dakinis who identify/manifest (I do know she isn't technically a Dakini). Her kriya is the one that is like a dragon climbing on a pillar, when it begins to move it is her in conjunction, and lately it has been all about teaching me something about beauty, about the indescribable beauty of her embrace. Her consort is there, but cannot be seen.

I will try if I am able to ask about Ekajati's name. When she is in the blue toga with the staff (it's a staff like a regal staff, not like a khatvanga), she is presiding over a blue fountain/flow that bubbles up in the center of my head. When she is nothing/darkness/space she is inky black like the blackness of outer space. Sometimes I do perceive space with stars, sometimes she is just a dark-like-nothingness black. When black she is fierce -- she has fangs. Oddly, when something is very upsetting in the shaking she enfolds me and comforts me -- in her fierce aspect -- like she was cuddling a child in her arms. She controls other flows elsewhere in my clear body. The black space comes in several forms: There is a generated flow upward from a joining of the shakings at my pelvic rim and my solar plexus, it is purple-ish and is both liquid and mist, and rises upward in my body like a big cylinder or dome, when it's almost filled me the interior is like a jet shooting up into it and it is that nothingness black and as it grows there are stars and sometimes nebulae. Then there is a pair (in my write ups I usually call it a "micro-pair" in the center front of my head that is thunderclouds around the edges and the inky black of space in the center.

Obviously the inside of my head can also be complex during shakings, but it isn't like everything I say is in my head is always there in all the shakings, whereas the jewel and the flow and often the yab-yum are all in my throat at the same time. Recently, my abdomen and pelvis have been far more complex than anything else.
...

Avalokitashvara was at my heart, but only once, quite a while ago now.

...

Pandara vasini also only showed up once -- at the very beginning, when the Dakinis seemed to be arraying themselves in the five colors and points. But she has an incarnation - Mandarava?

She first showed up standing on the top of my heart. She is one of the flying ones, she is often the "organizer" of the teachings, almost everything having to do with rainbows is something she does. She frequently puts a single droplet from a rainbow in my head with the sun shining on it so that I can see that each droplet has all of the rainbow in it and the rainbow has all of the droplets in it, and that the rainbow is nothing and the droplet is tiny. She can also be kind of a tough disciplinarian when I am trying to master something and can't figure it out.

shaberon

6th July 2020, 08:05

I have looked and am unable to come up with anything that has Reversed Samantabhadri.

She is usually white and easy to find. However, it is true that in Kagyu, we absorb some of the Nyingma lineages. Here is a view from that which happens to put Samantabhadri in the reverse color or blue:

https://www.himalayanart.org/images/items/resized/2000px/1/0/5/1056.jpg

What is curious is they call the lower figure Wrathful Samputa Heruka. And so it indicates Heruka according to the meaning of the Samputa, and not the Eight Wrathful Ones of the Nyingma system. We would use this Kagyu interpretation because the lower human gurus are Gampo and Pamo Dru.

So we get a type of confusion of names and multiple entities about something like Queen of Space or who inhabits the throat center.

In either the Nyingma or Kagyu, we can agree Samantabhadri must be a female Vajrasattva, although she is not the relative or progressive aspect, she is the clarity or enlightenment of it, a Mother or Buddha, Prajna.

When at the point of using a system of six elements, the sixth is mind, and we are not really talking about mundane mind but the Dharmadhatu as described in the Sutras.

The entity that is a type of Bodhisattva "Object of Mind" is called Dharmadhatu Vajra. Just as if we were saying Object of Sight, Object of Taste, and so on up to Dharmadhatu Vajra.

And so Samantabhadri is more primordial than this, is not a regular mental sense object but known by Gnosis, and so the phrase for enlightenment flowing through Object of Gnosis is:

Dharma Dhatu Ishvari

Usually Vairocana is said to possess Dharmadhatu Wisdom, or i. e. his consort is this wisdom. And this is because the patterns always start on Five Buddhas without including Vajrasattva. Then in most cases when he is added, he is placed at the top and considered something like a king. But we have more reason to set him at the beginning as a cause.

The Dharmadhatu arises, and reveals itself by degrees.

And then in the tantras it functions as:

Akasha Dhatu Ishvari

Vajra Dhatu Ishvari

Kama Dhatu Ishvari

Akashadhatvishvari is usually the White Flyer known as Maitri Dakini. So this is a kind of Bright Space related to filling the head with light or ether. The type of vast and dark space as found with Ekajati comes under Kama Dhatvishvari.

Lotus Family itself does not have that many members, but, we can find that at various stages, it grabs someone from each other Family and stuffs them in its usual location in the West; Amoghapasha does this to Ekajati.

The Lotus Womb or Womb of Compassion is Karuna Garbha. In tantra, Mahakaruna Garbhodbhava (MKG). This MKG is a main subject of Vairocana Abhisambodhi as Body Mandala--equivalent to Buddha in Sarvadurgati--and Nirmana Chakra.

Sunyata karuna garbham, or, void is the womb of compassion.

Further along in the tantras is a section where Dharmadhatu Ishvari is specifically in Lotus Family. And in many cases this has been recorded as Padmajvalini and translated as Fire Lotus. However with further manuscripts we are able to estimate that the "v" is an error and her correct name is Padmajalini or Lotus Net--which reflects on Padmajala Avalokiteshvara.

In other words, she is a Lotus correspondence to Maya Jala or Dakini Jala.

And again the Lotus Family is pretty small and does not have many Taras but one of the first ones is:

Bhrkuti

There are also Sragdhara and Padmapani Priya. Sragdhara is Lotus Garland and from that we get the situation that most of the Lotus mantras are actually rather public.

Now as we see that there is Red Avalokiteshvara basically known all over Tibet as the consort of Guhya Dakini, in Nepal, he has additional roles, such as emanating Shiva Pasupati and also the entire Hindu pantheon. And of Red Avalokiteshvara, Matsendrya Nath is an important guru or incarnation. The next important Buddhist Nath is Jalandhara, Net Holder.

And if we look in Pratima Kosha, which is a non-Buddhist iconography encyclopedia, it tells us:

Mahamaya Vijayavahini

The goddess of victory in war in Mahayana
pantheon. She is regarded as the expansive ver¬
sion of Tara, with a thousand heads
and hands; she is described as
the beloved (priya) of Padma-pani Avalokitesvara.

This Tara is only found in Nepal. And she has inspiration from Vaisnava and this deals with Red Kunkuma powder, which is similar to male Ash Smearing, and is a consistent component in the ritual.

And so we would say Guhya Jnana is a major Dakini of the family.

But if you fiddle with her, there are two important things. She herself is Reversed. That is because she casts her retinue backwards or counter-clockwise. And once you will see this, you will find errors and confusion popping up in the study of tantra, because people do not understand the reversed retinue, and either flip it, or say something mistaken about it.

But it becomes pretty standard on some of the higher tantric goddesses.

So it is not only backwards but she is in Lotus Family and they still occupy the West. So it is like a double-strength Lotus retinue, and someone must have gotten kicked out. So now it is double strength moving in the opposite direction from Form.

The way Suksma Yoga works is by using Amrita Nectar Goddess Varuni who attains or becomes Khandaroha. And she is the most eminent of the Four Dakinis. It is Khandaroha that is used to banish and purify the environment.

The real meaning of Khandaroha is Generation Stage.

Therefor Varuni and Khandaroha are the One Source of all of the tantric completions; Dharmodaya or Reality Source or, i. e. Samvarodaya.

Varuni is an emanation of Vajradhara, who worships Mahamaya Vijayavahini.

That is basically the "container", the "womb".

It is still a Soma and Agni ritual. Varuni "is nothing but Soma drinking". However if we do it strictly in an inner sense, we do not need an actual beverage. And in most of the priestly rituals it is just tea. It functions purely according to the operator's ability.

Again, this is just a Yoga system which develops one process. It barely says the subtle body "is" a given form, in fact it is several forms. It is less important "which" syllable, color, etc. is at a given chakra, because successful practice comes more from the consistency of using a given set. As non-initiates, we are trying to get one basic sample of things that might not be the same forever.

In my personal experience from doing this Yoga without having a very good guide, I have never observed the kinds of chakra details or evident dakinis as are being discussed. I got something that was more like a physical clairvoyance. Occasionally it could work like x-ray images, but, usually, was more of an auric egg. About all I could really discern was that most healthy people have a yellow or golden layer, and that a spiritually-developed person does get white around the head, which becomes cone-shaped and opalescent. Those things seem pretty consistent in a personal condition which could be said to unleash all the physiological energies without much of the actual Buddhism applied to it.

Kalachakra says:

The spiritual hero without beginning or end is Vajrasattva, greatest joy, Totally Excellent Samantabhadra, the identity nature of everything, the lord of Vajrabhrikuti’s ruler.

So Bhrkuti is used in it like Cunda and Marici. However in Nepal it is Amoghapasha that is the main binder of people or the public towards esotericism. Amoghapasha is a sub-Avalokiteshvara. And so the basic assembly is centered on White Lokeshvara:

https://www.himalayanart.org/images/items/resized/1800px/2/3/5/23549.jpg

Red Amogapasha is lower left, Hayagriva upper left, and then you have Ekajati and Bhrkuti. So for one thing this makes it fairly plain that Bhrkuti is peaceful unlike the regularly-shown screamy one. This is how she is supposed to be.

But this "is" an Amogapasha retinue because what it says is that any members may take the middle. And so you can shuffle Amoghapasha to be the principal. When Bhrkuti does it, is the only time she is known to turn green.

And so here you have the actual traditional way that will relate or interface Ekajati to Lotus Family.

As a devotee of Tara, I was a little shocked to find out that Bhrkuti is a fundamental, paramount form from the Prajnaparamita system who has a lot more going on than if she is merely chalked up to Angry Frown. I mean, we just mention Guhya Jnana, and it makes this instant lattice on part of which, its misrepresented member, Bhrkuti, is somehow helping Lotus Family harness something you would not expect to find there, Ekajati.

shaberon

6th July 2020, 09:06

Avalokitashvara was at my heart, but only once, quite a while ago now.

...

Pandara vasini also only showed up once -- at the very beginning, when the Dakinis seemed to be arraying themselves in the five colors and points. But she has an incarnation - Mandarava?

She first showed up standing on the top of my heart. She is one of the flying ones, she is often the "organizer" of the teachings, almost everything having to do with rainbows is something she does. She frequently puts a single droplet from a rainbow in my head with the sun shining on it so that I can see that each droplet has all of the rainbow in it and the rainbow has all of the droplets in it, and that the rainbow is nothing and the droplet is tiny. She can also be kind of a tough disciplinarian when I am trying to master something and can't figure it out.

That is amazing well then you are actually on a Samaya to Lotus Family. Yes, Mandarava is a major incarnation in the immortality lineage.

Progression or opening of Dharma Dhatu Ishvari = Pandara = the "thing revealed".

That is the Lotus. Almost every sadhana in Sadhanamala originates from syllable Pam before its personal form. Pam Pandara is most like the universal thing revealed without much of it specifically about herself. Amitabha's Discriminating Wisdom is to be simultaneously aware of all details without thinking about a single one of them. Avalokiteshvara emanates all prior non-Buddhist aspects of the world system, Indra and the rest.

The Jewel at the center of the Net above the throat is Rupa Skandha--that aspect of mind that is tied to the bundle of entire sensory apparatus in one place. That is Vairocana, who displays the Dharmadhatu. As or through which, Pandara is revealing herself, largely a White-Red axis related to Mars (Manjushri).

The sequence says to attach that bundle of senses to the sixth sense of mind, to conjoin that Khecari point to Dharma Dhatu Ishvari. And so it does make sense to equate that to Samantabhadri. But then as seen in the tantras, it may for example become Padma Jalini, or Dharma Dhatu Ishvari as expressed by Lotus Family. So the Dharma Dhatu Ishvari must pass through various states of Space (Form, Subtle, Desire) until the highest sphere is to dissolve Time.

In saying that a lot of this is part of shaking, I am not sure what that is or have not experienced anything similar. The closest thing that comes to mind is Vajra Avesa or Vajra Possession.

Old Student

7th July 2020, 01:00

shaberon

7th July 2020, 04:32

There is a design to Lotus Family using some of the points that have come up.

From the last post on the previous page, it is found that there is a Red Avalokiteshvara who is the male Guhya Jnana Dakini. And then there is a slightly different Red Avalokiteshvara who picks up Ekajati.

This Guhya Jnana is highly similar as to how Old Student described Pandara, as an "organizer", who intends to do so to those dakini fields which support the Pithas of the tantric system.

And so if Avalokiteshvara Guru Yoga did not really work for me, since I have no particular connection to Gelug, does that make a difference? No, because Avalokiteshvara is inseparable from the system of Vajradhara.

1500s Kagyu Vajradhara having Jinasagara--Guhyajnana Dakini, etc., over his shoulder:

https://www.himalayanart.org/images/items/resized/2000px/1/0/7/1078.jpg

So Vajradhara is reliable for Varuni and the Armor Deities, as well as for Guhya Jnana--Jinasagara and Mahamaya Vijayavahini, which is more or less the whole Yoga Path bound to Vajrayogini.

The similar Red Amoghapasha Avalokiteshvara is not quite about dakinis. It acquires Ekajati, however, the Accomplishment position in this rite is taken by Bhrkuti--who is something other than Angry Frown which appears to be a mistaken translation.

One of the oldest relics in existence is an 800s Indian Amoghapasha:

https://www.himalayanart.org/images/items/resized/2000px/8/5/9/85964.jpg

1400s Nepalese Amoghapasha:

https://www.himalayanart.org/images/items/resized/2000px/6/5/3/65345.jpg

The transitions do of course allow for this to become a rite of Ekajati.

Centered on Ekajati:

https://www.himalayanart.org/images/items/resized/2000px/8/9/7/89758.jpg

Centered on Bhrkuti:

https://www.himalayanart.org/images/items/resized/2000px/8/0/6/8063.jpg

When she is there, she is not exactly Green but is Blue-Green. This shade is like the opposite complement of Orange and can also be called Turquoise and then this Turquoise--Orange axis is like a mystery of Sambhoga Kaya deities. The easiest Pure Land to enter is Tara's Forest of Turquoise Leaves, which is a close correspondence to Turquoise Lamp if understood in the Eight Dissolutions as the fourth stage. The stages are usually Mirage, Smoke, Fireflies, Lamp; here again there is a minor variant which starts Smoke, Mirage. That appears more consistent with Yoga. Another thing that surprised me is the espteric symbolism of Smoke is really Prana, and this just follows from Brihadaranyaka Upanishad. And so the Smoke is really a type of mantric binding of the winds going through the throat center. And so Smoke goddess is sixth, the wrathful consort of Amoghasiddhi. Then in the stages, this smoke begets Mirage, which is Marici. As form elements dissolve, this becomes a swarm of sparks or meteors, Khadyota or fireflies (Ratnolka or Dhvajagrakeyura); we are attempting to stabilize that into a Lamp, and, so to speak, release it to Sky.

Those Five Dissolutions are the entire instruction of the Secret Doctrine of Vajrayogini Dakini Jala.

It is contemporaneous with the Five Abhisambodhis and Six Limb Yoga that are the training in the majority of yogas and tantras. And so it is taking the Six Family system and concentrating it into these practices.

Amoghasiddhi means Not Ignorant about Occult Powers. Similarly, Amogha Pasha means Not Ignorant about Noose Power. And so he has picked up the normal weapon of Jewel Family.

So this Blue-Green Bhrkuti, who is like the occult success of Amoghapasha, is important with respect to Orange which is Amrita, Vairocani and Varuni.

This is all part of Mahakarunika of Lotus Family which has the strength of being publicly available, and the corresponding weakness of being subject to public opinion as superstition, folk lore, mere repetition, etc. And again, here, if we look at the basics of Vajrasattva, his first non-dual role is:

Prajna--Upaya

and his following role is:

Karuna--Upaya

and so the main meaning of non-duality in Buddhism is Karuna Upaya. Vajrasattva cannot go any further without something from the Karuna of Lotus Family. He must have a bit of Pandara, Guhya Jnana, and so on. Spectrum of Consciousness (https://books.google.com/books?id=ZE9bBgAAQBAJ&lpg=PA334&ots=KPTg1S2C9K&dq=karuna%20upaya&pg=PA334#v=onepage&q=karuna%20upaya&f=false) for instance notes the moment of Karuna as a "flip". Or it may be described as Prajna Karuna (https://books.google.com/books?id=1pz28mw2zywC&lpg=PA29&ots=JNsoDhEaVz&dq=karuna%20upaya&pg=PA29#v=onepage&q=karuna%20upaya&f=false) as the basis of Bodhi Mind. Either thing is a type of fusion.

This Gelug view of Lotus Family and Amoghapasha expands from Amitabha between Vajradhara and Amitayus. It includes Tara and some of the primary Maha or 1,000 Arms Avalokiteshvara. One of the main ones is from Sri Laksmi, for whom the number of hands is not specified, but the faces are eleven:

https://www.himalayanart.org/images/items/resized/2000px/6/5/0/65005.jpg

It also includes Usnisa Vijaya who is frequently shown with Amitabha in her hand.

And one may observe we have all this without Vajravarahi. So first of all she is a Tramen which is a hybrid or animal head. And secondly with respect to some of the things that Agape was getting at, she is a pig, which is Ignorance, in the way that the existence of the pig is to destroy and eat everything.

And so that is why the Dakini Jala is not involving the subtle minds which are the higher stages of the Path and into Bodhisattva states.

The Tramen class are like the subtle, body-less or mental-only correspondences of worldly non-wisdom dakinis.

It is something which is an eventual, unavoidable part of the aura, which is why we want to train in the wisdoms and protections of the families.

And so we are excluding Varahi from any type of outer Yoga training.

That is why the type of Armor Deities suggested, do not have her, contrasted to most of the ones copied from Completion Stage.

In Lotus Family, the major expansion of Cunda Tara is with Manjuvajra in Manjushri Guhyasamaja. It is generally the case that Akshobya Guhyasamaja is part of Extreme Deeds lineage, which is closer to the monastic vinaya (rules, behaviors), whereas Manjuvajra Guhyasamaja is more with Nagarjuna's Profound View, which emphasizes inner meaning, and ties to the Yoga system as explained by Bu-ston.

Noose Power when followed through, does reach Varahi, but her gate is really Vasudhara.

Guhya Jnana or Sword Dakini "points to" the center, and if you are able to get that fulcrum, and balance there, a little bit, then the center going upwards is Arrow Dakini. She initiated Saraha who also transmitted Red Pitha Ishvari Tara. Arrow Dakini is represented symbolicly by many of the immortality goddesses; it frequently has five-colored ribbons and a mirror.

And so you can find it with Mandarava and others.

But as we see that Sri Lakshmi is a main lineage transmitter of Avalokiteshvara, it is correct that the Path flows from Sarasvati or Jnana Dakini, Guhya Jnana, etc., to:

Lakshmi

https://www.himalayanart.org/images/items/resized/2000px/9/1/7/9177.jpg

She is the major tantric goddess behind Ekajati and the Pithas, she is Anna Purna who is Viswa Mata of Kalachakra, and yet in Buddhism I am able to take her as she is right there as a White Peaceful Protector.

And so just as the Buddhist Pitha system can be described as a close variant of Shiva tantra, most of the Tara system is a close variant on Lakshmi tantra. And then for example Lakshmi becomes inextricable from Ekajati in Vajra Panjara tantra.

On most of the art, protectors are almost always gruesome, like Pabonkha's Skeleton Twins, or a Fierce Maha Kala or Black Lakshmi. Whereas all of those are "true", usually it means they protect the lineages, and then so if you do a particular one, then you are bound pretty much daily to use that Mahakala, and so forth. However for the actual role of Protector in a personal practice pantheon, this is not called for, which is why I personally choose the one right there.

What? As a Buddhist, you may take Lakshmi as a protector of personal Arrow Dakini intent, any time?

That is what is going on here.

Tantric Lakshmi is also a built-in explanation to Manjushri Namasangiti. So at a certain point, it does not matter which way I turn, whether asking Manjushri or Tara, they eventually bring us to Lakshmi and Lotus Family.

Orange is not the final state of tantra, but, considered the indispensible component. Whereas Amoghapasha in some sense is going "through" Ekajati in order to get Bhrkuti to appear Turquoise. And since the base of Mt. Potalaka is Bhrkuti, and Turquoise Leaves is a safe Abode, then Turquoise Lamp is a good interstice in what is viewed as the fourth dissolution.

So while a Red-White axis is something of the main known veil of Lotus Family, actual use of at least one branch of it seems to release a different color axis than is generally taught, which is something like purifying Orange Amrita and entering the Turquoise Akanistha.

Bhrkuti and Varuni must therefor be important actors in terms of Lotus Family, which is not "just itself" and all red, but, has an enlightened intention as established by Mahakarunika.

It does have the ability to make an all-red assembly, to amplify the domain in the West (Sukhavati), or, to draft all the actors into itself. Hayagriva or Horse Head is an entire subject to itself, which is not "exactly" a Tramen, although its onset is fiercely energetic.

Dakinis are not quite the same thing as Vajravarahi, they are Flying or Aerial, and the main producers of Bliss or Sambhoga Kaya in the human body. And so the point of Guhya Jnana is something like "feathering an arrow", balancing the colored streamers onto it. Sword into Arrow. The colors are the families, and they will swirl upwards, backwards, and counter-clockwise, Guhya Jnana gathers and reverses them.

The next energetic band in the aura is the kingdom of:

Yakshas.

And so that would be Vasudhara and Jewel Family related to Earth.

And that is like saying that without effective Mahakarunika, Vasudhara locks the chapel door against us.

And what the heck is this, some type of siddhi, yes, it is what Noose Power does, binds us here. Conversely that means it does not work or exist without the preliminaries.

So that is like if we tickle a hair of Dakini or Ekajati there is, so to speak, a certain Lotus Net which drapes them into a Noose, as they are part and parcel of Avalokiteshvara Mahakarunika, with Jinasagara and with Amoghapasha.

If we have this, Lotus Family is far from done, because third is their personal power or Chain, which again will sort of laterally attach to Green Shrnkala which will chain us to Amoghasiddhi and to Samadhi as it is done in Hevajra tantra.

That is why Dakini is also limited in her ability; she is the major transition in a person from the "known" to the subtle, yet Vajrayogini is more or less her guru and has more to explain. Moreover, Vajrayogini has a form which directly attaches to Guhya Jnana, which is similar to Simhamukha (Wrathful Jnana Dakini) except it is Red Lion Face, which is also close to the basic Chain goddesses. And here we are for instance considering Lion's Roar of Queen Srimala Devi which is like a declaration of utter dependence on the one element or void-born womb of compassion. Almost all of the deities have a Simha Nada or Lion's Roar Samadhi. And if we ask Tara, she will return us to Lakshmi on a lion.

In all of Tara's Activities, she is mostly not in Lotus Family. And so that is why something like, what is Amoghapasha doing with Ekajati and Bhrkuti, is something like science, is like an experiment with repeatable results. This tranquil white or yellow character jumps in the middle and designates a color which mainly applies to Pure Lands Tara. Because some obscure, primeval Tara does this, and nothing else does, then this must be something fairly specific and unique in the energetic sense.

I am not completely certain, but, I am going to invest my efforts into the Lamp, if that makes sense. The Orange Vairocani and Red Varuni are rather clear to me, more as, I suppose what you could call kriyas than iconic forms. I do not think I am particularly good at what you might describe as "coalescing the fireflies". Doing Yoga to the point of Prana Yama and Vajra Muttering, which is chiefly Lotus Family as Dharma Speech, is mostly consistent with this stage of the dispersion of elements of form, which is eventually melting the Sambhoga Kaya Lamp into the Sky or Akash itself.

shaberon

7th July 2020, 05:46

There is a Tara, Samaya Tara (green), she is the one in martial garb with a spear or halberd (something with a blade at one end, she has cut things, my attachments to things, in some of my shakings...She is in the tandava-lasya pose, but because of how she presents, it looks more like she is about to strike, to stamp and thrust with the halberd and put an end to something that isn't what it is supposed to be. (The nausea here is actually a good thing, because it rights an imbalance, that's why she taught me to produce it).

It sounds like a proper role for her although a seemingly unknown form.

Parnasabari carries an Axe, and, she has forms in all Families, but Green is her Peaceful form.

There is one that is a little different:

https://www.himalayanart.org/images/items/resized/2000px/5/3/6/53652984.jpg

She is like a Medicine Buddha except she is like an axis of the cure is the disease in a purified state. She is a Pisachi, which, of all the various insults, is probably the worst, meaning a kind of undead required to feed on the living. Bhattacharya says the three-faced green one is unusual since all faces show "irritated smile".

If we think Axe and cutting out unhealthy things, then, she is this kind of siddhi or shakti. But she has to wear leaves.

The Wrathful Green Tara of Amoghasiddhi is Chandi (Wrathful Durga).

Chandi is violent enough but not green.

There are only two Green Durgas that I know of. One is Durga from Sarvadurgati Parishodana, the other is:

Durgottarini Tara has green complexion, the lotus for her seat, and garments of white color; she has four arms and she carries the first pair of hands the noose and the goad and displays in the second the lotus and the Varada mudra.

Almost any Green Tara is Peaceful, like those Durgas, unless you say Dark Green or Smoky.

Almost no Taras have Tandava and so we would guess the figure is Karma Family Dakini, possibly a rare Parnasabari, or else maybe Chandi if she is darker.

Kagyu Samaya Tara Vajrayogini has a Vajra Chopper and a Trident:

https://www.himalayanart.org/images/items/resized/2000px/1/0/2/102228.jpg

Using a weapon such as Axe or Trident is not within the Twenty-one Taras; Samaya Tara is outside of this group.

Wrathful Tara per se is what I would call the enigma of verse twelve:

"Homage! Goddess radiating (light) from the crescent moon tiara adornment at the crest of her locks; lady with brilliance from Amitabha born on her piled-up hair, a perpetual (source) of beams of light."

It is one of the few verses that specifically identifies her form, and, none of the Tara traditions match it.

Amitabha and crescent moon in her hair: Crescent Moon is the cooling influence of the White Drop, and Amitabha is the Red Drop. Tibetan Deities 136 Day--Night Tara is the only one I know of, crowned by a crescent, and Amitabha.

It is the system that uses Peaceful Green Tara during the Day, and Wrathful White Tara at Night. And is one of the very few Amitabha or Lotus Taras.

There is a wrathful aspect of Tara, although a weaponized green one does not seem apparent.

Karma Dakini would generally imply a small chopper:

http://laurasanti.com/wp-content/uploads/2013/10/GreenDakiniDeityCardLauraSantiThangka.jpg

Old Student

7th July 2020, 18:36

When she is there, she is not exactly Green but is Blue-Green. This shade is like the opposite complement of Orange and can also be called Turquoise and then this Turquoise--Orange axis is like a mystery of Sambhoga Kaya deities. The easiest Pure Land to enter is Tara's Forest of Turquoise Leaves, which is a close correspondence to Turquoise Lamp if understood in the Eight Dissolutions as the fourth stage. The stages are usually Mirage, Smoke, Fireflies, Lamp; here again there is a minor variant which starts Smoke, Mirage. That appears more consistent with Yoga. Another thing that surprised me is the espteric symbolism of Smoke is really Prana, and this just follows from Brihadaranyaka Upanishad. And so the Smoke is really a type of mantric binding of the winds going through the throat center. And so Smoke goddess is sixth, the wrathful consort of Amoghasiddhi. Then in the stages, this smoke begets Mirage, which is Marici. As form elements dissolve, this becomes a swarm of sparks or meteors, Khadyota or fireflies (Ratnolka or Dhvajagrakeyura); we are attempting to stabilize that into a Lamp, and, so to speak, release it to Sky.

These color shiftings seem more similar to my clear body than to any of the Dakinis who manifest during my shaking. I have a thing about the smoke. Months ago, maybe almost a year ago, I developed three centers from which bliss generated: inside my perineum, at my solar plexus, and in the subclavicular area above my heart and below my throat. I referred to these as "zungjuk", a word I found meaning "interpenetration" and I think probably erroneously exampled in one place I looked as the interpenetration of coitus. It actually, I believe, means the interpenetration closer to the worlds inside everything and everything inside worlds things I see in the jewels sometimes.

The reason for searching for a word was there was a word for two deities conjoined -- yab yum -- which refers to the whole thing, I needed a word for just the place of joining, as in if you visualize yourself as the entire conjoining (i.e. as both deities conjoined) and then focus on that point as a point of power or bliss.

At any rate, some time after that in my shakings, that got further refined, and now it was the actual surface or space between male and female in that place, within the movement and liquid, the creation of bliss -- and this got the name, and in this case not from me, but from my instructors, "thin smoke between twilight". It was one of the "micropairs" which were transitions or creations that I had to find and generate in my body. This one was between male and female, there is one (at dantian) which is between water and fire in the form of a single droplet of cloud at the instant that a tiny bit of fire that becomes lightning separates, another one (at the center of my head) is in a swamp and the conjoining of a tiny bit of decay/excrement and a seed at the instant that the seed becomes alive and the decayed bit transitions from being unclean filth to being nutrient for new life. (those are the three most easy to explain).

I will mention one more which is at my subclavicular, and is a cresent moon and a drop of milk at the moment when the moonlight becomes breast milk. I mention that one because you were talking about and showed a crescent moon, and that is the only regular crescent moon that happens, most of my moons are full.

But back to the thin smoke between twilight -- that one is very understandable as both the smoke in the dissolution and as prana. So I could understand right away.

As for nooses, Kurukulla identifies most nights, and she is constantly pushing me to understand not just her arrow, but her noose and hook. In my shakings, she maintains illusions -- she is the one who placed the jewel at my throat, she is there if I need to see worlds in the jewels, she is the one who teaches how to change my shape, usually, although Samantabhadri does the latter as well.

Old Student

7th July 2020, 18:43

I'm not quite certain about how dark/bright her green color is. She is darker than my clear body, which is bright green (with other colors that pertain to specific things), but not really dark. The halberd or spear is always point to the ground. The martial garb is specific to her head and sometimes her shoulders, and if I had to label it, it is like a picture of a Valkyrie I once saw. I originally thought it looked like Athena, but it has a flat front piece and no crest but higher sides. When she cuts out bad things, it isn't really cutting them out, it's just cutting them, more into their parts. So maybe the bad things are like knots or something that once not tied together are no longer bad. The only other thing I can tell you about how she looks is that she has the opposite leg up from the others in the dancing pose.

shaberon

7th July 2020, 18:57

But back to the thin smoke between twilight -- that one is very understandable as both the smoke in the dissolution and as prana. So I could understand right away.

As for nooses, Kurukulla identifies most nights, and she is constantly pushing me to understand not just her arrow, but her noose and hook. In my shakings, she maintains illusions -- she is the one who placed the jewel at my throat, she is there if I need to see worlds in the jewels, she is the one who teaches how to change my shape, usually, although Samantabhadri does the latter as well.

Allright.

"Twilight" includes "dawn twilight" so this is almost the same as saying Smoke and Marici. They may be dancing a little bit and hard to say which comes first. But if I am going to train a stable sequence, it would probably be Smoke first.

Kurukulla is like a stage two definitive deity. If stage one is a goddess like a drop of Nectar, Kurukulla would be defined as its flow penetrating the throat into the head. That is the real one. She has Cunda in her retinue. She is majorly explained in Sadhanamala and is stage two in the Sakya system along with Tinuma and Golden Heart Drop Tara--Lakshmi. Tinuma is the closest extant parallel of Guhya jnana Dakini.

Hook and Noose are the first Two Activities. Attraction and Request to Remain. Kurukulla is mainly in Lotus Family and yet she has no Chain. In this case, you definitely have the Hook and at least some of the Arrow; Noose is referred to in the post above, and, beyond that, it really becomes Naga Pasha or Serpent Noose, related to the South Pole or Nadir, and Sumbha and Nisumbha who were slain by Chandi, but this is generally confused and lost by Tibetans merely saying Sumbhani Sumbha in the middle of a bunch of other stuff.

So again this is so to speak the gate of the subterranean world and the enlightened intent of Jewel Family.

Kurukulla is a highly important deity, usually in Lotus Family.

Having seen the framework of Lotus Family, then we find that the main important Avalokiteshvaras and Guhya Jnanas are red and white; for some reason, the family is not just red, but some kind of red--white axis. The form of Kurukulla that seems to be most closely related to "dawn of nectar flow" is white.

Lotus Family as seen from what, as far as I can tell from the closest match to verse twelve, is the source of Wrathful White Tara; is one of the only Lotus Family Green Taras, her two main facets as one practice:

https://www.himalayanart.org/images/items/resized/2000px/4/0/3/40326.jpg

And yet there are Peaceful White Taras which are not in Lotus Family.

Only the Vairocana, Tathagata, or Buddha Family has the following kind of member:

Usnisa (https://books.google.com/books?id=P1G9PwC49rkC&lpg=PA115&ots=_Bgto9oFGp&dq=vimala%20usnisa&pg=PA115#v=onepage&q=vimala%20usnisa&f=false) as delineated by the basic categories of Kanjur-Tanjur canon.

Usnisa Vijaya, Parasol, Jvala Usnisa,and Vimala Usnisa are similar to each other, and to Sarvadurgati Parishodana. Their story is generally that Buddha is visiting Indra Heaven and some afflicted soul comes along who is cursed to a bad rebirth or whole cycle of them. Indra says "I cannot help you" and Buddha emanates spells from his head.

Tibetan Tradition (https://books.google.com/books?id=VmkMBcsXxdkC&lpg=PA154&ots=c-paCTj9sI&dq=vimala%20usnisa&pg=PA155#v=onepage&q=vimala%20usnisa&f=false) describes a "white religious funeral" as the use of Vimala Usnisa and Sarvadurgati.

These deities are based on Sutras and Dharanis.

Therfor again there is a way they are publicly accessible prior to the fact they may continue in advanced rites.

Parasol can become destructive and is something like a White Mahamaya Vijayavahini.

Usnisa Vijaya, however, frequently holds Amitabha in her palm. So the Lotus Family is employed by or in conjunction with Buddha Family. Some kind of interface. This turns out to be that the main agents in tantra are Red and White Drops.

"Amitabha and Crescent Moon in her hair" is like a simple, basic way of attaching it to Tara, which would generally be changed in other usages.

Buddha Family is that Vairocana in the Net beyond the throat, the summoning of the Dharmadhatu, and samadhis directly flowing from Buddha's usnisa or crown center. Without this, Lotus Family or Pandara is "full of attachment".

shaberon

8th July 2020, 04:49

So maybe the bad things are like knots or something that once not tied together are no longer bad. The only other thing I can tell you about how she looks is that she has the opposite leg up from the others in the dancing pose.

That, at least, is the Activity of Twenty-one Taras, removing subtle knots, which open aspects of the Dharmakaya. A reversed stance is possibly Charchika. Usually, helmets and mail are only found on worldly protectors.

I misspoke slightly earlier.

Tinuma Vajrayogini is the closest extant parallel to Red Lion Face Vajrayogini, is like a Guru to Guhya Jnana Dakini.

The second level of Sakya is:

Tinuma Vajrayogini
Red Bharati Vasudhara
Tarodbhava Kurukulla

In other words, this Kurukulla is supposed to be "born from Tara" Lakshmi Golden Heart Drop.

In the third level is Vajra Panjara Kurukulla for Hevajra tantra.

There is not really any such thing as an outer invocative "Kurukulla love goddess" as she is generally used; in fact she never has a consort. There is not really one except for the practical one, which comes after stage one of various Vajrayoginis, and produced by Tara.

Kagyu White Kurukulla, drenched in great compassion, exuding nectar from her body:

http://files.ctctcdn.com/b8900bc8001/05ddc20a-20f2-4307-b86a-278adafd7059.jpg

https://www.himalayanart.org/images/items/resized/2000px/5/9/7/59709.jpg

Hevajra at the top, over normal Kurukulla, over White Kurukulla with garland and vase:

https://www.himalayanart.org/images/items/resized/2000px/3/4/8/34839.jpg

However, she has additional forms in Sadhanamala with six or eight arms:

https://www.himalayanart.org/images/items/resized/2000px/5/9/7/59713.jpg

On a mantric basis, she is an evolution of the syllable Hrim.

Her main syllable is Hrih. This is what Hayagriva screams. Kurukulla we expect to be more soft-spoken. The thing to know with syllables ending in "h" is that it is like an echo, something like "Hrihi", whereas Hayagriva would be more like "Hrihiiiiiiiiiiiii!".

Sadhanamala contains a few white Kurukullas, one from Krsna Acharya, one referred to as Hevajra Tantra Svadisthana, Uddiyana Kurukulla, Tarodbhava Kurukulla, Maya Jala, quite a fair few. They happen to come right after Bhrkuti.

Kurukulla has her own magic mountain other than Potalaka.

This is where what I am calling Yoga tapers off. As disciples, we can probably get Vasudhara, and since Tinuma Vajrayogini is a close parallel to Lion Face Vajrayogini, those are about the same. I cannot provide any workaround for Kurukulla. I am unable to suggest anything for anyone to "get" her. So if someone comes along and has a Pandara-seeded self-arisen Kurukulla, then all I can do is describe where and how she fits.

Sakya only has one more structured level, and then "anything". It is Hevajra Kurukulla, Ganapati, and Red Bodhisattva Vajradhara in their main practice. Does this mean Ganesh?? It does!

In Sakti or Sri Kula of Hinduism, Varahi and Kurukulla are the "highest agents" of Shakti or central goddess. So again it has similarities although the details are vastly different.

Ganesh collects *all* the shaktis. He is the brother of Skandha--Mars--Manjushri.

Bharati Vasudhara is Bowl goddess. So to speak, the container of Varuni. In this case, it is her second stage, Maha Sukha Bharati, who enters union. In tandem with that, we may note that the way Naro Dakini becomes Buddha Dakini is by drinking from her bowl.

So the bowl and its contents are a type of major tantric focus, something like the accumulation of the entire outer Yoga path. That has a lot of details, and can be tricky for beginners, but when you have an active Kurukulla and so on, you must have gone through the Vajra--Heart--Mind mandala and are at the place of the Yellow Square Earth Base of our Inverted Stupa. This is the part which can touch the real base of a deity's upright stupa, which is the Tri-kaya.

It is a bit undefined.

That is why this is a Noumenal Path. In anything else, you say, earth, that's the densest element, so I transcend it first--but this is reversed, upside down, base is at the top.

shaberon

8th July 2020, 06:26

I have kicked Sadhanamala in the tires very hard, as if it were non-Buddhist co-intel, but it is authentic. There is an occasional spelling or syntax error, skipped or repeated line. One of the worst problems is with Bhrkuti; her seed syllable is garbled.

However from an old German (https://books.google.com/books?id=ais5AQAAMAAJ&lpg=PA9&ots=m0G3T_JbH4&dq=bhrim%20bhrikuti&pg=PA9#v=onepage&q=bhrim%20bhrikuti&f=false) study, or in a write-up in Circle of Bliss (https://books.google.com/books?id=l3KmWbcq5foC&pg=PA188&lpg=PA188&dq=bhrim+bhrikuti&source=bl&ots=LyCWp8CQ0X&sig=ACfU3U3dq0GxR8FQ5qgYK84vIkDD8EROOw&hl=en&sa=X&ved=2ahUKEwi1hYi09LzqAhWsnuAKHXiwDvcQ6AEwA3oECAcQAQ#v=onepage&q=bhrim%20bhrikuti&f=false), it is stated that the syllable is Bhrim.

Historical Bhrikuti (https://archive.org/stream/TheLifeAndContributionOfTheNepalesePrincessBhrikutiDeviInTibetanHistoryMinBahadurShakya/The%20Life%20and%20Contribution%20of%20the%20Nepalese%20Princess%20Bhrikuti%20Devi%20in%20Tibetan%20 History%20%28Min%20Bahadur%20Shakya%29_djvu.txt) by Min Bahadur Sakya also says the same.

This is the Jupiter syllable and shared with a basic Yellow Tara, Cintamani.

To make effective seed syllables, normally, one takes a basic, first, such as Hrim. Then it has an alteration, such as Hrih. And then it would have an addition, such as Bhrim. Those would each be some piece of the Net with corresponding meditational pathways. And so Cintamani or Bhrkuti would not usually be the first or an early thing to bond to.

However it is important, because eventually we have to combine Bhrim with what we are able to make of the syllable Hum. That is what will seal, so to speak, Sambhoga Kaya, Usnisa Vijaya, Pitheshvari Tara, or Jnana Dakini, and enable a true Completion Stage, is for the crown center, the one permissible route of Transference.

That is why we can't just say some words and get it to work. It has to be made of experiences.

Usnisa is of course the North Pole or Zenith, the opposite of what Noose power seems to provide. Adding the third dimension or polar axis is a significant "power up" in sadhanas, is a major subject in and of itself.

In Buddhism, Hrim and Hrih are quite common syllables. One would ordinarily use those for years prior to Kurukulla. Bhrim however is confined to Cintamani who doesn't do much, and so Bhrkuti is something of a solitary pathway for this.

In terms of analysis, this makes Bhrkuti inevitable or unavoidable. She has something of Jupiter, and there is something weird about Avalokiteshvara's unerring Noose power which turns her Turquoise, related to Ekajati. If we look back at the Ekajati retinue, Bhrkuti is already Turquoise there.

Tara's original husband is Jupiter, and she left him for the Moon, to produce Yellow Budha--Mercury. Eventually, she returned.

So to imply Bhrkuti is the main Noumenal operative of Jupiter is rather significant for Tara, and also if she is the first half of a major compound syllable is pretty substantial.

One additional thought for White Kurukulla's items is that the lotus garland is Sragdhara, i. e. Lotus Tara like female Mahakarunika, a chain of songs; and the vase usually being Nectar of Immortality.

I believe Kurukulla is intended as "Sixteen" Bala Sundari or Bala Kumari, and one of her main mantric identities is:

oṃ kurukulle hrīḥ amukaṃ me vaśīkuru svāhā

Amuka (अमुक) is the name of a Vākchomā (‘verbal secret sign’) which has its meaning defined as ‘śmaśāna’ according to chapter 8 of the 9th-century Vajraḍāka.

Smasana is Cemetery.

The translation of me is "me", so it says:

Bind me to the cemetery with your enchanting love magnetism.

Maya Jala 181 gives her personal syllable as Ksah. This is like in Narasimhi mantra Ham Ksham. It is a compound, similar to "X", kha and sha.

This is an uncommon syllable, used a few times in Shaktism. However, the end of 1,000 Names of Sarika is:

harinetra ghorarupa havisya hutivallabha ।
ham ksam lam ksah svarupa ca sarvamatrkapujita ॥ 137 ॥

Om aim sauh hrim mahavidya am sam phram humsvarupini ।

Sarilka (https://www.wisdomlib.org/definition/sharika) Durga is guarding or is the gate of hell.

The very end says syllable Hum is the form of herself.

Ham Ksam Lam Ksah is her form in which all mothers make puja.

The main Sakya concept of Kurukulla with Vasudhara and Vajrayogini:

https://www.himalayanart.org/images/items/resized/2000px/9/9/0/99092.jpg

Tinuma Vajrayogini is the one with the expected chopper and bowl of blood. Bharati Vasudhara instead has an ear of corn or wheat, and the liquid in her bowl is a different color, something else. That is showing how this is alchemy.

Old Student

8th July 2020, 17:16

"Twilight" includes "dawn twilight" so this is almost the same as saying Smoke and Marici. They may be dancing a little bit and hard to say which comes first. But if I am going to train a stable sequence, it would probably be Smoke first.

It's definitely both twilights, it is the place itself between darkness and light.

Old Student

8th July 2020, 17:33

Tinuma Vajrayogini is the closest extant parallel to Red Lion Face Vajrayogini, is like a Guru to Guhya Jnana Dakini.

Really? There's a lion faced red Vajrayogini? I told you about the fountain in my head with Ekajati watching it in blue with the staff. At nearly the same point, there is sometimes instead a pedastal, like one of the moon discs, hovering over a well at my magnum foramen, in which one can see rainbow colored liquid. Dancing on the pedastal is a red lion-faced one, I thought she was Simhamukha. She protects that part of my head. She has only once identified further, and that was to teach about some movements of my scalp.

The middle of your three thangkas is almost exactly what she looks like when she identifies, except that it is in first person, so I do not look at her, she embodies in me and then pushes me to more fully sense her lower two arms and her torso.

Old Student

8th July 2020, 17:56

I believe Kurukulla is intended as "Sixteen" Bala Sundari or Bala Kumari, and one of her main mantric identities is:

oṃ kurukulle hrīḥ amukaṃ me vaśīkuru svāhā

Amuka (अमुक) is the name of a Vākchomā (‘verbal secret sign’) which has its meaning defined as ‘śmaśāna’ according to chapter 8 of the 9th-century Vajraḍāka.

Smasana is Cemetery.

The translation of me is "me", so it says:

Bind me to the cemetery with your enchanting love magnetism.

Maya Jala 181 gives her personal syllable as Ksah. This is like in Narasimhi mantra Ham Ksham. It is a compound, similar to "X", kha and sha.

This is an uncommon syllable, used a few times in Shaktism. However, the end of 1,000 Names of Sarika is:

harinetra ghorarupa havisya hutivallabha ।
ham ksam lam ksah svarupa ca sarvamatrkapujita ॥ 137 ॥

Om aim sauh hrim mahavidya am sam phram humsvarupini ।

Sarilka Durga is guarding or is the gate of hell.

The very end says syllable Hum is the form of herself.

Ham Ksam Lam Ksah is her form in which all mothers make puja.

I seem to be spending a lot of time with these kinds of symbols lately. All related to a lot of transitions and flowing things and liquids that are all rainbows. I ended last night's shaking as bones, I'm learning a new dance that is about drumming on the ground with a bone. When I was bones last night, I was in clear body, my bones were waiting in an ancient grave for flesh and life, and they were holding a motif that elsewhere is the "cauldron of creation" and something Mandarava is testing me on their teachings these past few nights. I'm doing only so-so, it will be some time until I understand well enough to pass.

shaberon

9th July 2020, 00:46

Really? There's a lion faced red Vajrayogini? I told you about the fountain in my head with Ekajati watching it in blue with the staff. At nearly the same point, there is sometimes instead a pedastal, like one of the moon discs, hovering over a well at my magnum foramen, in which one can see rainbow colored liquid. Dancing on the pedastal is a red lion-faced one, I thought she was Simhamukha.

They are exactly different.

Simhamukha is blue or one or two other shades, but not red.

The red one only has one known image which is from the same series as the Green/White Tara above, which is more like production work than artisanal.

On the website, the series is identified as Rinjung Lhantab, kept in Basel, Switzerland.

It is a compendium from the Seventh Panchen Lama.

It accompanies a major pile of initiations that take over three months to perform.

They are on a 1983 typewritten manuscript of notes taken from the retreat as performed by Lama Yeshe, I believe, and in that case, called Rinjung Gyatsa and primarily attributed to Taranatha.

The retreat was done again around 2003 or so. And around that time, a confusing thing was published, which in some senses is called Sadhanamala, but is really just an improved version of the Rinjung Gyatsa. Lokesh Chandra was one of the compilers. And so the correct title here is something like Deities of Tibetan Buddhism.

This basket of sadhanas is larger than the real Sadhanamala. It contains the red lion face vajrayogini who initiated Nyan Lotsawa. And so in the story of lineages, he is fairly interesting, and has a couple other things that are forbidden to speak of. We can identify them now, but, for centuries, there were a few kinds of deities hidden from all but initiates.

The name he calls her is Skull Ornament Lady: Ziro Bhusana.

Firstly she is strange because she does not really have a personal mantra, not like "from Bhrim, Bhrkuti emerges" or a key phrase like "amuka".

Her role is to amass clouds of dakinis, and, she is an energetic equivalent of Naro Dakini when she starts to drink the blood. Tinuma Vajrayogini is specific to the Sakya, and, likely, works similarly, but in the definitions of deities, Guhya Jnana Dakini is what spontaneously arises, and Ziro Bhusana is over her--so they come together to the extent one is able to penetrate the veil.

The real Sadhanamala is not even published. The phases of western knowledge of Indian Buddhism are something like:

Brian Hodgson

H. P. Blavatsky

Alice Getty

W. Y. Evans-Wentz, Theosophist who pursued authentic Buddhism, currently still published

Benyotosh Bhattacharya, an Indian who used several pieces in Evans-Wentz's collection to translate what he calls Sadhanamala. This is partially true. He includes a few other things. But what he did is write from an "art identification" point of view. So he does not include the actual practices, and there are a few mistakes.

Alex Wayman, American professor, studied the previous and got a lot of access and asked very germane questions in terms of practice. And so his notes for Paramadya Vajrasattva and Namasangiti Manjushri are very useful.

Wayman's students--theses such as the Sarvadurgati Parishodana.

Circle of Bliss, Elizabeth English, and forward. Nepal was barely "opened" in 1995.

Sadhanamala--current. Unpublished, has no attribution, is just a partial copy. The appearance of it is reminiscent of Nalanda University joined with Min Bahadur Sakya and others in Nepal. They have a large Sanskrit Buddhist Canon, which is slightly different. So the Sadhanamala kind of looks like an unfinished student project. No way to tell. But under cross examination, it is what it is supposed to be, i. e. the rites from India as per Nagarjuna, Krsnacharya, etc.

And so now with the internet we also have the ability to look up mystery words and it tells us what they mean in Vajradaka and Dakarnava.

Then we see that love goddess Kurukulla apparently attracts one to what are generally called Eight Cemeteries.

That is why I have tried to reproduce the system which on one hand begets Vairocani, which is Samvarodaya and the Chakrasamvara series, and on the other hand, red Lion Face Vajrayogini is about as threshhold-close to Kurukulla as it is possible to get, which is for Hevajra.

I would generally explain it differently from the view of Little Red Lion Face, who is usually the Chain Activity. And this chain would be part of a rhythm which is built, until it gets to that intended Chain to Hevajra. So the Four Activities are a main part of the milieu, from the minorest, smallest thing on up to where they mean major stages of deity relationship. Hook, Noose, Chain, Bell--Gatekeepers.

The first one is Hook and there is a Red Hook Vasudhara called Manohara, which is not necessarily something that needs to be done by someone who has Kurukulla. What I would say generally in Buddhism is that it has a standard verb, akarsaya, which is actually magnetic, but then it discards the magnetic K syllable of Hinduism altogether. They typically give it the syllable Klim and say it is for Krishna. However it is almost impossible to find Klim in any Buddhist mantra, it may not be there at all. For the hook of attraction, we use the syllable Jah, which is perhaps unique for Janguli, although its intention is more like Janma or Birth.

The emphasis on magnetism is pushed further down the line into the Chain.

Kurukulla is not quite "in" Lotus Family, although she uses their main syllable. She really has a Five Family Crown. So here again is an indication of Lotus Family not "just for itself" but is a Quintessence with the others.

She does not have a Chain; she has indicated Noose power. And if you have that much stability with dakinis, then you must be about ready for Yaksas. They are in the Cemeteries as well--in the Trees. This kind of Yellow Earth as the highest point of meditation is not going to reach what may have been Yellow Jupiter, if Bhrkuti is turned to Turquoise. It reaches Yellow Mercury.

Changing Jupiter is something representing the changing of a blind orthodox rite to an inner experience.

Cemeteries are important for Hevajra. However, in the Samputa system--which is more related to Weapon Hevajra--we are able to discover a secret retinue. It does not quite fit in the regular "levels" which are still more or less the same as Bardo Thodol. I cannot quite figure it out, but it is very wrathful: Vajraraudris.

Bone Drumming on the Ground is certainly for cemeteries. The dakinis are the main drum users and the instrument is very important. Knocking the ground, or, Calling the Earth to Witness, is done by Tara, and at Buddha's Enlightenment.

The samaya forms of Yellow Vasudhara are Ila Devi (corn) and Gopali (cowherd). If it was me, judging by the indications, I would take Vasudhara. I mean it is completely backwards in terms of the usual progression, but, for the most part, Noose = Yellow, Earth, Jewel Family. No, they do not have earth's position in mandalas, it is the color Yellow which is more important here.

I do not have Kurukulla. This is what I do that is similar.

We said some stuff about how Heruka is really just a simple form, it could be wrathful, but it is basic.

And so there is a well-known Refuge Tree design of our system where there is Gold Four Arm Prajnaparamita at the top.

In many cases when something is shown like that, it is an outer or exoteric symbol of the Heruka. And so there are sadhanas for Gold Prajnaparamita, but then, she also takes a simple white two arm form. Kurukulla does the same--Four Arm Archer is, so to speak, the "broadcast" version, but she also has Heruka. The theme of this one appears to be increasing Nectar from a flow to a sweat. And so you want to get that plain white form and clarity on this.

The old lineages are not that well-preserved, but, in the Sakya system, it is correct that Vajra Tara is accepted as non-dual tantra, i. e., at par with the most advanced systems.

And in the case of her, there is a single practice from Nagarjuna which is her Heruka, shown from Pala era:

https://collectionapi.metmuseum.org/api/collection/v1/iiif/74908/180668/main-image

She is like Tara with Marici and Ekajati, but, she has Vajra Feet, and wisdom flames.

And how seriously she was taken at the time amounts to this:

https://c1.staticflickr.com/6/5092/5507880676_680b790fa9_b.jpg

From there I use Nagarjuna White Vajra Tara to hook any Taras. What she mainly does is transform Skandhas into Sunyata.

The full Vajra Tara does amount to the "3D polar axis lesson" and so for example she has Usnisa Vijaya. Furthermore she is in Jewel Family and therefor guarded by Vasudhara. And so in my case I would still take Vasudhara at some point, and, even though I feel the effective hook, the Noose power is daunting, and there again it goes to the opposite or south pole.

The actual Jewel Family tantra or Vajramrita is not translated or published anywhere, and we can only get bits and pieces of it.

You can get ones that are more powerful, like Vajra Kilaya and all kinds of things, but this one is conspicuously quiet.

So in saying Sadhanamala has sixteen Maricis, a dozen Kurukullas, ten Vajra Taras, and so forth, it has a lot more Tara than is ordinarily known, in a format that is as intense as any of the others. It has Manjushri and Lokeshvara, but there are already millions of these.

And so in other words, this works like a Tara equivalent of how White Heruka spawns Completion Stage deities. I don't have the real Heruka so I am on the Yoga Path practicing with an old friend, as did Nagarjuna, who is perhaps the most important of all the lineage holders. He has a Serpent Hood, so, must be about the same as Janguli, which is why I then turn to her in a more revelatory or explanatory sense. White Vajra Tara is primarily a skandhas-into-voidness catharsis; Janguli and others hold all the information that makes the major Yellow Vajra Tara.

I haven't done any of the others, I am just learning how it works...I know what the Kurukulla is, as a physiological state with no purpose, but I will not return to it without better development of the wisdoms and protections of the families.

Old Student

9th July 2020, 17:32

Bone Drumming on the Ground is certainly for cemeteries. The dakinis are the main drum users and the instrument is very important. Knocking the ground, or, Calling the Earth to Witness, is done by Tara, and at Buddha's Enlightenment.

Cemeteries -- Charnel Grounds -- have been important, somehow showing up in a lot of what I read to try to keep up with the Dakinis, starting with my sometimes fixation on Niguma.

The samaya forms of Yellow Vasudhara are Ila Devi (corn) and Gopali (cowherd). If it was me, judging by the indications, I would take Vasudhara. I mean it is completely backwards in terms of the usual progression, but, for the most part, Noose = Yellow, Earth, Jewel Family. No, they do not have earth's position in mandalas, it is the color Yellow which is more important here.

I looked up Vasudhara from a word component perspective and thought it must mean "Holder of a Beam of Light" which resonated. Wikipedia says it is usually translated "Stream of Jewels" which also does.

The statue of Vajra Tara for some reason is difficult to look away from, like I've seen that face before type feeling, but I'm not sure why.

So I should try to explain something about the bones and desert and so forth, and I am going to abbreviate some of my notes and paste them in, I think, so you can see what the whole bone thing started as and where it seems to be going. This is the second night of the bones in the desert, after I had spent a lot of time reading about what looked like shamanism in this motif the night before. Some things: I was having breathing trouble -- characterized by just not breathing, and you will see that part of this is about trying to fix that with nausea.

One of the things that is not in this, and is in a previous shaking, is that almost everything in some parts of this are my pelvis. My pelvis is the desert, my sacrum is foothills at its edge. My pelvis is the bone being struck on the desert sand. My pelvis is the shuttlecock in the loom, and also the warp of the loom is stretched across my pelvis from sacrum to pubis. My clear body's pelvis is also the cradle and sometimes cauldron of creation filled with rainbow liquid.

And that the person dressed in feathers that strikes the bone on the sand is me, and is visibly sometimes me male and sometimes me green and female.

Shaking began at about 4:55am, with both the pelvic, shamanic shaking and the abdominal multibody shaking happening simultaneously,... and no bliss in either. There was some rattling from the desert, and, in turn, Mandarava, Kurukulla, Ekajati, and Samaya Tara identified, and I found myself looking out over the “shaking landscape” looking down my body. Everything just stayed there in a kind of waiting state, a breeze rippling some loose things in the desert and the four Dakinis standing there, and then Mandarava spoke for all, “You have to choose what you want to do next.”

I chose the abdominal shaking and “vocalized” it to her, “I need help, I can’t generate enough nausea and I can’t breathe.” The pelvic shaking retreated into the knobby bone inside, and I wasted some time trying to figure out if I was enough in two bodies to feel the bone, beginning to be known as “the rattle” when they talk about it. I worried about this for a full minute or so, and had the feeling I had “offended” the assembled Dakinis.

I began shaking in my upper abdomen and pelvic rim, and moved into some of the arching, metallic colored bandhas I have had before, but all of my attention was not there, it was on my chest and the pain and lack of breath there. The task at hand was nausea, and I worked on opening my esophagus. I got it most of the way open more than once, with no relief for my breathing, and then Samaya Tara took her weapon, a spear or a halberd, I’m never quite sure, and put the point of it and her foot on the “base” of my esophagus and pressed down and it opened all the way and my Ting-listening was able to penetrate all the way into my chest cavity and grab it. I shook as I have been taught, and waves of nausea pulsed up my esophagus and into my throat. I did this over and over to no change in my breathing.

...There were heated discussions about it, and about a lot of other things about my shaking. The consensus was I needed to do the splitting form of the nausea instead, and I did that, and it felt the same except it produced the dripping liquid bliss floating downward, which caught my attention and distracted me. I became worried about it. I “checked” my bone/rattle, and it seemed shriveled and dry. Mandarava chastised me for doing so, saying that I had made my choice, and not to be distracted by the “North American dancers” (as opposed to the Dakinis – the “North Asian dancers”). I could not collect myself together to do anything but meaningless pulses of nausea up from my insides to my throat, Kurukulla withdrew from the jewels in my throat and left them dull, and I apologized profusely to all present and tried again but could not correct my breathing and I ran out of energy.

I rolled over to sleep...

I woke at 6:40am again into breathing difficulty, into the same position I had gone to sleep in, and into being in the desert and in two bodies. The figure in feathers was again striking the ground with a bone, I was again the figure in feathers – in each body separately – and the bone was again my pelvis in each body, and again glowing yellow or golden (yellow in color, shiny and glinting like gold, with a red tinge at the outline). Shaking built in my pelvis and the motif of the weaving of a tapestry with my hip bone being the shuttlecock, together with the cradle of creation filling with rainbow colored liquids was building as well. We were standing in the desert as a procession, all of us dressed in black feathers. All of us was me in two bodies, and the four Dakinis who had been working with me earlier.

I asked what we were doing. They said, “We are going to do the shamanic journey through death. You requested it.” I looked at the ground where we had previously hit the ground with the bone and there was an open trench in it, right where the desert met the ascending mountains of my sacrum. The pit was covered with a leathery, hide or cloth, decorated with prayer flags, and held from falling into the pit by taut strands of thread that I recognized as being the warp of threads from the loom of my pelvis that my pelvis as a shuttlecock was traversing to produce the brilliant colors of the tapestry of creation. A stiff breeze was blowing, and the leathery fabric could be seen to be quite gauzy and thin and was rippling in the breeze and snapping the way flags do when they ripple and the wind is strong.

Something caught my attention and I realized that the gauzy leathery fabric that was rippling was my abdomen, murmurating and moving rapidly in a shallow fire breath that was superimposed initially on my breathing and then was my breathing. I was doing a fire breath at the rate of two to three breaths per second for almost 15 minutes when this was happening. I was in my abdomen, in the pit, then, looking up at the fire breath leathery shroud and in the pit was a skeleton covered with dried, desiccated flesh, I alternately saw the desiccated corpse in third person and was the desiccated corpse myself. We lifted it, with its shroud, up out of the pit to carry, and rainbow liquid spilled all around the pit onto the desert sand. We began to walk our way into the mountains and through the terrain of my body. As we moved up, each part of my body started to shake, and we stopped when we reached my throat.

My head began to shake very rapidly and then to tilt back and gaze upwards. I could feel the Phowa – I could feel that my head was pointed up inside of Vajrayogini’s infinite vagina, and I was not comfortable. A green lily with white flower glowed at the top, and a white vulva in green body glowed at the root of my pelvis, like two moons glowing on green pedestals to light the way. I was panicky. I kept trying to straighten my head, so that the top was aligned with my crown, it kept tilting back so that my aperture at the hairline (the Spirit Temple point) was pointing up.

I asked, “Why is my head pointing up this way, shouldn’t it be the other way? If I do it this way, it isn’t the same, I’ll die.” Mandarava said, “You wanted to do this in the shaman’s story. The only path out of here into death is that one,” pointing to the aperture. I started explaining that I had read or heard that I had to do a death journey. I began to feel stupid about maybe I didn’t understand or maybe the journey was something symbolic, or maybe this and maybe that. I quailed from continuing to carry my bier through that aperture, and again focused on the two moons. One was on the other side of death. One was my clear body’s vulva glowing in the beginning of life. I said, “I should do this when I am done here, this isn’t an other-world death this is a real world one.”

I was back in the desert – in my pelvis, in my clear body. The feathered person – me – sat on one side of the cradle or cauldron, she sat on the other, with her body in the position of the famous Japanese statue of Maitreya. She dipped her hand in the rainbow liquid, and for the first time I noticed that her rainbows and the liquid rainbows were the same flowing colors. “This is your path, to fill with this,” she said. I sat and watched the rainbows until my breathing intruded (the alarm had already rung and I was supposed to have gotten up already) and then I got up.

shaberon

9th July 2020, 18:50

Working on this stuff has lateral benefits.

As of dwelling mostly on Kurukulla yesterday, I can suddenly recite Vajrasattva 100 syllable mantra. Always had to read it. Just know it now.

I am wondering if what you call bones & clear body is what I called x-ray. I didn't mean that I could see through walls--just the body itself, like in an x-ray picture.

I am also wondering if you would describe shaking as a "controlled" petit mal seizure.

There is a thing I can't remember the occult word for, a point of tension, like a bead, that travels around the nervous system. It is not always out, but, when it is moving, it usually looks for a short circuit. So, it might enter an arm and make part of that arm twitch for twenty minutes. Or, it may just be there briefly, move to another arm, not find anything, and enter a leg and make it twitch.

I think if this thing is charged up enough, it would cause a full epileptic seizure, when entering a deep enough part of the brain.

So I get then sense of part of what we are doing is reversing epilepsy.

Similar to reversing rage, which also causes uncontrolled shaking; if that same energy was completely harmonized, what would you have?

I can feel the same electrical point moving and striking in another human being. It definitely is something that I just don't have a word for.

Dakini is like the "first" charnel ground inhabitant--visible, loud, interactive.

Everything there is some kind of entity on the Dharma Path.

The main thing to bones is like this:

A deity that attacks Hindrances collects trophies of defeated enemies--a "fresh head garland."

The decay of the hindrances, poisons, etc., ripens the heads to Emptiness--a "skull garland".

Fresh corpses in the charnel grounds decay to skeletons accordingly.

Here, watery elements are Bodhi. We are trying to get Nagas to produce rain--flow of Bodhi. When successful you feed the Tree. The Tree is the Avadhut and these are populated by Yakshas and the worldly deities, such as Indra and the rest. So it is something like you have these gruesome, challenging misadventures, on the way to meditating at the Tree.

The cemeteries are like a flat plane, which therefor should be mastered prior to the 3D axis, Canopy or Panjara, and so forth.

In Sarvadurgati Parishodana, Vajrapani mantricly defines the Eight Naga Kings. Because there are variations, it is important to have some kind of order involved, and so we are starting at the same resource. The cemeteries are the Asta Vijnana. And if we use this format, the first is inhabited by:

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

So there could be a sadhana that begins with Vasuki. That does not mean it is wrong. What it means is, the system employed must be consistent. When one has a consistent Ananta system, then, of course, you can operate a different module that uses Vasuki, but I think a single one of these realms is pretty doggone big.

The serpent kings themselves are frequently used as garments, usually in sets of five or occasionally six. Janguli has a full hood of seven like Nagarjuna.

As accoutrements, White Kurukulla in Sadhanamala wears:

nīlānantabaddhakeśāṃ raktatakṣakakuṇḍalāṃ pītaśaṅkhapālakaṇṭhikāṃ viśva[varṇa]kulikakeyūrāṃ haritakarkkoṭakayajñopavītāṃ sitavāsukimekhalāṃ

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

nīlānantabaddhakeśīṃ [Blue Ananta] pīyūṣavarṇavāsukikṛtahārāṃ [Vasuki]

raktatakṣakakṛtakarṇograkuṇḍalāṃ [Red Taksaka] dūrvvāśyāmakarkkoṭakakṛtayakṣopavītāṃ [Dark Karkotaka]

śuklapadmanāgendrakṛtahārāṃ [White Padma]

mṛṇālavarṇamahāpadmakṛtanūpurāṃ [Lotus Root colored Mahapadma] pītaśaṅkhapālakṛtakaṅkaṇāṃ [Yellow Sankhapala]

dhūmābhravatkulikakṛtakeyūrāṃ [Smoky Kulika]

Padma and Maha Padma are not the same naga.

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

In Sadhanamala, there are a few instances of smasana, but Asta Smasana only appears twice, once with Six Arm White Tara and once with Marici. Asta Smasana cemeteries are the operative field of the Asta Vijnana philosophy from Lankavatara Sutra and others.

But that is also a color difference. The actual White Tara named Sita Tara has four arms; some of the others have sita color, but otherwise they are all personalized names, such as Vajra Tara.

However Six Arm White Tara is named Sukla. It means moonlight. She has only one definition: she is stable in the middle of the cemeteries. So she is the "crossing" archetype. And so that is something like a base Heruka desired to operate any Six Arm deities.

And then for example, white Ekajati and white Kurukulla are both Sukla, not Sita.

So it is like Six Arm Sukla Tara "collects" the nagas, and passes them to Kurukulla and others as a set of jewelry. It is generally the wrathful equivalent of Sambhogakaya jewelry such as necklaces and bracelets. They are all bindings of the winds.

The mantric set uses:

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

So Kurukulla might be wearing them out of order, they may perhaps change colors, but they are basically similar.

That is how the Naga and Dakini realm works, whereas the Yakshas are just sort of putting in an appearance.

Vasudhara holds the Vasus (https://en.wikipedia.org/wiki/Vasu) which are not Form elements, but root elements or Mahabhuts in the mind, the way in which water and sunlight twist and reverse into manifestation. Again the main variations are Brihadranyaka Upanishad and then later a Vaisnava way. One of the things she holds that would make me go...hey, that's not really an element, is Dhruva, North Pole Star.

And so if there are outer Vasudharas, this is again to show that she has complete Usnisa or crown center, and is beyond the beyond. In Nepal, she is the esoteric goddess gate. Dhruva is perhaps "the" occult element, not inherent to existence, produced noumenally. And so there is a border between basically flat versus spherical deities, because the sphere is not just the simple one of the body, since we are talking about a beyond-the-body chakra.

Old Student

10th July 2020, 00:12

I am wondering if what you call bones & clear body is what I called x-ray. I didn't mean that I could see through walls--just the body itself, like in an x-ray picture.

It depends. My clear body is quite colorful from time to time. As you can gain from above, at least two colors, green and moonlight. But it also exhibits a deep to bright dichroic red (green looked at, red looked through) in places sometimes, can have a blue iridescent sheen sometimes, etc.

I am also wondering if you would describe shaking as a "controlled" petit mal seizure.

There is a thing I can't remember the occult word for, a point of tension, like a bead, that travels around the nervous system. It is not always out, but, when it is moving, it usually looks for a short circuit. So, it might enter an arm and make part of that arm twitch for twenty minutes. Or, it may just be there briefly, move to another arm, not find anything, and enter a leg and make it twitch.

I think if this thing is charged up enough, it would cause a full epileptic seizure, when entering a deep enough part of the brain.

So I get then sense of part of what we are doing is reversing epilepsy.

Definitely not petit mal, which is absence seizure, and looks outwardly like somebody daydreaming and not responsive to the outside.

As for the other generalized seizure, grand mal, also no. Although I do probably look like someone randomly and forcefully shaking, I am fully aware, I check my watch, sometimes I check my pulse, I get up and lie back down, I move covers out of my way. I can also do it standing (i.e. initiate it from my standing meditation), I prefer to use hypnagogic states to do so (i.e. from just waking up) and lying down makes sure I won't hurt or hit anything. If you've ever treated anyone in grand mal, they are considerably less conscious and have almost bone breaking spasms.

Similar to reversing rage, which also causes uncontrolled shaking; if that same energy was completely harmonized, what would you have?

I can feel the same electrical point moving and striking in another human being. It definitely is something that I just don't have a word for.

I don't know of this. If I want to shake in just a particular part of my body and not the whole thing, I can, I call them "therapeutic shaking" and use them for joint pains or headaches. The one nausea technique of opening my esophagus is one of those, albeit one taught to me by the Dakinis.

The shakings also have the property, in common with meditation, that they substitute for sleep. So I've been shaking pretty much every night for over a year, and haven't been tired when I got up. Very few are as dramatic as the above, most of them are as explicit, they are powered by bliss, which is redirected or mental orgasm, so there isn't going to be much left out on that account, and they are often explicit about death, too, probably because they are mostly Buddhist/Daoist, and as you were pointing out, in addition to 24 Holy Places the Buddhists have 8 Charnel Grounds.

Some of what was in that one is very hard fought learned techniques that are now ready for use. When I was first learning to do the dissolve it took weeks to be able to let go of my sense of self. Now I don't think about it.

The reason I put that up (there are a lot more on Dao Bums, I am behind so the above isn't there yet), was to try to do a better job of communicating what it is recently about death and bones, and especially so that you knew that pounding the sand with a bone was more a ritual in a desert than in a cemetery. The desert is white. Even the Dakinis refer to it as "North American", I spent the better part of a day after the night I quoted from trying to figure out if it was possible that there was proto-mythology shared between Native Americans and North Asians.

The simultaneous whole presence of both bodies and that they can be running related but very separate visions in parallel is very new, the last few weeks. It is something the Dakinis have been teaching about, because the very first time they put me completely in my clear body without any clue as to the whereabouts or even the return of my physical body I panicked in a major way and that caused a rethinking of my training.

The other reason I don't think it is very related to something like epilepsy is that epilepsy is entirely in the brain. These shakings frequently spend weeks enhancing my control over muscles in my body, and there is considerable instruction targeted at extending nerve endings and such in my peripheral nervous system to accommodate that, and work gaining control over things that are supposed to be autonomic nervous system functions.

The splitting referred to in the notes as the other technique for nausea is an example. In it, I shake a tiny point in my chest below my heart until it splits into nausea and bliss, and the bliss drips downward and the nausea floats upward. That has grounding in autonomous nervous system processes: bliss (and arousal and orgasm) are a process of a tonal sympathetic signal (one that's "always on") being overwhelmed by a parasympathetic one (which is then known as the phasic signal). Nausea is the reverse, a tonal parasympathetic system overwhelmed by a phasic sympathetic signal. It's probably why both are described sometimes as "waves".

However Six Arm White Tara is named Sukla. It means moonlight. She has only one definition: she is stable in the middle of the cemeteries. So she is the "crossing" archetype. And so that is something like a base Heruka desired to operate any Six Arm deities.

So the vision at the end of the night of notes I quoted to you that keeps me from going through all the smoke and into the aperture is the sight of the two moons that I relayed at the end. That sight has now been the thing that I've seen that stabilized things when they threatened to go through the aperture more than once.

Agape

10th July 2020, 02:15

Agape

10th July 2020, 02:37

It’s interesting as if you look down to your very life essence the whole string of information has lots of kinetic energy stored in it,
exchanging chemical -information- at all times and reshuffling itself.
It’s like rainbow colored river of life.
It’s not a “book” or a “painting”.

It’s a-live :) It’s capable of almost anything , consider the infinite potential 🙏🌟🙏

To conclude one of my previous points
it’s essential to cut off imaginations
and creativity to abide in “pure meditative state”
that in itself is the only safe way
to abiding in non-local, higher Reality
that is reality not a dream world.

The power of your imaginations and creativity
when stopped, quantifies and starts returning to its own Source

For whatever you know and want to know
rests deeper within you

Then the Old Man is reborn and starts dancing as a little child.

When the child of Buddhas is born everything else is forgotten

🙏😀🙏

shaberon

10th July 2020, 08:35

Is the most subtle and immovable Vajra Body not the same spirit-energy as one residing in our bones ?

I am not sure if it is in the bones. They are considered occultly inoffensive. Bone relics were said to light up the Dagobas of Ceylon with rainbow light. However I think "it" may have simply passed through them.

Vajra Dhatu is said to be the winds centered at the heart and upwards.

Vajra Kaya is Formless, is a condition of the Dharmakaya.

I think it is in Bodhi Mind, which comes from outside the human psyche; is from the Sangha. In terms of deities, Bodhi Mind is the first deity, Vajrasattva.

Vajrasattva is the Samaya or Bond being; and what is done is we meditate him and dismiss him. And so he will fade into voidness. The "eraser" could perhaps be called Purity mantra:

Om svabhavah shuddho sarva dharma shuddho svabhavatmako'ham

All Dharmas are pure by self nature, I am pure by self-nature.

Purity or shuddho here is the same word as in Visuddha for throat chakra. And so then we erase Vajrasattva and meditate emptiness.

White Vajra Tara as a communion entity is the subsequent mantra which says:

Om sunyata jnana vajra svabhavatmako'ham

This says I consist of Vajra Void Gnosis.

And so that mantra continues in a great deal of the litanies, but it is distinctly Vajra Tara's primary endeavor. You toss in your skandhas, and she is the Vajra Void Gnosis arising within.

Then even if we still stick at a quite basic level, seeing as how this Vajra Tara is a Nagarjuna practice, well, then he has a second simple White Tara whose name is Mrtyuvacana. This is related to older traditions called "Cheating Death", i. e. for longevity, but, esoterically, it also means Explaining Death. And at that point, the Tibetan system is different. Mainly they use Atisha's White Tara in Long Life Trinity. The system of Sadhanamala and Vajravali, etc., has a different Immortality practice, Vajra Kaya. It may incorporate a similar trinity, but, is more or less the reason why a white deity keeps getting re-iterated as the main seed of others.

Nectar or Amrita is the negation of Mrtyu or Death, a-mrtyu. In just the same way, Immortality is Amara Vajra, i. e. a-mara or negation of Mara, which is Noumenal instead of physical. And so we talk about the syllable Hum, and what Amaravajra uses is Humkara, or Hum Hand, as her central gesture:

https://www.himalayanart.org/images/items/resized/2000px/1/9/0/19043.jpg

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. This mudra is significant enough to have its own deity, Humkara.

Humkara is the same as Vajravali lineage held by Dolpopa and shared with the original Bodong-pa school used by Tibet's highest female tulku. Vajravali is a famous collection of around 40 Sadhanamala lineages still used in Tibet. Dolpopa is the Shentong Master, so to speak.

One of the salient points about Vajravali is that its art shows relationships on the Path.

And what Humkara 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:

https://upload.wikimedia.org/wikipedia/commons/2/2c/Four_Mandala_Vajravali_Thangka_-_Google_Art_Project.jpg

So in order to be effective, the gesture must have, at minimum, Tri-kaya Vajravarahi, which uses Jewel Family. Again, the thirty-seven points are the same underlying structure as in Shingon. The thought of Vajravarahi in Jewel Family would make most students say, what?? This is a counterpart of saying Green Shrnkala is a Chain to Hevajra. And so by now you know we're talking about Hell, I hope.

In the center of the next thangka Humkara 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. Varahi nevertheless has a White Heruka, like many.

At the bottom stands 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:

https://i.pinimg.com/474x/71/dd/76/71dd76c46771e93c7a6dfa19ed8edc21--tibetan-buddhism-buddhist-art.jpg

https://i.pinimg.com/originals/f5/2d/8c/f52d8c7cfd88c36d68b130dae0caf60d.jpg

"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. You can usually determine this pretty quickly by their rainbow flames, which are possibly unique to them.

So now you see a major point of Seven Syllable deity. Something other than Illusory Body or anything easily conceivable.

Amaravajra showing Vajrahumkara:

https://www.himalayanart.org/images/items/resized/535px/1/0/0/100184.jpg

So if you have that you are a Tulku when you are not in Pure Lands.

There are more subtle things in the Bodhisattva realm that can be written and defined somewhat, but the most tangential thing I can say is that Pratyangira--Amaravajra is the second chief of the Nepalese system after Vasudhara. She has no outer invocatory path whatsoever, but is at least a partial answer to whatever is behind that Yaksha door, and we are back to Vasudhara.

Explaining Death.

Well if we said there is a Svabhavika Kaya, a Vajra Kaya, and so forth, and that Vajradaka--Dakarnava allows for seven skandhas, and there may be Seven Buddha Families--each of whom must represent a skandha or rubbish heap becoming a Kaya or Buddha Body, dwelling in the Wisdom of the Family, what has been added?

It is not that abstruse, it is from the Four Noble Truths, the first two of which state problems. The second two are benefits. So the Skandhas and Kayas are the two benefits and their opposite sins:

nirodha (cessation, ending) of this dukkha can be attained by the renouncement or letting go of this taṇhā;

magga (path, Noble Eightfold Path) is the path leading to renouncement of tanha and cessation of dukkha.

Failure of nirodha is Sakkaya-ditti, a view that there is self in any of the skandhas, which says the Path does not matter or does not apply to me.

Failure of magga is Drsti which is any self-view, which says the Path is wrong.

Sakkayaditti kills Vajrasattva, Drsti is an argument with Vajradhara. It is not exactly a verbal dispute though, it is a subtle mind, which is a mind mounted on subtle winds (most skandhas are on coarse winds).

So these are not like form elements, are not like space, are like mind. Drsti is duality; ultimately, purification, as of the cemeteries, means non-dual.

What I was trying to mean about the seizures was not having a literal one and controlling it, but, controlling the type of spark that would set it off by reversing it. Implosion instead of explosion. By "petit mal", I am not sure I mean the literal diagnostic definition, but a "small" seizure, i. e. not total body clonic-tonic, but convulsions.

Old Student

10th July 2020, 15:53

Within the bones rests the red essence of marrow, your mother red cells, the carriers of oxygen we call life. Is it not where our best nuclear information is stored and protected for lifetime.

Now when the energy-information that is prana-Mind detach themselves, almost magically from these heavy elements

and dance in magical mysterious dance of life above the gravity field,
like swarm of fireflies

Like flashing lights

Is it not what we call the the ultimate body of enlightenment
another form of Life

That’s how everything alive is a teacher.

What is not obvious from the shaking I posted is that there was a split in my shakings the night before.

Do you believe in Kundalini awakenings? I had had a small one before I started my shaking, I went looking for it, it happened. It was recreatable as a feeling in my standings by doing Tummo vase breathing, and still is. I make sure I do it at least once a day, and have since April 2019.

The split that they did in my bodies to enable them to do different visions at the same time hit me like one. They had had to do some changes as I mentioned before, installing new nerve endings in my lower abdomen -- these were not to accommodate the split, they were to mollify it so I would not be so upset, and I added one the next night and got chided about whether or not I had done that because it felt good. At that time, Ekajati told me that these installations were "attachments" -- she meant it very much in the Buddhist sense of things binding me to my body and interfering with perception of the truth.

I mention this as context, because I spent several days trying to learn -- but really trying to comfort myself about the second Kundalini experience by listening to videos about Kundalini awakenings on the internet.

That night is when the pelvis thing started. This is why the next day when I spent my time learning about shamans, I spent so much time on them journeying through death, because there were Kundalini awakening "experts" who likened the progress after them to the journey of the hero in Hero of a Thousand Faces. The above shaking was what happened that night and it may not come across well in the notes, but they were very hard on me, telling me in effect not to go looking for things that I didn't understand properly. Disciplining me by taking me to a place so cold and deadly that I had no choice but to understand not to run off and do something I was not ready for (as in couldn't possibly understand right now).

I'm a math person. At one point in my education, I spent as much time learning to visualize dimensions higher than three as you spent in Kalachakra retreat. (As the saying goes, "Mathematics is done in the quiet of one's own mind.")

The Dakinis know that, they know everything about me, they are in some sense guru deities.

The pelvic shakings are different from the other shakings, they are orthogonal to them. At a minimum, there are 9 dimensions at play in the shaking above (at least 3 for each body and the orthogonal pelvic shaking has at least three).

Thank you, Agape, for what you said. For me, they are not one above the other, they are intersecting each other and distinct.

Old Student

10th July 2020, 16:13

It’s like rainbow colored river of life.
It’s not a “book” or a “painting”.

The rainbows I experience right now are the rainbow cauldron -- an expanding body of rainbow liquid that I was told was the "cradle of creation", and it's "male equivalent" (the male version if you will) which is a tapestry woven with that liquid, and I was told was the "tapestry of life." Only other detail that might be interesting is that my attention is called carefully to the warp and weft of the tapestry. The words for warp and weft in Sanskrit (their derivatives are still in modern Bengali) are "tantra" and "sutra" (Bengali "tontto" and "shutto").

To conclude one of my previous points
it’s essential to cut off imaginations
and creativity to abide in “pure meditative state”
that in itself is the only safe way
to abiding in non-local, higher Reality
that is reality not a dream world.

My clear body emerged for the very first time during/after doing a "perfect" standing -- I had maintained perfect position and had completely submerged my concentration in every single breath for one hour.

I have another thought about this but it's still kind of pre-verbal.

Old Student

10th July 2020, 17:42

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. This mudra is significant enough to have its own deity, Humkara.

These mandalas resonate with me more than some of the others you have posted. I also have an ongoing thread in my mind about Hum. When I see Dakinis, or others in the tandava dancing pose, I feel them from the time spent in that dance in my shaking. I also tend to see them as the character Hum -- the body they dance on is the 'U' their bodies are arranged in the 'Ha' with arms forming the shirorekha, and their heads become the chandrabindu.

I have saved the big Vajravali mandala. I have to study it further. Thank you.

What I was trying to mean about the seizures was not having a literal one and controlling it, but, controlling the type of spark that would set it off by reversing it. Implosion instead of explosion. By "petit mal", I am not sure I mean the literal diagnostic definition, but a "small" seizure, i. e. not total body clonic-tonic, but convulsions.

Hmm. Okay on the 'petit mal' thing, that's kind of what I thought you meant. A non-total (as in non-general, not all of the brain) seizure is called a focal seizure.

I don't know, because I don't know what that spark would feel like, so maybe, if one pictures the "inside" of a seizure the way Dostoevsky writes about them. I have studied internal martial arts since my youth, although I don't practice with others anymore. So I end up describing the spark that starts shaking in terms of push hands, a two person exercise in which one tries to listen (Ting - 聽, a Daoist thing) to one's opponent and parry their force using qi. To start shaking, one listens to some part of the body, or just listens without specifying, and where there is the tiniest of movements, "translates" the movement to a "push hands" contact and moves something just enough to change the movement.

When I mentioned therapeutic shakings above, those are when I go into the pain and find a place where I can do that little change. So in a painful joint, I go into the pain and find the "fulcrum" around which it is built, if you will, and pull or push it just slightly until it comes apart into "opposites" and I then move with the opposing opposites which starts a physical shaking movement spreading outwards. When I do the more spiritual ones at night, I listen to my whole body.

So maybe that's like finding a spark or something. It's really more like breaking a symmetry, if you are familiar with the quantum mechanical term, breaking a symmetry disturbs the status quo and creates something.

shaberon

10th July 2020, 18:40

Now when the energy-information that is prana-Mind detach themselves, almost magically from these heavy elements

and dance in magical mysterious dance of life above the gravity field,
like swarm of fireflies

Like flashing lights

Is it not what we call the the ultimate body of enlightenment

Do you believe in Kundalini awakenings? I had had a small one before I started my shaking, I went looking for it, it happened. It was recreatable as a feeling in my standings by doing Tummo vase breathing, and still is. I make sure I do it at least once a day, and have since April 2019.

Both make sense.

Khadyota/fireflies is a borderline stage from the semi-familiar to the very strange. And so if the desired next stage is Lamp, this may be:

Dipankara or Lamp Buddha of Nepal

Dipa Tara or the Fourth Offering

Turquoise Lamp or the Fourth Dissolution

I had an inherent kundalini which at first I was mainly able to learn as Laya Yoga. Relatively simple. There is however no such thing as kundalini in Buddhism.

It is Candali Yoga.

It is Abhisambodhis and Yoga of the Two Moons.

Kurukulla and Two Moons is clearly conversant with an advanced stage of the tantras.

With respect to a white desert, both Yajnawalkya and Buddhism refer to Uttara Kuru or Great North Country thought to have been around Lake Baikal.

To me however it simply also sounds like the First Void or White Moon.

The sequence would go Lamp into Sky into White Moon.

And so the sadhanas change from partial attempts into some kind of actual White Heruka who performs the real inner rite.

The Path is Noumenal which is why it is not a kundalini awakening.

That is why, in physiological terms, I know exactly what it can do, which in turn makes the Buddhist Path easy to comprehend, which is not the same as really crossing it.

The critical underpinnings of Hum are something there are many important aspects to, but, right now I am out of time.

Agape

11th July 2020, 01:41

Just popping in ..

Thank you both for your beautiful input. See, everyone has a point.

Old Student, I’m originally math and physics and biology person, too.

Every esoteric system is a “system”, the Sanskrit language itself was created as an artificial and very complex “system” to contain wisdom and knowledge of our advanced ancestors,
every human language too is a system. Mantras of yesterday are triggers of today and perhaps, touch buttons of tomorrow.

So in case I enjoy a vision of an entity I try to see where does the entity come from, which system does it come from , is it guiding you to a specific soul group ?

I know I’d have died of sadness in certain stages of my life without being able to meet with one or another “soul group” I had to meet in this lifetime.
Sometimes it’s groups, sometimes it’s individuals living scattered around the globe.

Then the interesting part, no matter how well or not do I resonate with either of these ancient systems, my core and native experiences are out of any of it:

they also contain entities and advanced technologies, various types of communications and never ending learning curve ..

😀

So in my “meditation” I mostly discard and disconnect the power of the “systems”, and power of appearances, even spiritual impressions casted upon us be they gods or demons.

Even if we can’t last in that state at all times the very knowingness of the source mind who keeps connecting and tapping to human systems is dissolved and all that was learned is then understood differently on the next level.

Some of the ancient mandalas, the Kalachakra for example are a piece of an AI and star map from another corner of Space,
a star gate to another time-space
book of records,

I keep tapping to it, almost cyclically.

Reading the message. It’s bigger than the “internet of things”.

There’s interconnectedness of everything on minute level.

I feel I’m not allowed to say much more than that

🍵

shaberon

11th July 2020, 05:58

I also have an ongoing thread in my mind about Hum. When I see Dakinis, or others in the tandava dancing pose, I feel them from the time spent in that dance in my shaking. I also tend to see them as the character Hum -- the body they dance on is the 'U' their bodies are arranged in the 'Ha' with arms forming the shirorekha, and their heads become the chandrabindu.

Here, shiro = ziro (updated spelling). Ziro Rekha means Fence of Heads. Sukla Tara may be considered Rekha Tara; she masters the flat plane and casts Vajra Fence around. Nyingma Sun and Moon system is based on the construction of Hum; Tara may run the Dissolutions by dissolving Hum. Generally speaking, the deity merging with its syllable is vital. Even if one is lousy at Yoga, if one focuses energy into the syllables properly, it is said they remain after death as functional Bindus, which is the most helpful resource if one is bound to transmigrate.

Chandra Bindu = Moon Bindu.

The Chandra or Crescent shape is also Nada so the punctuation mark, Anusvara (M), is often called Bindu in Nada, or point of consciousness in primordial sound:

http://www.visiblemantra.org/bija/hum-breakdown.png

Or at the center of its sub-letters:

http://www.visiblemantra.org/bija/hum-anatomy2.jpg

So that is the same complex M as in "Om"; the other main important punctuation is Visarga, which looks like a colon, meaning "echo". Not just any Sanskrit word ending in H is an echo--only if Visarga is present. That is usually the case in mantras. They are "chanting" versions of ordinary syllables, generally meaning they are modified by the M or H.

Hum is Vajra Family. Others use it, and Vajra may use alternates, but it is a good rule of thumb. Vajra resides in the Heart.

Although these deities are often dark blue, the syllable is still solar. Om is like the original dawn of consciousness, whereas Hum is its state in a Jiva or individualized life form. So what do we mean it is solar?

We maintain that the pure solar energy is man's consciousness; it enters our individual frame, is affected by all of our skandhas and sins, and from there, goes through us to the earth's core and radiates back to other beings. This equates to dipping through the Talas, or underworlds, or hell. And so, full of sin, we breed monsters in the astral light. Whatever is in our personal hell is mirrored back out as if it were a set of fingerprints.

So we go to purify this, which generally means a lot of vicious cemetery meditations, each being a particular aspect of consciousness, which is purified by non-dualizing it. Humkara deity is at the center of Ten Wrathful Ones--the Eight Directions plus Zenith and Nadir. He converts them to his own naming system. They are usually the same group, but, sometimes in different orders with other deities, however you can be pretty sure that Sumbha goes to the nadir or underworld, with a Serpent Noose.

As we have seen, with some of the more intricate goddesses, they are not "in" a Family--they might, for example, change families. The advanced rites are not a static picture, but are some kind of phase where something happens. For example, Amoghapasha somehow turns Bhrkuti from White to Turquoise. Or, a goddess might arise from a certain syllable, but be crowned by a different family, is, so to speak, going somewhere.

Varuni is perhaps the paramount of these. There are many reasons to envision she comes from Jewel Family. There are reasons to say she ostensibly performs in Lotus Family. And there is another reason to say she deals with Vajra Family.

Ananta is Vishnu's serpent of eternity--also called Sesha. And so in her own residence, Varuni is the embodied radiance of Sesha at the bottom of the Talas, i. e. this unit is the earth's core. All beings worship Hellfire or Dense Dark Light.

And so we have been talking about some unusual chakra that is outside and above the body, which is like a challenge or goal for this age of the planet.

The final age is really the return of Parasu Rama. Kalachakra may use the term Kalki Avatar, however, it refers to Parasu, guru of Maitreya.

The challenge of that age will deal with the fact that...Sesha-Varuni is the outside-of-the-body lower chakra. In other words, everyone in the world shares a common chakra, which is the core of hell. And so, perhaps, we are being Noosed to something. And then it would appear desirable to have Sesha--Ananta Naga King as a simple jewelry item, that leaks or agitations of prana related to his domain are sealed and balanced.

And so if we chant Hum, we are definitely trying to stabilize something.

Since we are hopeless hamfists that normally just wreck ourselves, Avalokiteshvara will go to hell to get us back and give us another chance, but he is getting so tired of it that it just makes him cry, and he is trying to ear whisper how to stop falling in there.

And so Akshobya the Buddha of Vajra Family normally maintains the earth-touching gesture.

Akshobya is so powerful that his Pure Land called Abhirati is not attainable by a Bodhisattva of less than the Eighth Bhumi.

Akshobya's Worldly Bodhisattva is Vajrapani.

Vajrapani is so wickedly clever that he is able, as far as I can tell, to cheat, by taking a Buddha Prajna for his consort, Mamaki.

And so in talking about Nepal, they have something that only makes sense a certain way. For example, with Agni, there are really Two Fires; the Visible Sun is a seven rayed manifestation; the Dark Sun is Three-in-One. And then, with Lakshmi, she explains the Gunas very peculiarly. They exist on her plane as three non-dual Divine Gunas. But when the planes of mind and the astral world are manifested, she commands the shaktis to partner swap. On the astral plane of Ganges are six mayavic Agni seeds, and then when this finally pours to the physical world, it is negatively reflected. And so there are several manifested shaktis, which, Ganesh-like, a person may summon all together, however it must be pointed out that on so-called higher planes, their mode of existence is completely different, having an ultimate divine form.

The Nepalese path eventually refers to a trinity of goddesses which are outside, or, rather, above, the Buddha Families, and are more synthetic or like a compound interaction.

In practice, the Families have to be expanded, like a Lotus, but then they too are merged to a Trinity, Tri-kaya.

The goddess trinity all has a 1,000 arm Maha or universal manifestation.

Vasudhara. Vasudhara is a Lakshmi, who as Siddha Lakshmi is the tutelary goddess of the Malla dynasty, i. e. a close Hindu equivalent. Lakshmi is Mahamaya Vijayavahini, or a Red 1,000 arm form. Mahamaya is a name for magic, whether Hindu or Buddhist. Lakshmi tantra is about Maha Maya and explains that there is a Yoga Maya for Devas that humans do not penetrate, and it is this that Jupiter is really the guru of (the devas). Both traditions utilize Maha Maya, and the way it appears in Buddhist tantra is that Naro Dakini must become energetic enough to drink blood. At that stage she becomes Buddha Dakini, a Four Arm Drummer, and Buddha Dakini is Mahamaya's consort. Then is turns out that Mahamaya is: sex-changed Lakshmi. One of the things that Mahamaya reveals is an Usnisa of Emptiness, Buddha Kapala or Buddha Skull, i. e. a spell emanated from the skull of Buddha, which is something like the mastery of occult color.

That says nothing about Vasudhara, per se, but it is the fundamentals of Mahamaya, and both of these are Lakshmi. Again, the idea of occult color is like a negative, at right angles to ordinary rays; if I stare at an orange spot, I get a blue-green after-impression. Do not rely on this for a real practice, but, Lilac Chaser should force anyone to notice it:

https://upload.wikimedia.org/wikipedia/commons/6/6e/Lilac-Chaser.gif

Vasudhara is again like a border, like a stone wall around the Dharma realm--again according to our merit and self-secrecy or vajra ignorance--within which is Varahi.

Sitatapatra Parasol Amaravajra Pratyangira is capable of a White 1,000 arm form. It may be ferocious but also like a Queen, very regal, peaceful, beautiful.

Mamaki Guhyeshvari Guhya Kali. She is, at the very least, a relation of Vajra, Karma, and Jewel Family. She is "the" mystery goddess, she is Nepal, her vagina and cervix Pitha is in Kathmandu, it is she who initiated Manjushri into Chakrasamvara--Vajrayogini, and is called Adi Prajna. She has a 1,000 arm half Blue half Green form, holding men and women.

Varuni is Mamaki, Varuni must never be called by syllable Vam like Vajravarahi, she must be called by Mam, which is one of the few, rare exceptions where a deity does not use their initial.

Also, Buddha says that Pratisara is Mamaki. She is a Protector and a Bodhisattva and mainly related to Jewel Family. She is obscured if relegated to Pancha Raksha or Five Protectors and thought of as a luck charm, but, again, in Sadhanamala, she goes from a "normal" format but changes rites into something...let's just say weird and difficult.

These three Prajnas have corresponding Buddhas which I cannot remember, but I believe they are aspects of Vajradhara. If you reverse engineer these goddesses, you get everything. You are allowed to interact with outer forms of Vasudhara, Parasol, or Pratisara.

Parasol is strongly related to Shurungama Sutra, which in some editions also suggests Seven Buddha Families by adding Kumara Kula and Naga Kula. And so there is an appropriate-sounding, although slightly scripturally erroneous, nice recording for her. The same thing can also be used in a wrathful tone.

This mantra is being done by Khenpo Karsang Tenzin who is with FPMT or Promienie from where we have obtained many valuable things. They describe it this way:

Mantra of Sitatapatra is extremely magical, capable of eliminating tribulation. Those who want to harm you also can not harm. All devil fear when hear to this mantra.

When you chanting mantra the mind despite the scattered mind, the TATHAGATA still don't give up you. For those who have bodhicitta then the Buddhas and Bodhisattvas will advance to enlighten your consciousness, you will never to be born into the low realm of samsara.

He is not actually going to say Parasol or Sitatapatra. It has these two mantras many times each. then changes to an apparently Tibetan probably Sutra reading, I think it has her name Dukkar, and then starts over.

OM SARVA TATHAGATA USNISA HUM PHAT HUM MAMA HUM NI SWAHA

HUM MAMA HUM NI SWAHA

X0pxPTS-T8Y

Although it may look like mother, that is Mata in Sanskrit; Mama is "mine" and so Mamaki is "Mine-Maker". She is either greedy for everything, or, owns or identifies with all selves, that is her axis.

In this mantra, "Mama" is shortly followed by "Ni", which is like to lead or to govern. So indeed it is like asking Parasol to be my Queen. She is in Buddha Family, although, for some reason, she uses Hum to stabilize "me".

shaberon

11th July 2020, 19:06

Part of what I am trying to show is that a basic white goddess is a main crux of all the tantric stages, in a way that can almost only be shown by Nagarjuna and the Ngor artwork. She remains in place to the highest level, and yet has outer forms.

And so this is different from White Tara as generally promulgated in Tibet. The first two are:

Vajra Tara and Mrtyuvacana.

Or, an ego-less gnosis of void, plus the tradition Explaining Death.

In Sakya, some of the few alternative completion stage or highest levels are:

Vajra Tara and Amaravajra

So from the thangkas on the previous page, we can see Amaravajra is close to Rechung Amitayus and Seven Syllable Avalokiteshvara. Nothing else is like this.

Vajra Tara has an "adjustment" to Tara's pose which is more meditational or Vajra Feet:

Mahattari is a type of varada Tara with a flaming halo, seated in Vajra Paryanka. There is a broken image of her at Ratnagiri with Pancha Jina centered on Amoghasiddhi, along with Avalokiteshvara and Manjugosha. She has Mayuri, Janguli, Akoshakanta Marici, and Ekajata, Varada Tara's same four companions, and same as Mahasri's, ca. 10th century. In Sadhanamala, her foot posture and varada gesture is also used by White Mrtyuvacana, and Nagarjuna's two armed Vajra Tara.

Tara normally dangles a foot, as if ready to do something. There is no known image of Mrtyuvacana. The closest is White Pratisara with a Wheel:

https://www.himalayanart.org/images/items/resized/1800px/4/0/4/40406.jpg

She is ready to jump across the universe with a sword, which is unique to her.

Mrtyuvacana has almost no historical mention except:

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 Khadira, he gives mtshon as "three holy ones pointed finger" and she is with Yellow Marici and Black Krodha Ralchikma.

So he says Mrtyuvacana is with Kurukulla, and, something that must be close to the same as Humkara.

This is utterly continuous and one of the most important subjects; I hope that makes sense.

Old Student

12th July 2020, 02:45

It is Abhisambodhis and Yoga of the Two Moons.

I tried to look this up, I'm guessing I need to know more to understand it?

With respect to a white desert, both Yajnawalkya and Buddhism refer to Uttara Kuru or Great North Country thought to have been around Lake Baikal.

To me however it simply also sounds like the First Void or White Moon.

The sequence would go Lamp into Sky into White Moon.

The mixing of what shows up in my shakings and the Mongolian culture (Lake Baikal of old) is very close to where I started trying to find "common ancestry" in mythology between the cultures in Asia and in North America, that I described obsessing about before.

I had used the term Kundalini awakening in the sense of a spiritual opening up that starts from a surge up the torso or spine. In practice, my notes use the expression TK for "Tummo-Kundalini" for the surge part.

Old Student

12th July 2020, 02:55

Old Student, I’m originally math and physics and biology person, too.

Every esoteric system is a “system”, the Sanskrit language itself was created as an artificial and very complex “system” to contain wisdom and knowledge of our advanced ancestors,
every human language too is a system. Mantras of yesterday are triggers of today and perhaps, touch buttons of tomorrow.

So in case I enjoy a vision of an entity I try to see where does the entity come from, which system does it come from , is it guiding you to a specific soul group ?

Thank you for this.

I can't say where it is guiding me. Right now, it seems like physical and mental/spiritual training, including shakings the sole purpose of which is to get my muscles strong enough for the next technique. Where it is going right now is to being able to experience two "vision streams" at once, one from a male point of view one from a female point of view. They are tied together, but I only know that when I go back and forth. And they at first seemed to tell me not to try to go through the death place, now it seems like they are filling me up with rainbows to do just that. But I'm not sure. It's hard enough trying to do the two vision streams at the same time.

The math that seems to come up most recently is a lot of tangents of tangents of tangents -- something I had to understand about Lie algebras, and a lot of fractal stuff -- something that most recently I encountered in reading about h-principle. But I think they just grab whatever is in my mind that would help them explain things. I'm not good at keeping my equanimity if I see something infinitely complex, I tend to be drawn to it like a shiny bauble.

Old Student

12th July 2020, 05:17

Your picture of the two HUMs, the one on the right is the form in which it seems like the dance.

Generally speaking, the deity merging with its syllable is vital. Even if one is lousy at Yoga, if one focuses energy into the syllables properly, it is said they remain after death as functional Bindus, which is the most helpful resource if one is bound to transmigrate.

The whole household here got something out of that, so thank you.

Back to the Two Moons for a second, I was going to say something about your Vajrapali mandala. Humkara at center (male) has a crescent moon in his hair, not unlike Shiva. Amaravajra at the bottom (female) has a full moon in her hair.

I see green in the Lilac Chaser. That is pretty close to the green color of my clear body most of the time.

Mamaki Guhyeshvari Guhya Kali. She is, at the very least, a relation of Vajra, Karma, and Jewel Family. She is "the" mystery goddess, she is Nepal, her vagina and cervix Pitha is in Kathmandu, it is she who initiated Manjushri into Chakrasamvara--Vajrayogini, and is called Adi Prajna. She has a 1,000 arm half Blue half Green form, holding men and women.

She has shown up exactly once in my shakings. I know that because she identified herself as, "Mine". She was at my heart, but there was a dispute (in the shaking the dispute happened) over whether it was she or Prajnaparamita.

shaberon

12th July 2020, 09:29

Back to the Two Moons for a second, I was going to say something about your Vajrapali mandala. Humkara at center (male) has a crescent moon in his hair, not unlike Shiva. Amaravajra at the bottom (female) has a full moon in her hair.

I see green in the Lilac Chaser. That is pretty close to the green color of my clear body most of the time.

Mamaki Guhyeshvari Guhya Kali. She is, at the very least, a relation of Vajra, Karma, and Jewel Family. She is "the" mystery goddess, she is Nepal, her vagina and cervix Pitha is in Kathmandu, it is she who initiated Manjushri into Chakrasamvara--Vajrayogini, and is called Adi Prajna. She has a 1,000 arm half Blue half Green form, holding men and women.

She has shown up exactly once in my shakings. I know that because she identified herself as, "Mine". She was at my heart, but there was a dispute (in the shaking the dispute happened) over whether it was she or Prajnaparamita.

Haha, well, it is hilarious, that is really the best! There is no dispute. She IS Prajnaparamita.

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

World Yoni, Triangle with Bindu

He even names it Dharmodaya Sangata Kamarupini. He did not explain this much, but, somehow, a Cyclopedia cribbed him almost entirely for their definition of Prajna, it clarifies this means Kameshvari at Guhawati, Assam, who also uses the same Triangle. This is considered the uterus and ovaries Pitha.

So, yes, if we see something like different moons, crescent to full, Yoga is based in the Lunar calendar, and same esoterically. It is also related to Shiva and his weapons. Abhisambodhis use something like lunar days tied to syllables of the alphabet, vowels and consonants, which are Ali Kali. That makes it Candali Yoga.

And so that is part of the underlying structure of the sadhana, however, Samadhi is something one is trying to enter...it is an elusive term, but, something like "meditative equipoise with respect to a visualization".

Abhisambodhi is what the Tathagatas explained to Buddha. In the Six Yogas, it pertains to the fifth stage. In Kalachakra symbols, the Six Yogas are:

Crow-Faced, pratyahara (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 with purification of mind (cittta-visuddhi) and personal blessing (svadisthana);

Yama's Messenger, anusmrti or recollection, so as to proceed in reverse order with revelation-enlightenment (abhisambodhi);

Yama's Cremation Ground, samadhi "consummation", with yuganaddha, the pair united.

Yama's Messenger Dakini, Anusmrti or recollection, so as to proceed in reverse order with revelation-enlightenment (abhisambodhi); the awareness of bliss and emptiness that develops once the blending of the winds and drops and the binding of the drops have been stabilised, by the use of whichever is suitable of the three mudrās, through the blazing and melting within the central channel from the six centres arise the awareness of the radiation of all the various divine empty-forms (the classes of deities in the maṇḍala).

In Vajradaka tantra, it is the male seed which eventually becomes Smrti with Six Dakinis. But the Six Limb or Sadanga tradition in general is hooked to the Abhisambodhi sequence which is based in Red and White Moons and the use of the deity's Hand Symbol.

The sequence is the Dissolution of the Voids, a passage through death.

And so it explains how Buddha's Enlightenment was distinct from that of other Sages, by doing so in the manner prescribed by the Tathagatas.

That is why saying doing Six Yogas, Five Abhisambodhis, and Eight Dissolutions is sort of contemporaneous or the same thing--just a matter of depth.

And that what I mean by Yoga or Yoga Tantra is an attempt to become grounded in the Third Yoga, Prana Yama or Vajra Japa. Sadhanas based on this are linked below.

In the Abhisambodhis, the White and Red Moons are the Hetu Vajradhara, the causal or Vajrasattva, or us, who dies. Then using the Deity's Bindu Mantra and Hand Symbol, one is reborn in a Perfect Image or Phala Vajradhara or fruitional.

If you do it powerfully enough, you are pretty much in a dead condition and have to be kept in a tomb for days or up to three to six months.

This is "above" a full mandala and so under the Two Moons we see the needed Victory components--Banner and Parasol. These are commonly on the many prayer flags. We should have an idea what Parasol is by now. Banner is more like Mahamaya Vijayavahini, Dhavajagrakeyura, and Ratnolka, meteor and smoky, darker or redder. You could call them cumulative spellcraft on the two branch nerves Solar and Lunar.

So when it talks about Hand Symbol, the example is usually a Vajra, but we also have a fairly decent understanding that Sword is an item which points to the central channel, and that the Arrow is force moving up it. The Sword also has a Two Edge meaning.

Khadgamala should never be chanted without initiation into Srividya. They say Kurukulla will destroy one and one's family. According to the Yakshas, Khadga Siddhi is from Malini. That is a Hindu view of Kurukulla. You can listen to Khadgamala, but don't say it.

Kurukulla in Buddhism is generally confused for a cupid-esque love goddess, but the same mistake is on the Greek Eros, who is the One Life in Manifestation.

The two edges of the Sword, as mainly found on Guhya Jnana Dakini, are Form and Formless Siddhis.

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

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

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

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

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

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

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

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

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

By "worldly" siddhis, here, seems to mean "Form", or Nirmana and Sambhoga Kayas.

Circle of Bliss is unable to explain Guhyajnana except by her sword; that it is of the Vidyadhara who holds the above knowledges. But in the case of Buddhism, the sword also includes the other edge of transcendental Lokottara siddhis:

Generation and Completion Stages.

Handbook of Tibetan Symbols also makes sword the "leader" of the siddhis, and also that it is actually a Crossed Vajra of Amoghasiddhi. The basic name Khadga Yogini is mostly just meaningful in Nepal, where it is a Two Arm version of her with little meaning other than the Sword, or Sankhu Vajrayogini, with Baghini and Singhini, the Tiger and Lion-headed Yoginis. These Tramen are the top two suppressors of Bhairava. We know it is like Mahacina, we know how it relates to Assam and the Kirat--Naga culture which is Mongolian, and yes probably influential to North America, I think we are looking at a time scale something like 8-30,000 years.

I do not have Kurukulla, and I would have to say Mandarava sounds like a bit of a Guru if she has appeared.

I do not have Mandarava.

I look at the Arrow on White Lakshmi and I see it something like this:

what I, personally, mentally, inherently protect, is the life wind and its Arrow-like intent. I don't guard a set of tantric texts or anything like that, I am mainly focused on the health and safety and yogic processes of life. Vigilant. So in that sense, she seems exactly the same as me, without being a localized or lineage product.

There is such a thing as a Mandarava (https://webcast.dzogchen.net/data/uploads/files/short_mandarava_ganapuja.pdf) lineage. And if we inspect that Ganapuja, she is identifiable with Jnana Dakini. And she also uses the Four Dakinis mantra froim Guhya Jnana Dakini. So that is what I mean by the "wild-caught" Guhya Jnana folds into, or dovetails with, the mantric identity as carried forward by lineages of Jnana Dakini and Chakrasamvara.

It is a Nyingma document which also uses Rahula and the other guy who are their own thing, these are not general Protectors, they are specific to this lineage. So for example in Kagyu we do not have that part. If I want to look at something like this and protect it with my own Protector, I can do that.

I am sensitive to Lilac Chaser, I can make them all dissolve into the green one almost immediately. Yes, I figured greenish-clear meant something close to that.

And so for the Abhisambodhi, I am not trying to suggest anyone to do it, but we see where it lies on the Path and that we can do Yoga into Prana Yama. So this would bind, reverse, and balance the winds into the three main channels. This triple balance moves through a system of three and eventually four chakras. It is a based on a mantra which bonds the three main families, Buddha, Lotus, and Vajra. And from compiling vast amounts of information, there is a way to represent it in stages of Inverted Stupa, from Bindu Nada, to Crescent or Bow, and Triangle. In Yoga that I write about doing, it is intended to shear off the parts that complete the Stupa or summon the Completion Stage, that stuff is like a knowledge base that we do not use.

Things are a little different, if you have Kurukulla, most of us don't, but her definitions indicate she is attached to the top end of this.

The intent here is to gradually acquire Guhya Jnana Dakini and Ziro Bhusana Vajrayogini, Varuni and Armor Deities.

Japa just used to be explained to us as Om Ah Hum, but, it could be said, this is the basis for the eventual manasa japa with the actualized deity. And so we, so to speak, blend mind, mantra, and wind into the channels. Therefor each of the articles is perhaps a consuming subject that represents time spent within.

Prajnaparamita (http://projectavalon.net/forum4/showthread.php?90144-The-Serpent-the-Black-Sun-HPB-St.-Germain&p=1260834&viewfull=1#post1260834) explains Vajra Muttering Om Ah Hum.

Pratisara (http://projectavalon.net/forum4/showthread.php?90144-The-Serpent-the-Black-Sun-HPB-St.-Germain&p=1312023&viewfull=1#post1312023) is mixed with much more information including Vasudhara in her samaya forms. Pratisara is an outer activity of Vajra Panjara tantra. Here we involve Jewel Family.

Charchika (http://projectavalon.net/forum4/showthread.php?90144-The-Serpent-the-Black-Sun-HPB-St.-Germain&p=1342897&viewfull=1#post1342897) is the stage of Agni or, so to speak, a tantric chakra or Nirmana Chakra. It is almost all of what is considered Generation Stage.

shaberon

12th July 2020, 18:44

So it looks like we found continuity from Prajnaparamita--Nagarjuna's first "text goddess"--to Guhyeshvari and the human body.

For most of us, that represents a bunch of levels and degrees, but, if the energy "hits", then the whole composite should be more manageable.

I am not sure if I have a good translated example of Ali Kali. It is pretty standard in some of the tantras.

The Moon, however, has many more evidences. In the Puranas, Chandra or Soma is the visible Moon, which has phases and occupies around Twenty-seven Nakshatras or Lunar Mansions, changing daily. However, it turns out there is a different or higher type of lunar deity called Full Moon Sacrifice. In original Theosophy, it would be the monad or atma-buddhi-manas.

And so what is happening is the subordination of the flickering, evanescent lower moon to the transcendental one. But whenever we see "sacrifice", or Yajna, as in Yajnawalkya, it means Agni or Fire has eaten and conveyed some form of Offering.

It is an aspect of the Dharmakaya; and so the Lunar Mansions are included in Manjushri Dharmadhatu Vagisvara mandala, which was projected simultaneously with Kalachakra mandala by Buddha, at a place called Amaravati, or, A-mara Vati. This is, of course, the most distinct use of the same name as in Amara Vajra.

Since the Vajrasattva is more or less daily, it collects all of the moon's phases, whereas other types of deities are more heavily aspected at certain times. And so what would it mean for what we experience as Dark Moon to still be Full?

The Yoga winds up doing a type of funeral by Agni. Offerings are made by the parts and pieces of manifestation, until the whole Vajrasattva, similar to Ganesh, is offered. One's psychological apparatus is offered through the fire into void, and there may be no result, but the ideal is to perform a Phala Vajradhara, whereby the void replaces the skandhas with a Divine Ego. At that point, the deity has not just generated as one's form, but has replaced whatever was one's "self".

The formula for doing Buddhism Offerings is a quite standard eight line thing which generally lacks explanatory details. It also, so to speak, circles again but doing only five, ending on Food.

And so if you bookmark that point for the mirror image, then, a major aspect of the goddess in the Phala Vajradhara is Anna Purna. She of course means what she ordinarily means, but, in Yoga, has a tantric meaning equally related to Fullness.

That is why in Buddhism the male aspect is a seed, most like the White Moon, falling through the veils and states of matter, within which, so to speak, is the emergent Lasya, which is seen in the rites as a sort of expanding moonlight or Sukla goddess. And so as soon as we take that name for a reference, the first most important stable Sukla means in the middle of the cemeteries, casting a Fence, in a state equivalent to Acala. This Acala or male aspect of mind being its name for not disturbing what in Yoga is called Water Moon.

The female aspect is mostly considered Red Moon, and, since this is still experienced by the male aspect, as soon as we turn to Red Avalokiteshvara, the interaction is plain.

That is why Red and White is the main axis, the two main seeds in the body of father and mother and so forth. But in different scenarios, it may be portrayed as Blue and Yellow. Alteration of the spectrum is like discarding physical form. And so in one sense, the axis of outer Yoga is White Tara to Green Tara, i. e. the most harmonious color to the most physically compounded one. That is why these two simple Taras are present on very many of the Highest Yoga mandalas. It is how Amoghasiddhi tantra works.

Amoghasiddhi's Sambhoga Kaya Taras such as Mahattari and Maha Sri have as one of their companions Mayuri.

In Buddhism the Jewel Family can hardly be pinned down to what they "are" because they are more like a process than a steady state. Pratisara really is a recommended resource by most of the teachers. And, she has, as one of her companions, Mayuri.

For most of us who do not have Kurukulla, it appears that Mayuri is capable of being a preliminary Yoga Power of Kumari. As an initiate you would enchant Kunkuma Powder with Bala Kumari or Kanya Kumari, which could perhaps be Kurukulla. Mayuri is a Sutra goddess of Golden Light Sutra and has outer teachings, such as with Pratisara. From the Nepalese view, the Five Protectors are recommended to anyone, however it is correct that in Sadhanamala they proceed to an occult condition; they are like Peaceful and Wrathful Natures of Bodhisattvas.

From them, it is mainly Mayuri that goes off to join Janguli, Marici, and Ekajati with Tara. That is something like moving from a Jewel Family rite to an Amoghasiddhi rite.

That is why it seems to me that at an early stage of mantra recitation that having Pratisara and Vasudhara introduce themselves as Jewel Family--which has an almost missing higher tantra--but does have a non-dual Yoga tantra, Vajra Tara--is the nearest approach.

Old Student

12th July 2020, 23:25

Haha, well, it is hilarious, that is really the best! There is no dispute. She IS Prajnaparamita.

Okay. The whole thing was confusing, it was at my heart, and the Bodhisattva that usually turns the chakra there in my shakings is Avalokitashvara. I can find nothing (looking online) that relates these three but Prajnaparamita is always around when Avalokitashvara is.

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

World Yoni, Triangle with Bindu

He even names it Dharmodaya Sangata Kamarupini. He did not explain this much, but, somehow, a Cyclopedia cribbed him almost entirely for their definition of Prajna, it clarifies this means Kameshvari at Guhawati, Assam, who also uses the same Triangle. This is considered the uterus and ovaries Pitha.

So, yes, if we see something like different moons,...

Okay, so as of last night, I am now needing to research a White One who has six arms, wears all of the five bone ornaments, is dancing, and her dance "creates" the moonlight and everything else about the climax at my clear body's vulva -- one of the two moons in the notes I quoted before. She has the same "colors" as The White One in the mandala at my dantian, but the presentation is very different -- she is tinged with and haloed by red surrounded by blue, the precise color red is deep, it is "dichroic" with the green in my clear body but brightens to a fiery red when surging, the blue is iridescent blue that sometimes is "dusted" on my clear body and likewise can go from darker to brilliant.

She may be the same White One, you will recall that I don't really know how many arms the one in my mandala at dantian has. She occupies the same "ritual" presence in this capacity with respect to my female clear body as the one striking with the bone on the desert did in my male-side shaman-like vision, in the black feathers -- her movements create the vision.

The blisses created out of the different colors are very different, and I did look back in my notes and find that I had learned this once before in a "less developed" lesson months ago. There were seven of them: red, blue, yellow, purple, black, white, green (not sure whether green goes at beginning or end).

I do not have Kurukulla, and I would have to say Mandarava sounds like a bit of a Guru if she has appeared.

I do not have Mandarava.

Do I have them because they instruct me?

Old Student

12th July 2020, 23:42

That is why in Buddhism the male aspect is a seed, most like the White Moon, falling through the veils and states of matter, within which, so to speak, is the emergent Lasya, which is seen in the rites as a sort of expanding moonlight or Sukla goddess. And so as soon as we take that name for a reference, the first most important stable Sukla means in the middle of the cemeteries, casting a Fence, in a state equivalent to Acala. This Acala or male aspect of mind being its name for not disturbing what in Yoga is called Water Moon.

The female aspect is mostly considered Red Moon, and, since this is still experienced by the male aspect, as soon as we turn to Red Avalokiteshvara, the interaction is plain.

I have white and red, as I told you they seem like onions, one is at my crown one is at my perineum and seems bloody, and related to childbirth. The one at my crown is also frequently a stupa, but not an inverted one, rather one in the desert that is related to death somehow.

And my moons are all white, and as far as I can tell, the full moons are all female. The crescent is in a pair the other member of the pair is a drop of milk, so to the extent that they are opposites in union, that one is perhaps male.

Yama's Messenger Dakini, Anusmrti or recollection, so as to proceed in reverse order with revelation-enlightenment (abhisambodhi); the awareness of bliss and emptiness that develops once the blending of the winds and drops and the binding of the drops have been stabilised, by the use of whichever is suitable of the three mudrās, through the blazing and melting within the central channel from the six centres arise the awareness of the radiation of all the various divine empty-forms (the classes of deities in the maṇḍala).

Sorry to mix quotes from your two postings, but is the blazing and dripping what is in abhisambodhi? Is it the same blazing and dripping as in Lama Yeshe's Bliss of Inner Fire?

shaberon

13th July 2020, 09:30

Sorry to mix quotes from your two postings, but is the blazing and dripping what is in abhisambodhi? Is it the same blazing and dripping as in Lama Yeshe's Bliss of Inner Fire?

It is likely to be, that is a stock phrase in the literature.

In simple terms, it melts the Tathagatas of the body, Akshobya and the others, and burns Mamaki and the Prajnas. Whoosh!

Abhisambodhi is within Smrti or Anusmrti, one of the Seven Jewels of Enlightenment or Seven Factors of Awakening (https://en.wikipedia.org/wiki/Seven_Factors_of_Awakening) which are Sutra based from the ancient Pali sources. Smrti is the fifth Yoga, and a Jewel of Enlightenment, represented by the male Vajradaka.

Vajradaka deifies the Seven Jewels; they are the necessary Factors of Awakening, not Final Enlightenment or the Wisdom or Prajna itself.

Sukla is a Tara, which generally means not dancing like a dakini:

http://www.surajamrita.com/images/bari/Bari_78.jpg

I cannot really say "this is how it is" in terms of chakras, or what may be spontaneously experienced in the subtle body. White surrounded by red surrounded by blue is already the manifestation of Om Ah Hum or Three Families or Tri-kaya. The Prajnaparamita exercise I mentioned is this in Three Chakras.

Sukla only has one sadhana, which says she is in the cemeteries in a state of Acala, unperturbed, and bound or not losing prana out the doorways. Here again there are a handful of deities who are able to teach and maintain this state.

There are di-chroic dakinis. Most deities have different colors on different faces.

Drop of milk + crescent sounds like bindu and nada?

The normal moon goddess is Cunda. Cunda and Vajra Tara both emit red light, are in a red aura. And so if you put White Cunda, in a Red Aura, over a Blue background, what would you have.

Tibetan Deities also lists Red Cunda 152, who uses "meditation transmission". She is called Arya Cunda Tara, or Pama Tsunda Tara:

A Khadira tree grows from a Lotus and Moon, on which is Tam. This becomes shining Red Tara with red rays flowing from every pore. She has loose hair with strands of red pearls braided in. Holding above her knee a picula fruit yellow inside, blue on the surface, the left hand at the heart with the stem of a red utpala lotus on which rests a book. She is not Tara-posed but has Vajra Feet, is adorned with silks and jewels, especially pearls. At her heart is a lotus and moon on which is Tam and the mantra; recite the Ten Syllable mantra.

A difference with her from the previous Green Tara is that the fruit has been opened. Picula is the same fruit as from Fruit-picker Vasudhara and is a symbol of a tantric bindu with its inner/outer colors.

There is no Amitabha or overt Lotus motif other than red, but this takes place at one of the only specific mentions of a Khadira [Green Tara] tree. And so it provides a relationship between Red and Green. Cunda should probably be called Red Tara in the general, outer, samaya sense.

In most other cases, Cunda is white or moon-colored, and revered across Asia, having various numbers of arms.

Cunda (https://www.wisdomlib.org/definition/cunda) has a particular affinity for Manjushri and Kurukulla. With Manjushri, she arises in her spectacular Twenty-six arm form, i. e. having all the lunar mansions. The Kurukulla is weird; in sadhanas, it is not unusual for example for Eight Fears Tara to make copies of herself for a retinue. However what Kurukulla does, is draw in external goddess such as Cunda, and put them in Kurukulla form.

Prajnaparamita manuscript Cunda:

https://www.wisdomlib.org/uploads/files/fig162-Cunda.jpg

Bodh Gaya stele:

https://www.wisdomlib.org/uploads/files/fig164-Cunda.jpg

Cunda Dharani (https://lapislazulitexts.com/tripitaka/T1077-LL-cundi-dharani) also contains a standard error. It says her mantra is:

Namo Saptanam Samyak Sambuddha Kotinam Tadyatha
Om Cale Cule Cundi Svaha

In Sanskrit grammar, Tadyatha is similar to "tathagata", and it means "it goes like this, this way". The mantra is really the part after "tadhyata", but almost any dharani recording ignores this, i. e. the Tibetan style is to ignore the grammar and use the extra chunk.

Her personal syllable is similar to Hum except it starts with "ch" sound, like her name, like the majority of Sanskrit, c = ch, Chandra, Candra, Chandali, Candali...all start the same.

In Roll of Thunder From Void (https://archive.org/stream/150021590ARollOfThunderFromTheVoid/150021590-A-Roll-Of-Thunder-From-The-Void_djvu.txt), Cunda is Mahabala's consort at the base of the spine. But this is Vajra Kilaya tantra. As indicated, more chakras are eventually used in Buddhism, and that is how. Cunda enters Union in the Nadir. If you have something like this in a lower chakra, it remains the case that Cunda may have unspecified various numbers of arms.

Concerning Abhisambodhi, in Dakarnava, Vajradhara explains,

"Dividing the Anuttara Tantra into [maha] yoga-tantra and yogini-tantra — in the
‘kings’ of the [maha] yoga-tantras taken by themselves. By what method
is it done? One generates in the forward direction the three [called] Light
( aloka ), Spread-of-Light ( alokabhasa ), and Culmination-of-Light ( aloko -
palabdhi), together with the Clear Light ( prabhasvara ); and at the time
of emerging from the latter, in the reverse direction one accomplishes
the Illusory Body from the five rays of wind ( vayu ) riding on the four
Voids. The method consists in emerging in the Illusory Body from the
Clear Light by way of knowing in exactitude such things as the coming
forth with skill and the varieties of their rites."

Kriya-Charya teaches Abhisambodhi without explaining Generation and Completion. Many things explain Completion without explaining Abhisambodhi.

Yoga is between the two.

Yoga includes Atma Tattva and Deva Tattva from Kriya-Charya, followed by Mandala [Thirty-seven points of its own unique nature]. Together, Atma and Deva Tattvas make Tattva Devata, the first or reality god. The Six Gods of Kriya-Charya are intended as the Abhisambodhis plus Manifest Buddha. This is akin to increasing Vajrasattva from Purification to Prajna-Upaya.

In Yoga, Paramadya Tantra increases Vajrasattva from Prajna-Upaya to Mahasukha-Unwasted Vajra, or Bliss. This is due to mantra, the throat is Sambhoga chakra. Paramadya's goddesses are Four Activities in a Vajrasattva theme, having Ragavajra or Passion to please Vajrasattva's mind so he will not swerve from the thought of Enlightenment, Joyful Utterance Vajra Kili Kila arouses a pledge to remain attached to mahasukha-unwasted vajra, Vajrasmrti is unshattered by the poisons, Vajra Kameshvari, Queen of Desires, Objects Manifested by Vajrasattva. is Gnosis. This makes the hand symbol, five pronged vajra of Vajradhara.

So in Kriya-Charya, they teach the Abhisambodhis as a system of visualization, and then Yoga is for the Five Prong Vajra or a Bliss Whorl, bowl of rainbow light, this kind of thing.

The Abhisambodhi sequence, per se, is simply:

White Moon
Red Moon
Bindu Syllable
Hand Symbol
Perfect Image

And so the "full teaching" of Vajradhara is the Moons generating the Voids, or the Yoga of how to do that part. This is the death or you fully die if experiencing all the signs of Dissolutions. So it symbolicly attaches to any deity that uses the Two Moons in a tantric manner.

After the Moons, same as real death, you have a syllable such as Hum invested with your experiences and concentration. Then you are supposed to meditate back outwardly with an equal and perfect expression of all the rites. That is the main trait that makes it Buddhist; you enter with Bliss and Emerge in Reverse Order. We cannot say that the similar Hindu tantras will not sweep you out of your body and incinerate your ego. We are saying it is done with a set of tools such as Vajradaka with the motivation of Bodhi Mind. It has only one goal, Manifest Buddha.

An upright crown stupa is correct as an attainment. The inverted one is, for instance, using the legs as the bow or crescent.

Having Mandarava and Kurukulla as instructors is not something one just "does", and so when something that identifies itself turns out to be closely related to the intended meaning, that is uncanny.

I listed Kurukulla's laukika siddhis since it should be obvious they are "suggestive", i. e. one is not necessarily rubbing ointment on one's feet, but there is a worldly or form power which works imaginatively like that. She is one of the few that refers to these.

Kurukulla is not a Stupa deity that I can recall--you have an empty one. Empty is Prajnaparamita, She is a book carried by Manjushri and many other deities. She is really in Vajra Family. Everything is a flow from Prajnaparamita, whose ultimate form is Guhyeshvari.

So it sounds to me like you are being groomed for who to put in there.

"Arising historically from the chaitya (funerary mounds) of early Buddhism and symbolically from the tope (ushnisha), bundle of hair, on the crown of the Buddha's head, the stupa is viewed as a physical representation of the unseen enlightened mind of a Buddha - incorporating both the blueprint for the path to enlightenment and enlightenment itself."

The main Boudhnath Stupa in Nepal is Avalokiteshvara. Note the proximity of Parasol, White, and Green Tara:

https://www.himalayanart.org/images/items/resized/2000px/9/0/3/90309.jpg

Nepalese Prajnaparamita in Stupa over Akshobya and Vajrapani:

https://www.himalayanart.org/images/items/resized/2000px/1/0/0/100004.jpg

In Nepal, when you reach the age of 77 years, 7 months, 7 days, 7 hours and 7 minutes, they hold a Chariot Ritual; the festivities of the day require the elder to mount a chariot and ride through the city accompanied by the performance of various religious services in front of a sacred stupa.

https://www.himalayanart.org/images/items/resized/2000px/1/0/0/100024.jpg

That one has Usnisa Vijaya over Vasudhara over Manjushri.

Marici also uses a Stupa, and there are deities crowned by a Stupa, and maybe a few other variations. Vajra Tara also enters it I believe. So there are a handful of the main Yoga goddesses it works with.

That is where you attempt to gain the Tri-Samadhi or Tri-kaya of the deity.

I have never done that. I have gone through the Abhisambodhi sequence in a generic, weak way, without the advices of Buddhism, so I can state that it is a fact in nature. But that is much different from what they are teaching as Tattva Devata carried through these several stages.

Valerie Villars

13th July 2020, 11:43

Eva2

13th July 2020, 16:52

Old Student, with much respect to you, Agape and Shaberon, I just want to say that I had a similar, but not the same experience. Not a second body but a perfected me.

Briefly, I hadn't had any alcohol in about 4 years. I had somehow and inexplicably achieved a wonderful balance of non ego, physical exertion, balance, intention, etc.

I began to take baths. I was compelled to do so several times a day.

One morning I woke up. I was taller and I was beautiful. Filled with an inner light and I literally glowed. I saw the same light in all around me. This lasted three days. Knowledge came to me. A lot of knowledge.

I was completely in the moment at all times. Funny, but I was compelled to listen to music. It saved me. It was heartbreakingly beautiful. I could hear it to a point where I would weep.

Then, I began to get attacked. I was on someone or some thing's radar. It was terrifying.

For two days I locked myself in my bathroom with my dog. I could hear sounds of a terrifying wind and felt as if I was in a vortex. I died to myself. I was still here in body and could think, but all was gone but I (eye). I thought "Am I dead?"

I prayed. I was delivered by some one or some thing. Then I had a breakthrough with the most exquisite energy internally. It answered wordless questions and showed me things like certain passages of Rumi's. I could understand the symbolism in every single thing I saw.

The strange thing to me was that I didn't try to do this. It just happened and I was to understand the actions of my whole life had been to bring me to this point.

I guess that's all. I'm not really sure what to say except I have never subscribed to any one religion or idea, but have explored many and found truths.

Wonderful, beautiful experiences Valerie and Old Student. Really enjoyed reading your input. I have had a similar phenomenon happen to me but without the accompanying "feelings" and breakthroughs. For me it began around the end of 2006/beginning 2007. I had a couple of huge experiences in 2007 where light was literally gushing out of me - my arms, legs, back, sides, back, forehead and top of my head. I think "gushing" is a good description for how it felt and looked - I recall being in a field of golden light that looked to be made up of tiny golden triangles and there was a golden conical shape that was undulating a bit and moving slowly from right to left in my field of vision. The light just kept pumping out and I remember wondering when it would stop. I was with other people who witnessed this and there was a lot of noise, shouting, etc. around me so it was difficult to concentrate. I recall opening my eyes and seeing a gorgeous kaleidoscope of colours within a net that I couldn't see through - light was coming out of my eyes and people seemed to think I was having some kind of revelation. This was certainly wonderful to see and be caught up in but my mind was very much in charge and I could not shut it down. So apart from the phenomena, I did not receive or have the amazing experience and breakthroughs you and Old Student had which are obviously more valuable. In fact, I felt frustration, paranoia and other heavy emotions. Directly after this particular incident (and others), I was absolutely exhausted and could not move or speak for quite some time. Since this incident, I have experienced this light phenomena many times in varying degrees of intensity. In fact, some weeks ago, I had what I would describe as a rather intense, shamanic experience between 1 and 3 a.m. where I was "blooming" and filling up my bedroom. I find the light comes out in different ways - spiralling, blooming, gushing, etc. are good ways to describe my individual experiences. Usually and unfortunately, all this is accompanied with lots of invasive thoughts and I end up during most of these incidents in conflict with my mind. So, in the end, it just becomes phenomena and I am unable to "take" it further to a "higher" level. I am very drawn to this thread and reading Old Student and your experiences with other bodies. I thank Old Student and Shaberon for such detailed analysis and understanding of clear body experiences - although much is over my head, it is a really informative and interesting read.

shaberon

13th July 2020, 20:23

In researching these subjects, I have found that Ngor Monastery is a major agent of lineages related to Indian Tara as well as of an ever-evolving white goddess going from something like Vajra Tara--->Mrtyuvacana-->Amaravajra, along with the more well-known ones.

Kurukulla has not been something I have ever really understood, and, in the analysis, my method has been to cut away and ignore everything, until it forces its way in, by being the thing that defined the next stage or process in Yoga. And so there are strand of relatively non-tantric white goddesses, followed by what we might call a Drop of Nectar, followed by White Kurukulla, who goes through advanced development of the throat center as a state more like Nectar Saturation.

Then she came back when inquiring about Noose power, which itself is mostly on other deities, eminently, Aparajita, who is not that well-known, but again has a basic level which continues until being a Witness of Buddha's Enlightenment. That was the subject, Noose, which turned out to be quite complex and summoned Kurukulla back into the mix.

This is Ngor Kurukulla in one of her only known mandalas:

https://www.himalayanart.org/images/items/resized/2000px/8/9/4/89465.jpg

She has twenty Taras around her outside of the circle. You can tell because the upper left red one has the raised hands--Pravira or Fast Hero Tara. The second is Cunda with many hands.

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

Often, this and Nairatma are considered red and blue copies of each other--visually, pretty much so, but Kurukulla seems to have her own message.

Here, there is a "doubling" of Aparajita (Noose) like the "double" Khandaroha in Chakrasamvara. The strangeness is the Gatekeepers. In the mandala the retinue are all virtually Kurukulla in form; it is only the Gatekeepers who are different. All of the Gatekepers have hook, noose, and bell; there is no chain, which is the normal western magnetizing device; each has a personal item:

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

Kurukulla's first Tara is Prasanna, then Nispanna (Completion Stage), Jaya, and Karna (Ears). Kurukulla's second ring of Taras has Northeast Cunda, then Aparajita, Pradipa, Gauri, in the corners. That means Aparajita is in the southeast, or Agni corner. Pradipa or Lamp Offering Tara rarely appears out of the normal Offering group, but, she is Red with Kurukulla, and Yellow with Vajra Tara. Note that when Cunda is with Manjuvajra, she also occupies the northeast.

Ekajati is guarding the west, which again is her unusual position with Amoghapasha. So is "That" Noose related to "this" Kurukulla? Here, Ekajati clearly enters Lotus Family whilst holding a Vajra.

There is also Vetali, who has pushed Ekajati out of Vajra Family. Vetali means a dead corpse, one that keeps going, like a zombie. And in the tantras, after the stage of Empty Niche or Body-less consort, one of the first to arise there should be Vetali. She is an evolution of:

Peaceful Manjushri with Sarasvati

to

Wrathful Yamantaka Vajrabhairava Manjushri with Vetali

It breaks the more traditional naming scheme of Bhairava with Bhairavi. In Buddhism, Vetali is the or a main one who has this role, whereas there is also a Vajra Bhairavi, who is more specifically restricted to only a few rites.

Vetali is herself the teacher of Vajrabhairava Tantra.

In Twenty-one Taras, the second Tara is alternately Sarasvati or Cunda in moon-colored form. Sarasvati emphasizes Sound with her Lute, whereas Cunda is more like the many lunar states.

Cunda at Pattikera. Pattikera is identified with a place in Tipperah district. This is a sixteen armed figure of the goddess, while an eighteen-armed representation (9th century) of the goddess was found from Niyamatpur (Rajshahi). The site of Sixteen Arm Cunda also shows a land grant in favor of Durga Tara or Durgottarini.

Durgottarini is Dhruvam Arya Tara. Probably the only one. So that is a balanced collection of practices with centered, balanced energy extending above the head, Dhruva, or Pole Star, which physically changes through the ages, but the personal pole is the opposite direction from the core of the earth.

Durgottarini wrecks the ordinary concept of Green Tara. Usually, Green Tara is remembered as born from the tears of Avalokiteshvara, which is Lotus Family, which is appropriate for a few practices. Durga however also has several forms born from the eyes or minds of deities. But these Green Taras are of a very difficult Family, Karma or Amoghasiddhi, which is why this aspect is probably not mentioned to beginners.

The very color Green is problematic in a way that scholars have been oblivious to. And so there are rare sadhanas that may call for a shade of Purple, or Pink, but the greens are always various hues, which can be rapidly explained by Nepalese art.

Amoghasiddhi is Haritam, lighter vegetative green, and Samaya Tara on the lower left is Syama or Dark Green. Sambhoga Kaya Tara in the middle is Blue-Green:

https://d2l0wy9lsui5uy.cloudfront.net/c/u/f67894297b6134a6b759b3a9ec15b6cb/2019/08/08072133/Green-Tara-Paubha.jpg

Descending on the right are Dhanada, Three Eyed White Tara, Mahacina, and Vajra Tara. Dhanada is a misunderstood "green wealth" Tara who is really a mandala instructor at a stage shortly before Durgottarini; White Tara, again, has specific lineages related to Ngor that almost betray her popular concept as a Longevity goddess; Mahacina is an older, fundamental Blue Vajrayogini confused with Ekajati; and the central, lower Vajra Tara is about the largest and most appropriate receptacle for everything in the partially-destroyed Indian system. So this is a rare and quite esoteric format, which may be a personal practice. Some of these thangkas are purely personal, representing an accumulation of practices that someone was able to tie together--and if we can see how it fits the inner meaning, there is no dispute.

Syama and Samaya cause spelling errors and confusion; however, it is almost never correct to name Tara by a color. Therefor after the basic concept of Five Families, we can turn around and say:

The only basic Red Tara is Cunda.

The only basic Yellow Tara is Cintamani.

When we say "basic", it generally means they appear from Tam syllable, they use the normal Tara mantra, and do not do a whole lot besides make a samaya to that color or family. Then as soon as you poke around in Yellow a bit, there is Bhrkuti who does one thing, and Vasudhara another, and further along, occult Yellow is perhaps the most important color or power.

Pandara does not personally do very much, but, her mantra is nearly the same as for Simhanada Avalokiteshvara. And it turns out they are used together in a practice that delves into Jwala Malini. I have not figured this one out yet, but it perhaps is useful for someone who has realized Pandara.

The only one of them I "have" is Tara, which has only been empowered by Prajnaparamita Heart Sutra. This does not talk about the heart in some psychological way, it "is" the heart of Prajnaparamita. It has many versions, but here is a good Sanskrit one. It cuts a paragraph off the end after the mantra, which, again, if we recited it, this would tend to use Om one time, and then repeat:

Gate Gate Paragate Parasamgate Bodhi Svaha

6qALFIOzAzo

Old Student

13th July 2020, 23:21

Thank you for this, it points to some things I feel, and others I do not or do not yet.

I
was completely in the moment at all times. Funny, but I was compelled to listen to music. It saved me. It was heartbreakingly beautiful. I could hear it to a point where I would weep.

I keep thinking this is about to happen, but it doesn't, most of my shakings have had no music in them. The one exception was the night after I listened to Daiqing Tana sing "Ongmanibamei" (on YouTube), that night there was a sound like music was about to start.

I could hear sounds of a terrifying wind and felt as if I was in a vortex. I died to myself.

i wonder what this means. When I was pointed towards the place towards which is death, there was alsos swirling there (and cold).

Old Student

13th July 2020, 23:32

Old Student

13th July 2020, 23:50

Drop of milk + crescent sounds like bindu and nada?

Most of the time like an upside down one.

After the Moons, same as real death, you have a syllable such as Hum invested with your experiences and concentration. Then you are supposed to meditate back outwardly with an equal and perfect expression of all the rites. That is the main trait that makes it Buddhist; you enter with Bliss and Emerge in Reverse Order.

This one I only understand with respect to one symbol that occurs, a pillar. It takes two forms, one is a very thin silvery thread from my crown to perineum, that if I look at it closer, is filled with faces and seems to have everyone ever in it. The other is that it is a very solid pillar with a base and fluting and the base is in a pastoral scene like a garden and stream, I am the garden and stream (it's a motif I "dissolve" into called "brown-skinned earth"). This pillar is very tall, there are clouds and storms part way up. I can enter it, and will "lucid dream" while inside. I have to back out the way I came in, but I don't know what happens if I don't, only that I have to do that.

Kurukulla is not a Stupa deity that I can recall--you have an empty one. Empty is Prajnaparamita, She is a book carried by Manjushri and many other deities. She is really in Vajra Family. Everything is a flow from Prajnaparamita, whose ultimate form is Guhyeshvari.

So it sounds to me like you are being groomed for who to put in there.

"Arising historically from the chaitya (funerary mounds) of early Buddhism and symbolically from the tope (ushnisha), bundle of hair, on the crown of the Buddha's head, the stupa is viewed as a physical representation of the unseen enlightened mind of a Buddha - incorporating both the blueprint for the path to enlightenment and enlightenment itself."

Prajnaparamita is both the book and the deity at the same time? This sounds like the way things change form in my shakings a lot.

Old Student

14th July 2020, 00:14

She has twenty Taras around her outside of the circle. You can tell because the upper left red one has the raised hands--Pravira or Fast Hero Tara. The second is Cunda with many hands.

Arranged in Ford Circles. The mandala that I see at my dantian with the White One is also such, although in a circle. It is an Apollonian Disk, which by definition is circles all of which touch exactly three other circles (including the boundary as one, so you would include the rectangular boundary in the Ngor thangka as a "circle.

I have somewhat decided that I see her from female and the circles forming taiji ("yin-yang symbols") from male, but I'm still not sure. Also, the colors I described previously are distinct kinds of bliss, I know this because sometimes I experience them in multiples and they are distinct and feel different. But I've only just begun to understand that.

The only one of them I "have" is Tara, which has only been empowered by Prajnaparamita Heart Sutra. This does not talk about the heart in some psychological way, it "is" the heart of Prajnaparamita. It has many versions, but here is a good Sanskrit one. It cuts a paragraph off the end after the mantra, which, again, if we recited it, this would tend to use Om one time, and then repeat:

Gate Gate Paragate Parasamgate Bodhi Svaha

I have chanted the latter at the end of the Heart Sutra recitation when attending the Zen Dojo.

The twenty-one Tara seems like there are things there I've seen before. The stupas in it are similar to the one I see, but it is in the desert. I do think you may be right that it is funerary, it is bright white so not an exact match but the scene around it resembles the ruins at Karakhoto.

shaberon

14th July 2020, 00:16

The strange thing to me was that I didn't try to do this. It just happened and I was to understand the actions of my whole life had been to bring me to this point.

I did not really try to do mine, either.

I suppose I did from a young age with that kind of Zen that is present in the martial arts, which I have done many of, plus 36/108 of Long Form T'ai Chi.

I was probably all of...seventeen? When a major catharsis took place. The difference is it became frequent and repetitive. To a dangerous degree. I would for example be driving down the highway and spontaneously blinded by Marici. That is not remotely safe.

This lasted years so of course I pursued whatever could be learned about it. This included bits of Buddhism. Eventually I had to make the sort of dire decision to ditch Yoga practice and try to lead the average life of an ordinary debt slave.

That was unsuccessful according to its own terms.

And also why it is actually exciting to me now to have practically the whole Dharma online. If this kind of organized resource guide had been available to me when young as it is, now, it would have been extremely helpful compared to the default conditions of life.

It cannot teach me the mechanics of Abhisambodhis, since I already know it to be true and am seeking the best explanation, Mrtyu Vacana, Explaining Death. What it tells me that is news is that it is crucial to have operational Buddha Families. The polar opposite is that an upsurge of any unpleasant emotion is a failure with respect to some Family or another. The intended meaning is forms of Wisdom with various Paramitas or moral perfections.

You see why this does not mix with politics, We are only able to cast the Kingdom of Shamballa from within. All we do is welcome others into the Sangha or Spiritual Community. Has to be an independent philosophical commitment.

Yes, it is like a big mandala or Universe Lotus and it does not go away. Omnipresent whenever I recall it.

It is what I was looking for the words for when I was about three and learning to speak.

shaberon

14th July 2020, 00:53

Prajnaparamita is both the book and the deity at the same time? This sounds like the way things change form in my shakings a lot.

Yes, exactly. She is not the "only" book, there are a few other scriptures and something used by Kurukulla and others called Aksa Mala, Garland of Syllables.

The Prajnaparamita text was retrieved by Nagarjuna from the Naga Kingdom under the sea.

The book, philosophy, deity, and mantra are all the same thing. And so in Kagyu at least it is usually Prajnaparamita and Vajrasattva mantras that are daily use, and then Twenty-one Taras.

And if it follows the meaning...if one of those Taras says Humkara...well then you can say, hey, that is a special gesture of Amaravajra. It is able to mean a specific feature of the system it is part of, and does not have to be determined by, for example, Atisha.

The Earth motif sounds useful for Vasudhara; Sita is a Vasudhara; Sita emerges from and returns to the earth.

Sita was found in a furrow, which is, perhaps, similar to Bhrkuti, a furrow of the brows.

So yes, the Book gets passed around, much like Arrow Dakini is passed around, and that is like a deity gaining an aspect from another deity. And then if I ask about Noose, there is Amoghapasha as well as another cycle with Aparajita, serpents, and the underworld. So in all cases you get something like a first or seed unit which blends into the Net. It becomes a Quintessence, whose members are Quintessences.

The tantric items are not pictures, they each are alive with the particular attribute.

An inverted Bindu-Nada is the base of the Inverted Stupa, but then it goes differently from what you seem to be doing.

A white, deathly stupa detached from the rest of the milieu, sounds like a purifying and bonding stage. If you get close to it and are blinded by white and sense pure death, you have swooned at the First Void. If you consciously reverse your trajectory, you may not have enough energy to dissolve it; or if you lose consciousness, it is a mental or physiological block.

That is what it sounds like to me. The stupa itself is requiring all of its proper grounding. This takes however long it takes.

If it never does activate, you can apply someone to it, but that should be a long slow decision.

Did you get the Cunda information from the previous page? That is probably my closest guess as to a variable white deity.

Old Student

14th July 2020, 05:14

Did you get the Cunda information from the previous page? That is probably my closest guess as to a variable white deity.

To tell you the truth I'm still processing it. I was about to write something in response, to -

In Roll of Thunder From Void, Cunda is Mahabala's consort at the base of the spine. But this is Vajra Kilaya tantra. As indicated, more chakras are eventually used in Buddhism, and that is how. Cunda enters Union in the Nadir. If you have something like this in a lower chakra, it remains the case that Cunda may have unspecified various numbers of arms.

- and then clicked on the link and read about the faces and thought I should spend more time on it.

Here is what I have that may or may not work:

So I had originally thought the White One had a connection to the White Dakini Phowa -- by the description this should actually be White Kechari. That was because she appeared in the mandala not too long before the contractions and movements that resulted in the "Phowa sequence" I had outlined to you which resembles the Chikai Bardo Phowa sequence. I still think there is some connection to that but I'm not sure.

What you wrote about Cunda does seem appropriate, more so to what I described to you from the night before last, the six armed White One that was dancing with the red and blue in the surround. I have to try to understand it in context with last night, which occurred from the physical side, but was her dancing as I described to you, on the clear body side. She created a perfect torus of motion inside of my abdomen surrounding my dantian. I'm not even sure what muscles can be used to do that from the physical perspective, I do have some abnormal control of some muscles in my abdomen these days so that may be how.

There was something else that I dug up about her, that she comes from a sutra -- Karandavyuha that was the origin of "Om mani padme hum", that originated in Kashmir and was written combining Kashmiri tantra traditions with those of Central Asia from the Avatamsaka Sutra. The latter contains the Gandavyuha, which I was spending a lot of time trying to find and read (failed) at around the same time that she appeared for the first time.

I know that sounds unrelated, but it pulls together a lot of things, specifically your work laying out Cunda in detail and part of what the stupa motif I told you about means in terms of how it resonates.

What also resonates is:

A Khadira tree grows from a Lotus and Moon, on which is Tam. This becomes shining Red Tara with red rays flowing from every pore. She has loose hair with strands of red pearls braided in. Holding above her knee a picula fruit yellow inside, blue on the surface, the left hand at the heart with the stem of a red utpala lotus on which rests a book.

because of the question I asked you about the book. The mandala at my heart, which I told you I hardly ever see because it requires to much speed and skill (it is temporal as well as spatial, so moving away from the center seems to represent faster and faster speeds), is of red and white onions becoming red and white lotus buds and then opening to petals which become onions etc... The dispute I had told you about was also at my heart and involved Prajnaparamita.

In addition, you seem to present a case for her getting along well with Kurukulla who is almost always there, and handles nets and illusions.

So I guess I need a way to find out. It is hard to get to her right now -- there is a skill I am just starting that I don't know how long it will take to do. I am thinking that until I can do it, I won't see her again except in the form of that smooth toroidal motion.

shaberon

14th July 2020, 08:38

So I had originally thought the White One had a connection to the White Dakini Phowa -- by the description this should actually be White Kechari. That was because she appeared in the mandala not too long before the contractions and movements that resulted in the "Phowa sequence" I had outlined to you which resembles the Chikai Bardo Phowa sequence. I still think there is some connection to that but I'm not sure.

My Tibetan is not that great.

Chikhai bardo ('chi kha'i bar do) is the fourth bardo of the moment of death. According to tradition, this bardo is held to commence when the outer and inner signs presage that the onset of death is nigh, and continues through the dissolution or transmutation of the Mahabhuta until the external and internal breath has completed.

This is the physical equivalent of what we mean by Two Moons and entering and dissolving the voids in meditation. The subsequent after-death Chonyid bardo and seeking rebirth are the equivalents of Germ Syllable, Hand Symbol, and Perfect Image. The Mahabhuts are the elements going Earth into Water and the rest, with the Signs of Smoke, Mirage, and the rest, up to Sky when one is left with Mind, Subtle Mind, and Very Subtle Mind, in phenomena called Voids.

The Clear Light or Prabhasvara is reached by the Chikkai or through the Voids, and the other stuff is some kind of rebounding reflection after it.

And so we are not dying, we are doing a meditation based on those same states of consciousness, which will eventually be the way we expire. So Chikkai Phowa is more or less Tibetan for Abhisambodhis it seems.

In Ayurveda, the abdominal torus is Varuni. According to Taranatha, Reversed White Vajrayogini is Vairocani, which again in the Samputa system is the one who will Armor the abdominal chakra.

When I was going through a mixed bag of Yoga, I kept an icon of Sarasvati while amalgamating more and more towards Kagyu. I did not think she was Buddhist. But she was helpful.

In Tibet, there is a class of White Heruka deities called Sherab, including Sarasvati, intended to sharpen one's faculties and eloquence. So they just absorb her normal form.

Just a bit further, Sarasvati becomes identical to White Prajnaparamita by using her Picu Vardani mantra. Nothing much continues in the name of Prajnaparamita. But Sarasvati continues with Manjushri as Blue Sarasvati and Vetali, and as her own Vajra Sarasvati.

Avatamsaka [Arborescent Array] is perhaps the largest Sutra, rather challenging, and so yes, the Vyuha [Display] is a smaller piece where the exoteric Avalokiteshvara is found. Karana, Ghanda, or Gana are just different ways of spelling the same thing. Mahakarunika is the vessel for Lotus Family tantra; "is" a certain thing, but could be considered a genre.

Beale (https://books.google.com/books?id=mYYWbmmzikgC&lpg=PA125&dq=cunda%20devi&pg=PA125#v=onepage&q=cunda%20devi&f=false), Conze, and subsequent translators have confused Cunda and Prajnaparamita and been a bit sloppy in a few places.

David Verdesi (http://www.davidverdesi.com/cunda-durga.html) says Cunda is daughter of Vairocana, sister of Vajrasattva, and uses her as the whole system, he ties in the Seven Jewels of Enlightenment, Seven Namasangiti Manjushri mandalas, and says she arises as Nagaraja to train Nagarjuna in the Quintessence of Quintessences. But he does not refer to any scriptural source. It is almost the same as what we are presenting, but we want to show where it comes from in Sutras, Tantras, Sadhanas, or Commentaries.

Cunda is found at Ratnagiri (https://books.google.com/books?id=nbUQAgAAQBAJ&lpg=PT252&ots=hKKCIcCpmK&dq=cunda%20manjushri&pg=PT252#v=onepage&q=cunda%20manjushri&f=false), which is thought to be the origin of Kalachakra Tantra.

A current Encyclopedia (https://www.encyclopedia.com/international/encyclopedias-almanacs-transcripts-and-maps/tantric-buddhist-images) article on Sadhanamala picks up some of the subtle nuances such as Cunda-vajri and Aparajita. It is a good short summary of what I have found from perusing it at length. When we say Abhaya Kara Gupta was involved in transmitting the system, it is like saying Avalokiteshvara did. And again, the Cunda temple records a land grant to Durgottarini, so the Sadhanamala is really the most informative thing behind the most advanced and important archaeological ruins, starting from Ellora.

Tibetan Symbols perhaps only mentions Cunda with respect to Fruit, Picula and Citron (https://books.google.com/books?id=-3804Ud9-4IC&lpg=PA205&ots=FSJDXTOjKt&dq=cunda%20devi&pg=PA205#v=onepage&q=cunda%20devi&f=false).

Here is the main way the system of Tara is tied to Manjushri.

Mahayana Buddhism defines the Bodhisattva as entering Ten Paramitas. Most Vajrayana Buddhism adds an additional one or more, using increasingly subtle tantrics to show how much they think they have to endure to become a Buddha.

Namasangiti is like this, it adds one simple bonus round. It is unique because it adds a preliminary Paramita at the beginning, called Ratna Paramita, and all the Paramita goddesses are emanated in Jewel Family.

Each Paramita has a Dharani or spell.

But the Dharanis are large, usually Sutra-based mantras which are publicly accessible. They draw from the same group of related Taras, such as Cunda, Janguli, Parnasabari, Vasudhara, and so on. It is a close contemporary of general Nepalese systems of Dharanis based on the week or calendar.

And so in Twenty-one Taras, we can get almost half of them equal to something used by Namasangiti Manjushri.

Cunda is almost an opposite of Acala, because her command is Cale, to move.

Her mantra is perhaps the first and must be significant, because the Chinese have a recording of just the four words of her mantra for over twenty minutes.

The human mind has a tendency to want different words and musical variety, and so this is like a sound equivalent of a small visual focus. You'll fall off! It's not so easy. Looking at one thing is hard. Buddha did Open Eye Staring at a Tree for a week!

Concentrating the senses is a bit like non-dualizing them.

If the wanderings of my senses are diminished, what is moving??

The mantra is repetitive because it is simply the Bodhisattvas rejoicing at her presence. It must have a corresponding inner meaning. Manjushri accepts it in Namasangiti as well as in Manjuvajra Guhyasamaja, and Kurukulla summons her, and she is in Vajra Kilaya.

Cunda does not have her own extensive sadhanas. What she does is re-appear in male and female based Tantras. Her main form is four armed with a bowl; again she is a meditator, has Vajra Feet. We find her in a couple more special places with a Kalasha or Kamandhalu, the Vase or Pitcher of initiation, which is rare and perhaps reveals her importance.

I am not quite sure if there is such a thing as a six-arm dakini. Possibly one with Padmajala or Samputa. Possibly Cunda may be enticed to dance. If it is something with the red nimbus and blue or purple space-like spray, I would have to say it is very important.

Eva2

14th July 2020, 16:34

This sounds awesome, Jill, thank you.

In fact, some weeks ago, I had what I would describe as a rather intense, shamanic experience between 1 and 3 a.m. where I was "blooming" and filling up my bedroom.

I have had gushing, but I distinctly feel like it stays within "me", although there are times I am not sure what "me" is as I become scenes often.

Usually and unfortunately, all this is accompanied with lots of invasive thoughts and I end up during most of these incidents in conflict with my mind.

If I look through my notes there are a lot of these. My "concentration" method is "listening" which comes from push hands, it is really more of "following" my body (whichever one) without directing or controlling it, sometimes my mind quiets when I do that, and sometimes it is off in the distance still chattering away.

Your experience with "gushing" is interesting that you feel it stays within you and you lose the "me". You seem to have taken it to a "higher" level. When I experience this, I am fully aware of the "me", thanks to a very strong, resistant mind (which I'm trying to move past). During the more intense experiences, I feel all that light pumping OUT of me which leaves me exhausted and very nauseous but unable to purge. I also had a frightening episode where I felt these huge surges running through my body and I'm literally gulping for air as the surges are so strong I cannot breathe. I'm often left feeling somewhat depressed and frustrated after. I have experienced the sense of falling into myself once which was quite frightening and a struggle to pull myself out of it. Some of the times when I wake up in the morning feeling nauseous, very tired with an overactive mind churning dark thoughts, these are usually followed by evenings where these episodes will occur. Its interesting that you are able to recognize your thoughts as being separate from "you" whereas I have not yet "figured out" how to recognize these thoughts as not being part of "me" - I have yet to make that connection, although I am aware that that connection exists. I'm not sure what you are referring to with "push hands" and becoming scenes? You really are on a fascinating and wonderful journey. Thanks for this thread.

shaberon

14th July 2020, 17:49

I feel all that light pumping OUT of me which leaves me exhausted and very nauseous but unable to purge...I'm not sure what you are referring to with "push hands" and becoming scenes?

Push Hands is a common martial arts exercise between two partners, something like a duel between your hands where you have to re-direct the opponent's force; the loser is the one who falls off balance.

One of the main uses of personal light in Buddhism is that it becomes Hook Rays. This means I do not quite shine on the universe like the sun, as if I were capable of sustaining it. Instead, it reaches out and grabs something enlightening--possibly a simple concept like Merit, or, in tantra, a deity. And so for instance, if I do this to Janguli, then I bring in something which attacks Hindrances and transmutes Poisons. Then I am becoming restored instead of nauseous and drained.

When we are in a sensitive state, the two main enemies become the mind and the winds themselves. What? aren't those the main agents of enlightenment? Of course! But until we reach that, it is like this:

karmic habits make the winds move in the body, which disturbs the mind

mental disturbances arise, which makes the winds blow

They are inseparable. So to quieten one reduces both, and vice-versa.

Just as you say, there is a "me" that does not like to fade, that wants to remain in the middle, but it is not capable of handling these things.

It can be scary. In order to relinquish it, there are indeed legions of disturbing thoughts which present themselves.

There are a few different ways of referring to the consort of Vajrasattva, and one of them is Vajra Gharvi or Vajra Ego.

So for example currently, I have no shrine, I have nowhere to really attempt the more elaborate processes. I have reset myself to the Preliminaries which is 100,000 Vajrasattvas. This is why Tibetans say it so fast, to rack up big numbers. But even outside of a full sadhana, I can for instance use it while driving. And so even though I am not exactly in a Yogic condition, when I think of it as purifying my sins and obstacles and replacing "me" with Vajra Ego, it works. Vajra Ego is a form of a desired Mental Object--and really until we are very advanced, it could perhaps be said that Mental Object is the focus and training ground. Its common failure is attachment to the skandhas or psychological habits, which is the sin against Vajrasattva. That is why Vajrasattva is the required preliminary.

Once you start to get the meaning of a mantra, even when used in normal daily activities, it will accomplish the calming of reactive divisions of mind. The teaching says we are not mute witnesses of whatever is going on in our bodies; it says that mantra is how we gain a handle and start to clean the unwholesome and improve the desired traits.

Eva2

14th July 2020, 20:43

Old Student

14th July 2020, 23:37

Chikhai bardo ('chi kha'i bar do) is the fourth bardo of the moment of death. According to tradition, this bardo is held to commence when the outer and inner signs presage that the onset of death is nigh, and continues through the dissolution or transmutation of the Mahabhuta until the external and internal breath has completed.

This is the physical equivalent of what we mean by Two Moons and entering and dissolving the voids in meditation. The subsequent after-death Chonyid bardo and seeking rebirth are the equivalents of Germ Syllable, Hand Symbol, and Perfect Image. The Mahabhuts are the elements going Earth into Water and the rest, with the Signs of Smoke, Mirage, and the rest, up to Sky when one is left with Mind, Subtle Mind, and Very Subtle Mind, in phenomena called Voids.

The Clear Light or Prabhasvara is reached by the Chikkai or through the Voids, and the other stuff is some kind of rebounding reflection after it.

So the following is from Yogi C.M. Chen (http://www.yogichen.org/cw/cw32/bk083.html), and the article that first had me looking into Chikkai Bardo and Phowa:

The Shambakagyu Golden Dharma is symbolized by a tree and divided into 5 parts:

The root represents the Chagya Chinpo (great symbol) nearly identical to the Dorje Chang of other Tibetan schools. The trunk denotes the Six Doctrines as taught by Luguma. The trunk separates into three branches: one is Guru-Yoga, one is Yidam-Yoga, one is Maya-Body-Yoga. On the tree there are two flowers, one is the Red Dakini and one is the subject on which I now talk, the White Dakini. Red is for practice of Vajra Love while white is for Phowa. The practitioner may use the White Dakini Phowa to transfer his consciousness to the Ogmin heaven at death. This is the Tantric Palace of Adi-Buddha. Above the two flowers, at the top of the tree, there is the fruit, called Non-Death Yoga

His transliteration is horrible, but he learned this from (the 1st) Kalu Rinpoche and it's from Shangpa Kagyu. The tree allusion is from Khyungpo Naljor:

The roots are the six dharmas

The trunk is maharnudra
The branches are the three integrations on the path
The flowers are the white and red Khechari
The fruit is immortal and infallible.
(Jamgon Kongtrul, Treasury of Knowledge, v. 3 p.395 quoted in Niguma, Lady of Illusions)

That would make the White Phowa = White Khechari. However, the role he ascribes to her in the Phowa is that of Vajrayogini in other write-ups.

I was drawn to what C.M. Chen said, and then to the Chikkai Bardo, because it fit so closely with what had happened in my shaking. It is the case in which the red and white Bodhicitta drops combine and leave through the crown of the head, and one is reborn (depending on the telling) in either Amitahba's Sukhavati or in the Land of the Dakinis.

***************

A current Encyclopedia article on Sadhanamala picks up some of the subtle nuances such as Cunda-vajri and Aparajita. It is a good short summary of what I have found from perusing it at length. When we say Abhaya Kara Gupta was involved in transmitting the system, it is like saying Avalokiteshvara did. And again, the Cunda temple records a land grant to Durgottarini, so the Sadhanamala is really the most informative thing behind the most advanced and important archaeological ruins, starting from Ellora.

I tried to "ask" last night. I was not answered. However, I did trace Cunda-vajri back to things I had understood were important.

I picked up another detail: She is dancing, but she doesn't have her leg up high in the tandava position, it's pointed downward and a little lower. It looks like depictions of Tara in lalitasana (not sure I spelled that right) except that she is definitely dancing. I did read one time that Cittamani Tara has one foot down as if to begin to stand or dance at any moment, but I cannot remember where. And about the colors that surround her (in me), the blue can be "shot out" almost like a lasso and then "pumped" in the direction of what it attaches to. I should also mention (I looked at notes from way back) that the dichroic red happens when there is a bliss that rises like fire -- a bliss like the blazing and dripping bliss from Tummo. As I (hope I) said before, the different colors when inside my clear body represent different kinds of bliss, that's both an old thing from my notes that was just an oddity at the time and a new thing that is a functional thing.

The same color red, except darker, more like alexandrite, is the color of the jewel at my throat from Kurukulla, it changes when the net appears or when there are visions inside of it.

White, as you saw in the notes I posted, is the color of bliss at the vulva of my clear body, blue is the color of a deeper kind, but rises to the surface as an iridescence like on butterfly wings. Purple is the color that forms the liquid/mist bliss covering for black which is deep inky black outer space, they flow up my back in front of my spine courtesy of Ekajati. Yellow is warm and glows. It happens when there is a peaceful bliss filling my clear body like sunlight and glowing. There are also rainbows, they are a whole subject matter in and of themselves and Mandarava is the one who makes those happen, always -- they always include the fact that a rainbow is evanescent -- that it is empty and may be instantly gone.

Old Student

14th July 2020, 23:43

Thanks for explaining. I only have nauseous as something they teach me to do because it fixes a problem I have with failing to breathe. I do have dark thoughts depending on the subject matter -- the notes I posted before, they brought me to this place where I was confronted with (my) death and I had a lot of such thoughts after that.

I sometimes feel physically "worked" as in all my muscles are sore, but I feel after shaking like I feel after sleeping -- well rested. I frequently have some mental things that I have been practicing continue to "work" for part of the day afterwards.

(more below).

Old Student

14th July 2020, 23:55

Shaberon did a good job of outlining push hands, I will just add a few details:

There are two things you try to do in push hands, feel your opponent so you can push them, and feel your opponent so you can get out of their way when they push you. The movements go in a cycle (what cycle depends on the style) you are alternately pushing and retreating. When you retreat, you feel where your opponent is trying to push to and sink and turn so (s)he goes past you (in a real fight you'd then add to their force so they lose their balance). When you push, you try to find your opponent's center -- the place they are "defending" by not making it disappear by sinking or turning.

Either way, each part of your body is divided into hard and soft, soft feels or grasps, hard pushes. The better you and your opponent get, the more subtle the ability to feel you need to be, and the ability to feel is called listening (聼 in Chinese, pronounced ting). So advanced people listen or feel their own body and their environment without affecting it as much as possible.

When I do shaking, the better I listen the better it works, letting my body move and just "going along for the ride" but not missing a single movement with my attention. So the fact that my attention is completely on even the very smallest of my body movements is why the stream of talking is not something I'm paying attention to.

I think this is what, "Concentrating the senses is a bit like non-dualizing them," means in the context of shaking.

shaberon

15th July 2020, 09:22

So the following is from Yogi C.M. Chen (http://www.yogichen.org/cw/cw32/bk083.html), and the article that first had me looking into Chikkai Bardo and Phowa:

The Shambakagyu Golden Dharma is symbolized by a tree and divided into 5 parts:

The root represents the Chagya Chinpo (great symbol) nearly identical to the Dorje Chang of other Tibetan schools. The trunk denotes the Six Doctrines as taught by Luguma. The trunk separates into three branches: one is Guru-Yoga, one is Yidam-Yoga, one is Maya-Body-Yoga. On the tree there are two flowers, one is the Red Dakini and one is the subject on which I now talk, the White Dakini. Red is for practice of Vajra Love while white is for Phowa. The practitioner may use the White Dakini Phowa to transfer his consciousness to the Ogmin heaven at death. This is the Tantric Palace of Adi-Buddha. Above the two flowers, at the top of the tree, there is the fruit, called Non-Death Yoga

I have inevitably run in to Yogi Chen's work, he is wise and experienced--A Chinaman speaking the Tibetan of a Sanskrit original.

Dorje Chang = Vajradhara

Ogmin = Akanistha

Yes, this is the same thing as the Nepalese and Ngor system, slightly migrated and modernized. Evidently, he also holds A-mara in esteem.

That is probably why Parasol and Surungama Sutra are important with him. In Shangpa it is definitely Dakinis used in the catharsis.

Vajrayogini is the honorific in Dakini Jala. It doesn't necessarily employ her; it is her Rahasya or Secret Doctrine. Vajrayogini is ultimately Cinnamasta or that would be the straight path to Completion Stage of Vajrayogini; and again if we are rooted in the Samputa system, it generates that Vairocani who is a companion of Cinnamasta, and it appears that Varuni may produce the other companion, Varnani. Well, we see the reason to be using these tantric transformative goddesses together to begin with, and so yes, it would appear to be the most direct link to Cinnamasta as well as to Chakrasamvara and Kurukulla and Hevajra.

Mahamudra is the intended intensity in Kagyu, the way we choose to apply ourselves to life and spiritual practice.

The better details on Push Hands are the same as the way I did it. Yes, to me, conceptually at least, I can see how internalizing it could be a type of concentration into non-duality.

I have to be out for a day or so. This is the Chinese monks doing Cunda root mantra maybe 1008 times. I do no know if they may be related to Yogi Chen.

vYiuafeZRNY

Om Cale Cule Cundi Svaha

It is from Samadhi of Om Mani Padme Hum the meditator witnesses Saptanam (https://www.wisdomlib.org/definition/nam) Samyak Sambuddha Koti (https://www.wisdomlib.org/definition/koti)nam who rejoice at Cunda's presence.

If we do not require Koti to be a number which would probably be Saptakoti, if the -nam is a gesture of respect, it may mean one witnesses Seven Samyak Sambuddha

3 A division or branch; a class distinct or distinguishable under a comprehensive order or head.

same as Kula or Families. If it did say Saptakoti, then of course it would suggest Koti's numerical value, ten million, and would make seventy million, but I am not sure why Families would not work here.

Cunda's name has a soft sound like "under", similar to Ananda. Here, it is invocative, they may end in -i or -ye, like plain syllables get special chanting marks to make mantras.

Old Student

16th July 2020, 01:39

Vajrayogini is the honorific in Dakini Jala. It doesn't necessarily employ her; it is her Rahasya or Secret Doctrine. Vajrayogini is ultimately Cinnamasta or that would be the straight path to Completion Stage of Vajrayogini; and again if we are rooted in the Samputa system, it generates that Vairocani who is a companion of Cinnamasta, and it appears that Varuni may produce the other companion, Varnani. Well, we see the reason to be using these tantric transformative goddesses together to begin with, and so yes, it would appear to be the most direct link to Cinnamasta as well as to Chakrasamvara and Kurukulla and Hevajra.

Hmm. The following is from my notes from the night of June 25th, 2020:

Shaking began at 2:50am with an abrupt surge to consciousness from deep sleep straight into (as best as I can describe) a deep red/brick red nausea that shot from my lower belly to my throat and a visual of a stream of deep red arcing from down in my belly out my mouth in a backwards version of the images of Chhinnamasta.

I was just relating a feeling, but perhaps the link with Chhinnamasta in that shaking was stronger than I give it credit for. It was one of only a handful so far where for all intents and purposes, I began the shaking direct from waking completely in clear body.

Om Cale Cule Cundi Svaha

I've noticed that this isn't done out as translation anywhere. You did mention that 'Cale' is from Calna "to move". 'Om' is 'Om' and 'Svaha' is 'Svaha', and Cundi (have also seen Cunde) is Cunda's name. The Sanskrit dictionary I use (online), I don't know how good it is, but it lists cUlA (long U, long A) which has vocative cUle like in the chant, as the "fiery ball of a comet", or as "topknot". Is that about right (given that the mantra is there for the sound mostly)?

Something from elsewhere on the page:

I am not quite sure if there is such a thing as a six-arm dakini. Possibly one with Padmajala or Samputa. Possibly Cunda may be enticed to dance. If it is something with the red nimbus and blue or purple space-like spray, I would have to say it is very important.

Okay so two more "sightings". She doesn't always have six arms, and her foot is pointed downward as if to strike at the ground, not up high in tandava pose. That makes her two legs, both bent, sort of look intertwined, like petals of a flower bud. I did find some more allusions of Cunda to Candra in the Cundavajri version. Where she is dancing (she is present only when I'm completely clear body) in my clear body womb, and she expands it and fills the expansion with empty space (inky black), and the blue sheen (in the red covered with blue around her) is something she can throw out like a lasso, and when she "catches" a part of me can pump blue into it which heals at least aches and has a liquid, blissful feel.

Old Student

16th July 2020, 01:52

Jill --

I forgot to say something about "becoming scenes?" This is literally what it looks like. After about three months of a lot of exercises and a lot of "practice" in letting the shaking go, the Dakinis, by way of one removal that was impeding it, and a lot of bringing me to the brink, taught me something that in my notes I call "the dissolve". This is where the shaking becomes so pervasive that it seems detailed down to my fingertips and I reach a place where if I am willing to just sort of relinquish control -- which is scary the first several times as it means "me" will "dissolve" -- I dissolve and come back together again as something else. Initially, this was always another person, but after a while, it did not have to be. I would be a dead branch and some rotting mud near a stream, or I would be a person that mixed with and melded with the earth. After which i would just be the (usually natural) scene and not corporeal. The dissolve itself was like a blanking out initially. Then, on occasion, I would be both aware and shown things in the dissolve -- many of Kurukulla's jewel scenes happen that way -- Anything in the dissolve itself is usually infinite and complex -- like a grotto of thousands upon thousands of monks and Buddhas singing was one, for instance. During those, I'm not really anything, and afterwards, like I said, it is not uncommon to be a whole forest or desert scene. These dissolves usually end by just fading back into my body again.

shaberon

17th July 2020, 10:29

Shaking began at 2:50am with an abrupt surge to consciousness from deep sleep straight into (as best as I can describe) a deep red/brick red nausea that shot from my lower belly to my throat and a visual of a stream of deep red arcing from down in my belly out my mouth in a backwards version of the images of Chhinnamasta.

I was just relating a feeling, but perhaps the link with Chhinnamasta in that shaking was stronger than I give it credit for. It was one of only a handful so far where for all intents and purposes, I began the shaking direct from waking completely in clear body.

It perhaps is a Dream or Svapna Yoga of the Triangle on the Inverted Stupa, which is Agni.

Cinnamasta is Teevra Devata which is like Vajra Kilaya.

Extremely Fierce.

If you have the manifest Rupa Skandha or i. e. sensory ganglion of the soft palate and have found it close to the name Samantabhadri which sounds odd to me because it does not seem to reckon with most of the Sarma tantras, in Pandit Amritananda's Nepalese system, for the rank of Bodhisattvas centered on Vairocana Family, it gives:

Samantabhadra and Sita Tara
Ugra Tara and Vajrapani
Ratna Tara and Ratnapani
Bhrkuti Tara and Padmapani
Viswa Tara and Viswapani

And so White Tara would be understood equivalent to Samantabhadri there. Then, look who had to overwrite Padma Tara with her personal name?

Om Cale Cule Cundi Svaha

I've noticed that this isn't done out as translation anywhere. You did mention that 'Cale' is from Calna "to move". 'Om' is 'Om' and 'Svaha' is 'Svaha', and Cundi (have also seen Cunde) is Cunda's name. The Sanskrit dictionary I use (online), I don't know how good it is, but it lists cUlA (long U, long A) which has vocative cUle like in the chant, as the "fiery ball of a comet", or as "topknot". Is that about right (given that the mantra is there for the sound mostly)?

A translation usually refers to the seventy million Buddhas and does not even attempt anything with the mantra.

I only did one word and left off Cule as a play or twist, but, of course, it could be a second word, I don't see why not.

Then it would say Move, Fireball Cunda.

It is commonly held that Cunda is Candra in the very old Manjushri Mula Kalpa, and yes, a name ending in our letter "a" could be masculine or feminine with a slightly different pronunciation.

In evidence of her existence, we can find a couple examples, which appear, to me, at least, to make a cohesive pattern.

So in Kagyu we have seen we do Rechung and Siddharajni lineages and so we have White Amitayus and Red Jinasagara--Guhya Jnana Dakini. And so there is this superb way of having white members of Lotus Family. However there is also such a thing as Wrathful White Lotus. We have also seen that Aparajita was an important deity at Ratnagiri and in Noose power.

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

Among its other members, Pandita Purnavajra's speech uses Cunda of the Dharani in her massive form also found with Manjuvajra. It is followed by the Vairocana Aparajita and Aparajita couple. Then White Hayagriva Play of the Supreme Horse with Ekajati, then Red Acala with Tummo ga je ma Candi having five dhyanis in five chakras, then Orange Marici with Green Horses who makes the entire Pavilion and Net and an Asoka Grove. The two couples must be some of the most sexualized deities. Aparajita in her same Jewel-appearing basic yellow form is a Vairocana deity doing the Swing Recitation method from Vilasini which is also related to Jewel. The Hayagriva couple emits deities from the tips of their jewels, which means from their penis and clitoris. All of them do many other things, except Aparajita. She has this, and a small paragraph in Sadhanamala. She is super important and has almost no teaching. One would have to figure out her inner meaning, and see that she gets submerged in other deities, until ultimate enlightenment conjures her with Bhu Devi.

Here is how Cunda is used by Namasangiti Manjushri in saying how to cast Dharanis:

vasumatīṃ mahālakṣmīṃ ratnajvālāṃ name name || 17 ||

uṣṇīṣavijayāṃ devīṃ mārīcīṃ parṇaśābarīm |

jāṅguliṃ dhāraṇīṃ vande anantamukhadhāraṇīm || 18 ||

cundāṃ prajñāṃ [vardhani] ca padmāṃ ca sarvāvaraṇaśodhanīm |

akṣayajñānakāraṇḍaṃ dharmakāyavatīṃ name || 19 ||

Cunda is right before the mantric identity of Sarasvati--Prajnaparamita.

The chief of these goddesses is Vasumati Mahalakshmi.

Mahalakshmi is Dharani, wife of Parashurama, who will be Maitreya's guru in Amoghasiddhi's cycle.

She appears to be a form of Amoghasiddhi Sambhoga Kaya Taras, similar to Mahattari and Mahasri.

I have tried to reverse translate Mahasri's names:

She Who is Endowed with Splendor [Sri Devi]/ She Who is Auspiciously Resplendent [Mangala]/ Possessor of a Garland of Lotuses [Padmamaladhara or Sragdhara]/ Lady-Lord of Riches [Vasudhara]/She Who is White [Gauri]/ She Who is Greatly Renowned [Surabhi or Kamadhenu]/ Lotus Eye [Kamala Locana or Maha Padma]/ She Who Makes Things Happen or is Efficacious [Cunda]/ She of Great Light [Bhaskari or Marici]/ She Who Gives Food [Annapurna or Dhanada Dhanyaki] / She Who Wholeheartedly Gives Precious Gems [Cintamani or Rinpoche Rabjinma]/ She Who is Greatly Resplendent [Mahasri].

Here is why Cunda is what I would say goes there compared to the Tibetan original:

"Makes things happen" is Jey Pamo. The Tibetan title Jetsun is Jey Tsun. In this, Jey means noble, Tsun has one meaning of those who combine the three characteristics of being learned, noble, and good, which is more or less the Sanskrit meaning of Cunda, or, in Tibetan, Tsun-da. Her "root word" meaning, if any, is to impel or move, Cala, possibly short for Calati or vibration. Jey Pamo just means Noble Warrior, and why it is translated as a cause or effectiveness I am not sure. But when you say the full title Jetsun, Cunda is arguably involved.

According to Taranatha, Cunda is the Yidam of Gopala or first king of the Pala dynasty, and that it was his mission to propagate her. He portrays the Palas as highly involved with Vajrayana. The Ramacharitam attests that Varendra (North Bengal) was the fatherland (Janakabhu) of the Palas, ca. 750. And so for the mysterious Mahattari to be called Varendra Vanna Icchi implies her knowledge and practice being equal to that background.

So. In Namasangiti, the Dharanis follow in the order of the Paramitas. And when the Sutra Paramitas bump into the tantric families, then you get a sequence of the main families ending with Acala, who is considered a "divider", i. e. a certain degree of mental immutability in Space. After him, the highest Paramitas correspond to the Four Dakinis. These are cast in Reverse, and the first one is:

Lama

who represents the Perfection:

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

The tantric physiological stage is:

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

[karma mudra, jnana mudra, mahamudra]

Namasangiti's goddesses who correspond with Upaya Paramita are:

The Discipline or Mastery is Pranidhana (which is also the next Paramita). The Ground or Bhumi is called Durangama, "Far Going". The dharani used is Cunda.

The goddesses in all Four Families have as their forms:

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

Here Cunda has been emanated in Amoghasiddhi Family and is using her rare Initiaion form with the Sacred Flask. And so if this is Yoga then it is likely intended to accomplish this first since her next Amoghasiddhi emanation is wrathful in union with Mahabala. Cunda Dharani Masters Pranidhana "Unceasing Devotion". In general application, the mantra is held to remove karmic seeds. Pranidhana (https://www.wisdomlib.org/definition/pranidhana) also pertains to the Sacrifice Offering of Karmic Fruit or, i. e., fruit of one's actions are also burned by Agni to the deity, and this type of renunciation of the result of work is considered essential, usually, for that type of Red Aura on Cunda and Vajra Tara, letting go of everything I did is essential for the stability of Bodhisattva degree Wisdom.

And so between the Dharani and her Vajra Kilaya version is Guhyasamaja or the root tradition of generation and completion stages.

Cunda's Maha form is with Manjuvajra, and the Manjuvajra Guhyasamaja lineage goes from Jnanapada to Nyan Lotsawa, who is the revealer of Red Lion Face Vajrayogini.

And so in the "finer" round of his circle, we find that he uses Cunda to lead to Hevajra's Chain, Shrnkala:

Manjuvajra's corner deities:

Cunda NE
Ratnolka SE
Bhrkuti SW
Vajrashrnkala NW

So if we follow the intricacies of Yoga, Cunda flows from a common unexplained mantra to a whole system which can be shown as a Samadhi Chain to Hevajra.

We said that the Humkara gesture was startlingly clear when explained by Amara Vajra.

And so again, going from Sarva Durgati, there is another gesture considered extremely important, which is explained by Marici.

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]. Bhutadamaru Vajrapani is Charya Tantra, a step beyond Kriya, it uses Cunda, Yellow and Green Janguli, Ekajati, and multiple Maricis with the companions who are really all Pig Face.

Bhutadamara, Demon Subduing gesture, is about the plane of Heaven of the Thirty-three, or second Kamaloka, Indra Heaven.

And so if I look back at the big Ekajati Thangka, why she may have Cunda and Janguli as unique deities, it would most likely stem from this. What? It says Bhutadamara Vajrapani deploys the same four goddesses as depicted there.

And so if there is such a thing as Marici then inevitably there is a Varahi, and again my personal recommendation is to not try invoking Varahi directly, partly out of traditional respect for the lineage but also, if something came out, it might well be a ton of bricks.

In Buddhism, Varahi starts in hell in STTS or the beginning of Yoga Tantra, and is converted to Dharma by Vajrapani. She is an attendant to Marici, using her older STTS name, Varahamukhi, where she is in the final northern or accomplishment position in the series varttāli vadāli varāli varāhamukhi.

In his Vajravali relationship mandalas, Bhutadamara Vajrapani, is in the lower left, beside Marici in her stupa. The upper right is Navoshnisha (Nine Usnisas) Sakya Simha Lion Buddha, and the upper left is Vajradhatu or male-centric Six Families. So it suggests that if the Humkara gesture develops a subtle Vajra Kaya or Amara Vajra or Deathlessness, Bhutadamara unleashes the real Marici, which, again, is like an illuminating flash, up to the mega powerful flash of full enlightenment or the Manifestation of a Buddha in a World System. When this happens, Bhu Devi and Aparajita do Mara Vijaya, which is Sparsha Bhumi or Earth Touching Gesture. So although the two Vajrapani gestures sound closely related, in a subtle, technical view, they are a bit different.

Again, part of what happens in Sarvadurgati is that the standard Hindu deities are brought in to Buddhism. Most of them are one to one, except:

The Hindu Sun, Aditya, became Vajrakundali with Vajramrita as Shakti.

And so that is the basis of what we call Jewel Family where Amrita is usually equated to Varuni. They are something secret under the Yakshas but at the same time, the crown center and occult power of sun. And in the role of Mamaki, she appears first to be known in Jewel Family but then she appears to enter union with Vajrapani and then eventually Akshobya and is in Vajra Family.

The actual Prajnas change around due to tantra; the first main movement appears to be Locana or Buddha Eye who sees the Dharmadhatu. The Dharmadhatu arises in waves and by degrees, so the nature of Buddha Eye is to see something more profound and subtle and so she changes Families. So you generally have a Vairocana tantra which progresses to another kind.

Out of the vast total number of deities, the ones that rise high on the scale of numbers of arms are White Cunda and Red Varuni.

Varuni is the nectar, and there is reason to say that Cunda is the container, especially when thinking that her Rosary Pitcher form is defined as the Dharani itself and that it is equivalent to almost the highest stage which could readily be conceived by most people.

If there is a goddess form whose dance is not quite Tandava, but more like a pounce, there is definitely said to be a Tara who stomps the ground. And so in this case, both Humkara and Bhrkuti are used in other verses and are not necessary to identify this one:

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

"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."

Tala ghata is her palm strike, and:

caraṇā (f) – “the feet of”, the venerable (N. N.), a pillar, the root (of a tree) hata

is considered her foot stomp.

And so the verse gives:

Namaste to that Tara whose Hand Palm Strikes, Feet of her Strike Earth's Surface

Bhrkuti has made or done Humkara, shattering seven hells.

Bhedini could also be purgative, cathartic; interrupting; beating or knocking out, perhaps due to its use as a noun for Priyangu fruit.

The verse is often dedicated to Wrathful Bhrkuti, but, we cannot find attestation to such a thing in Sanskrit originals, and so it may be fair to slide Bhrkuti to another verse that uses her. And so then this one is open to question. I have thought it could equate to War Victory Chariot Legion Mahamaya Vijayavahini. But if you have a sense of about to stomp the ground in a clear vision, then, this is the first thing that comes to mind that possibly refers to it.

Scripturally, it is not a given form, it is the verse and its meaning, intended as a remover of a knot in the subtle body.

It would generally not be Cunda since she is verse two and usually Vajra Feet.

It would generally not be anything known, I cannot remember any pose that sounds like this and I do not believe Bhrkuti really fits. Calad Bhrkuti Humkara is in verse eleven, which is also accepted as Bhrkuti and has calad, motion or perhaps vibration of the brows.

So on this one, fourteen, it is next to impossible to really say, since her obvious identifying feature of stomping the ground does not seem to reflect any of the sadhanas. There is a unique Tara system at Alchi Monastery, which I can not find the names of right off hand, so I can't say if it has a more accurate-sounding suggestion.

I can kick Tara in the tires as hard as I want, and all that seems to happen is she will say, well, I do this thing where you are allowed to reasonably debate might be something different from the ones of me you can more easily name.

Agape

17th July 2020, 12:26

http://www.youtube.com/watch?v=o4viE0bR78Q

http://www.youtube.com/watch?v=Zpoel3YiNHg

Thanks 🙏🌟🙏

shaberon

17th July 2020, 16:22

Yes that is the correct Tara recording Agape just posted.

The first introductory line is saying praise of Ekavimsatyai (twenty-one) Taras.

The verses are:

namas tāre ture vīre kṣaṇair dyuti-nibhêkṣaṇe |

trailokya-nātha-vaktrābja-vikasat-kesarôdbhave ||

namaḥ śata-śarac-candra-saṃpūrṇa-paṭalânane |

tārā-sahasra-nikara-prahasat-kiraṇôjjvale ||

namaḥ kanaka-nīlābja-pāṇi-padma-vibhūṣite |

dāna-vīrya-tapaḥ-śānti-titikṣā-dhyāna-gocare ||

namas tathāgatôṣṇīṣa-vijayânanta-cāriṇī |

aśeṣa-pāramitā-prāpta-jina-putra-niṣevite ||

namas tuttāre-hūṃ-kāra-pūritâśâdi-gantare |

sapta-loka-kramâkrānti niḥśeṣâkarṣaṇa-kṣame ||

namaḥ śakrānala-brahma-marud-viśvêśvarârcite |

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

namas traḍ-iti-phaṭ-kāra-para-yantra-pramardini |

pratyâlīḍha-pada-nyāse śikhi-jvalâkulêkṣaṇe ||

namas ture mahâghore māra-vīra-vināśini |

bhṛkuṭī-kṛta-vaktrābja-sarva-śatru-niṣūdini ||

namas triratna-mudrâṅka-hṛdyâṅguli-vibhūṣite |

bhūṣitâśeṣa-dik-cakra-nikara-sva-karâkule ||

namaḥ prabhu-ditâṭopa-mukuṭâkṣipta-mālinī |

hasat-prahasat-tuttāre-māra-loka-vaśaṃkari ||

namaḥ samanta-bhūpāla-paṭalâkarṣaṇa-kṣame |

calad-bhṝ-kuṭi-hūṃ-kāra-sarvâpada-vimocinī ||

namaḥ śikhaṇḍa-khaṇḍêndu-mukuṭâbharaṇôjjvale |

amitābha-jaṭâbhāra-bhāsvāra-kiraṇa-dhruve ||

namaḥ kalpânta-huta-bhug-jvāla-mālântara-sthite |

ālīḍha-mudita-ābaddha-ripu-cakra-vinaśiti ||

namaḥ kara-talā-ghāta-caraṇā-hata-bhūtale |

bhṛkuṭī-kṛta-hūṃ-kāra-sapta-pātāla-bhedini ||

namaḥ śive śubhe śānte śānta-nirvāṇa-gocare |

svāhā-praṇava-saṃyukte mahā-pāpaka-nāśini ||

namaḥ pramuditâbaddha-ripu-gātra-prabhedini |

daśâkṣara-pada-nyāsa-vidyā-hūṃ-kāra-dīpite ||

namas ture-pādâghāte hūṃ-kārâkāra-bījite |

meru-mandāra-kailāsa-bhuvana-traya-cālini ||

namaḥ sura-sarâkāra-hariṇâṅka-kara-sthite |

tāra-dvi-rukta-phaṭ-kārair aśeṣa-viṣanāśini ||

namaḥ sura-gaṇâdhyakṣa-sura-kinara-sevite |

ābaddha-muditâbhoga-kali-duḥsvapna-nāśini ||

namaś candrârka-saṃpūrṇa-nayana-dyuti-bhāsure |

hara-dvirukta-tuttāre-viṣama-jvara-nāśini ||

namas tritatā-vinyāsa-śiva-śakti-samanvite |

graha-vetāla-yakṣa-gaṇa-nāśani pravare ture ||

[end of verses]

mantra-mūlam idaṃ stotraṃ

namas-kāraika-viṃśakaṃ |

[The twenty-one praises are the song of her Ten Syllable Root Mantra]

Oh and in having mentioned the "red aura" of Cunda and Vajra Tara, it is called Jnanagni, that Fire of Wisdom which develops by renunciation of the fruit of one's actions.

Buddhist Agni holds an Initiation Pitcher like Cunda.

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

In having mentioned a kind of secret Buddhist sun (Vajra Surya) opened in Sarvadurgati, the phrase from Vajra Tara 93 has been translated as:

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

vajrasūryābhiṣekajām

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

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

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

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

Anandagarbha is one of the main exponents of Yoga, i. e. Sarvadurgati, Namasangiti Manjushri, etc., and there you have the background of the four Vajra Amrita mandalas of the only Jewel Family tantra.

It is also true that Grey Padma Jalini as Dharmadhatu Ishvari is in Jewel Family for the rites of Vilasini (Karma Mudra).

In mentioning Vasistha's Yoga, he is considered the original transmission of Tara, as well as a reason to believe Mahacina is not Tibet, but a culture, linked to Buddhism in Assam.

Vasistha and Mahacina (https://www.sacred-texts.com/tantra/sas/sas08.htm)

Vasistha and Mahacina (https://core.ac.uk/reader/7433520)

Vasistha cursed Hindu Tara's Trim syllable (https://yogashaktidurga.wordpress.com/tag/vasistha/)

Vasistha's hermitage is in Guhawati, Assam.

Vasistha's rendition of Jnanagni (https://www.wisdomlib.org/hinduism/book/yoga-vasistha-english/d/doc118562.html) as Shiva's Eye Fire, mentioning Aparajita and others.

Old Student

17th July 2020, 18:07

I'm going to reply more later after I do my notes. But since it just happened (I sometimes lie down for a nap and shake during the day when something seems unfinished), I thought of repeating the Cunda mantra as a way to find out if they wanted to comment on it. The response was another mantra:

"Om sukha sukla siddhi sikra prabhala svaha"

I had to look up "sikra" it has something to do with instruction, and I thought "prabhala" would be something about light, but my dictionary only has "prabala" meaning "mighty" or "strong". Not sure what to make of it yet, I will be back when I've finished my notes.

Agape

17th July 2020, 19:35

Thus [T.K TaR] means [Time] in the language of Zeta Reticuli as in “movement of stars”.

Sanskrit is linguistically very close to certain stellar languages.

Sleep talking here

🙏

Old Student

17th July 2020, 23:26

Thanks, Agape. The second one seems a little less accessible to me, I have less idea what he is chanting. The first one seems approachable as names. I will have to listen to the second one several times before can make out much more than "Sarva sattva..." and so forth.

Old Student

17th July 2020, 23:54

I have several thoughts with respect to the response I got. I'm not sure what it is, or why it was said. It was rather forcefully delivered at the same time that Samantabhadri made clear she was connected to the new one, by her and by Sukhasiddhi. Separated by other words, Sukhasiddhi's name is in it. I've thought about it and have no idea whether it was said as something I should learn, whether it was a response to the mantra I said, like some kind of answer, whether it was yet another stern warning to stay on topic, or what.

The colors that surround the new one -- the one we have been trying to name -- are apparently relevant to where I will end up if I 'dissolve' during the contractions that represent this one dancing in my physical body -- during the smooth toroidal contractions. When I said above that something had been stretched out from an instant to the blink of an eye, I have been trying -- I have been being tested on and failing to be precise -- to be completely in my clear body to get to the cauldron where the rainbows are -- that's the current task. I go there but can't figure out how it happened, I'm totally stuck and then I might even be on my next try or looking at my watch and it just happens and I have no idea how. Last night, it happened slower and in the blink of an eye I could tell it was a dissolve, a really fast one. But I ended up in the wrong place because the colors (which seem to represent different kinds of bliss and be associated with different Dakinis) were not right before I did it. I made it to a pool, but it wasn't rainbow, it was black with a green and a silvery yellow line around it.

shaberon

18th July 2020, 07:57

Interesting.

In the Nepalese system, Samantabhadri could be that White Tara in Vairocana Family; in Guhyagarbha, she would be in Vajrasattva Family. Now if we recall after Avatamsaka Sutra is some kind of Vyuha which is a display, and Vairocana's Display is the Dharmadhatu, and so we should learn Vyuha in the first few lines of Mahakarunika, because it is usually mistaken and this will be missed:

Namo Ratnatrayaya
Namo Arya Jnana Sagara Vairocana Vyuha Rajaya

People tend to misprint it as Vyuhara Jaya...but the point here is that you get Raja, King, of Vairocana's Vyuha, i. e. King of the Display of Vairocana, king of displaying the Dharmadhatu. It is trying to say that Avalokiteshvara is the king of doing this, not that he is in Vairocana Family or whatever else you would get from losing the word which is clearly pointed out by being the title of the book he is in.

So a Samantabhadri in Vairocana Family would mean she "is" the Display which Avalokiteshvara is able to master.

If she is in Vajrasattva Family then she would have a different role.

If she is in league with Sukhasiddhi then you ostensibly have Two Celestial Women:

Sukhasiddhi-->Yeshe Tsogyal is a contemporary of Niguma-->Mandarava.

In that first life, it is presumed they did not know each other, and then the other life is when they were with Padmasambhava. These are human Yoginis or Gurus.

Sukhasiddhi is widely known, however, Rangjung Yeshe has some clarifications to her normal story:

A yogini came every day to buy beer from Sukhasiddhi for her master and Sukhasiddhi asked her whom she was taking this beer to. The yogini answered that she was taking it to the Great Yogi Virupa who lives in the forest.

(It must be noted that this Virupa is NOT the famous master who is the originator of the Lamdre teachings of the Sakyapa school! Sukhasiddhi's Virupa is known as the Eastern Virupa [shar phyogs bir wa pa] or Later/Younger Virupa [bir ba pa phyi ma] and was a master of various Vajrayogini tantras, especially of the Severed Head Vajrayogini [dbu bcad ma]. Some of his works on a longevity practice known as "Amritasiddhi" remain in the Tengyur. Interestingly, a later Shangpa master, Sangye Nyentön, was to receive these teachings much later from an Indian adept in Lhasa and brought them into the Shangpa tradition. According to Taranatha's "bka’ babs bdun ldan gyi brgyud pa’i rnam thar ngo mtshar rmad du byung ba rin po che’i khungs lta bu’i gtam" this Virupa was a student of the older Virupa.)

Sukhasiddhi then offered her best beer and would not accept any payment. When Virupa learned of this he sent for Sukhasiddi and gave her the four complete empowerments for the yogic practices, as well as the secret practices of the generation and completion process meditations. She became a wisdom dakini just after receiving the empowerments. Through the power of her realizations her body was thoroughly purified and transformed into a rainbow body.

A brief teaching of Sukhasiddhi, from the "shangs pa mgur mtsho":

When the awareness dakini Sukhasiddhi received perfect empowerment into the emanated mandala from the glorious master, the great Virupa, she attained to the eighth stage of awakening in a single night. She truly beheld Vajradhara and became inseparable from the Bhagavani Nairatmya. In order to impart the essential instructions to fortunate disciples, she uttered this song:

Disengaging from the objects of the six senses,
To experience non-thought, is the path that leads beyond.
The expanse of ultimate reality is non-conceptual.
Mahamudra is devoid of mental activity.
Do not meditate! Do not meditate! Do not engage in mind-made meditation!
Mind-made meditation is a cycle of delusion!
Conceptual thoughts are the shackles binding you to samsara.
Turning away from conceptual mind, there is no meditation!
Space is empty and non-conceptual!
The root of conceptual mind, cut off!
Cut off this root and then, relax!
Thus it was said.

Her main students include Tilo and the founder of Shangpa.

When it says she reached the Eighth Stage it means she was on the Eighth Bhumi.

Most of the important Mahasiddhas were on the Sixth, and there are examples of someone or some practice from the First.

Because Namasangiti has a unique Bhumi, in that classification she would be Ninth. She is ultra powerful and able to speak as Nairatma, who is for Hevajra Tantra.

So there is a Rainbow Cauldron which is a type of goal or attainment?

It perhaps is similar to a Bliss Whorl which can often be found on a Vajrayogini Hexagram. It is actually the Hexagram which is, so to speak, the final Mudra of Generation Stage. When there are four whorls, they are the Four Joys or half of a Suksma Yoga cycle.

1800s Shangpa Sukhasiddhi:

https://www.himalayanart.org/images/items/resized/2000px/7/3/4/73429.jpg

There I believe the lowest figure is Ekajati with an Aksa Mala (circular beaded or skull item), which corresponds with the fluid in Sukhasiddhi's bowl.

"White Tara" is granted a Six Color Rainbow. And so with hers, the inner ring, Sky Blue, is a code for White. The outer ring is her Smoky color:

https://www.himalayanart.org/images/items/resized/2000px/7/3/5/73512.jpg

The whorls are on the Hexagram, and the foundation for all mandalas is a tetrahedron and for most of those it is a single tetrahedron. The Yoginis are most often depicted above a double tetrahedron (Sanskrit: dharmadayo, dharmakara) but not in all cases. We just see a flat picture, so a double tetrahedron looks like a Hexagram.

A single tetrahedron is one set of the aspects. And so to clarify, it is really Samaya Agni who is Yellow and holds an Initiation Pitcher. Jnana Agni is Red and holds Dharmadayo or Reality Source:

https://www.himalayanart.org/images/items/resized/2000px/6/5/2/65270.jpg

Red Agni Triangle points downwards, i. e. dakinis' triangle, part of Inverted Stupa.

White Triangle points upwards and is Vajrasattva.

So the full hexagram laces Vajrasattva to Dakinis, or, arguably, to Dakini Jala.

Nagaraja is the teacher of this or of the potency of one's Dharmodaya which itself is a mudra or gesture.

So if you have evidences of both main women then this is like both halves of Internal Bindus as well as both parts of a Hexagram which is mental. When both parts of the Hexagram are working, then you can execute Nagaraja's Dharmodaya. It is so to speak this Hexagram which holds the highest mysteries to man.

I do not know them although I believe they are somewhere back there in the Refuge Tree.

In terms of an imparted mantra, perhaps it is:

sikra = citra?

prabhala = prabhana or prabhava?

In the original, they do not quite seem like words to me, it is easy to hit a snag in this stuff and I think there are errors to be found in several transmitted mantras, even when they just garble Sumbha Nisumbha into Sumbhani Sumbha. Or like in Mahakarunika with the Vyuha.

Old Student

19th July 2020, 00:22

shaberon

19th July 2020, 07:18

Turning away from conceptual mind, there is no meditation!
Space is empty and non-conceptual!
The root of conceptual mind, cut off!
Cut off this root and then, relax!

This sounds very much like the instant of the dissolve. Except that it feels more like letting go than turning away, but then again I am very frustrated precipitating that event, and I can't stay in the dissolve itself without being helped (usually by Kurukulla).

Anger is Baseless and Desire has no Root.

That is what they say.

Here, Sukhasiddhi goes into Mahamudra. One of the ways I think of Mahamudra is like the narrow waist of an hourglass; all previous learning is compressed to a small point, the words dissipate into the non-conceptual state, and something new trickles out the other side. Cycle repeats itself tomorrow.

When she says "turning away", that must mean you are looking at something other than concepts, i. e. Space.

Yes, letting go of the concepts at first takes effort, we are so identified with the stream of them, it is almost impossible to conceive of any other form of existence.

It sounds a bit like you are doing Paramadya with more advanced deities such as Kurukulla. Paramadya is the base meditation which makes the Hand Symbol. Here it is essential to get the inner meaning. It might be going backwards to conjure a minor goddess like Vajra Raga in order to literally copy the practice. She is the first or eastern deity. In the sadhanas, the east or direction of dawn is first, and employs "that which is already established". Then you are doing a cycle whose result is represented by the last deity as a form of achievement. You could do a simple retinue as a static appearance for practice, but, it must begin to be understood as Four Activities of the Gatekeepers--which causes a type of spin, which of course torques the aura into a drill.

It consistently drills through all the layers of tantra to Dakarnava,

In Paramadya, the first goddess:

Vajra Raga pleases Vajrasattva's mind so he will not swerve from the thought of enlightenment.

Does this sound like how Kurukulla is helping? Or is it not really the issue?

This tricky event or state of concept-free dissolution is what we are all trying to get into, stay in, and then manifest Fullness, or Full Moon Sacrifice. Buddha basically did Suksma Yoga overnight. He was dissolved four to perhaps six hours. However because he had spent eons becoming Vajradhara, when he hit this condition, he hit it way harder than any of us.

And so for outer purposes, we do not literally have to be initiated into Paramadya and follow its practices. Inner meaning is a particular philosophy which is the Profound View of Nagarjuna and transmitted in the Manjuvajra Guhyasamaja lineage of Jnanapada to Nyan Lotsawa. And Manjuvajra is the deployment of the massive Cunda leading to Shrnkala or what we might call Hevajra's Chain.

Kurukulla has got to have the most notorious lack of chain in all the tantras. So it makes perfect sense if she in some way puts on the brakes and requires you to really get something.

So there is a Rainbow Cauldron which is a type of goal or attainment?

Definitely. In the shaking notes I put up before, I was seated on one side and Mandarava on the other and she said:

She dipped her hand in the rainbow liquid, and for the first time I noticed that her rainbows and the liquid rainbows were the same flowing colors. “This is your path, to fill with this,” she said.

If we were to interpret this through the Guhyasamaja, it is pretty specific. This is where Varuni starts becoming really useful.

Each tantra has slightly different ways of doing this, but to really understand the Agni Triangle, there are Three Skulls which support a fourth or cauldron.

What happens is that Varuni kicks out Varuna, who would usually be the holy water container in any orthodox Vedic rite. She kicks him out because we are going to use Soma, which may alternately be holy water, tea, a certain intoxicating beverage, or purely imaginary. No matter what kind, it must be magic. This means it is inert until Varuni is invoked into it.

The other containers hold the Buddhas and Prajnas as Meats and Nectars, things like dog meat and urine. In this case, it is not known that anyone has ever taken the tantras literally by using any of the actual substances. But we imagine them. This form is their "sinful" condition. Then they are swirled and mixed.

And then it is a mixture of Soma, meat, and nectar, which becomes Pure Nectar, which is Orange.

That is what the Yoga attempts to engage in the Agni Triangle.

It doesn't sound like a Rainbow yet but the three skulls are Om Ah Hum. Tibetan view generally lacks the third holy water input, but suggests rainbow shimmering from the substances;

https://www.himalayanart.org/images/items/resized/2000px/5/3/1/53151207.jpg

And so if we were to imagine getting intoxicated from a beverage in the mind:

visualization with meditation on voidness is the way to actualize the rainbow body.

Samadhi is meditative equipoise with respect to such a visualization. And the inner meaning of the Path filling with rainbow energy is the realization of Seven Syllable deity from a Sambhoga Kaya deity. Any Fancy Pants Tara shows it; any Arrow has the colored streamers. In other words, there are various visualizations which all equate to Sambhoga Kaya on various deities. We want to stabilize on one of these in order to gain Heruka Yoga which is for the Seven Syllable deity which is Completion Stage. The Seven Syllable is what it is, and has one of the most original, distinct rainbow flames.

No matter how many Dakinis become aware on one's Net, that method cannot be performed without a male seed or Vajrasattva. The levels and degrees of tantric evolution are all Vajrasattva.

The Rainbow Cauldron plus the relatively abandoned White Stupa sound like pretty important markers and I think you will get something to stabilize based on these.

I didn't know Vajrasattva was involved in the hexagram. Is the whole hexagram considered Dharmadayo?

Either way. A single triangle such as Agni's may be called Reality Source, and the Hexagram as well. The particular way I am referring to it is not necessarily the graphic geometric design. It is Vajrasattva as the upright triangle (knower, knowing, knowledge) and the Three Gunas as the downwards goddess triangle (Tamas, Rajas, Sattva). That is what is related to Nagaraja's gesture, which is universal. Closer to the pineal gland.

Vajrayogini's Hexagram is her Dharmodaya.

In Vairocana tantra, Locana starts it all with a White Triangle.

An Agni Dharmodaya would be considered the Hand Symbol of:

Dharmadhatu Vajra

Who is a "joining" goddess similar to Samantabhadri, except this is a generic name.

If you think of Five Elements, she would be the Dharmadhatu as Space.

But as things arise in stages and by degrees, in a system of Six, she would become like female Vajrasattva. Although these sound like "updates", like why shouldn't we just throw away the system of Five, no, it literally means the Rupa Skandha is a five-fold object, which is pinned to a mainly mental system of Six Senses, because even with a scent I can remember and experience it mentally, and am somehow on a "different ring" than input of the physical nose. So the systems are co-existent, although the sixth sense, mind, does not have a corresponding form element.

And so Dharmadhatu Vajra goddess may have many names and forms, Padma Jalini, Guhya Jnana Dakini, and others. The first reason I thought Padmajalini is really Lotus Net was from a Tibetan note:

KHAM, Pema Drawachenma (she who has the net of lotuses) (Skt. Dharmadhatuvajra or Padmajvalini), she has three faces and six arms.

Kha is the Akash or Space syllable, and Tibet recorded the right meaning, with a Sanskrit spelling error that would mean Fire Lotus, but lose the "v" and it is the same.

Dharmadhatu Ishvari is the state of perfect enlightenment related to her.

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

Oddiyana Marici 138 and 139 match this form, and 140 Svadisthana Krama Marici, or 143. These are the highest and most explanatory Maricis at the top of the big Ekajata. She has acquired Varahi and also has become Vajra Dhatu Ishvari.

So if we understand Mental Object--Dharmadhatu Vajra--then it has a universal meaning which is the same for anyone. Someone might need to seek her as a Samaya being first such as Vajra Gharvi or Vajra Ghanta. Then in specific tantras there are the specific methods and names. The "Objects" are Bodhisattvas and to them are made Offerings, so you offer Silk to Touch Object and so forth. It is like a higher degree of purification, rather than stopping something bad, I am providing something good.

In the system of Tara, Vajra Tara is the perfection of the fifth or Dharmadhatu wisdom, and Marici is all I find who gives a personal name to the universal terms Dharmadhatvishvari as well as Vajradhatvishvari.

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

If we see a water pitcher is for initiation, and a fire pot is a reality source, the fierce generation stage goddesses from Dakini Jala might make sense:

Gauri is fair-complected and tranquil-faced, or Peaceful. She has severed four heads of Brahma with four arrows, which is unique and quite powerful. Some other deities have his head, but not in that style. Cauri is Red and Fierce. Pramoha means infatuation or fascination, has Visnu's boar avatar face, has wine, and does the same thing as Varaha avatar, uplifting the earth or the crust. White Vetali is plainly unusual, having a Nectar Vase. Pukkasi has gotten Dombi's multi-colored role and dances in smoky cemeteries with a wind-whipped branch of a wish-granting tree; finally come Whirlwind Candali, Fire Pot Ghasmari, and a dark "Heruka-alike" (Herukasambhini) similar to Naro Dakini except she has a Vajra instead of a Chopper. None of them have a chopper.

Sight Object Gauri is pleasant yet powerful. Red Cauri's main item is an eight-spoked wheel and she tramples three worlds, which suggests Visnu's Vamana incarnation, but says little about Sound, unless one says Primordial Sound filled the planes at the dawn of time. Scent Object Pramoha is strongly tied to the Earth plane and the nose of a pig. Taste Object Vetali, who in this case is joyful and has a clear transparent cup, pours Amrita while making a Banner gesture. So there is actually a wine deity followed by a nectar deity. Candali could not more literally be riding on the wind, and, from this meaning, then Ghasmari appears intended to harness and apply Candali's power or activity.

I saw this a while back and it was weird enough having Vetali turn into Aquarius, but then when I found out who Ghasmari is, I stopped.

Again, this would be considered "the" Samvara, or i. e. original path to Chakrasamvara. And so a very similar group of goddesses is used in many tantras and this one has been forgotten. Usually multi-colored Dombi comes at the end of the retinue in other places, and none of these deities have these kind of forms elsewhere.

So you have a visual Hexagram as a way of dealing with Six Families, but, here, Ghasmari is holding the Female Triangle, which is to be hit with one's personal Vajrasattva Triangle. And so I believe going to this Ghasmari with the Agni Triangle is as far as we can go in the Pranayams or Japa without engaging Completion Stage: beholding the triangle which is highly conditioned by dakinis. Fusing the second triangle "completes" it.

The fire pot item is extremely rare. Now if we can say, Tinuma Vajrayogini is a pretty close parallel to Red Lion Face Vajrayogini, Tinuma has "a" Tara with firepot similar to Ghasmari:

https://www.himalayanart.org/images/items/resized/2000px/8/9/9/89902.jpg

So in the practice I am evolving, Lion Face + Ghasmari seem to be the closest approach I can reasonably make which appears to be the same as the actual Sakya system. The source of that form of Ghasmari is in Dakini Jala. I am not necessarily "trying to become" a Sakya--but when analyzed and assembled in terms of inner meaning, what I find on these Yoga deities very nearly equates to what they are doing. They are using a Suryagupta Tara; Dakini Jala is ripping into the Sandhya Bhasa or Twilight Language of all tantra with Ghasmari.

Now even if one does not proceed with a tantric completion, one is still going to meditate like Mahamudra and possibly experience the signs or the dissolutions anyway.

In the Fire triangle it is still Ali Kali, or Ah Vajrasattva plus goddesses. They are non-dual. Vajrasattva is not itself an object of extensive rites, it is the operator of them. And so it is common for instance a Kurukulla sadhana to include hundred syllable mantra.

And so at first what we are trying to get that Orange Nectar to do, is burn the Buddhas and Prajnas in the head, i. e. the constituents of human personality and outer perceptions. In the middle of them is a White Drop, which is like a Shiva weapon made of moonlight, and melting that produces the First Joy.

The Gauri goddesses as just enumerated are the blazing, and the intended melting happens with enough heat and balanced reversed winds.

Balancing three channels across four chakras is the main practice:

https://www.himalayanart.org/images/items/resized/2000px/4/2/2/4227.jpg

Edit: the main description of Dakini Jala is published in Genesis and Development of Tantra (https://archive.org/stream/GenesisAndDevelopmentOfTantra/GenesisDevelopmentOfTantra_djvu.txt), Tokyo 2009. The "Gauris" are the same as in Hevajra Tantra--except he replaces Pramoha with Sabari, and Heurkasamnibha with Dombi.

In the standard symbology, Gauri is Generation Stage; the retinue starts with her and results in a "Heruka-alike" dakini. Heruka Samnibha means "just like" Heruka, but she is also called Heruka Samnivesa (https://www.wisdomlib.org/definition/samnivesha), which infers a host, and an arrangement of letters.

They are not the whole assembly; but see the pattern used for Six Buddhas:

Vajrasattva, Vairocana, Heruka, Padmanartesvara, Vajrasurya, and Paramasva.

It is not like Shingon, it uses the same idea as Namasangiti in placing Vajrasattva at the beginning, as a cause.

The rest of those names are much more informative than the common ones.

For Amitabha, it uses that Avalokiteshvara who is with Guhya Jnana, i. e. Lord of the Dance, Padma Jala with Four Dakinis. Vajra Surya is the relatively secret sun as depicted in Sarvadurgati; Ekajati is the Protector of Jewel Family tantra, Vajra Tara is a Yidam of it. Paramasva "Supreme Horseman" is rapidly confused with Hayagriva, but is clearly distinguished in Sadhanamala.

Old Student

20th July 2020, 05:36

And so if we were to imagine getting intoxicated from a beverage in the mind:

visualization with meditation on voidness is the way to actualize the rainbow body.

I had thought of the rainbow body. The cauldron started as something that looked like one, in my (clear body) pelvis. Every time I make it to there, it is bigger. Simultaneously, my muscles that vibrate, that murmurate in my abdomen entrain muscles farther and farther up my chest. I first thought this was impossible because they felt so close to my heart, but it turns out that this is physically quite possible, just that the muscles have to be coordinated in different patterns than normal.

As of last night, the murmurating (very fast fire breathing type shaking of maybe 3 beats/sec, and then the deepening and scattering feeling like the ripples are a flock of birds -- hence murmuration) got all the way up to my neck, which means that the rainbow liquids in the cauldron stretched from the base of my pelvis to my neck.

The Rainbow Cauldron plus the relatively abandoned White Stupa sound like pretty important markers and I think you will get something to stabilize based on these.

It has only from my throat to my crown to go if these are going to somehow join forces.

And so if we were to imagine getting intoxicated from a beverage in the mind:

visualization with meditation on voidness is the way to actualize the rainbow body.

If the dissolve is considered voidness. It's a reasonable way to see it.

In Vairocana tantra, Locana starts it all with a White Triangle.

Is it possible for Locana to be yellow? She was around for the first time in a long time last night, and she is always yellow when in my shaking, but it seems like she is never that color in the thangkas and depictions.

Yes, letting go of the concepts at first takes effort, we are so identified with the stream of them, it is almost impossible to conceive of any other form of existence.

It sounds a bit like you are doing Paramadya with more advanced deities such as Kurukulla. Paramadya is the base meditation which makes the Hand Symbol. Here it is essential to get the inner meaning. It might be going backwards to conjure a minor goddess like Vajra Raga in order to literally copy the practice. She is the first or eastern deity. In the sadhanas, the east or direction of dawn is first, and employs "that which is already established". Then you are doing a cycle whose result is represented by the last deity as a form of achievement. You could do a simple retinue as a static appearance for practice, but, it must begin to be understood as Four Activities of the Gatekeepers--which causes a type of spin, which of course torques the aura into a drill.

It consistently drills through all the layers of tantra to Dakarnava,

In Paramadya, the first goddess:

Vajra Raga pleases Vajrasattva's mind so he will not swerve from the thought of enlightenment.

Does this sound like how Kurukulla is helping? Or is it not really the issue?

So the issue for getting to the cauldron is that I need to make the change to be completely clear body -- to be so "in" my clear body that I do not have a concept of my physical body while there. The way to get there is apparently through the dissolve -- which I've been through a lot for other things, but usually is something that "just happens" and not something I can "do". So one way of looking at the current training task is to be able to "do" the dissolve, but with the correct colors lined up.

Normally the dissolve is a rapid thing -- at least to me since I very often blank the time going through it or it happens instantly (I have no way of knowing which). I think I blank it because without some help it is too much dissolution and "not self"-ness for my consciousness. But Kurukulla will sometimes open it out in time, in which case inside it is a very stupendously glorious display of interpenetration (and I kind of associate with being able to see into a jewel in her net -- the net, really Mayajala and really maybe not hers but she makes it visible), like cosmic scale visions or enormous grottoes of singing Buddhas and Bodhisattvas, or similar things.

The context for Kurukulla is that she's been the one who stretches out the dissolve into those visions.

So in the practice I am evolving, Lion Face + Ghasmari seem to be the closest approach I can reasonably make which appears to be the same as the actual Sakya system. The source of that form of Ghasmari is in Dakini Jala. I am not necessarily "trying to become" a Sakya--but when analyzed and assembled in terms of inner meaning, what I find on these Yoga deities very nearly equates to what they are doing. They are using a Suryagupta Tara; Dakini Jala is ripping into the Sandhya Bhasa or Twilight Language of all tantra with Ghasmari.

Not sure I understand what you mean here by Ghasmari.

shaberon

20th July 2020, 07:30

So far I am going to say I have no idea who Old Student's white deity derived from Sukhasiddhi may be. Perhaps I will call her Fourteen, after the verse which features "stomping".

The Samputa system I am studying uses Varuni to produce Orange Vairocani, who, according to Taranatha, is also that White Vajrayogini who reverses Heruka. Vairocani is so eminently close to Cinnamasta, the two may be confused as the same. The main way to know Cinnamasta is in play is due to the use of her Triple Mantra, or Triple Om mantra. This combines her with her two attendants. Rather than doing that, I am looking at each of the two attendants individually as a single mantra. And so at first, we say Vairocani is not related to Buddha Vairocana, she is hidden in the Puranas, and is practically her own subject. Her song uses pieces of Maha Narayana Upanishad, and we see that in Buddhism, Narayan appears one time, in his inquiry to Mahamaya Vijayavahini. Puranic Vairocani's song with lyrics and translation is in this post (http://projectavalon.net/forum4/showthread.php?59210-Gayatri-Mantra-Around-the-World-Deva-Premal&p=1359091&viewfull=1#post1359091) I put in a thread starting from the basic Hindu Solar Gayatri. And so from there and Orissa we find we are drawing from Katyayani, Vimala, and Viraj. And so there is Katyayani with her mantra in some other post there. As a Buddhist you are of course allowed to participate in whatever in Hinduism you want. We certainly find "vimala" quite replete in our lexicon, such as Vimala Prabha (the main Kalachakra commentary), or Vimala Bhumi.

Vairocani is also not a Samaya being in the normal sense, you cannot just say her name and make her work. She only exists as a Fruit of Varuni, who, herself, only has a tantric meaning.

Perhaps the oldest preserved text that is considered tantra is Manjushri Mula Kalpa. Among other subjects, it is considered the only surviving record of that epoch of east Persian history. I do not believe there is any translation of it, but, its female Candra is generally accepted as the name from which Cunda is derived.

Tara Two is either Sarasvati or Cunda, no one would argue much either way, although the specific color is Autumn Moon.

So when I think of Tara, first is Red Pitha Ishvari Tara, from Siddha Saraha and related to Arrow Dakini, and either very close or identical to the Pitha and syllable system of Jnana Dakini. She stands on the female Dhamodaya or red triangle. Then, there is Sarasvati, whom I have known outside of Buddhism and followed her in her normal manner as a Sherab, something like that, but she is very versatile in her changes. Her "moon power" appears to be Cunda, while Vajra Sarasvati and Vetali are her in red or dark (usually).

We have found that Cunda is perhaps the oldest known Buddhist goddess mantra, and that in Buddhism, after a few introductory sadhanas, Prajnaparamita and Sarasvati become mantricly identical.

Cunda occasionally uses the Initiation Vase, as does Vetali in Dakini Jala, and, I believe, Vetali also does this with Jnana Dakini; Vetali is just Sarasvati tantric and wrathful, calling her a Possessed Corpse or Zombie.

Cunda is said to be a Vairocana emanation, but is close to Lotus Family (meaning mantra practice generally), and sometimes is crowned by Vajrasattva. Prajnaparamita is however an Akshobya emanation. In Nepal, Sarasvati is looked at as female Manjushri. They don't all share an origin, but they do seem to conjoin as White Goddess. The full explanation of the mantric identity is in Kubjika tantra.

Chapter Four (file:///C:/Users/Administrator/Downloads/07_chapter%204.pdf) reveals Cunda as "the" Ellora goddess: she is represented not less than twenty-three times. It also says Prajnaparamita is "replaced" by Sarasvati and Cunda--mostly by Cunda.

Well, when you have a book whose smallest form is eight thousand verses, truncated into an extremely short mantra from another book, we do not know that her mantra practice itself ever changes, even though her growing form makes a particular trail in the tantras as described in the prior post.

It is sometimes observed that in Tibet, Prajnaparamita forms a triad with Herself as central bodhisattva flanked by Sarasvati, She-Who-Flows-Eloquently-Onward, and Cunda.

However, because in Nepal, Prajnaparamita fades from view for many cycles of spiritual practice, but eventually discloses herself as Guhyeshvari, to me she seems both indispensible and a separate form of Tara. The whole Bodhisattva Path is defined by her, and even though it is a Sutra, the tantras have the same meaning--just much more powerfully experienced.

And so if you have transmission of Prajnaparamita mantra, you see what you have.

Prajnaparamita Sutra was revealed by Nagarjuna, which is the next thing to Nagaraja. Therefor since I have a connection to Tara, going to Nagarjuna's White Vajra Tara and Mrtyu Vacana makes a whole lot of sense. Especially also if Nagarjuna's Profound View is what pertains to Manjuvajra who employs Cunda's Maha form, whose lineage goes to Nyan Lotsawa, who revealed the only Red Lion Face Vajrayogini. At that point, what does Vajrayogini do, she discourses on Dakini Jala, and if successful on her, eventually you compose Tri-kaya Vajrayogini, which is Cinnamasta, which is a Bhumi and the rest of the Bhumis, just as is the Dharmadhatu. Dharma is the Sixth Sense of Mind; Dhatu is a Root Element like a Tattva. So then when you say Dharmadhatu Vajra, that is the Root Element shaped into a Mental Object. If you say Dharmadhatu Ishvari, it is ultimate enlightenment as within the Unconditioned Root Element. There are two kinds of mental object: Rupa Skandha and Nama (Name) Skandha. The Name Skandha is the part which is "only" mental, Vedana, Samjna, Samsara/Cetana, Vijnana.

That is rather cohesive and it is also quite large.

Naga Ishvara Raja is not wearing some kind of sweater, he is di-chroic. Mongolian Tashi Choling where he is commonly under Red and White Moons with a Seven Serpent Hood:

https://www.himalayanart.org/images/items/resized/2000px/5/3/0/53059.jpg

If I get some of the following books, it will blast me with Cinnamasta almost at the beginning. But really, it is evidence of a major national system which would have to be categorized as a victim of genocide.

They are nearly worthless notes because they do not quite spell out what is going on. The only way it does work is by combining a piece of this with something else from over here with the understanding it likely has a Hindu background and so we have to know their astrology and so forth.

So it is like a net full of knots, but here are its major components, in conjunction with the Sanskrit Buddhist Canon which is awesome, except that it has a terrible search feature that can only give a useful link by pulling up a separate page. But it does preserve many unique manuscripts and several of the standard ones.

De-mystifying source texts. Tibet has been pretty meticulous with medieval scribery, but we are able to find the occasional error, plus the fact that they are historically misleading. For example, they call Orissa "West India". That is why it has been overlooked and so much of the credit given to Kashmir.

We are not trying to detract from anything else, but, rather, to show how primordial Orissa and Ratnagiri really are, that Uddiyana and Sambal Pur or Shamballah most likely either are Orissan, or, perhaps have shared equivalencies in Kashmir and Assam. I don't think it can be deleted.

Tibet's mixed bag of its own stuff and Indian originals is whipped up in:

Lama Yeshe's Rinjung Gyatsa (https://www.lamayeshe.com/sites/default/files/rinjung_gyatsa.pdf) (ca. 1983)

Expanded/improved etc. ca. 2003 by:

Wilson & Brauen Deities of Tibetan Buddhism (https://www.tsemrinpoche.com/download/Buddhism-General/en/Martin%20Willson%20&%20Martin%20Brauen%20-%20Deities%20of%20Tibetan%20Buddhism.pdf)--sometimes called Lokesh Chandra's Sadhanamala, which again is only partially correct.

Those are not Indian, it is a Tibetan legacy--so I take them to task on Guhya Jnana's mantra. I believe it is trying to say Dum skyes, which is Generation Stage, same meaning as Khandaroha or Gauri (Kyerim).

So although Tibetan Deities is quite well made, having only a few stray issues, it should be understood as mainly based on Atisha's Seven Eye Tara. However within the alternates, it includes Nyan's Tara as well as Sita of Ngor. It really gives too much, there is only a minor amount of it that might be attempted, but it is very educational.

Both of those books are in "categories", so there is a block of Sherabs with Sarasvati, Red Power deities with Kurukulla and so forth.

In general, the transcendental or Lokottara siddhis are Generation and Completion Stage--Utpatti and Nispanna. When we bump into the title of Nispanna Yoga Vali (NSP), we would expect it to mainly be Completion Stage rites. It is, it has the whole Kalachakra and Dharmadhatu Vagisvara Manjughosha mandalas. But just as frameworks. The original text would tell many details, but, again Bhattacharya was interested in basic artistic representations and does not speak much as to actual practice. So the thing looks like a gigantic chart of meaningless lists. It is quite difficult. However, having done a great deal of backstudy, I understand most of it or am familiar with the missing who/what, and can say that it is something far more than a scorecard.

NSP text (https://archive.org/stream/nispannayogavali015084mbp/nispannayogavali015084mbp_djvu.txt) archive or NSP e-book (https://archive.org/details/nispannayogavali015084mbp) archive, or actually pdf (https://ia800706.us.archive.org/29/items/nispannayogavali015084mbp/nispannayogavali015084mbp.pdf) is probably the best copy.

And so for instance its Dharani goddesses have faults and if we go to Sanskrit Buddhist Canon it can be figured out: "Sumati" = Vasumati Lakshmi, "Mari" = Marici.

The original Sanskrit treasure is:

228 practices in Sadhanamala (https://garudam.info/files/sadhanamala.txt)

They are both written to a Guhyasamaja adept or to someone who has practical working knowledge of the system, such as Maya Jala or Dakini Jala and all the accompanying philosophies and practices.

The difficulty with Sadhanamala is that nothing is translated, and the beauty of it is that it blows away anything else I have seen.

The Tibetan books have things in common with it, which is why we will say 43 here is like 162 over there and so forth.

Bhattacharya's Indian Buddhist Iconography (http://www.chinabuddhismencyclopedia.com/en/index.php/The_Indian_Buddhist_Iconography) is "sort of" a translation of Sadhanamala. More substance than his NSP but still lacking a praxis. And so again if we go to the original, we can find where he made a few assumptions or slipped on a detail. The original seems like a shelved project, it should have a hundred or so more articles. We have found content for almost all of the absent parts except Raja Sri Tara; we mostly know what is missing. The part that is available is what has all the massive Tara material. It is variegated, for example it gives about three lines to Viswamata who is queen of the whole Kalachakra, but elsewhere it may spend eight pages on a single form of Vajra Tara.

Varuni is mostly described in Circle of Bliss and a 2017 paper by Gundred Buhneman which I think can only be found on subscription sites.

In modern times or post-1995 is really when we in the west have much of anything Nepalese or Sanskrit, and the Digital Canon project is ongoing. If I recall correctly, Min Bahadur Sakya and other Nepalis work with the modern Nalanda University in India. That piece of Sanskrit Sadhanamala has exactly the same flavor as theirs, just seems unfinished/unpublished, and maybe just posted online by a student. That is why I tried to dispute it with a crowbar which turned to dust.

It makes a gigantic bundle of related material, which is freely available online. But then the only way I can point to a certain form of Cunda, for example, is to link a two hundred page book and you have to search by word. Most of those pdf's are not searchable at all. Archived text tends to make a lot of misprints, and there are spelling variations all over the place anyway. That makes it really difficult to navigate. I just happen to like putting time into it and so I, so to speak, know where to look, or have some kind of idea about it. And then, for instance, if one were to scroll through the unsearchable RG from 1983 until noticing Aparajita, it would not mean much, until we put together the ruins of Ratnagiri, with the tantric explanation of Buddha's Enlightenment, and the observance of Noose Power. That is how this is like shards of a shattered mirror, it is extremely profound, even though it has been heavily veiled.

shaberon

20th July 2020, 10:15

The Rainbow Cauldron plus the relatively abandoned White Stupa sound like pretty important markers and I think you will get something to stabilize based on these.

It has only from my throat to my crown to go if these are going to somehow join forces.

Yes, that path is Kurukulla. That makes utter sense to me.

Is it possible for Locana to be yellow? She was around for the first time in a long time last night, and she is always yellow when in my shaking, but it seems like she is never that color in the thangkas and depictions.

She changes.

Locana does a weird transition as seeing or perception, from Vairocana to Akshobya and Earth, eventually to Karma and Space.

Basic, original Locana is simply Prajnaparamita, and so her movement is consistent with changing names or forms of the central deity, but the movement is also how or why the central evolution becomes real.

As recently as 2017, Locana initiation (or all Vajrasana initiations) requires nothing but Refuge Vow and a commitment to Bodhicitta. On this Locana, many deities are said to cure disease, she is the only one literally said to stop Pain and to provide physical relief. This one is in the Tibetan books from the previous post. Amazingly brief.

According to tantra:

White Dharmadhatu Vajra's dharmodaya is white and points down. We have seen this item in Vairocana Abhisambodhi, where it is with White-robed Gold Gagana Locana (Gagana is Sky Samadhi of Entry).

So yes, she personally is yellow there.

And then the important concept may be called The Rotation of Yoginis.

Originally, Sense of Touch is with Air, meaning "sensations of entire surface". But if you stop moving and there is no wind, you quit noticing it. Then Touch Object (Sparsha Vajra) enters Space or the center of the mandala in Union.

In Guhyasamaja, Dharmadhatu Vajra asked to replace Sparsha Vajra as the consort. The rite changes and proceeds into something physiologically and mentally different.

One may accurately say that "Locana in her starting position" uses a white triangle, the item of Dharmadhatu Vajra, and this has to do with basic metaphysical definitions and an identification of what we would call dhyana or samadhi--which is not just one concentrated moment, but, is One Taste of many forms, as Locana will be found to move to new positions, and, the Triangle itself becomes heated in order to really use it. The Perceived Mental Object, Dhardmadhatu Vajra, becoming clear and purified, intensifies her energetic states into dakini and others.

The four mothers may be meditated Four Brahma Vihara:

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

Siddharajni transmitted a Jinasagara--Guhyajnana Union which is a Lotus Family Vilasini or Love Play.

It has a popular form at Mani Rimdu, but, in terms of tantric language, it is related to the correction of the name Padma Jalini or Lotus Net as a personalized name for Dharmadhatu Vajra--despite which, she then gets a rather unusual Grey Space form in Jewel Family. And what the Twilight Language talks to us about is the nature of Space Element: in basic tantras, its attribute is Vairocana--Sight/Form, then Akshobya--Sound. but this is a realization on perhaps the Second Bhumi, what the heck does it mean for some freaky Jewel female to display the Dharmadhatu?

Let us see who is involved:

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

namolocanadi dasavajravilasinibhyah. namo yamantakadi dasakrodhavirebhyah saprajne-bhya

Locana has Ten Vilasinis or Playful Ones and Yamantaka has Ten Wrathful Ones.

Well, we just said Cinnamasta Virupa was the Guru of Sukhasiddhi.

Aside from these, there is relatively little mention of Vilasini. Sumangala Vilasini is Buddhoaghosa's commentary on Digha Nayaka, which explains Buddha would spend the Third Watch gazing over the world with the Divine Eye (presumably Locana), to see who had aspired under a former Buddha to arouse bodhicitta and had manifested the perfections (Paramitas). There is a Madhuratha Vilasini, and a Visuddhajana Vilasini, which is Dipankara predicting Buddhahood for Gautama.

The Four Mothers or Prajnas are also Vilasinis.

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

The Yoga mandala of Ten Vilasinis does show two sets of distinct goddesses, even though the "lesser" names are decided to be nicknames for the Prajnas. I get the impression this is trying to provide a "Prajna Bodhisattva", a level that is accessible to us and transforms us; it is only the Bodhisattvas themselves who get Buddha's teaching directly. When I take Refuge in the Sangha, it mainly means to inner teaching Bodhisattvas, and so the "Sense Object" deities such as Dharmadhatu Vajra are Bodhisattvas.

Vilasini may in fact be in Jewel Family and still be named Padma Jalini, who is defined as Dharmadhatu Vajra or Mental Sense Object.

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

At a certain point in Hevajra (http://www.sothebys.com/en/auctions/ecatalogue/2019/indian-himalayan-southeast-asian-art-n10033/lot.936.html), Vajrasurya--Ratnasambhava is with Locana.

Varuni, Mamaki, and Vajradhatvishvari are something like a flow from Jewel Family to Vajra Family.

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

He also says:

locanādidaśadevatāṃ

Locanadi Dasa (Ten) Devata.

Suddenly he is the only example of apparently having hitched Vilasini retinue without exactly telling anyone about it.

In Jewel Family:

The special characteristic of Locana is Suvisuddha Dharmadhatu Jnana, or Dharmadhatu Wisdom. That of Mamaki is Three Flasks (Anti wine, Khayakori yogurt, Thapin beer). Pandara is passion, lust, or pleasure. Tara is Activity of All Tathagatas. Vajradhatvishvari is the center, yellow, space element, Ratnasambhava consort. "Because of her role as the embodiment of Tathata or Prajnaparamita she is also called Nairatma, Vajravarahi and Jnanadakini. In Sadhanamala she is identified with six headed and twelve armed Marici whose lord is Vairocana."

Page 128 of Yamantaka Roar of Thunder (https://archive.org/stream/150019863TheRoarOfThunderYamantakaPracticeAndCommentary1/150019863-The-Roar-of-Thunder-Yamantaka-Practice-and-Commentary%20%281%29_djvu.txt) equates Charchika to Locana.

A female Mahabhairava or Mahabhairavi is used by Varahi in the north under Locana.

I would have to say this Locana is more subtle and sly than just being passive white and blue consorts of Vairocana and Akshobya. She starts yellow with a Dharmodaya at the very onset of Yoga Tantra.

What you are describing is Guhyasamaja. This, so to speak, has a physiological component and a mental one. And so I am pretty sure that you are approaching Sunyata or White Moon or First Void. To me, that describes what you are saying about the clarity and Kurukulla guidance:

So the issue for getting to the cauldron is that I need to make the change to be completely clear body -- to be so "in" my clear body that I do not have a concept of my physical body while there. The way to get there is apparently through the dissolve -- which I've been through a lot for other things, but usually is something that "just happens" and not something I can "do". So one way of looking at the current training task is to be able to "do" the dissolve, but with the correct colors lined up.

Normally the dissolve is a rapid thing -- at least to me since I very often blank the time going through it or it happens instantly (I have no way of knowing which). I think I blank it because without some help it is too much dissolution and "not self"-ness for my consciousness. But Kurukulla will sometimes open it out in time, in which case inside it is a very stupendously glorious display of interpenetration (and I kind of associate with being able to see into a jewel in her net -- the net, really Mayajala and really maybe not hers but she makes it visible), like cosmic scale visions or enormous grottoes of singing Buddhas and Bodhisattvas, or similar things.

The context for Kurukulla is that she's been the one who stretches out the dissolve into those visions.

Not sure I understand what you mean here by Ghasmari.

Well in considering Dakini Jala as a system, when it gives "the Gauris", these are the same as Candalis or fierce heat goddesses of Generation Stage, which are still used in Hevajra tantra, slightly differently. Ghasmari winds up with the burning triangle which was originally Locana's white triangle. And so there is a unique, extraordinary sequence among them. Sow Face with Wine and the Globe, Vetali with Nectar, and so on up to the point of Ghasmari with fire pot, the last of something like all of the "known powers" of this rite which should be culminated by the final goddess "Heruka-alike organization of hosts by letters".

Agni Kunda is almost impossible to find with any deities, but, Ghasmari uses it in Dakini Jala. In this case, she is Krsna or Dark Blue, having a sword in her right hand, and Agni Kunda in the left. We want to highlight this because it will be obscured by her more common forms.

Dakini Jala is highly entwined to Mamaki and the Vajramrita or Jewel Family tantra. Prajnaparamita-->Paramadya-->Vajramrita-->Samputa is the series.

Dakini Jala's male Armor Deities includes:

Vajradhara + Samvari (Vimala--Katyayani--Bhairavi--Ucchista-- Shrikshetreshvari at the navel or Oddiyana Pitha in Orissa)

which is equivalent to Vairocani.

That is part of its protection, whereas the Gauris and Ghasmari are more like fierce heat burning through the senses or overwhelming them.

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

Ghasmari begins in Panchadaka as a green bell goddess, and she becomes the South Gatekeeper of Heruka's Jnana Chakra, having characteristics of the southern dakini. Ghasmari is power of food, or taste, similar to Rasa, and the enjoyment of soma or amrita or nectar. She is defined by Drakpa Gyaltsen as the Samputa Tantra itself. Samputa and Hevajra are slightly different systems of similar ingredients; Samputa having more to do with making a Bliss Chakra of Four Dakinis, whereas Hevajra takes this for granted and applies it to higher stages of the Path. Almost any picture of Ghasmari is going to be the green kind which is how Hevajra does it.

The main rationale to any Hindu or Buddhist tantra is the destruction of Rudra--Maheshvara.

In the Maheshvara myth as summarized by Sa-chen from Guhya Tilaka and others, Vajra-Ghasmari was the actual subjugatrix of Isana-Mahesvara, while Heruka converted Indra, Brahma, Mara, and the like (Heruka tramples on Brahma, lndra, Kamadeva, and Mahesvara, while Ghasmari tramples on Isana-Mahesvara, apparently considered the principal variety of the species Mahesvara). After that point, the Hevajra (Jnana Nava) Tantra and others amounting to Dakarnava were given.

Ghasmari is invoked as Vajramahesvari in the Mantras of the retinue of Heruka given in the Samputodbhava (Samputa Tantra).

Luminous Wisdom gives Hevajra's Ghasmari as the purified sixth principle, manas of self-grasping, or sakkaya-ditthi or what we have called Sixth Skandha and Gnosis Element. Her name literally means voracious, rapacious.

In Sadhanamala, Ghasmari is in the northern quadrant of Nairatma's retinue as Rame, right after Vetali is "Scent Object" and the like, but this name indicates little other than seed syllable Ram, feminine of Rama, and to delight or enjoy, like Ramate.

So in the visualization I am refining, rather than doing the Completion, I am looking at Dakini Jala Ghasmari as the heat source to the Nectar, which I intend to boil and purify and offer to Ziro Bhusana because she drinks, which is how I would plan to do something similar to what Kurukulla is doing for you. A kind of practice-til-perfect gate.

Old Student

20th July 2020, 18:43

It has only from my throat to my crown to go if these are going to somehow join forces.

Yes, that path is Kurukulla. That makes utter sense to me.

It's not going to be easy. Last night, the rainbow cauldron, which has, as I said, stretched out into a lake, reached the bottom of my throat in a kind of a sustained way, but there is a real obstacle in the back of my mouth. It is a flow I have had no problem with since the beginning of my shaking, but there is a different kind of obstacle to it: There has emerged a "light dancer" (a very beautiful female dancer made up only of light beams) at my throat. There was already a dancer in my head, which I've always referred to as the "tan dancer" which is made up only of desert scenery -- he (and it is one of the few "he"s in my shaking) isn't really there, he's a mirage of desert colors, but dances and produces scenery.

The solution to this new puzzle is that they are supposed to conjoin. The obstacle is penetrated by a very specific physical action which they showed me but I can't reproduce: A very physical "squirt" of liquid needs to shoot upwards out of my throat and hit the very back of my mouth. It has happened once (when they showed me) so I know it is possible, but I have to be able to do a whole lot of things with the muscles back there that right now I can't -- right now when I try, I start to choke. I know that my entire tongue needs to be against my palate, with the tip in the ridge at the front and the whole tongue flat against the length of the roof of my mouth. I can do that part. I can't do the little rippling motion down near my valecula

You can see how this goes -- some of the tasks are control over mind and senses and some are control over usually autonomic body functions.

As recently as 2017, Locana initiation (or all Vajrasana initiations) requires nothing but Refuge Vow and a commitment to Bodhicitta. On this Locana, many deities are said to cure disease, she is the only one literally said to stop Pain and to provide physical relief. This one is in the Tibetan books from the previous post. Amazingly brief.

According to tantra:

White Dharmadhatu Vajra's dharmodaya is white and points down. We have seen this item in Vairocana Abhisambodhi, where it is with White-robed Gold Gagana Locana (Gagana is Sky Samadhi of Entry).

So yes, she personally is yellow there.

This sounds right, her bliss is not hard to do but she rarely shows up in my shakings.

I would have to say this Locana is more subtle and sly than just being passive white and blue consorts of Vairocana and Akshobya. She starts yellow with a Dharmodaya at the very onset of Yoga Tantra.

A Dharmodaya that heats and changes. There are two Dharmodayas that I've read about, one visualized between the ears and the "third eye" that is white and holds
Vajrasattva and consort, and one which is in the pelvis, is yellow, and holds Vajrayogini. And then Robert Thurman who calls Dharmodaya a vagina.

...what the heck does it mean for some freaky Jewel female to display the Dharmadhatu?

Isn't Dharmadhatu also a womb in which Dharmakaya resides?

Ghasmari is invoked as Vajramahesvari in the Mantras of the retinue of Heruka given in the Samputodbhava (Samputa Tantra).

Luminous Wisdom gives Hevajra's Ghasmari as the purified sixth principle, manas of self-grasping, or sakkaya-ditthi or what we have called Sixth Skandha and Gnosis Element. Her name literally means voracious, rapacious.

In Sadhanamala, Ghasmari is in the northern quadrant of Nairatma's retinue as Rame, right after Vetali is "Scent Object" and the like, but this name indicates little other than seed syllable Ram, feminine of Rama, and to delight or enjoy, like Ramate.

So in the visualization I am refining, rather than doing the Completion, I am looking at Dakini Jala Ghasmari as the heat source to the Nectar, which I intend to boil and purify and offer to Ziro Bhusana because she drinks, which is how I would plan to do something similar to what Kurukulla is doing for you. A kind of practice-til-perfect gate.

That's really something! My shaking visions and any kind of visualization I've done in meditation are pretty distinct. I can see/feel how one is the other and the other is the one, but they never mix for me, they seem like different types of will.

shaberon

20th July 2020, 21:34

You can see how this goes -- some of the tasks are control over mind and senses and some are control over usually autonomic body functions.

Indeed. It sounds like what you are doing is...an unusual and vivid way...of the upper part of Yoga. Which I would guess consists of the Kurukulla-period until the Stupa...happens.

A Dharmodaya that heats and changes. There are two Dharmodayas that I've read about, one visualized between the ears and the "third eye" that is white and holds
Vajrasattva and consort, and one which is in the pelvis, is yellow, and holds Vajrayogini. And then Robert Thurman who calls Dharmodaya a vagina.

Yes, those sound accurate, although I am not familiar with them. In the practice of Armor Deities, it is noteworthy that, whereas the Pranayama is at first attempting to operate only Four Chakras, the Armor Deities protect six, even though they continue to ignore the base of the spine. There is one at the ajna, and another at the upper head between it and the crown.

Yellow Vajrayogini in the abdomen refers to Vairocani (usually white or yellow, orange in Samvarodaya).

Just in the spectrum of Yoga Tantra, in Vairocana Abhisambodhi, Locana starts with a White Dharmodaya, it is not a common item, but then when we get to Dakini Jala, it is Red in the hands of Ghasmari.

This is how it is found in a narrow band of only seven or eight tantras, and so, how it may come up in Suryagupta or Atisha Taras or other areas is incidental.

As two triangles, it is effectively Shakti or red triangle of the abdomen plus Moon or white triangle of head, again similar to joining five-fold form to six-fold mind.

Isn't Dharmadhatu also a womb in which Dharmakaya resides?

More or less.

We do not dispose of "System of Five", again, it most be considered a type of working unit that hitches to the System of Six. Here, rather than looking too much at the very popular versions of this, we are going to proceed to attach both to the Seven Jewels of Enlightenment.

Although this system is more esoteric, it is something like taking 160 verse Namasangiti and attaching it to the thousands of doctrines which are not necessarily given or enquired by the public. So the beginning must be about the same, and just as well similar to the main mandalas of Shingon: Garbha Dhatu and Vajra Dhatu. (Mahāvairocana Sūtra and the Vajraśekhara Sūtra; Ah and Vam).

Garbha is Womb, and that part is like Five-fold Vairocana of Space Element, Vajra adds the Sixth Element of Mind.

Yogi Chen (http://www.yogichen.org/cw/cw39/bk113.html) uses the terms as:

When the heart Vajra is extended to the body Vajra, mentality and materiality are identified. When it is extended to the hermitage or mandala, its subjectivity and objectivity are identified. When it is extended to the Dharmadhatu Vajra, Garbhadhatu and Vajradhatu are identified. When any one of the four Vajras is taken as the Chief, all Vajras of other sizes would encircle it as its retinue and a great interwoven function will take place.

(cf. ch. 9 (http://www.chinabuddhismencyclopedia.com/en/index.php/Handbook_for_Esoteric_Practitioners))

The combination (https://books.google.com/books?id=ecaRAgAAQBAJ&lpg=PT114&ots=UzP3LP7mm3&dq=garbhadhatu%20dharmadhatu&pg=PT114#v=onepage&q=garbhadhatu%20dharmadhatu&f=false) of the Garbha and Vajra is Dharma Dhatu. Feminine and masculine, womb--lotus and vajra. One can perhaps encapsulate the whole thing with a female Lotus deity and Vajrasattva.

‘dharmadhatu’ also refers to sugatagarbha or buddha nature.

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

We can easily pick up Karuna as Mahakarunika songs and dharanis, and so the aspect of Lotus Family is the "upgrade" to any basic Vajrasattva or experience of voidness.

Karuna is part of Ekayana or Refuge of One, the Lion:

Lion's Roar Sutra of Queen Srimala Devi (http://www.buddhasutra.com/files/lions_roar_0f_queen_srimala_sutra.htm)

is one of the fastest and best Sutras that underlies Para Sunya or Shentong.

If I am not in Shingon, one of the only descriptions of Garbha and Offerings is Vajra Tara. Garbha or Lotus is the opening of her eight-petaled lotus. This is considered so important, she has some of the only artifacts of mechanical statues that start like an egg and open into a blossom with her popping out.

Garbha and eight petaled lotus:

tasya garbhapuṭe aṣṭadalaṃ padmaṃ...

The action of the Offerings in her retinue:

With Vajra Tara, White Puspa arises from Om. Dhupa is Blue and surūpiṇīm (form of Sukha). Dipa is yellow and calatkanakakuṇḍalām (has swaying golden earrings). The same word, kundala, can be earrings, or, "coiled like rope" which becomes kundalini. Gandha is Red and devīṃ bhāvayed garbhamaṇḍale, installs in the mind the Garbha Mandala or Pancha Daka.

So if I am not Shingon, if I bring in a Quintessence in my own way, Vajra Tara's Perfume is going to respond in a gnostic or esoteric experience to it. Vajra Tara was one of the most important Yidams at Ratnagiri, she is a Yoga deity who is considered capable of delivering Non-dual Highest Yoga Completion Stage by the Sakya to this day.

Aspects of Dharma Kaya have been described as:

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

Thusness or Suchness is the way over the Second Void. The three voids or subtle minds are whisked away by No Ego, Suchness, and Ultimate Meaning.

The other aspects are Vajra Kaya and Dharmadhatu Kaya. That makes all Seven Buddha Bodies. This is behind what we call Vajra Ignorance which is Varahi.

The more intricate tantras are a blend, so instead of just Earth of Earth you get Earth of Air, and so on, and since these are also the categories of life winds, it simultaneously means a swirling of...I believe it is called Six Families Nine Ways, or fifty-four, of which the Rosary or 108 is a doubling. That is what is intended by "precise control of prana".

Varuni adds Kha Garbha, Sky Womb, to the Soma. She is Buddhist because then you also have the regular five meats and nectars, and so at that point, the total mixture is boiled into the hot orange broth, it is something like you are trying to cook off Varuni and get Vairocani. If I look at that in terms of the Ziro Bhusana sadhana, consistent with the teachings, then it would seem humble of me to offer the orange liquid and see if she is pleased. If I was able to stabilize that, then I would probably do Suksma Yoga.

shaberon

21st July 2020, 00:17

There is a less tantricly-complex guide to having an Avalokiteshvara-seeded Kurukulla tutelage of subtle affairs of the throat.

The Dharmadhatu is described as arising within Vairocana or Buddha Family, but it is really Pandara and quickly commandeered by Lotus Family as a womb of not just truth or anything that may happen to be in the mind, but also the womb of compassion--Karuna, which is defined as the only way to go further on the Path.

In Sanskrit, two apparently separate words in Avalokiteshvara's mantra are just one: Manipadme.

Jewel Lotus. I. e., you perceive a jewel at the center of a net at the throat. So this experience is already equivalent to stability in the samadhi of Om Manipadme Hum.

We are saying the basic five-fold form Rupa Skandha of Vairocana intersects the sixth element of mind there, or meets Nama Skandha or mental activity not directly involved with the "intellect within the senses", but more like the Witness, Observer, or Knower. Usually it is the ego, experienced as getting beaten up by itself, but it has other capabilities.

If I was to say the entire System of Six as in Vajradhatu is then bound to a system of Seven, it is shown by Six Syllable Avalokiteshvara into Seven Syllable Avalokiteshvara. So yes, there is a system of using his six syllables as the Families and so forth. To the extent it has its own unique Sadaksari or Six Syllable goddess. If that is an easy way for someone to learn it, it is legitimate.

If there is a skandha, then there is a Kaya or Buddha body formed from it, and Six Syllable Sadaksari goddess gives the first iteration of these:

Applied to the Six Bodies, om is the dharmakaya, ma sambhogakaya, ni nirmanakaya, pad svabhavikakaya, me abhisambodhikaya, hum unchanging vajrakaya; to spontaneously obtain the six bodies [rely on] the six syllables.

Padmavajra explained them all by calling the abhisambodhikaya, the Jnana Kaya, and the seventh is Dharmadhatu Kaya.

This makes the normal "Three Kayas" plus:

Svabhavikakaya, the Androgyne or Vajrasattva, Prajna-Upaya

Jnana Kaya, or Vajrasattva as Gnosis

Vajra Kaya, unchanging Hum of the Heart, Deathlessness

Dharmadhatu Kaya, or, a Fruit from within the Dhatu that Manifests Perfect Wisdom.

So there you can take this ordinary mantra and essentially derive the entire Dakarnava on it. It takes not only the Six Families but posits an even more Shentong view that when the corresponding Wisdom is attained, there is a relevant Buddha Body. Padmavajra, one of the principal Dakarnava commentors, has only added a seventh by infusing Seven Syllable Avalokiteshvara as explained by Vajradaka and the Seven Jewels of Enlightenment.

And so there is something to the Dharmadhatu even more subtle and profound than immortality.

Currently or at first, Avalokiteshvara is that samadhi pertaining to the throat, and he is a fan of Cunda.

If one is familiar with Lakshmi lineage, then we have Mahakarinika Dharani for Eleven Face Lokeshvara. This is some chick in China or Vietnam singing Sanskrit in a dance groove version, she really nails it, there is no way you cannot follow it. She sings it twice, the rest is just fluff. And so if we use the corrected translation we got from India, the song describes Avalokiteshvara as the king of making the Vyuha or Display of Vairocana. Nobody usually notices something like that, since a dharani also uses words that have no meaning, so the question marks fall there. That is correct. But if you follow the inner meaning, it is talking about mastery of making the Vyuha. Then, in some way towards the end, it indicates Cunda and the Universe Lotus.

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Namo Ratna Trayāya, (homage to the triple gem)

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

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

Tathagatāya, (to the tathagata)

Arhate, (to the arhat)

Samyak sambuddhāya, (to the perfectly awakened one)

Nama Sarva TathagatebhyaH (homage to all tathagatas)

ArhatebhyaH, (to the arhats)

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

Nama Aryā Avalokiteshvarāya (homage to noble Avalokitesvara)

Bodhisattvāya, (to the bodhisattva)

Maha Sattvāya, (to the great being)

Maha Karunikāya, (to the greatly compassionate one)

Tadyatha (thus):

Om Dhāra Dhāra, (bearing)

Dhīri Dhīri, (firm)

Dhuru Dhuru (bearing a burden)

Itte Vatte, (??)

Cale Cale, (moving, trembling, shaking)

P[u]racale P[u]racale, (moving, trembling, shaking)

Kusume (in flower)

Kusuma

Vare, (in the circumference)

Illi Mili (??)

Citi Jvālam, (blazing understanding)

Apanaye Svāhā. (leading away) hail!

The song, per se, is likely known by millions, and due to the common error, they are probably not getting anything about the Vyuha. But we can see its importance, it is like a mandatory breeding ground for other samadhis.

"Apanaye" is a complex conjugation of "Ni" as in Parasol's mantra.

shaberon

21st July 2020, 06:02

I like posting on this stuff because with every pass, it boils down a little more, and millions of seemingly unrelated bits settle into something like a crystalline lattice, or a gene, or a blueprint, which guides one through the inner meaning into the Path.

Although many of the Mahasiddhas and their sadhanas are on the first to sixth Bhumis, with Bhikshuni Lakshmi, we can find a reason to place a Universal or Cosmic 1,000 Arm form as the highest kind of spontaneous realization:

Lakshmi saw Amoghapasha with all the Kriya deities on the eighth bhumi. On the tenth, she saw Thousand Arm Avalokiteshvara with all four classes of tantric deities inside him.

On the tenth Bhumi, the state of Vajradhara, she saw the major form which included everything else in the pantheon.

And so in Nepal there is Red Avalokiteshvara who contains Hindu deities, which we say are "converted", and perhaps White Avalokiteshvara may help explain the conversion.

From a sadhana of Vairocana Lotsawa:

chönyi ngönsum namnang gangchen tso

The direct realization of dharmatā is Vairocana of the Vast Glacial Ocean,

And the same name is repeated later, i. e. Vairocana of the Vast Glacial Ocean, namnang gangchen tso.

Namnang Gangchen Tso is the upmost figure over Tigle Chu Drug Avalokiteshvara, who is under two White Jinasagaras and over the Dharmakaya:

https://www.himalayanart.org/images/items/resized/2000px/5/5/7/55702.jpg

Dharmakaya is called Zungjug (Yughannada) Jangchub (Bodhi) Sempa (Sattva). Yughannada or "pair united" is also defined as the final stage of completion stage of Highest Yoga Tantra, where the practitioner is able to unite the clear light mind called the meaning clear light (which is a direct realization of emptiness) with the pure illusory body, the experience of the winds entering the indestructible drop at the central channel.

Indestructible Drop does not come from one's parents.

Tigle is a Drop, or Bindu, or Syllable.

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

Lotus Garland or Sragdhara is similar to Mahakarunika, or is its sub-category related to Twenty-one Taras and other goddess songs.

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

Bhattarika Taras include Sragdhara, Mahamaya Vijayavahini, Maha Cina (Fat Blue Ghora Four Arm Sword Warrior), Vajra Tara, the heart of White Ekajata, referred to by Marici a few times, and Tara 115 that splits Golden Drop Kurukulla.

So, along the Lotus Garland or Sragdhara (https://www.wisdomlib.org/definition/sragdhara) ("wearing a garland") are a few other things that are tangential to Lotus Family.

But there is one that seems rather powerful within it, so here is a rundown of this new to the west, and almost totally lost, opposite sex and color of Lakshmi's Avalokiteshvara.

In Nepal's Dharani Samgraha, there is Thousand Arm Tara Bhattarika.

It was found by Bhattacharya in a Nepalese Dharani Samgraha in its Tarabhattarika-namastotraiata section. A sloka of this says she is adored by Vajradhara, and is Padmapani Priya or the beloved (usually wife or consort) of Avalokiteshvara (cf. ch. 1 p.17 (https://shodhganga.inflibnet.ac.in/bitstream/10603/157235/4/04_chapter%201.pdf)):

Sahasramukhi sahasrasire sahasrabhuje jvali-
tanetre sarvatathagatahrdayagarbhe asidhanuparasupasupasat oma-
lakanayasaktimusaramudgalacakraliaste ehyelii bhagavati sarvatatha-
gatasatyena devarsisatyena Mahamayavijayavahini smara smara
sarvatathagatajhanarupenagaccha gaccha sarvavaranaksayamkari
parasainyavidrapani mohaya sarvadustan. Vajradharavandite
pujite svaha / Padmapanipriye svaha / sarvadevanamaskrte svaha /
matrganavandite pujite svaha /

They say the only other description is almost identical in Narayanapari-prccha and this is the only 1,000 Arm Tara, or, according to the text, also has a thousand heads. We have "taken" Vairocani from Maha Narayana Upanishad, and "returned" a Narayan adventure with Buddha.

Mahamaya Vijayavahini has been mostly translated by someone with an interest about Vishnu in Buddhism (http://www.virtualvinodh.com/wp/vishnu-in-buddhism/). This is a reciprocal of our interest in Agni Vaisvanara--Yajnawalkya--Sita and Yogacara.

It is from the same original Narayan Maha Maya Vijaya Vahini (http://www.dsbcproject.org/canon-text/content/18/220) Sanskrit document.

Hindu Vishnu is an emanation of Red Avalokiteshvara. Buddha himself is more like a verb or quality of "vishnu", a fully-fledged Agni Vaisvanara, called Sangyas in Tibetan, Vibuddha in Sanskrit, which is like a combination with "vibhu", expanded or all-pervasive, basically the same meaning as the name Vishnu. The same flow as progress in Tantra or Abhisambodhi from "previously awakened--not expanded" to "previously awakened--fully expanded".

This Dharani is extremely similar to Indra requesting Dhvajagrakeyura Dharani. That is more like invulnerability or armor, and this one is more weapon-like. Vishnu Narayan suffers a defeat and petitions Buddha for his magic. So this translation explains most of the text while remaining oblivious to the part about the goddess herself, which we can get from the original.

Notice that Buddha is talking about Aloka or i. e., Void Light at first, in a location related to Yakshas.

From the translation:

The Dharani requested by Narayana

There is an interesting Dharani Sutra with the title “nārāyaṇaparipṛcchā āryamahāmāyāvijayavāhinī nāma dhāraṇī” – The āryamahāmāyāvijayavāhinī named Dharani requested by Narayana”. As explicitly indicated by the title, in this Dharani sutra Narayana is seen as requesting a Dharani from the Buddha.

The Buddha is residing at the city of Kubera [*Vaisravana in the text], expounding the Dharma named “Dharma-Aloka-Mukha” [The Bright Faced Dharma]. There Narayana appears, after being defeated by the Asuras. He then circumambulates the Buddha and pays homage to him by placing his head at the Bhagavan’s feet and then requests the Dharani that grants victory in war.

tadevaṁ deśayatu bhagavān sarvajñaḥ sarvadarśī sarvasattvānukampakastaṁ dharmaparyāyaṁ yamete devanāgayakṣarākṣasādayo manuṣyā vā dhārayamāṇāḥ saṁgrāme mahāśūlapātebhyo vā sarvopadravebhyo vā sarvavitarkavicārebhyo vā vijayino bhaviṣyanti

Therefore instruct, Oh Bhagavan Knower-of-all, Observer-of-all and Sympathizer-of-all beings – that dharma-paryaya (Dharma teaching) by which the Devas, Nagas, Yakshas, Rakshas or Men on hearing will become victorious at war from the attack of great-tridents, all calamities and all-doubtful-thoughts.

On the request from Narayana, the Lord Buddha expounds the Dharani.

[The Dharani verses commence with “tadyathā namo’stvadhvānugatapratiṣṭhitebhyaḥ” and conclude with “phaṭ phaṭ svāhā“]

[*section 7 of text]

After hearing the Bhagavan’s Dharmopadesha (Dharma-Instruction) –

bodhisattvasaṁvarīyo nārāyanaḥ aho āścaryamiti kṛtvā śaṅkhacakragadāpuṣpamālyayuktaḥ utthāyāsanāt bhagavantaṁ triḥpradakṣiṇīkṛtya praṇamya prahasitavadano bhūtvā bhagavantaṁ gāthayā stauti sma|

aho hyasuradevānāṁ lokānāṁ jyeṣṭhaṁ śreṣṭho hyanuttarīkaḥ|

śivaḥ śānto’thāgrāhya lokātīto namo’stu te||

abhāvaḥ sarvadharmāṇāṁ bhūtadharmaprakāśakaḥ|

dharmādharmavimuktaustau dharma satya namo’stu te||

Surrounded by the Bodhisattvas, Narayana after saying “Oh! Amazing”, having risen up from the seat with the Conch-Discus-Mace-Flower Garland, then having circumambulated the Lord three times, and having bowed down [then] having a smiled-face praised the Lord through a verse (gātha) .

Behold ! The foremost, best [and the] unsurpassed of the Asuras and Devas of the Worlds

The Auspicious, Peaceful, un-conceived and the one beyond the world, homage to Him

The Illuminator of the past Dharma of the non-existant All-Dharmas

[The] Dharma [and] Satya [which are] liberated [from] Dharma and Adharma, homage to Him

The Narayana proceeds to bow to the Buddha and utters “tvaṁ mama vibhuḥ bhagavan” (Oh Bhagavan, You are my Lord !) and then disappears. Alternatively, Vibhu also means All-Pervading (Vishnu also means All-Pervading). Again, it seems like Vishnu implying, “[They call me the All-pervading one (Vishnu), but really] you are my all-pervading one”.

Like Mahalakshmi, Mahamaya's form appears to start when Narayan takes you. Both 7 and 8 begin with a variety of grha tvam (Graha, the name of planets, meaning "to seize", i. e. you may be seized or gripped by their malignancies). In 8 there is Evam or "thus" before her name. "Having taken you" "thus" she is fully recited (pathitva). 7 seems to be present tense, 8 is past. The grammar could mean "she takes you, Narayan", but we should understand him and know that this is more or less the "inquiry of man" or one's self to the entire Great Illusion.

The very beginning of her form in the Dharani itself is:

mahāmāyājālasahasramukhi

Maha Maya Jala Thousand Faces

sarvatathāgatahṛdayagarbhe

All Tathagathas in her Heart Womb

Dhanurveda-saṃhitā or art of war defines Asi as a sword measuring forty anguli. So although she is not called Khadga Dakini, she is:

asidhanuparaśupāśatomarakanayaśaktinṛmuṇḍihaste

Having in her hand Sword, Bow, Axe, Noose, Tomara (javelin or lance), Kanaya (short spear of twenty anguli) śaktinṛmuṇḍi, which seems to be Power of a female Nirmunda, which is something like a eunuch, who has no (nir) head (munda) to his member. Otherwise it would be saying she holds Headless Shakti or Cinnamasta. After that, she has a Hammer and Chakra. It sounds close to a Pashupati, Shingon, etc., generally celibate warriors.

sarvatathāgatajñānarūpeṇa

All Buddhas' Wisdom is her form.

Her noted epithets were honored by Vajradhara, by all devas, by Matrikas, Jaya, Vijaya and Aparajita, but she is also:

mahāmaṇḍalādhiṣṭhite

Maha Mandala Adhistithe (consecration, seal--just as Parasol is Sarva Buddha Adhistithe). Maha Mandala would be understood as Vajradhatu Maha Mandala (the transform from its basic mandala, when Vairocana arises in Sambhoga Kaya). In other words, she has steady, calm Buddhi towards Vajradhatu. This is really her first "epithet" after her "name", Mahamaya Dhariniye, before Vajradhara gets excited.

mahākālavanditapūjitāya

Honored by Mahakala

kāmarūpiṇīye

Takes any form desired as in Devi Mahatmya, Durga, etc., or, she has a desirable form.

māyārākṣasīye

Maya Raksasi

After the Dharani:

nārāyaṇa atha tasmin

Narayan now in that

samparāye senayorubhayormadhye

(War or calamity or future state or next world) in the middle of an army in (fear or danger?)

pañcasu sthāneṣu etaddhāraṇīcakraṃ rathapratikṛtau yuñjyāt

In five places (or at the time of death) (this) dharani cakra chariot (image or copy) (should be placed, practiced, contemplated).

nārāyaṇa ubhayormadhye parasenāgre

Narayan in the middle of (both or two) front guards of armies

tasmin rathamadhye

meanwhile in a chariot (i. e., with the mantra wheel)

is the goddess. Her appearance is referred to and her color is:

lohitakṛṣṇavarṇāṃ

Lohita is red, or, more specifically, blood, and in any case, it is krsna or dark, so a burgundy or alizarin type of color.

She is now called:

guhyamantrapadāni

vidyārājñīṃ

(Secret Mantra Vidya Queen or Mahavidya)

with four rows of faces like lamps and:

parasenāṃ bhakṣayantīmiva

(over the) army, bhaksa (eating food or gluttonous) antima (ultimately or finally) miva (growing fat). This last perhaps similar to Annapurna. She does not explicitly say this, but she has Upeksa with respect to Six Families as per Maha Mandala, and her Victory resembles Annapurna. So this in essence includes or stems from the entire esoteric training in successful application, inwardly and outwardly, since Annapurna also indicates Maha Sukha chakra or the voids and Great Void. Or esoterically Prathyahara "control of food" to Nisprapanca or "unelaborated" or the winds have entered the central and risen.

Next, the dharani is likhitvā (written) with kunkumena: transcendental kunkuma powder. In Srimad Bhagavatam, Tenth Canto, 21.17, Krishna walks around Vrindaban leaving a reddish powder on the grass (saffron or turmeric). Krishna got it from the breasts of his gopis, i. e. they held his feet to their breasts which were powdered red. The Pulidyah, or Sabaris, saw it in the grass, and rubbed it on their breasts, and lost adhim or sexual anxiety and became satisfied. It seems to be saying whoever writes it this way will be victorious over poverty and the like, and equal to a general. So the sentence ending "cintayet" (contemplate like this) is the end of the goddess, The next sentence speaks about writing, and then Narayan comes back as the subject. Kunkuma is used in Sadhanamala at least twenty times. This is perhaps similar to males smearing with ash.

As "mental pain", the dictionary suggests adhi, or adhih, which appears to be a negation of dhi or Buddhi.

Like Maitri's Doha, this distinctly uses Vaisnava terminology. Her actions or parasainya or crushing are related to Pramardani and final samadhi. Vahini is another term for an entire army, it may all be her, since after vidyarajni, it is many thousands of rupa, i. e. forms or bodies. Usually, Vahini is a "vehicle", which here specifically is a "Ratha" or chariot.

With almost blatant Vaisnava imagery, this is like an altered scene of Krishna and Arjuna, using his powder to make Amazons. If we follow the meaning, the main use of the goddess is a Dharani, and she would really be "worshipped in Eighteen Arm form", i. e. Khandaroha. That means Generation Stage as a whole. The universal or Blood Red 1,000 Arm form would be a transcendental experience of her. It evolves from tapas including sexual retention if not outright celibacy. Possibly Karmamudra. Hard to say. At the very least, mental and physical tranquility towards it. Her violence is against any attachment, which Pandara is full of.

So, ok. The Thousand Arm mega deities are intended to be "worshipped", i. e. visualized and Muttered in Eighteen Arm Forms, such as Samputa Vajrasattva, Padma Jala Avalokiteshvara, Khandaroha, Varuni, Cunda, and Parasol. To attain these is itself more or less a sequence from a small number of arms or attributes to a greater.

If we follow this thought, there is a major pause on deity growth at the six arm stage, and in fact there are almost none or are no Hindu deities that even have six arms.

In Vairocana Abhisambodhi, Earth Locana is called the Mother of Sakyamuni; to her right is White Urna, and to her left are five Usnisa deities beginning with Sitatapatra. Locana's symbol is an Usnisa with Vajra signs. Around them are Pure Land deities, more Usnisas, Agni, and Yama. Here, urna or tilaka is forehead mark, i. e., ajna center, which is a valid chakra and source of white moon, but perhaps emphasized less than the rest of the head.

In Vairocana or Tathagata Family, the Mother is equivalently Marici, Grahamatrika, and Pancha Raksa--Pratisara.

It also has the unique Usnisa class, from whom, Sitatapatra Parasol can arise in 1,000 Arm form.

However, when White Tara in general arises to the point of having Six Arms, something weird happens.

There is Sukla Tara, who is an Amoghasiddhi emanation in the cemeteries who casts Vajra Fence. There is Six Arm Grahamatrika. And although there is a Six Arm Parasol, the text very plainly states that her Parasol is absent:

Sadhanamala Six arm Parasol: "Sitatapatra Aparajita, who is three faced, six armed, and has three eyes in each of her faces. She is of white (Sukla) colour. Her faces to the right and left are respectively of blue and red colour. She carries in her three right hands the Cakra, the goad and the bow, and in the three left the white Vajra, the arrow and the noose with the Tarjani. She has angry looks, destroys all sorts of evil spirits (Grahas lit. Planets), wears celestial ornaments and garments, and is led by Vairocana. Thus meditating... "

Grahamatrika in Taranatha's version has faces that agree with Parasol's, and as Mother of Planets works against paralysis, unconsciousness, and harm caused by these bhutas. Her hand pairs are doing Dharmachakra mudra, Vajra and Lotus, Bow and Arrow. Vajra feet, divine robes, Om Ah Hum in her Three Places. Vairocana goddess arisen from Hum, lotus and moon disk.

Grahamatrika is Peaceful and Sitatapatra Aparajita is Wrathful, both are related to Grahas or are close to Vajrapani and Eight Planets in the scale of Kama Loka. Grahamatrika is not necessarily an Usnisa, but she is quite important in Nepalese Dharanis.

Sitatapatra does not always have the epithet Aparajita, who we have found is important for Noose, which Sitatapatra Aparajita carries.

As this type of form, she will take her basic mantra in a wrathful tone:

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Six Arm Parasol without parasol at Tabo:

https://cdn.nybooks.com/wp-content/uploads/2015/02/Aparajita-Tabo.jpg

There "is" a parasol, but she is not holding it.

With Hayagriva, Parnasabari in her leaves and kneeling pose, which is a pelvic prana control, and the Grahas or Planets:

https://www.himalayanart.org/images/items/resized/2000px/8/3/4/83421.jpg

Or, at least, there is Yellow Bhu Devi on Boar with Indra, Agni, etc. Parasol perhaps has "Kurukulla hands" plus two for a Chakra (held on a spoke) and a Vajra (held at her heart). The Four Kings surround Yamantaka at the bottom. She seems to be adorned with Citrons.

She must deal with the same subject as Grahamatrika, who is something like a peaceful teaching version of her, and is considerably more elaborate.

After this ambiguous "border" (similar to Acala), when she increases to Eight Arms, she recovers her Parasol and has a lighter background:

https://www.himalayanart.org/images/items/resized/2000px/8/7/0/87025.jpg

https://www.himalayanart.org/images/items/resized/2000px/6/9/4/69428.jpg

She has a ten arm Amoghasiddhi emanation, fourteen arm Amaravajra, and Pratyangira.

Agape

21st July 2020, 06:56

I wonder this would be of any interest:

A comparative study of frequencies of “Om Mani Padme Hum” and “Om Namah Shivaye” (https://www.researchgate.net/publication/301680304_A_comparative_study_of_frequencies_of_a_Buddhist_mantra_-_Om_Mani_Padme_Hum_and_a_Hindu_mantra_-Om_Namah_Shivaya)

Lokeshvara ( means both “sarva loka ishvara” or “aishvarya locana” , the lord of the worlds, the one with powerful eyes, is an epitaph of both Shiva and Lord Mahavishnu, alternatively in ancient Hindu scriptures and worship traditions and lineages.

The mantra Om Mani Padme Hum as practiced today had an older Hindu and perhaps, surprisingly even Sufi version of itself that was related to the legend of Chintamani ( The Wishfulfilling Jewel). Chintamani can be said to be “Chitta” Mani, the Jewel of the Mind or a physical object ( probably some kind of ancient ET relic).

In either case, the mantra is known among Hindu sadhus in various alternative versions such as Om Mani Padmani Hum etc.

In short it was once in history used as powerful “wish granting mantra” by devotees following Shiva( or Narayan) manifesting from a Lotus flower( Brahmā) and transcending powers of creation and cyclic existence
surpassing the power of stagnation
causing both dissolution and sublimation
throughout all realms.

Dissolving all action to non-action the Principle itself dissolves to pure Sky of Dhammakaya.

🌈

shaberon

21st July 2020, 17:01

Lokeshvara ( means both “sarva loka ishvara” or “aishvarya locana” , the lord of the worlds, the one with powerful eyes, is an epitaph of both Shiva and Lord Mahavishnu, alternatively in ancient Hindu scriptures and worship traditions and lineages.

Cintamani and Citta Mani are very different Taras.

Cintamani is Fruit-picker Vasudhara; Citta Mani is a Tara with Mind Mandala. One is a Samaya being, the other is an almost impossible-to-find lineage.

Again, a great deal of Buddhism is drawn from or is a close copy of Hinduism, but in most cases there is some kind of change. And so there is a different idea about the standard translation of Avalokiteshvara.

It is tricky to worm through the "personalizations" of deities, since they are not people or devas. They are more like different qualities of powers of nature and the mind. Tibetans will eventually explain this if you press them, but, original Theosophy was rather emphatic. The Mahatma Letters completely reverse the normal interpretation of Avalokiteshvara: Koothoomi refutes the then-current English analysis:

"Avalokiteshvara" (a manwantaric intelligent nature crowned with humanity) -- the mystic name given by us to the hosts of the Dyan Chohans (N.B., the solar Dyan Chohans or the host of only our solar system) taken collectively, which host represents the mother source, the aggregate amount of all the intelligences that were are or ever will be whether on our string of man-bearing planets or on any part or portion of our solar system.

"The name Avalokitesvara, which means 'the Lord who looks down from on high,' is a purely metaphysical invention. The curious use of the past particle passive 'avalokita' in an active sense is clearly evident from the translations into Tibetan and Chinese."

Now saying that it means: "the Lord who looks down from on high," or, as he kindly explains further -- "the Spirit of the Buddhas present in the church," is to completely reverse the sense. It is equivalent to saving "Mr. Sinnett looks down from on high (his Fragments of Occult Truth) on the British Theos. Society," whereas it is the latter that looks up to Mr. Sinnett, or rather to his Fragments as the (in their case only possible) expression and culmination of the knowledge sought for. This is no idle simile and defines the exact situation. In short, Avalokita Isvar literally interpreted means "the Lord that is seen." "Iswara" implying moreover, rather the adjective than the noun, lordly, self-existent lordliness, not Lord. It is, when correctly interpreted, in one sense "the divine Self perceived or seen by Self," the Atman or seventh principle ridded of its mayavic distinction from its Universal Source -- which becomes the object of perception for, and by the individuality centred in Buddhi, the sixth principle, -- something that happens only in the highest state of Samadhi. This is applying it to the microcosm. In the other sense Avalokitesvara implies the seventh Universal Principle, as the object perceived by the Universal Buddhi "Mind" or Intelligence which is the synthetic aggregation of all the Dhyan Chohans, as of all other intelligences whether great or small, that ever were, are, or will be. Nor is it the "Spirit of Buddhas present in the Church," but the Omnipresent Universal Spirit in the temple of nature -- in one case; and the seventh Principle -- the Atman in the temple -- man -- in the other.

Of course you know that the double-triangle -- the Satkiri Chakram of Vishnu -- or the six-pointed star, is the perfect seven. In all the old Sanskrit works -- Vedic and Tantrik -- you find the number 6 mentioned more often than the 7 -- this last figure, the central point being implied, for it is the germ of the six and their matrix. It is then thus . . . [At this point in the original there is a rough drawing of the interlaced triangles inscribed in a circle. -- ED.] -- the central point standing for seventh, and
the circle, the Mahakâsha -- endless space -- for the seventh Universal Principle. In one sense, both are viewed as Avalokitesvara, for they are respectively the Macrocosm and the microcosm. The interlaced triangles -- the upper pointing one -- is Wisdom concealed, and the downward pointing one -- Wisdom revealed (in the phenomenal world).

This explanation seems much more consistent with Buddha who during enlightenment, after dissolving the voids, beheld the Absolute Object, or Lakshmi, who, on a vision of the tenth bhumi, beheld the whole Avalokiteshvara.

We generally do not think of any of them as "a being". In its half-name, Lokeshvara, this is perhaps a more worldly or less Absolute observance of it. But if you fumble with the grammar, "Self-existent lordliness which is seen", is valid, and, in my experience, much more relevant to Yoga practice.

Is it more primevally and less-worldly seen via the Jewel Lotus that Old Student is describing, yes, that seems rather close.

Old Student

21st July 2020, 22:49

As a Buddhist you are of course allowed to participate in whatever in Hinduism you want. We certainly find "vimala" quite replete in our lexicon, such as Vimala Prabha (the main Kalachakra commentary), or Vimala Bhumi.

Vimalaprabha was also the protector bodhisattva of Khotan, who incarnated as a princess there (also named Vimalaprabha) and promised to protect Khotan as long as they maintained the Dharma. I have no idea how she was ever pictured. I do know that the destruction of Khotan did figure at some point in the stupa that I see in my crown. And that the prayer flags in a thicket of sticks I saw in the notes I posted above the shrouds look like those on the hill above there (which was converted centuries ago from a vihara to a mazar of some kind).

The new one seems to sometimes be multiple things, perhaps she is many different emanations of the same being. The ties to Cunda made sense in that she has some traits that might relate to Chandra -- as you say, Cunda may have come from Chandra. I don't know what was the meaning of the mantra stuff, I had thought it would be a way to find out, to recite her mantra, but they responded with another one. I don't know if that meant a positive or a negative.

Prajnaparamita has had connections to my heart before, that doesn't stop it from being her.

She dances in a space that is definitely a womb and makes it grow until it is the size of space. But any female deity might lay claim to symbolism involving the womb. Last night that space directly "went into" a part of the shaking where rainbow liquid developed, instead of expanding as it had several nights before.

And Samantabhadri is, not sure of the word, kind of "protective" of the new one, she has more than once cradled her.

Old Student

21st July 2020, 23:28

Indeed. It sounds like what you are doing is...an unusual and vivid way...of the upper part of Yoga. Which I would guess consists of the Kurukulla-period until the Stupa...happens.

I had decided, because of all this, that the essence of Yoga was this kind of extension of control, because this seemed like it was mirrored in some of the practices there. The muscle movements and extensions of sensation have really begun to move into my chest area now. The top of my chest started to get involved last night. It has been involved in other movements before, but this is the movements that have been moving up from my abdomen -- from my solar plexus, and they are quite different. As of yet, everything above around the nipple line (maybe 4th-5th rib) is still very crude, the movements below that are getting quite complex and refined.

Yes, those sound accurate, although I am not familiar with them. In the practice of Armor Deities, it is noteworthy that, whereas the Pranayama is at first attempting to operate only Four Chakras, the Armor Deities protect six, even though they continue to ignore the base of the spine. There is one at the ajna, and another at the upper head between it and the crown.

Yellow Vajrayogini in the abdomen refers to Vairocani (usually white or yellow, orange in Samvarodaya).

One is from Lama Yeshe, the yellow one is from Alexandra David-Neel, I did find that the ways of doing breathing for Tummo seems to be different between monks and nuns. Oddly, what worked best for me (granted I was standing and not sitting), was a combination of both.

The combination of the Garbha and Vajra is Dharma Dhatu. Feminine and masculine, womb--lotus and vajra. One can perhaps encapsulate the whole thing with a female Lotus deity and Vajrasattva.

This combination in a simultaneous rather than a joined manner showed up in my shakings as what I ended up calling a 'Dao sheng yi' sequence. That was because the male showed up first, then the female, then both, and then there was a dissolve. During that, the first time and at least one subsequent time, those lines (from Laozi) were prominent and very loud. They come from Laozi Ch. 42: "“道生一，一生二，二生三，三生萬物。（Dao sheng yi, yi sheng er, er sheng san, san sheng wan wu. -- The Dao begets one, one begets two, two begets three, three beget the ten thousand things.) It was the exercise just before the one of being "completely in" my clear body or my physical body, in which I am in my clear body (for instance) to the point of having no awareness of my physical body, no knowledge of how to get there. That "completely in" exercise was the one right before the "pelvic shaking" with the shaman stuff and the loom and the cauldron and then the new one.

Aspects of Dharma Kaya have been described as:

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

Thusness or Suchness is the way over the Second Void. The three voids or subtle minds are whisked away by No Ego, Suchness, and Ultimate Meaning.

The other aspects are Vajra Kaya and Dharmadhatu Kaya. That makes all Seven Buddha Bodies. This is behind what we call Vajra Ignorance which is Varahi.

There is one beyond Svabhavika Kaya called Mahasuka Kaya? I tried to find out about it and whether "suka" was supposed to be "sukha"?

Old Student

21st July 2020, 23:49

Old Student

22nd July 2020, 00:17

If we follow this thought, there is a major pause on deity growth at the six arm stage, and in fact there are almost none or are no Hindu deities that even have six arms.

?? Durga has ten.

In Vairocana or Tathagata Family, the Mother is equivalently Marici, Grahamatrika, and Pancha Raksa--Pratisara.

It also has the unique Usnisa class, from whom, Sitatapatra Parasol can arise in 1,000 Arm form.

However, when White Tara in general arises to the point of having Six Arms, something weird happens.

There is Sukla Tara, who is an Amoghasiddhi emanation in the cemeteries who casts Vajra Fence. There is Six Arm Grahamatrika. And although there is a Six Arm Parasol, the text very plainly states that her Parasol is absent:

Sadhanamala Six arm Parasol: "Sitatapatra Aparajita, who is three faced, six armed, and has three eyes in each of her faces. She is of white (Sukla) colour. Her faces to the right and left are respectively of blue and red colour. She carries in her three right hands the Cakra, the goad and the bow, and in the three left the white Vajra, the arrow and the noose with the Tarjani. She has angry looks, destroys all sorts of evil spirits (Grahas lit. Planets), wears celestial ornaments and garments, and is led by Vairocana. Thus meditating... "

Does Sukla then indicate both a color and a deity?

Old Student

22nd July 2020, 00:34

Thanks, Agape, an interesting topic for a paper.

I have my doubts about Om Mani Padme Hum being the newest of them. Especially when talking Sufi. The great Sufi center at Bukhara derives its name from Vihara, indicating its original nature, that flows went from Buddhism to Sufism. It is even speculated that the onion dome, so prevalent in post Sufi Islam may actually have come from the shape of a stupa, and probably from either Bukhara, or Merv.

No guesses on Hinduism and Buddhism except that in 3rd and 4th c. "Northern India" at the time (Bactra and Khotan), neither were they very well delineated, nor were the various "vehicles" of modern Buddhism. Shiva and Lakshmi, as well as others, Devi Ma, regularly hung around with various kinds of sattvas.

"What are you studying as a monk? Hinayana, Mahayana, and Vajrayana, Sir. And which do you prefer? Vajrayana, Sir." (exchange between a monk and a border guard, the latter was trying to decide whether the other was really a monk.)

Old Student

22nd July 2020, 00:48

"Avalokiteshvara" (a manwantaric intelligent nature crowned with humanity) -- the mystic name given by us to the hosts of the Dyan Chohans (N.B., the solar Dyan Chohans or the host of only our solar system) taken collectively, which host represents the mother source, the aggregate amount of all the intelligences that were are or ever will be whether on our string of man-bearing planets or on any part or portion of our solar system.

"The name Avalokitesvara, which means 'the Lord who looks down from on high,' is a purely metaphysical invention. The curious use of the past particle passive 'avalokita' in an active sense is clearly evident from the translations into Tibetan and Chinese."

Indeed. His（or her) name in Chinese is 觀世音（Guanshiyin, Kanzeon in Japanese), "Attends to the sounds of the world."

A History of Chittagong, Volume 1 (https://documents.pub/document/history-of-chittagong-vol-1.html) (From Ancient Times down to 1761)
by Dr. Suniti Bhushan Qanungo is a good book for history on an area "at the corner of maps" as Rila Mukherjee called them. In it you find quite a bit that contradicts what is usually written in non-historical literature -- that the Nath yoga culture originally trained and learned their art from Buddhists in the tradition of Naropa, for instance.

shaberon

22nd July 2020, 08:58

There is one beyond Svabhavika Kaya called Mahasuka Kaya? I tried to find out about it and whether "suka" was supposed to be "sukha"?

Suka would be a spelling error for Sukha.

The technical terms can be tricky--very different words can be synonyms, and something that looks similar can be completely different. So by way of reasoning, what is called Abhisambodhi Kaya in one place, is called Jnana Kaya by Padmavajra, since the full explanation of Jnana means to do Abhisambodhi. Abhisambodhi Kaya is a Maha Yoga term, which means mostly used in Nyingma, speaking in terms of five kayas.

More synonyms internal to the Trikaya (https://www.universal-path.org/Trikaya):

A fourth kaya is the svābhāvikakāya (Skt. svābhāvikakāya; Tib. ngowo nyi ku; Wyl. ngo bo nyid sku), which is not another manifestation but the supreme buddha-kaya as the essence of the other kayas (Buddha nature). It is free from Avidya and the body of true nature.

[more or less non-dual Vajrasattva as the operator or driver of meditation]

His wisdom-aspect is the Jnanakaya ( Skt. jñānadharmakāya; tib. yeshe chöku; Wyl. ye shes chos sku), also Sahaja-Kaya or Sahaja-tanu or Mahasukha-Kaya (Body of sublime bliss) or the Visuddha-Kaya, through which the suchness is directly recognized.

That means there is no other way to get Buddha's Wisdom. We are just talking about it; it only exists in that state.

So there are quite a few terms for the same thing--and Sahaja has an extremely precise meaning in Suksma Yoga. Mahasukha Chakra refers to the crown, and for that reason, it seems to me redundant to use it as a term for a Kaya--but if it has the same definition in the Abhidharma, I cannot refute it. All I can say is that Jnana Kaya is used in Dakarnava discourse which gets us to Seven Kayas.

Sahaja Heruka is a name for the basic white deity of Completion Stage, and Sahaja is very deep in Suksma Yoga. In Ayurveda, suksma "subtle" is the opposite of sthula "coarse", and since the physical body is Sthula Sharira, Subtle Yoga is its opposite, and the far side of that opposition is Sahaja:

The first union of Vajrasattva and consort, or Candali Yoga, produces heat in the core, and we are trying to backdraft this into the crown or Mahasukha Chakra to experience the first Joy.

The Joys do not depict heat rising; they begin with melted Bodhicitta.

And so when all that power is balanced and perfectly aimed at the pinpoint aperture in the head, eventually it will burn Locana and the others until it gets to the White Seed of Bodhicitta. This seed is conceived as different things, syllables like Hum or Ham, or Shiva's Trident. Regarding this in Hevajra Tantra, Marpa says:

As for the syllable HAM , its actuality (svabhava; ngo-bo-nyid) being the moon (viz "containing a hare"), it is Vajrasattva or Vajradhara, or the bodhicitta (byang-chub-gyi sems). This intuitive awareness of the great bliss (mahasukhajnana; bde-ba chen-po'i ye-shes) drips from the mahasukhacakra and, by means of the body of the yogin identified with Hevajra, it induces the experience of the co-emergent (sahaja; Ihan-cig-skyes- pa): "Not otherwise is sahaja called, nor elsewhere is it attained."

He says it drips, it "induces" sahaja.

Its controlled descent makes the Four Joys (Ananda):

According to basic Ekarasa or "One Taste", Nectars swirl counterclockwise and are the first Four Joys, Head, Throat, Heart, Navel; Meats swirl clockwise, and ascend, the second Four Joys of Navel, Heart, Throat, Head. This again is like a corkscrew or drill; the goal of the first set is Sahaja, then the rest are all Sahaja.

So the idea is really when the bodhicitta drips all the way down to the core, that is finally Sahaja. Then the second set of ascending joys are all Sahaja. This is not merely an idea. It really means that White Bodhicitta has dripped down into the boiling Orange Nectar of Nirmana Chakra. And this makes the "real" Nectar--when these substances merge, they make cool Mercury. So this is--what? Huh? We spend all this time in Tapas dealing with heat, and something cold comes out of it??

That is how it works.

Ananda would generally be the first or one Joy, or the descending set, until the fourth is Sahaja. The Sahaja in the navel, abdomen, or core, produces something utterly unknown, whose rise is all Sahaja. It must be purified or it is dangerous, but this is the triple nectar of Immortality, Medicine, and Wisdom. Then perhaps if we flip back through the Mercury symbolism, it will make sense.

The Meats, at their starting point, are in the:

Khay pot or Khaythala: sahaja-sukhabandha (Upaya Hevajra, Bhairava or Bhairavi). Khay is fermented curd, or i. e. yogurt, traditionally made into a mixture which contained a piece of meat.

Bandha is a tie or lock, the meat is for locking Sahaja and Sukha, and this is also the verb for Chain Activity:

Om Vajrasphoti Bandhaya Vam

Bliss annihilates impediments; in Hindu terms:

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

This characterization of Nirvikalpa is desirable in Buddhism.

Vajra Tara says:

idam ucyate lokottaraṃ śūnyatājñānaṃ niṣprapañcaṃ nirvikalpam

Lokottara is the transcendent, non-worldly siddhis of Generation and Completion Stages, so Void Gnosis, Sensory Reversal, and Nirvikalpa are a large part of its diet.

Jamgon Kongtrul actually attributes the practice of Tinuma Vajrayogini to Nyan Lotsawa--no wonder she is a close parallel to Ziro Bhusana Vajrayogini from the same Lotsawa.

There are Hindu deities with more than six arms, but few if any have six specifically.

If I translate "White Tara", there are two possibilities:

Sita Tara, having four arms, doing dharmachakra mudra

Sukla Tara, having six arms, casting Vajra Fence

Sukla means moonlight color, or, moreover, glowing like the moon. Most, if not all, the advanced "White Taras" share the sukla coloration. But only this one has it as her name.

In the sense of a womb expanding to space, I don't know if this pertains to the new mystery dancer, but, just drawing from the words:

Space Womb is the name of a male bodhisattva, Akasha Garbha or Kha Garbha. He is a standard Bodhisattva, also appearing in Dharmadhatu Vagisvara mandala; these usually refer to nothing female.

However, in Vajradaka and Dakarnava, his consort is the same, Chakravarmini. They are also in Six Chakravartins, there is Akashagarbha with Cakravarmini: Chakra Clad in Armor, and they are mindfulness, or Smrti. Pabonkha and Naro's Secret Dakini say Chakrawarmini [is the same as] Parnashavari; in other words, she rests under this name in Chakrasamvara Completion Stage. Parnasabari is "doubled" in Dakarnava, as herself and as Chakravarmini. In the big Vajravarahi, Chakravarmini is in Pandara's southern lotus, which is perhaps her only non-coupled appearance. All the goddess of the southern lotus petals are to be visualised as dancing naked and being half-male / half-female (ardhanarīśvarī) with their two sides being yellow and red. In their four arms they brandish a bowl and staff, with a ḍamaru and their familial attribute. In the other tantras, she changes form and function. It is impossible to say what she and/or her partner "are", but in Dakarnava, they reach a very interior part of him.

With Dakarnava, we could perhaps say that our whole Trikaya and Mahasukha is just the very outer edge of him, and he has a pile of other chakras, there is just no way to get this system to work without serious grounding in the prior processes, it is bigger than Kalachakra, having over 900 deities.

Six Chakravartins/Dakini Jala/Chakrasamvara uses a similar process to Vajradaka about the Seven Jewels of Enlightenment, with different deities. Of thirty-seven point enlightenment, it is said that it is clear that those 7 categories are all inter-related, and thus all 37 factors may be cultivated by focusing only on Cattārō Satipaṭṭhāna, Satta Bojjhaṅga, or the Noble Eightfold Path.

We are heavily perusing four Satipatthanas (Pithas or Chakras) and seven Bodhyanga, the Seven Jewels of Enlightenment. The first group are the Four Dakinis, and in Chakrasamvara Sacred Sites, the Jewels are Joy, Piti or Mudita--Cakravega, Dharma Vicaya--Saundini, Striving or Virya--Khaganana, Cathartic or Prasrabdhi--Khandaroha, Smrti--Cakravarmini, Samadhi--Hayakarni, and Upeksha--Suvira. These are re-iterated with new names for Seven Syllable deity (Vajradaka), taking them to be Vajradakini caliber at that stage, fully developed.

Chakravarmini at least achieves the distinction of serving as a Jewel of Enlightenment along with Khandaroha (Varuni) and Khaganana (Guhyeshvari). It happens to be the same one that gets male-seeded by Seven Syllable Vajradaka; here, she is engulfing Akasha Garbha in order to do it.

Although Varma is common for Armor, the closely related Varmi also means That is familiar or intimate with the turnings and windings, the mysteries and intricacies, the art or trick (of a process or business, of a machine or contrivance). That pierces into or discerns the latent meaning or purpose (of a passage in a book, of a speech &c.); that apprehends or knows the point, sting, bearing, aim, drift. This is somewhat because the sub-meaning of Varma is a sensitive area (even a sore or tumor), which armor protects; and this implication of "sensitive point" enters a metaphorical condition, i. e., the knowledge and understanding of subtle points.

Akasha Dakini is Maitri Dakini, urdhva pada, "raised foot", i. e. flying, which would generally have been the first guess according to the words, but if the unusual pose is not noticed, it may not be her.

Concerning Vimala, it is the second Bhumi, and an Orissan goddess equivalent to Katyayani, but also someone much more familiar, identified by inscription.

There is another figure to whom Dalai Lamas have attempted to tie themselves. This goes back to India. There is a major series of paintings, in the same style, of Konchog Bang, the Tibetan name for an Indian king that is believed to have lived during the 1st millennium. All that we know of this king is what is recorded in the Kadam Legbam (by Atisha). The Dalais attach themselves to Dromton, an incarnation of Padmapani. So Atisha was attempting to link Dromton to Konchog, and the Dalais picked up on this later. Aside from the possibility or degree of tulku in this line, we find a fairly standard major description of King Konchog Bang.

The monk in the upper left is the teacher Vajradhara, wearing monastic attire and a pandita hat, holding a vajra scepter and a bell. The female figure at the upper right is Guhya Jnana Dakini, white in colour, holding a drum and skullcup. In Tibetan language she is also referred to as Daki Wangdu, and in similar paintings, the figure is identified as Siddharajni. Or, in another way, at the top left is Vimala Guru as a monastic figure wearing robes, a pandita hat, and holding a vajra scepter and bell. At the top right is a figure of a woman, Guhya Jnana, white in colour, in the appearance of a peaceful deity, holding a double-sided drum (damaru) upraised in the right hand and a skullcup in the left. She cradles a katvanga staff in the bend of the elbow. Atop a moon disc and pink flower blossom, she sits with the proper left leg pendant. In some literature she is referred to as Daki Wangmo, or Daki Wangdu.

https://www.himalayanart.org/images/items/resized/2000px/8/8/5/88593.jpg

"By the compassionate moon rays of Vimala Guru and Guhya Jnana,
Nurturing the lily garden,
Ripening the beings of the land of Uddiyana;
To the One Lord Konchog Bang I pray!"

I am not sure who the legendary king is, but, male Vimala is Pandita Vajradhara, associated with White Guhya Jnana--Siddharajni.

Buddha as a Bodhisattva trained the first nine Bhumis with Vimala Buddha.

Vimala is Manjushri's Pure Land.

Ananta Mukhi Dharani has Vimala; Pancha Raksa Dharani involves Vimala and Viraj.

In the Tibetan canon, Vimala Usnisa distinctly exists and should have a dharani, but I cannot find a legible one.

Agape

22nd July 2020, 10:43

In Sanskrit, two apparently separate words in Avalokiteshvara's mantra are just one: Manipadme.

Jewel Lotus. I. e., you perceive a jewel at the center of a net at the throat. So this experience is already equivalent to stability in the samadhi of Om Manipadme Hum.

This would fit with Samantabhadri and consort being there. Manipadme is the Vajra in the Lotus you were referring to earlier. Whenever I hear it described like this, all I can think of is Georgia O'Keefe. But truth be told I have this motif all over the place. Both of the moons, the thin smoke, and others.

Interesting song. Not sure what she is saying at the end, it sort of sounds like Chinese but not intelligible or at least not compatible with facial expressions.

Here is Om mani padme hum in Mongolian
(https://youtu.be/UDNvu3RYmU8?list=RDUDNvu3RYmU8)

Here in Dharmshala this track has been played since ever, it’s the Dharani of Mahakarunika Mantra of Avalokiteshvara.
It soothes all hearts and bestows peace and tranquillity.

http://www.youtube.com/watch?v=slTlIKCxu_U&time_continue=38&feature=emb_title

The meaning is always more important no matter what kind of language as this should be language coming from heart.

Mani Padme is also Padme Amidala of Star Wars.

Padme Amidala is none else than the Lotus of your Amygdala.

By indulging in thoughts of love and compassion, the intelligence of amygdala is pleased and prompted bestowing lasting benefits on humanity.

Padme Amygdala is the Queen of Great Bliss
and one in full control of its environment.

You could say that this civilization already destroyed the name of Isis so also it’s forgotten about existence of pure intelligence of their jewel lotus amygdala.

By the power of our amygdala that is subtle intelligence and bliss we are able to reimagine better world than this.
Can guarantee you the kids can do that 🥳

We all should start thinking way ahead

http://www.youtube.com/watch?v=dOSG8VMGXY0

It’s but a wish 🙏🌈🌟

Old Student

22nd July 2020, 18:02

Suka would be a spelling error for Sukha.

Thanks. I was hoping so, I couldn't find it anywhere.

So there are quite a few terms for the same thing--and Sahaja has an extremely precise meaning in Suksma Yoga. Mahasukha Chakra refers to the crown, and for that reason, it seems to me redundant to use it as a term for a Kaya--but if it has the same definition in the Abhidharma, I cannot refute it. All I can say is that Jnana Kaya is used in Dakarnava discourse which gets us to Seven Kayas.

She (Sarah Harding translating Niguma) presents it as being what svābhāvikakāya becomes on attaining one of the grounds. Niguma presents 4 grounds above the tenth, all seem to be accomplished by or conferred by a karmamudra.

In the painting, there is a square cauldron with a crescent moon and six jewels and flames. Do you know what it is?

If I translate "White Tara", there are two possibilities:

Sita Tara, having four arms, doing dharmachakra mudra

Sukla Tara, having six arms, casting Vajra Fence

Sukla means moonlight color, or, moreover, glowing like the moon. Most, if not all, the advanced "White Taras" share the sukla coloration. But only this one has it as her name.

In the sense of a womb expanding to space, I don't know if this pertains to the new mystery dancer, but, just drawing from the words:

Space Womb is the name of a male bodhisattva, Akasha Garbha or Kha Garbha. He is a standard Bodhisattva, also appearing in Dharmadhatu Vagisvara mandala; these usually refer to nothing female.

I wonder if she's Candra or derived from her (you had said Cunda before, or this one, Sukla Tara). Recently (last night included) she shows not as a dancer or Dakini but as the moon, appearing first as the cold physical moon (craters, mountains and all) but then as she moves (and generates bliss), she becomes what I thought was a light, like a powder blue, but it turns out to be a bright, deep blue inside of white mist. Her light is still moonlight colored. The space is definitely womb, but except for one time, was not infinite, it was inside of me. She generated a flow of bliss last night, she was also a participant in a very complicated reworking of my upper torso as part of opening up from my throat to the inside of my head.

Cundavajri seems to resonate if that means a female deity that is a vajra made of moons.

Old Student

22nd July 2020, 18:21

This is pretty interesting:

Padme Amidala is none else than the Lotus of your Amygdala.

By indulging in thoughts of love and compassion, the intelligence of amygdala is pleased and prompted bestowing lasting benefits on humanity.

Padme Amygdala is the Queen of Great Bliss
and one in full control of its environment.

You could say that this civilization already destroyed the name of Isis so also it’s forgotten about existence of pure intelligence of their jewel lotus amygdala.

By the power of our amygdala that is subtle intelligence and bliss we are able to reimagine better world than this.
Can guarantee you the kids can do that 🥳

So in the mantra, as Shaberon was saying, the middle is often treated as "Manipadme" meaning the feminine lotus possessing the jewel which is thought of as being the vajra.

So your equation of "padme" with the amygdala represents the amygdala as a feminine organ. Last night, when they were opening up my throat so that there would be flow of the rainbow liquid through it, at one point they replaced or capped the (usually a well) area above my magnum foramen with a vagina opening before the flow started from below.

That would be very near below where the amygdala is.

I like the Dharani track, thanks.

shaberon

22nd July 2020, 18:34

Several deities can teach or manifest Transference, although the Red and White Celestial Women of Shangpa are mostly just for this purpose.

This is a detail from something larger said to represent Transference:

https://www.himalayanart.org/images/items/resized/2000px/8/1/7/81739.jpg

If I am not in Shangpa, I can at least say there is a Red Guhyajnana who will harness the Four Dakinis, and a White Guhyajnana (Siddharajni) who combines dakini items with a Fancy Pants Tara form, an assistant to Vimala Guru or Pandita Vajradhara, which must be rooted in one or more prior world systems, according to his name.

Tara does the same thing. As Amoghasiddhi's Tara, she was Wisdom Moon (Yeshe Dawa) in a prior world wherein he was Dundhub Isvara, or the Yidam of Drum Sound, and we see drums are with higher energy or level two dakinis, so to speak. So there is a tenuous link of Green Tara to the Moon.

In working out the classifications of Buddhist tantra, there is a rough spot whereby the name Cunda is perhaps considered a peaceful version of Candi, who is the wrathful Amoghasiddhi smoky Tara--whose peaceful forms are green. Cunda does not seem to match, linguistically by meaning, whereas Canda is a word for wrath generally, such as Canda Maharoshana, a wrathful form of Vajrapani.

Candi is difficult to analyze, she is a wrathful Durga, and I am trying to keep in mind that before any written tantras, a large portion of Buddhist tantra intent can be seen in verse two of Durga Suktam, which was written like this ca. 300 B. C.:

Taam-Agni-Varnnaam Tapasaa Jvalantiim Vairocaniim Karma-Phalessu Jussttaam |
Durgaam Devii[ngu]m-Sharannam-Aham Prapadye Su-Tarasi Tarase Namah

Agni colored Tapas Jvala Vairocani Justam (https://www.wisdomlib.org/definition/jushta)

refers both to Jnanagni--the offering of Karma Phalesu, or the fruits of one's actions--down to the Ucchista or "Scraps", usually for Smoky Ganesh and other low class tantric deities--and to Vairocani as the manifestation of blazing tapas.

Then to the devi is Saranam, Refuge, same as in our Refuge Vow, and then some obvious variations on Tara.

The song is closer to Katyayani or Vimala, who is violent without taking an angry or scary appearance.

Chandi is the one shakti not produced by a male god, is like a direct twin of the transcendental Devi in the manifested world.

It may be the case that Cunda is Buddhist for the unmanifest, whereas Candi would not generally be known without a lot of details about the Families. I am not sure. The similarity of the names would tend to want to make us jump to this conclusion, but we should not necessarily do this unless we can trace it in the Abhidharma.

If we look into Hindu Candi, she is inextricably tied to a major Ista Devata of Hinduism and Buddhism.

There is a Nava Chandika (http://sith.in/articles/details/70) from Skandaya Mala tantra, who over-writes Nava Durga, having nine pairs of arms, or eighteen. It is a nine-deity configuration wherein the center is called Ugra Canda. She is mounted on a lion, and the retinue members have sixteen arms.

Ugra Canda is Vahni Samnibha--color of fire, or "just alike" the Vahni which are vehicles of Agni.

1. Rudra Canda, bright red like a lotus

2. Candogra, roshanamaruna or resembles Arunodaya (https://www.wisdomlib.org/definition/arunodaya) (dawn)

3. Pracanda (Cinnamasta), krsna or dark blue

4. Canda Nayika, nila or blue

5. Canda, sukla

6. Candavati, dhumra or smoky

7. Canda Rupa, pita or yellow

8. Ati Candika, Panduragneya, pandura pale or robed in white, fiery

Also similar in Kalika Purana.

The two things that remain unclear to me from having spent a lot of time poring over these subjects, is whether Cunda has to do with Candi, and the nature of Raudri or the first form above. Most of the tantras use similar rings and retinues so we can get an idea of how it evolves and shapes, but, for some reason, Samputa Tantra manages to unleash a whole ring of Vajra Raudris who continue, I believe, only in Weapon Hevajra.

That is the significance of Ghasmari and why I have to tie off my personal sadhana at that point, Ghasmari is Maheshvari and how is this related to Raudri.

shaberon

22nd July 2020, 18:41

In the painting, there is a square cauldron with a crescent moon and six jewels and flames. Do you know what it is?

Cundavajri seems to resonate if that means a female deity that is a vajra made of moons.

Which part of which painting? So many details...

Cundavajri is the name specifically used in Guhyasamaja. We would have to refer to the full text, it is difficult, but primary. I will try to see if I have anything on it later.

Old Student

22nd July 2020, 20:25

This one. There turn out to be two such moons, the one in the center I described with the 6 jewels in the Chinese cauldron and one to the lower right of it.

shaberon

23rd July 2020, 08:30

This one. There turn out to be two such moons, the one in the center I described with the 6 jewels in the Chinese cauldron and one to the lower right of it.

Oh, these are Lakshmi gems of some form or another.

Vasudhara and Jambhala proliferate them, Citrons, or Jewels.

Same pattern, starts as "a" gem and then something like three, to six, to nine.

Amoghasiddhi does the collection this way in Namasangiti Dharanis:

Yellow Vasumati Mahalakshmi with Corn is first, Ila Vasudhara.
Red Ratnolka with Cintamani Banner.
Sita Usnisa Vijaya with a jar of moonstones.
Reddish White Marici with a needle and string.
Dark Green Parnasabari with peacock feathers.
Sukla Janguli with poison flowers.
Priyangu Anantamukhi with jar of treasure (nidhi) on a red lotus (kalasa)
Sukla Cunda with rosary and kamandalu.
Sita Prajnavardhani (Prajnaparamita--Sarasvati) with a sword on a blue lotus (nilotpala)
Harita Sarvakarmavaranavisodhani has a vajra with three thongs on a sita kamala lotus.
Red Aksayaknanakaranda has a basket of gems.
Yellow Sarvabuddhadharmakosavati has a trunk full of jewels on a padma lotus.

Nidhi or secret treasure underneath the Yaksa kingdom is the theme here. But likewise the Fruit aspect. These are the true wealth, what is really asked to increase, or the real Noose.

In Guhyasamaja, Cunda vajri is the Tri-kaya of a particular samadhi:

|| vīravajrormimālā nāma samādhiḥ||

atha bhagavān vajradharaḥ samantanirghoṣavajraṁ nāma samādhiṁ samāpadyedaṁ mahāvajrabhāvanāpadaṁ svakāyavākcittavajrebhyo niścārayāmāsa|

|u||

khavajramadhyagataṁ cintetsūryamaṇḍalamuttamam|
buddhameghān vidhānena trivajrātmā mahāyaśāḥ||76||

pātanaṁ kāyavākcitte cundravajrīṁ vibhāvayet|
sarvālaṅkārasampūrṇāṁ sitavarṇāṁ vibhāvayet||77||

vajrasattvamahārājaṁ dhyātvā mantrapadaṁ nyaset|

The subject of this samadhi is Vira or Heroine Vajra Urmimala (https://www.wisdomlib.org/definition/urmimala) Wreath or Garland of Waves.

The first line is something about Vajradhara is going to demonstrate something:

Kha Vajra within a Sun--Surya Mandala
Buddha Clouds contemplate Tri Vajra Atma with a great retinue.

"Coming down", inferring from the clouds, meditate Body Speech Mind of Cundavajri, which likely means one of Vajradhara that he has extended in her form.

Ironically her color is Sita here. Then one recites Hundred Syllable mantra.

So she is mentioned one time, and, to sift through the hay to enquire how noteworthy or obscure her gigantic form in Guhysamaja might be, this is about how hard you have to look:

There are three principal lineages for Manjuvajra form of the meditational deity Guhyasamaja. The first is the lineage of Abhayakaragupta contained in the Vajravali text. The second lineage is that of the Yogini Risul and Nyen Lotsawa, no.44 in the Gyu de Kuntu set of mandalas. The third lineage belongs to Marpa Lotsawa and the text is found in the Kagyu Ngag Dzo.

In this lineage, Manjuvajra peculiarly emanates in the Northeast, Yellow Locana, and Cunda in her Maha form, which goes with her regular dharani, according to Taranatha. They begin his unique retinue not found in Akshobya Guhyasamaja. He has the additional ring of Cunda NE, Ratnolka SE, Bhrkuti SW, Vajrashrnkala NW. Graphically, Manjuvajra has "sent" Locana and Cunda to Akshobya, who has "sent" Mamaki to Ratnasambhava. Manjuvajra has completely kicked out Vairocana, probably by way of making a fusion.

Guhyasamaja Manjuvajra is actually simpler than the Yoga version of Manjuvajra, placing the Sense Objects of Touch and Dharmadhatu in noticeable positions--Touch being in Amoghasiddhi Family, and Dharmadhatu, of Vajradhara. Yoga Manjuvajra is not using Sense Objects and the like, it is closer to a standard assembly of Bodhisattvas and Ten Wrathful Ones. The problem of Locana and Mamaki has led to perhaps a few mistakes, such as a Japanese idea that Offering Goddesses transform into Sense Objects. But we think most of these moves are intentional and have a meaning. Otherwise,Manjuvajra is the same as Akshobya Guhyasamaja; Purified Sense of Touch has entered the center: Manjuvajra's consort is Sparshavajra as Vajradhatvishvari.

Locana has a dual existence in Vairocana Abhisambodhi: In the north-east, the Mother of all the Buddhas, the Blessed Lady Gagana-locana, or else her syllable GA. Locana returns forty verses later on a Gold Square mandala and is flaming Yellow and the Mother of Bodhisattvas.

None of the Guhyasamaja mandalas show Cunda because they do not have enough rings to support the entire retinue. It can be found in a Varavali relationship of the three kinds of Guhyasamaja: Akshobyavajra, Manjuvajra, and Lokeshvara. She isn't very distinct, but in Manjuvajra's upper right mandala, in the border of green and blue, is a white deity with so many arms she just looks like a square, this is Cunda, or. Cundavajri:

https://www.himalayanart.org/images/items/resized/2000px/7/7/2/77208.jpg

Here (https://artsandculture.google.com/culturalinstitute/beta/asset/manjuvajramandala-with-43-deities-unknown/cgHrisi2m6UCbQ?ms=%7B%22x%22%3A0.6888326460749021%2C%22y%22%3A0.6469226195663969%2C%22z%22%3A14%2C%2 2size%22%3A%7B%22width%22%3A0.060114503816793896%2C%22height%22%3A0.03159731108794035%7D%7D) is a zoomable Manjuvajra that is perhaps better.

My best guess is they are counting twenty-six arms plus one face = twenty-seven lunar mansions. Otherwise she seems in keeping with her basic version, i. e. an assembly of Buddhas and Bodhisattvas; for which, as the word, Saptanam, has only one meaning which is in the Vedas which would mean having seven names: The Seven Names of Samyak Sambuddha Families seems to be the venue of her appearance and mantra.

Candi's seed syllable is Ca, so, she is a slightly different pronunciation from Cundi, though both are C or Ch and mean almost the same thing. Ca is "to move", as in Cale, and so Candi's other common name Chamunda is perhaps "she who moves in the head".

The syllable Hum is said to be the Dhenu bija, the ‘seed sound of the Mother cow’, calling its calf back to it. Phat is the bija of the great fire at the end of time (Pralayagnirmahajvala, or Vidyujjvha, like Ekajata). Svaha, otherwise known as Thah Thah, is Vahnijaya, representing the fire sacrifice.

In Four Brahmavihara, Mudita is Joy, which is Vajrasattva. And so in Hundred Syllable mantra, the four "Ha"s are the Four Joys.

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

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

So this is a valid list:

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

And so is this (Naro's terms):

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

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

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

Maitri wrote about Four Joys in terms of Seals, Mudra, but his terms "include all Four", they are Sahaja, the first is Karma Mudra or sexual yoga, then Dharma, Maha, and Samaya Mudras. As his samaya, I expect he means to the true transcendental Yidam with whom one would practice Transference, which would make Transference sound likely possible at the Eighth Joy when the Mercury has fully risen.

Naro lacks the Seals, and only wrote in terms of Empowerments; Maitri's system allows for more interpretations and the extended sets and so forth. This is similar to how their Dakinis have a certain order, Naro's begins basically standing and moves towards dancing and drinking, but Maitri's is a raised-leg flyer.

It is, indeed, written that there are even sixteen or more Bhumis. Namasangiti summarizes any additions with a spellcaster having a treasure chest. The first is Bhumi is Mudita. We may, perhaps, comprehend them all, but to really be on it, it has to be immutable. Do I sense it, yes, of course; is it permanent, no, unfortunately not. What may help, Bodhisattva meditations with Offerings.

Vajrasattva--Pramudita, Joy

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

1. Freedom from conceptual elaborations is known as generosity.

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

Mipham recommends Dhavajagrakeyura to increase Wind Horse. It is on prayer flags but also on permanent posts.

Wind Horse or Lungta Tibetan dance rock:

E7-uWR3vYcM

Mantric music is intended to be versatile, or to cover the whole range of dynamics. And so compared to the basic Twenty-One Taras recording, the actual perpetual one in Tara's Acacia Grove has wild singing and expert musical lines between the verses. Dakini music particularly may be bold and brash. And then some of it should be more emotional, some of it just plain lucid, and some that is soft.

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

In Namasangiti, Dana Paramita is whitish red in colour and holds in her left hand various kinds of ears of corn. Citta Vasita is white in colour and holds in her left hand the red Vajra with five thongs. Pramudita Bhumi is red in colour and holds in her left hand the Cintamani jewel. Ratnolka Dharani is red in colour and in her left hand she holds the Cintamani Banner.

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

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

Nyan also transmitted a Six Limb, i. e. Sadanga Yoga Tara.

So we see he has a fair few unique deities as well as Guhyasamaja Manjuvajra.

Cintamani Wish Jewel is itself, is a type of Chakra, is the image on Banner.

Agape

23rd July 2020, 15:31

shaberon

23rd July 2020, 21:17

After many years of inter-dependent observations :) I have come to the same conclusion as previous: the 5,6,7..families of Buddhas in their respective directions of space represent none else than actual races of entities who both preceded humans and gave birth to several human progeny lineages here on Earth.

Yes, I think there is something to that; but also it was the weakness of, not exactly original Theosophy, but Mr. Sinnett's line of inquiry was about "this", and less about practical inner meaning--which is what Alex Wayman started asking about.

The teachings as a whole, Theosophical or Buddhist, are said to pertain to this planet at this time. Avalokiteshvara is the major Bodhisattva Mahasattva for everyone, because this is the cycle of Lotus Family as the main governor. In the Puranas, one will find that "Amitabhas" will be the basic building blocks of the next world. One also finds that "Tusitas" are formless from a prior world, and are currently in the third Kama Loka where Maitreya is nestled.

"Indra" is merely an office, occupied by different individuals at different times.

There are Puranic lists of several world systems; Buddha's memory was said to extend Ninety-one Kalpas, entire days--nights of Brahma.

There are only a few ports or emphasized aspects of continuity between world-systems, Drum Sound Isvara Amoghasiddhi and Jnana Candra Tara being perhaps the main one. It is, for instance, the source of her refusing to be reborn as a male. She made that decision against the wishes of her elders in her previous world. In this system--or during its pre-cosmic gestation--she eloped with the Moon against the wishes of Jupiter, which again is the rejection of "ritualistic repetition" versus inner meaning, which is also the removal of Yoga from exclusive "Brahman--only" hands, into those of any kind of person with Merit. Tara then returns the Moon's power to Jupiter, which becomes Kavya or the art of poetry. Adi Kavya or primordial poet of our earth was Valmiki, author or rather compiler of Ramayana, himself a Maha Cina.

Perhaps the main stellar legend is the one of Agni and the Pleiades and Arundhati, which repeats itself in the Gangetic or astral plane, which tells us about various layers or bodices of Maya and Shakti. On the Path, stellar or cosmic matters are the domain of Marici.

So when we have Vajrapani and Eight Planets, this is to say that on Earth, aspects of the other planetary lords are permanent residents and so forth. With Jupiter being a bit subdued into his correct role as Deva Guru, then, the Human Guru is revealed as Venus--Lakshmi.

One can see this in western astrological glyphs. Just as the top of an Inverted Stupa is intended to meet the base of a Divine Stupa, the glyphs of Earth and Venus should merge to make the complete key:

O
+
O

The Earth Glyph is the Orb of Kings as held by Holy Roman Emperors and others; that of Venus, an Ankh, or Mirror. The Alchemical language as understood even by Isaac Newton is startlingly close to the alchemy as designated in the Sanskrit system. In Sanskrit, Rasa is Taste or Mercury, which is both symbolic, and the actual substance. Nagarjuna was one of the most important alchemists, and this was centered at the Eastern Silk Road which links Assam to China, so it is mixed right in to the Maha Cina culture.

Maha Cina Tara does the odd business of importing Kama Devi from Assam, and arising in the Bhattarika Taras which include Sragdhara (whose garland is actually gooseberries). In Sadhanamala, Sragdhara comes right before Vajra Tara.

Mangala Rupini is a Kama Devi song from Kanchi, Adi Shankara's home base in Orissa:

VNulsVD9L4U

Jaya jaya Sankari gouri krupakari, dukha nivarani Kamakshi.

Victory, victory to wife of Shiva, the white Goddess,
The merciful one, she who removes sorrows and the Goddess Kamakshi (Kama Eyes)

Dukha Nivarani would be quickly familiar to Buddhists, i. e., Sarva Nivarana Vishkambin, or the Sarva Varana epithets of Prasanna and Vijayavahini. Mainly the varana or veils are five hindrances of baleful emotions that are pretty much the same Buddhist or Hindu. Dukkha is a fairly standard word for suffering.

And so the alternate title for the song is Dukha Nivarana. And I cannot find any way that the major basis of Adi Shankara's resident goddess is any different from Buddhism, since Dukha is the main reason for having the training, and Nivarana is the basic cleansing or purging technique. If you just add two more veils, then you have the full RGV or all Seven Buddha Families.

Prasanna Tara is Amrita Locana.

In Sadhanamala, there are no Amitabha Green Taras, his female emanations are only Kurukulla, Bhrkuti, and Sitavati (who turns green when she moves). Sragdhara is "potentially but not explicitly" in Lotus Family, since she refers to Amitabha, and overall, is part of the Mahakarunika cycle; her relation to Amitabha appears unique:

amitābhabuddhamadhyāṃ jaṭikāṃ dadhatīṃ manoharām evam

Amitabha in the middle of Jhatika (Plums) arranged beautifully.

Mahakarunika is the overall cycle of Lotus Family practices, having Maha Sri (or Mahalakshmi Sutra) for its Messenger. In Kriya, it employs three forms of Avalokiteshvara:

Amoghapasha, Padmajala, and Simhanada.

That means those are his main basics with public dharanis, etc., and that he has more subtle forms intended to be drawn in by those. Padma Jala and Sukhavati Avalokiteshvara are among his tantric practices.

Simahanada has a sadhana with Pandara. His usual appearance is with Eight Naga Kings. They are under Nagaraja who is doing "preventing bad rebirths gesture" (Sarvadurgati Parishodana) and Nagarjuna:

https://www.himalayanart.org/images/items/resized/2000px/5/1/9/519.jpg

Sragdhara originally was thirty-seven verses in Sragdhara meter, and is still used for Tara's grace before Vajrakilaya or Mahakala practice, for instance. It comes from Kashmir, ca. 8th century. Sragdhara is related to Sukhavati Avalokiteshvara, i .e his Pure Land. So she is also a "lace-up" from outer to inner.

Manipadme begins to look like the fact of Mani Tara and Padma Tara. Avalokiteshvara invokes Mani Tara followed by a strand of Padma Tara. In Sadhanamala, after Dhanada, Bhagavati Arya Tara is Om Mani Tare, followed by Sragdhara. Elsewhere, Om Padma Tare has multiple uses, such as Pandara. 108 is a Mani Tara who invokes Avalokiteshvara and is described as labdhā(ma)mitābhagarbhatantre. That looks like an attempt to correct a scribal redundancy in Labdha (has received) Amitabha Garbha Tantra.

Outside of Sadhanamala, Nagarjuna is recorded as transmitting fifty-nine practices, including:

Mahakarunika Arya-tara sadhana samanyabhi-samaya

Sragdhara is in Nepal's Dharani Samgraha, something like Sadhanamala, or perhaps itself a song using 535 deities.

The five hunredish sections of Dharani Samgraha have the contents near the end. The whole thing is perhaps one massive song, but it seems to be clear the invocations follow a purposeful order. It begins with something that resembles Paramadya, conjures Buddha Families and Namasangiti:

Vajrasattva Kaya: Four kinds of Prajnaparamita
Sapta or Seven Buddhas, i. e. Historical Buddhas
Vajrasattva Kayodbhava, born from the body of Vajrasattva: Vairocana, Musa Mantra Vidya, Maya Jala, Akshobya, Ratna, Amitabha, Amoghasiddhi
Namasangiti followed by many Manjushris and Lokeshvaras

Sarvadurgati and Sutras

It then becomes almost a "who's who" of Sadhanamala with Pancha Raksa and so forth, and does contain certain rare things showing they are pretty closely related:

Dhvajagrakeyura
Guhyeshvari
Janguli
Sragdhara
Swayambhu Purana
Vasudhara and Vajravidarini
Vijayavahini

Seeming to end with:

Vajra Tara and Paramitas, Mahakala.

Tibetan Deities records Nyan's White Tara as an Amitabha goddess; Nyan's Green Tara is an Amoghasiddhi goddess, whose role is to "summon her likeness from Potala"--and since her name is Sadanga Tara, and she is really invoking her Sambhogakaya, the meaning of this one is quite clear. It is not quite like Avalokiteshvara and Guhyajnana, who simply "are" in each other's hearts; this one uses seeds in her heart to draw forth the higher power. It sounds like the Potala Tara is front-generated with a host of Buddhas and Bodhisattvas, and there isn't a culmination to it. This would have the effect of building her power for a long time prior to another sadhana which would establish her as Mahasri, or a stable Sambhoga Kaya Tara; or install her heart gnosis being. It also uses a Tara Mahakaruna dharani, and 108 names of Bhattarika Arya Tara.

After this are the Three Reds of Sakya where Sukha Bharati is rendered as Sukha Vardhani (Increasing Bliss).

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

So if the title of "Bhattarika" is any kind of clue, then, it relates certain specific Taras, to include Sragdhara, which means that Mahakarunika is inevitably a part of it. Chances are, I will not get Amoghasiddhi Tara to do very much, unless she has a stable footing in Lotus Family.

Prasanna is an Amitabha Tara. Guhyajnana is not by name in Sadhanamala, but Vajrayogini is.

Saraha's Oddiyana Krama Lokeshvara 35 uses an Amitabha Sattvavajrayogini and winds up invoking Hariti. Manjushri 48 is similar. The big Ekajata 123 somehow finishes with a Red Two Arm Vajrayogini with a chopper and skull who is not the normal naked, digambara, but is nagnam, which is more like a naked sl ut. Nagnam is rarely used, Kurukulla 188, Varahi 224 and 225 (with the Four Dakinis). Vajrayogini is also in Nagarujuna's Ekajata 127.

Usnisa Vijaya is an Usnisa who "holds" Amitabha--i. e. she may be born of Buddha or Vairocana, but has attained something with Amitabha. If this kind of thing is perhaps a bit mysterious, it becomes even more intense.

We have found a, largely unknown to the western world, "Jala" class of tantras which seem to be explanatory of, and the basis for, the more commonly-known systems. Jala or Net refers to Varuna, and so the shakti or associated power must be Varuni. And again, the outer approach to Jala is given by Manjushri.

Mayajala Manjushri may have Six Arms, or, particularly in Nepal, six pairs of arms. This larger version can however be found outside the country. Twelve Arm Manjushri is in the special Manjushri temple at Sakya Town in Tibet. Here, he notably is holding Amitabha:

https://www.himalayanart.org/images/items/resized/1800px/4/6/8/46856.jpg

That temple, restricted in the second floor over a Tara temple, shows all of Manjushri's forms, with this one perhaps as supreme.

Old Student

23rd July 2020, 21:55

pātanaṁ kāyavākcitte cundravajrīṁ vibhāvayet|
sarvālaṅkārasampūrṇāṁ sitavarṇāṁ vibhāvayet||77||

So she's not really Cundavajri here she's Cundravajri, no?

I don't understand your comment about Sita color. I tried looking up Sita and she is golden but I looked up "sitavarna" and it was "pale, white like a shell".
I do like the motif of a vajra garland of waves, not sure if it is supposed to have a very specific portrayal.

My best guess is they are counting twenty-six arms plus one face = twenty-seven lunar mansions. Otherwise she seems in keeping with her basic version, i. e. an assembly of Buddhas and Bodhisattvas; for which, as the word, Saptanam, has only one meaning which is in the Vedas which would mean having seven names: The Seven Names of Samyak Sambuddha Families seems to be the venue of her appearance and mantra.

Again references to the moon.

Between the spelling "cundra" the pale shell color, the 27 mansions, she looks pretty candra-like. Or maybe that's what I want to see.

Yellow Vasumati Mahalakshmi with Corn is first, Ila Vasudhara.
Red Ratnolka with Cintamani Banner.
Sita Usnisa Vijaya with a jar of moonstones.
Reddish White Marici with a needle and string.
Dark Green Parnasabari with peacock feathers.
Sukla Janguli with poison flowers.
Priyangu Anantamukhi with jar of treasure (nidhi) on a red lotus (kalasa)
Sukla Cunda with rosary and kamandalu.
Sita Prajnavardhani (Prajnaparamita--Sarasvati) with a sword on a blue lotus (nilotpala)
Harita Sarvakarmavaranavisodhani has a vajra with three thongs on a sita kamala lotus.
Red Aksayaknanakaranda has a basket of gems.
Yellow Sarvabuddhadharmakosavati has a trunk full of jewels on a padma lotus.

This is an interesting list. I saved it with my list of "decorations" of my clear body I started.

She was again there last night, again only as a moon-like body. I had a time limit so I started things and kept them moving -- I don't usually do that. I was heading for the technique from the night before that opened my throat, which I've called, in my notes, the "four body" technique, because the area between my heart and the bottom of my throat has to be four things at one time.

I'm not sure what to think of the four joys, I have encountered them before. I have different types of bliss, they are not progressive -- one does not become another in any progression -- they can simultaneously be there, they are different, differently generated and differently perceived. During my shaking, bliss is not an end in itself, it is a source of energy and empowers something or teaches something.

The flags I see during my shakings are on poles, in the desert -- here is a place:

http://www.chinadaily.com.cn/cndy/attachement/jpg/site1/20090310/0013729e4a9d0b1ff87e21.jpg

It's a "mazar" of a particularly saintly or notorious imam depending on which side you were on, and a lot of these "mazars" are built in what were once viharas when they were no longer used as such. You can see the inheriting of the prayer flag as now a votive at a Muslim shrine.

Old Student

23rd July 2020, 22:02

The population of Shambhala had to be quite diverse considering it was nested somewhere along the ancient Silk Road.

I love this story, I like thinking of the different populations that must have been there and how they interacted and exchanged things. At times, I like to think of things coming from Harappa, at other times, from Bactra, still others from the Pamir mountains, I wonder how they all communicated and where some of them went.

Thanks, Agape.

shaberon

23rd July 2020, 22:55

So she's not really Cundavajri here she's Cundravajri, no?

I don't understand your comment about Sita color. I tried looking up Sita and she is golden but I looked up "sitavarna" and it was "pale, white like a shell".
I do like the motif of a vajra garland of waves, not sure if it is supposed to have a very specific portrayal.

Yes, I noticed that. Again, it is simply a copy; it may be a spelling error. Yes, these things are subtle; I and most other people imagined that Ramayana Sita is white, but, actually--and especially during her trial by fire--she is luminous gold. In Buddhism, she is accepted as Vasudhara, not as White Tara. Normally, Sita color would be a pale or soft white, whereas Sukla is intended to be moonlike. Guhyasamaja may be so old that the habit of using Sukla for a color had not started yet.

I have no idea how or why the "r" is there, and I cannot say for sure how the "Waves" manifest. It is outright bizarre that one of the oldest and most widespread deities is "stuck" with a short mantra, but for some reason, with Manjuvajra, evolves into one of the most-multiple-armed forms. We could try to dissect her Sadhanamala articles, but, even there, she is still four armed with bowl and the same mantra.

In Namasangiti, the Dharanis are Amoghasiddhi emanations, and so their primary item is always a Crossed Vajra.

We could never see these unless expanding a Namasangiti mandala to 800%, but there is one example of how they look.

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

https://www.himalayanart.org/images/items/resized/1800px/4/1/2/41202.jpg

In the Dharani Goddesses, Cunda fairly clearly stands for some type of initiation prior to something major about Prajnaparamita. Those spells are in the linear order of the Bodhisattva Bhumis.

There may be more information on Cunda somewhere, perhaps in a Guhyasamaja commentary, but all I have is breadcrumbs, and am only a seeker.

It perhaps may be helpful to enumerate "the Dhyanas", or stages of Samadhi. I think they are accurate. Buddha says that without a good guide, a person might attain one or two dhyanas, and then crash, which is more or less what happened to me. As they progress, Bliss more or less "drops below the threshhold". It is, indeed, the method of entry, but not the end, actually quite far from full enlightenment.

I have this somewhere and will try to dig it out later on.

To me, one of the most potent uses of moon is Water Moon (containing a hare). It is the whole Generation Stage up to Bliss or Sambhoga Kaya; the hare is the Androgyne. Water Moon does not work when the water is agitated. And it must rely on Vajrasattva + some kind of moon goddess shakti.

shaberon

24th July 2020, 01:46

The Eight Jhanas or Dhyanas are an ancient tradition which pre-dates Buddhism.

They require any "object of focus", whether an image, mantra, visualization, or your breath.

The first Dhyana requires physical seclusion from extraneous activity, to put time into spiritual development. It also requires mental seclusion from defilements. At that point, one starts changing the Five Hindrances into the five factors for dhyana. The first dhyana possesses five component factors: applied thought (vitakka), sustained thought (vicara), rapture (piti), happiness (sukha), and one-pointedness of mind (ekaggata). The dhyana factors are first aroused by the meditator's initial efforts to concentrate upon one of the prescribed objects for developing dhyana. As he fixes his mind on the preliminary object, such as a kasina disk, a point is eventually reached where he can perceive the object as clearly with his eyes closed as with them open. Through practice, Hindrances are overcome by concentration, and the outcome is "seclusion from the substance" (upadhiviveka) or a prelude of nirvana.

You shift your attention from the meditation subject to the joy associated with your concentration. You do not cling to the sensations, but just watch them. The experience can include some very pleasant physical sensations such as goose bumps on the body and the hair standing up to more intense pleasures which grow in intensity and explode into a state of ecstasy. The pleasant sensations can be so strong to eliminate your painful sensations. You enter the dhyanas from the pleasant experiences exploding into a state of ecstasy where you no longer "feel" any of your senses; although sense-feeling may not completely vanish yet.

The second Dhyana does not proceed directly from success with the first. In fact, the opposite is true. Tathagata has said that if you start the second too soon, you will fail, and then not be able to regain the first. So it requires total mastery of the first. Mastery in attaining is the ability to enter upon dhyana quickly, mastery in resolving the ability to remain in the dhyana for exactly the pre-determined length of time, mastery in emerging the ability to emerge from dhyana quickly without difficulty, and mastery in reviewing the ability to review the dhyana and its factors with retrospective knowledge immediately after adverting to them. When the meditator has achieved this fivefold mastery, then he is ready to strive for the second dhyana.

With the subsiding of applied thought and sustained thought he enters and dwells in the second dhyana, which has internal confidence and unification of mind, is without applied thought and sustained thought, and is filled with rapture and happiness born of concentration. Here, you analyze the defects of the first: it is only a minor shield against the Hindrances, and applied and sustained thoughts are found to be gross impediments.

Then one directs the mind to the meditation subject — which must be one capable of inducing the higher dhyanas such as a kasina or the breath — and resolves to overcome applied and sustained thought. When his practice comes to maturity the two kinds of thought subside and the second dhyana arises. In the second dhyana, only three of the original five dhyana factors remain — rapture, happiness, and one-pointedness. Moreover, with the elimination of the two grosser factors these have acquired a subtler and more peaceful tone.

It is more sublime and produces confidence, faith, and tranquility. Concentration becomes undisturbable, and samadhi as experienced at first becomes much more eminent. Furthermore, with the stilling of directed thoughts & evaluations, one enters and remains in the second dhyana: rapture and pleasure born of composure, unification of awareness free from directed thought and evaluation — internal assurance. One permeates and pervades, suffuses and fills this very body with the rapture and pleasure born of composure. There is nothing of the entire body unpervaded by rapture and pleasure born of composure.

In the third dhyana, one finds the defect of the second, rapture. One discards this and is left with happiness and one-pointedness. With the fading away of rapture, one dwells in equanimity (upekkha, neutral feeling, mental poise), mindfulness (sati) and discernment. These prevent the return of rapture, which is always waiting like milk for a suckling.

In the fourth dhyana, the defect of the third is found to be sukha or happiness, which leads to clinging. With the abandoning of pleasure and pain, and with the previous disappearance of joy and grief, one enters and dwells in the fourth dhyana, which has neither-pain-nor-pleasure and has purity of mindfulness due to equanimity. Neutral feeling replaces happiness. The purification of sati--mindfulness is done by "specific neutrality", the sublime impartiality free from attachment and aversion.

Those are "with form" and the second four are formless.

The fifth dhyana enters the formless realm. Akāśānantyāyatana perceives infinite or boundless space. There is no more elimination of previous dhyana factors; equanimity and one-pointedness remain, so sometimes the formless set is just considered part of the fourth dhyana. You enter the fifth dhyana by remaining in the utter peacefulness state and then shift your attention to the boundaries of your being. You focus your attention outward as if you are watching yourself from above. You may feel like you are floating above your body at first. You put your attention on your body so that it feels like you are filling the room. This is expanded further and further so that you fill your whole neighborhood, city, country, continent, and then to space itself. You find yourself in this huge expanse of empty space.

The sixth dhyana takes equanimity and one-pointedness to a state called vijñānānantyāyatana, wherein space is no longer a barrier; there is only infinite or boundless consciousness. You enter the sixth dhyana by realizing that the infinite space you occupy includes your consciousness. You may feel “at one” with all nature and existence, but do not be fooled, this is not full enlightenment.

The seventh dhyana carries equanimity and one-pointedness into ākiṃcanyāyatana, wherein there is no consciousness, but infinite or boundless nothingness. It is entered by realizing that the content of the infinite consciousness is basically empty of any permanent nature. There is nothing in the universe that has any permanent essence to it. We realize that everything is in constant flux.

The eighth jhana consists in the most discrete possible state of mind, which justifies the using of "neither perception nor non-perception": naivasaṃjñānāsaṃjñāyatana.

Buddha (https://puresubjectivity.com/why-buddha-was-discontent-with-the-eighth-jhana/) did not rest there.

Instead there is a ninth:

When you reach the limits of perception, you realize that lesser mental activity is better for your calm and peaceful state. You enter a state of “cessation” of consciousness where there is only a very subtle form of perception. The meditator may appear to be unconscious. There have been reports of meditators having heart beats as low as 20 to 40 beats per minute at this jhanic level. The nearest way to describe this state is something like a very deep sleep. The eight and ninth jhanas are not full enlightenment, but very close stepping stones to full awakening.

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

It sounds a little strange, when most all of the Yoga is directed at how to reach and expand Sukha, and then it seems to be scrubbed away here.

In my experience, I understand what is described as manifesting Eight Joys. So again, I would have to witness or testify that these work the way they say they do. But then even in doing these, the goal is something else, Transference or at least some experience of Dharmakaya. It is entered by bliss, it is bliss, but then you just kind of quite noticing it since there is something more subtle and profound. Because I did not have a very good guide, I was not really training in Buddhist Samadhi, but mostly just enacting a physiological process, wherein I probably thought the state of bliss was satisfactory.

What excites me about Buddhism is both the Bodhi Mind intent, as well as the pantheon it uses to enhance and strengthen the interesting physiological process one might get from any kind of yoga. Any deity is a much better guide, a Quintessence is even better, and a Quintessence of Quintessences would be superb.

When counted as Sixteen Joys, those are sixteen kinds of voidness that Buddha manifests at all times.

So it is perhaps accurate to say a Suskma Yoga cycle underpins what one is able to achieve in Samadhi, which is some stage of Dhyana as applied to any kind of meditation subject. You could use kasinas. But since we have long appended everything to mantra and Deity Yoga, it is these that would generally be the object of focus.

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

Alex Wayman (https://ia800802.us.archive.org/27/items/YogaOfTheGuhyasamajatantraAlexWayman/Yoga%20Of%20The%20Guhyasamajatantra%20-%20Alex%20Wayman.pdf) unsearchable PDF on parts of Guhyasamaja (note Suksma Yoga p. 26). Francesca Freemantle (https://fundacionmenteclara.org.ar/guhyasamaja.pdf) full translation beginning p. 26. It is difficult, but in ch. 16 p. 118 she gives:

The samadhi called "Garland. of waves of the Vajra hero'

Then the Blessed. One, Vajradhara, entered. the samdahi
called "Vajra of universal sound.", and brought forth from his
vajra body, speech and. mind. this great vajra meditation word,

CUM

74-75 At the centre of space visualise the holy sun mandala,
and. according to the ritual, clouds of Buddhas, the most renowned.
Three Vajras; to make them descend into body, speech
and mind, visualise Cundavajri, white in colour, complete
with every adornment; visualising Vajrasattva the great King,
place the mantra word.

She didn't find an additional "r". Each edition of this text seems to have or lack something from the other. This is not unusual.

Vajri (https://www.wisdomlib.org/definition/vajri) is just feminine for Vajra, and so other names such as Sparshavajri are equivalent to Sparshavajra and so forth. However, Cunda is the only use of it that does not specifically refer to a Sense Object or a Buddha Family--unique.

Her original is p. 364; I haven't made all the corrections to the difficult copying, but:

viravajrormimala nama samadhi /
atha bhagavan. vajradhara samantanirghoavajraii nama samadhi
ampad.yed.aii mah avaj rabhvanpad.aip svakyavãkcittavajrebhyo
nicrayan /

/CUM/

havajramad.hyagataii cintet sryaina4a1ani uttamam /
buddhamegha vidhxiena trivajr suinahyan II 7
patanam kayavakcitta cundavajri vibhvayet /
sar1akraswppiriip sitavarziip prabhvayet /
vajrasattvahrjaip dhytv mantrapad.aip nyaset // 75
vajrasainayajiiarami? nina samcmi /

Her note says one source writes the name as Candra-vajri. So add an "r", get an "a", and you are back on the moon.

Candra Vajra (https://archive.org/stream/jstor-27899123/27899123_djvu.txt) is a mantra used in the consecration of alcohol-to-Amitayus nectar. Vietnam (http://sachbaoluutru.viengiac.de/Huyen-Thanh/MatTang_Bo1_848-917/no-874/no-874_2.pdf) also records Candra Vajra Prabha (light), and Candra Vajra Samadhi (https://hoavouu.com/images/file/LsNdYWAx0QgQANU8/885-2.pdf), but otherwise I have no clue what they are saying.

Ca is of course a syllable for Candra.

There is a subscribable paper (https://www.jstor.org/stable/25222292?seq=1) which tries to sort these variants through Khotanese Sanskrit with reference to Manohara, which hits upon the difficulty of Canda meaning "fierce". Candika is definitely fierce, and, we already have the confusion of whether Cunda is supposed to be peaceful Candi, especially since they are not in the same family.

Miranda Shaw (https://books.google.com/books?id=MvDKOK1h3zMC&lpg=PA266&ots=Q4HviA6pfi&dq=pala%20dynasty%20cunda&pg=PA266#v=onepage&q=pala%20dynasty%20cunda&f=false) apprises us of a couple things. The Pala king was instructed by a Vajracharya to honor Cunda. A Bengalese Nagini had been killing anyone who tried to take the throne--but Cunda enchanted the would-be-king's club, he defeated the Nagini, and was elected. Her mantra should be recited until one has a dream of removing mental impurities. She says it is very bizarre that such an important deity has no mandala.

A relatively recent Indian tour of Tripura (https://www.outlookindia.com/outlooktraveller/explore/story/48290/hidden-in-plain-sight) says:

More enquiries led us to the massive, modern Raj Rajeshwari temple in nearby Muhuripur. Inside stood the statue of a unique four-armed Durga, a Ganesha and a Surya, all three from the Pilak site. Even more astonishingly, in the centre was a massive image of the popular Pala-era Tantric Buddhist goddess Cunda, complete with eighteen arms. With crudely painted eyes and a garish gold necklace, it is worshipped as Kali here.

So Hindus don't know what a four armed Durga is, but, we do, Durgottarini--the one whose land grant is recorded at a Cunda temple. These two Buddhist relics have evidently fallen into Hindu curatorship, like all the rest of them. As we see, without the paint, a generally white deity can be mistaken for a generally dark one.

There is not, exactly, another Buddhist moon goddess. There is, however, half of one. It relates to a very under-utilized animal mount.

In Dharmakosha Samgraha, Amritananda refers to an unknown planet Janma Graha (possibly Ascendant, "birth planet"), wearing a garland of heads, riding a camel. He has one head, blue fearsome face, ten arms. Virupaksha (Khaganana's consort) is assigned a camel mount in Vishnu Purana, but has no images in India but two in China. Camel Goddess has warlike origins in Rajasthan and is found obscurely across India. Ustra is camel, Mayuri Dharani has Yaksha Ustrapada, Vikrita Gauri uses camel. There is also Vikata, and Gauri on an iguana that appear related. Overall, it is from a Pashupati sect who are also Shaktas.

In Buddhism, Ustra Vahni or Camel Rider appears with Uddhata Vajra Paksha, Waxing Moon Fortnight Lakshmi:

https://www.himalayanart.org/images/items/resized/1800px/4/0/5/40591.jpg

https://www.himalayanart.org/images/items/resized/2000px/8/1/6/81679.jpg

What seems to be the case in astrology is that if exact birth time is not known, the Moon is used for Janma Graha, but the Ascendant or Lagna (https://en.wikipedia.org/wiki/Lagna) is superior:

This is also why the first importance will go to the Lagna's (Rashi & Nakshatra) and Lagna Lord's (Rasi & Nakshatra) which represents the true Janma Rashi and Janma Nakshatra...

Because I do not know all of the Sutras that well, here is a little reminder which actually is about Manjushri and Avalokiteshvara and the Display of the Dharmadhatu:

There is a character called Sudhana Kumara who is in the retinues of Amoghapasha, Khasarpana, and Padmanartesvara Avalokiteshvara. The reason is that he is the prodigal at the end of Avatamsaka Sutra called:

Gandavyuha Sutra

Sudhana was a youth from India who was seeking bodhi (enlightenment). At the behest of the bodhisattva Mañjuśrī, Sudhana takes a pilgrimage on his quest for enlightenment and studies under 53 "good friends", those who direct one towards the Way to Enlightenment. Avalokiteśvara is the 28th spiritual master Sudhana visits at Mount Potalaka. Sudhana's quest reaches its climax when he meets Maitreya, the Future Buddha, who snaps his fingers, thereby opening the doors to his marvelous tower. Within the tower, Sudhana experiences all the dharmadhatus (dimensions or worlds) in a fantastic succession of visions. The final master he visits is Samantabhadra, who teaches Sudhana that wisdom only exists for the sake of putting it into practice.

In Gandavyuha Sutra, Vairocana vyuha alamkara garbo Mahakutagara is The Great Many-peaked Palace that Contains the Adornments of Vairocana's Magical Array. Sudhana does not actually see Vairocana here, because this is a Pure Land or Sambhogakaya, and Vairocana is really Dharmakaya. It may be considered the Dharmadhatu Treasure Tower, as this is taught as arising a a concept, in womb form, and growing ever-more real. Its inexhaustible jeweled treasures are the limitless wealth of Dharma over the economic maladies of samsara. In the Sutra, the Tower is conjured by Maitreya, or, by extension, any Bodhisattva. So Avalokiteshvara appears to be governing it with Mahakarunika dharani.

Swayambhu Purana heavily focuses on Namasangiti and on Uposadha Vrata, which is an Amoghapasha rite. Amoghapasha (http://www.chinabuddhismencyclopedia.com/en/index.php/Amoghpasa_Lokeshvara) in his heritage describes Sudhana Kumara as winning the Kinnara maiden Manohara twice (which is reflected in the difference of saying "hara, twice" in Vasudhara mantras).

His apparent behavior with Manohara is full of pleasure: Kinnara or shang-shung are said to spend all their time united in pleasure without producing offspring. However, he succeeds in pursuing her to her divine realm, and this gets her to return to earth. His birth was a product of Uposadha Vrata and is an incarnation of Amoghapasha or of Buddha as told in Jataka tales. The story begins with the gift of Noose from a beneficial naga. So this story is the main meaning of Amoghapasha.

Kinnara is a type of Gandharva, so it is beyond the Dakini and Yaksha realms.

Karandavyuha (https://archive.org/stream/KarandavyuhaSutra/Karandavyuha-Sutra_djvu.txt) is apparently not a spelling variation, but, a separate sutra featuring Six Syllable Sadaksari and Cunda. Or 2018 Karandavyuha (https://www.wisdomlib.org/buddhism/book/karandavyuha-sutra).

The other related Vyuha is Sukhavati Vyuha Sutra, or i. e. Sukhavati Avalokiteshvara.

There is at least a Chinese opinion on Mahacina Krama or the Tara practice in Mahacina. They believe it is a Hindu Shiva tantra which appeared there around 6,000 years ago, and tantra in Chinese was called Dao De, and so it is the backbone of Chinese culture. That is why there is a "Chinese sadhana", returned to India, then to Tibet, Mahacina Tara.

In Sadhanamala, Mahacina is described as extending her tongue, which is like Kali. Very strangely, at least two 16th century Hindu Ugra Tara tantras carry the phrase "crowned by Akshobya", they have almost literally copied Sadhanamala along with the relevant Dhyani Buddha. Hindu deities never even have such a crown. Conversely, Mahacina is the only mention of Ugra Tara in Sadhanamala, although is is a complicated phrase where Blue Poison, also Jadya--Cold or Stupidity (Tamas), or lack of taste in the tongue, and three deities Trijagatam, do a form of striking or destroying, Hanta, to Ugra Tara, then there is honor or praise to three Bhava, moods or meditations or forms of Tara, seemingly based on Om, Ah, Tam. Or, Tara carries one across the three worlds.

Gudrun Buhnemann (http://imp.lss.wisc.edu/~gbuhnema/tara.pdf) translates it as, Ugra Tara destroys the stupidity of the three worlds, which she places in the skull. I guess that is how the grammar works, Ugra Tara is the subject, not the object, of Hanta. My scratching does not compete with her full translations of both sadhanas, except that Ekajati and Mahacina are not quite identical as she says: Mahacina uses Hrim Hum, Ekajata has Hrim Trim Hum--Trim being a Hindu syllable for Tara or Ugra Tara.

Mahacina has an unusual spawn sequence, from Red Ah (lotus), White Tam (skull), and Blue Hum (chopper/herself). She is a fat dwarf.

If it "looks" like Ekajata, but has a sword and arises from a skull, it is probably Maha Cina:

https://www.himalayanart.org/images/items/resized/2000px/5/9/9/59963.jpg

The lower one is Hara Siddhi who is a different subject.

Old Student

24th July 2020, 17:52

I do want to say something about arms: I was looking up Usnisa Vijaya after looking at your pic of her, and noticed that in many of the renditions of her and then I looked at others, there are two arms which are in a mudra at the heart and not seen in the silhouette. Since a lot of them have this, it's possible the number of hands that she had when I saw her was not six but eight. For your 12 handed Manjushri, it took me forever to find all 12 hands.

In the Dharani Goddesses, Cunda fairly clearly stands for some type of initiation prior to something major about Prajnaparamita. Those spells are in the linear order of the Bodhisattva Bhumis.

I'm getting the feeling that in the Bay of Bengal area, the Cunda and Prajnaparamita were possibly interchangeable, possibly completely so in Srivijaya.

Yes, I noticed that. Again, it is simply a copy; it may be a spelling error. Yes, these things are subtle; I and most other people imagined that Ramayana Sita is white, but, actually--and especially during her trial by fire--she is luminous gold. In Buddhism, she is accepted as Vasudhara, not as White Tara. Normally, Sita color would be a pale or soft white, whereas Sukla is intended to be moonlike. Guhyasamaja may be so old that the habit of using Sukla for a color had not started yet.
There may be more information on Cunda somewhere, perhaps in a Guhyasamaja commentary, but all I have is breadcrumbs, and am only a seeker.

So I think I may have some part of that. She in the oldest renditions is described as the "color of the autumn moon". Which is somewhere in between. As for why there is so little about her, her Dharani apparently went straight to the far eastern languages instead of through Tibet, where she apparently shows up late. So possibly since a lot of the best records for some of these bodhisattvas have been preserved in Tibet, the "standard sources" don't have as much because it is people with an interest in Tibetan Vajrayana who pore over the Sanskrit Buddhist texts the most.

There is more about her in Chinese, in which there has been some mixture of "language divination" in her persona. When transliterated into Chinese, they use 準提 (zhun ti) which would mean to "properly offer" but also possibly associate her with chun 純 meaning "pure".

Also, the 84000 website translation of the Karantavyuha where she and "Om mani padme hum" show up they believe that "Cale Cule Cunde" is from "Cala Cula Cunda" (all with long a's at the end), which they say are all her names. In that case, Cala means "lightning", Cula means the head of a comet. It can also mean a topknot, so perhaps it is a synonym for Usnisa at some point.

That's all I was able to dig up, the Chinese Tangmi ritual for her is elaborate and seems almost Tibetan.

She is still worshipped in Bengal, which makes it even more strange that nothing is written down in Indic languages. The statues of her in 4 and 8 arm poses are all near the harbor in Odisha, makes me suspicious that she is Srivijayan, and really is Prajnaparamita. I had even entertained that her name came from Candi which is temple in Malay.

Just my natural inclination to look for stuff in cultures that have disappeared on the theory that their write-ups in history have been abbreviated by the "victors".

Old Student

24th July 2020, 18:32

Thanks very much for all the sources. Of some of them, I had read that the Karantavyuha Sutra is the first place (of what is in existence now) for the mantra, and that the Cunda mantra is the response. Which made me think of the fact that when I tried the Cunda mantra in my shaking, I got another mantra as a response.

In Japan, she is known as Jundei-Kannon. Jundei is Cunda, Kannon is short for Kanzeon, Guanshihyin or Avalokitashvara. Also I wrote on the last response that I had the feeling that she was from Srivijaya, that she might be in Vietnam as Candra Vajra Prabha might make sense.

You had mentioned that Avalokitashvara was given a version of the Prajnaparamita that was reduced to "a".

On the subject of bliss or of sukha being the point, I have a very complex relationship with bliss in my shaking, as I think I have mentioned. It has developed over time but one form does not displace another as in the Dhyanas you outlined. One form does create or reveal the next one, though. In the current development with the four bodies and the expanding the rainbow liquid up into my head, the bliss created by the one we are trying to name, together with a bliss created in my upper chest, and another created in my clear body and another at my throat, all separately generated and different, have to be there or it doesn't work. And the very deep place that becomes "visible" when that all works is probably another kind. It's the deepest I've encountered so far.

shaberon

24th July 2020, 18:50

shaberon

25th July 2020, 09:19

You had mentioned that Avalokitashvara was given a version of the Prajnaparamita that was reduced to "a".

On the subject of bliss or of sukha being the point, I have a very complex relationship with bliss in my shaking, as I think I have mentioned. It has developed over time but one form does not displace another as in the Dhyanas you outlined. One form does create or reveal the next one, though. In the current development with the four bodies and the expanding the rainbow liquid up into my head, the bliss created by the one we are trying to name, together with a bliss created in my upper chest, and another created in my clear body and another at my throat, all separately generated and different, have to be there or it doesn't work. And the very deep place that becomes "visible" when that all works is probably another kind. It's the deepest I've encountered so far.

Manjushri and Vajrasattva are also "Ah", the Ali of Ali Kali.

Ah Am Arolik is Lotus Family of Om Ah Hum.

If we look at Samadhi of Vajra Garland of Waves, it tells us to do Om Ah Hum of Cunda.

In Kagyu we usually teach this on Prajnaparamita, so there is an exercise based in Hrim (http://projectavalon.net/forum4/showthread.php?90144-The-Serpent-the-Black-Sun-HPB-St.-Germain&p=1260834&viewfull=1#post1260834) syllable which raises Sarasvati and then uses her mantric identity to obtain Prajnaparamita and do Om Ah Hum on her.

Those are classed as Sherab deities which increase one's faculties, and is consistent with the theme of a white goddess who is found through emptiness and remains, growing, and displaying other forms of emptiness.

The dhyanas are not really the Bliss teachings which is what we use at the upper part of Yoga.

Sukha is the opposite of Dukha.

In Avatamsaka Sutra, Sudhana Kumara is the protagonist, who goes into Amoghapasha Avalokiteshvara's retinue. His syllable is Sum; Sumbha is also Sum. Sumbha is in Ten Wrathful Ones in the underworld with a Serpent Noose.

Vasudhara is like a protectoress of the Yaksha realm, which itself becomes the Vighnantakas, or Krodhas or wrathful ones.

She is a very important deity involved in Agni Homa as well as Entry of the Mandala. Entry or Pravesa is Noose Avtivity:

Om Vajrapasi Pravesaya Hum

Wrathfuls are mainly in Vajra Family, whereas Vasudhara is Jewel Family. She is very primordial.

All of the Historical Buddhas and Dipankara visited or dwelt in Nepal.

In Swayambhu Purana, Vispasi went to Mount Phullocca and observed the light of the Swayambhu. Vasudhara dwelt on Mount Phullocca and made rivers flow. Then Manjushri came and split open the lake at Kathmandu with his Chandrahasa sword (30,000 years ago according to geologists). He was initiated by Guhyeshvari in her worshippable form, Eighteen Arm Saffron Khaganana. Krakucchanda was after him.

Ila Devi with corn or wheat is Vasudhara's form as the first of the Namasangiti Dharanis, which is like Kolhapur Mahalakshmi and Lakshmi Tantra, as well as our Buddhist Mahasri Sutra. Ila distributing gems is the center of the next piece.

Vasudhara is perhaps unusual in that she has two samaya beings, Gopali and Manohara, the main lower figures in the next thangka. Manohara is Hook, the first Activity, who must have been involved with Sudhana Kumara.

At the top center is Shakyamuni Buddha with Green and White Tara seated on the left and right. Directly above the central Ila Vasudhara is Yellow Jambhala. To the left of that is White Jambhala. To the right is red Kurukulla. Below that on the left is Vaishravana Riding a Lion:

https://www.himalayanart.org/images/items/resized/1800px/3/2/1/32159.jpg

There is also Cintamani Fruit-picker Vasudhara, who uses the Jupiterian Bhrim syllable, and passes it to Bharati.

And so in the sequence of Entering the Manadala, you go through the Forest after the Sabaris, and Gopali is around Jamdhi at the base of Mt. Meru. And then there are many instructional deities until one could perhaps say that Durgottarini is Dhruvam or the top of the full version.

Vasudhara is not a Sherab, she is something that must be Matured, like ripening of the earth.

Esoteric Vasudhara is the "public face" of Varahi. And this Matured one is supposed to be an Amoghasiddhi version by her crown. This is hard to find, but her faces should be Saffron, Honey, and Vermillion, and here she could perhaps be under a Kinnara which is equivalent to Karma Family:

https://emptyelephant.files.wordpress.com/2017/01/vasudhara-newari.jpg

In this Newari version, if not with Green Janguli below her, it is someone similar, receiving a stream of gems. Around the Kinnara are serpent-hooded Yakshis. In the same way Vajrasattva is the door into any Guru Yoga, this charged-up mystery Vasudhara is the door to goddesses. To continue into Completion, Bharati--Bowl must be very powerful.

Sudhana Kumara is man in the Chiliocosm (https://www.rigpawiki.org/index.php?title=Trichiliocosm), wherein a "world" is a sentient being, as it is made of Mt. Meru.

The typical ingredients of a mandala will include the Seven Jewels of Enlightenment, Eight Sambhogakaya Bodhisattva Offering goddesses, and then tantric equipment:

LONG MANDALA OFFERING

OM VAJRA BHUMI AH HUM Great, powerful golden base.
OM VAJRA REKHE AH HUM Diamond-hard fence.
This iron fence encircles the outer ring.
In the center Mount Meru, king of all the mountains,
in the East is the continent Purva-Videha,
in the South Jambudvipa,
in the West Apara-Godaniya, and in the North Uttarakuru.
In the East, are the islands Deha and Videha,
in the South, are Chamara and Apara-Chamara,
in the West, are Satha and Uttara-Mantrina,
in the North, are the islands Kurava and Kaurava.
In the East is the treasure mountain,
in the south the wish-granting tree,
in the west the wish-granting cow,
in the north is the unsown harvest.

Here are the precious wheel, precious jewel, precious queen, precious minister, precious elephant, precious horse, precious general and the great treasure vase.

Here are the beauty goddess, garland goddess, song goddess, dance goddess, flower goddess, incense goddess, light goddess and the goddess of perfume.

Here are the sun and the moon.

Here is the precious parasol, the banner of victory in every direction.

In the center all treasures of both gods and men.

This excellent complete collection, I offer this base to You, Great Compassionate One, together with your deity-entourage.
Please accept with your compassion, these offerings made by all suffering beings and bestow your loving blessings, on me and my countless mothers.

This ground I offer, as Buddha-fields, resplendent with flowers, incense and perfume in the center Mount Meru, four lands, sun and moon, may all sentient beings enjoy this Pure Land.

IDAM GURU RATNA-MANDALAKAM NIRYATAYAMI

That is not the Completion Stage version, which adds Canopy or Vajra Panjara, Blaze or Jvala, and Usnisa Vijaya.

Vimala is often an attribute of Lotus Family, is the name of the second Bhumi, and is also a name for Katyayani. She is commonly taken for a regular love goddess like Kurukulla is, but, each of them have a little more to say.

The Virgo-esque Katyayani is like Sodashi or Sixteen, Kurukulla, the Red Powder or Kunkuma. Kanya Kumari has an incarnation at the very tip of India, and another in Nepal, who is simultaneously a Hindu and Buddhist Goddess. The Buddhist one is also Varahi. Varahi usually has a chopper, which is curved. This shape derives from Katyayani.

This is a Rosary of Katyayani's Puja, or, a visualization of her form and dedication to her meaning:

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Chandra Hassoja Vallakara
Shardulavara Vahana
Katyayani Shubham Dadya
Devi Danav Ghatini

Many Indians do not understand it.

This type of Sound is very steady and concentrated and takes over half an hour.

Out of the wide array of weapons she used in battle--Shiva gave her a trident--nevertheless, her meditative form holds Chandra Hassoja or "Moon Sword", meaning crescent-shaped sword or scimitar, a very rare, special Shiva item shared with only a few others.

It looks a little different in Buddhism: it is Kartri or Vajra Chopper, used only by more advanced deities with the intent of cutting out ego.

In other words, one of the main symbols or items in Buddhism, comes from this relatively misunderstood mantra.

Cutting obstacles away from Vow, or from the Marriage of Shakti to Vishnu.

This is like male Ganesh, who, unlike most deities who have only one Shakti, collects them all. Katyayani has been infused with all the male energy and all the males' weapons, and, is not won by merely asking, the Vow and Penance must be actually performed.

Some of the other words are obscure; Shubham usually refers to Fortune and well-being, and, the main ritual sense of Dadhya is Curds--i. e., from Sacred Milk, there is a type of gestation and transformation making Food, or Yogurt, which matures the meditation. That is an essential ingredient of an Agni ritual. Kunkuma is in Kumari's container, Yogurt is in Vasudhara's container.

And so the verse means something like:

Wielding a Crescent Moon Sword
Mounted on a Lion
Katyayani's Blessings and Increase of Wisdom
Devi, give us these.

Both Hindu and Buddhist tantra use Gana Chakra or "Circle of Hosts", involving a feast with dancing. One might not exactly dance to the concentrated kind of mantra like the previous. So here is Katyayani in a very musical song:

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Uma Katyayani Gauri Dakshayani Himavantha Giriya Kumari

Uma (Shiva's wife) in the form of Katyayani Gauri (Vow) Mind-born Mountain Lord's Daughter

Then from Mahanarayana Upanishad with Katyayani Gayatri, we maintain that Vairocani of verse two (the result of drinking Varuni--Soma) is harnessed in Samvarodaya Tantra in Vajrasattva Family to protect Nirmana Chakra:

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Greenmessage translation:

जातवेदसे सुनवाम सोममरातीयतो निदहाति वेदः ।
स नः पर्षदति दुर्गाणि विश्वा नावेव सिन्धुं दुरितात्यग्निः ॥१॥
Jaatavedase Sunavaama Somam-Araatiiyato Nidahaati Vedah |
Sa Nah Parssad-Ati Durgaanni Vishvaa Naave[a-I]va Sindhum Durita-Aty[i]-Agnih ||1||

Meaning:
(We offer our oblations to the Fire of Durga to cross over this very difficult ocean of worldly existence)
1.1: To that Jataveda (one from whom the Vedas are born) we press out the Soma (i.e. Invoke Her ardently); (We invoke that Jataveda) Who consumes by Her Fire of Knowledge (Veda) all the Adversities (within and without) (And frees us from the bondage of the world),
1.2: May that Agni (Fire of Durga) carry us over this Ocean of the World which is full of Great Difficulties and beset with great Perils; like a Boat (carrying one over a very rough Sea),

तामग्निवर्णां तपसा ज्वलन्तीं वैरोचनीं कर्मफलेषु जुष्टाम् ।
दुर्गां देवीँशरणमहं प्रपद्ये सुतरसि तरसे नमः ॥२॥
Taam-Agni-Varnnaam Tapasaa Jvalantiim Vairocaniim Karma-Phalessu Jussttaam |
Durgaam Devii[ngu]m-Sharannam-Aham Prapadye Su-Tarasi Tarase Namah ||2||

Meaning:
(We offer our oblations to the Fire of Durga to cross over this very difficult ocean of worldly existence)
2.1: To Her, Who is of the colour of Fire (Agni Varna) and blazing with Tapas (Tapasa Jwalantim); Who was born of that Fire (of Tapas) (Vairochinim), and Who is worshipped through Fruits of Actions (Karma Phalas) (offered to Her Fire as oblations),
2.2: To that Durga, to that Devi, I take Refuge (Sharanam Aham) by falling at Her Feet (Prapadye); (O Mother Durga, I Prostrate before You) Please ferry me mercifully (over this Ocean of the World full of great Difficulties and Perils),

अग्ने त्वं पारया नव्यो अस्मान् स्वस्तिभिरति दुर्गाणि विश्वा ।
पूश्च पृथ्वी बहुला न उर्वी भवा तोकाय तनयाय शंयोः ॥३॥
Agne Tvam Paarayaa Navyo Asmaan Svastibhir-Ati Durgaanni Vishvaa |
Puush-Ca Prthvii Bahulaa Na Urvii Bhavaa Tokaaya Tanayaaya Shamyoh ||3||

Meaning:
(We offer our oblations to the Fire of Durga to cross over this very difficult ocean of worldly existence)
3.1: O Agni (Fire of Durga), You Who are eulogized (for carrying one across this Samsara); Please ferry us (too), by carrying us (i.e. our Souls) over Your Auspicious Nature, and make us cross this World full of Great Difficulties (Samsara), ...
3.2: ... (and also spread Your Auspicious Nature over the) Land and Earth, (so that the Earth) becomes abundantly Fertile and Green (and we feel Your presence in external Nature); And fill us, (We who are) Your Children with Your Bliss (so that we feel Your presence internally),

विश्वानि नो दुर्गहा जातवेदः सिन्धुं न नावा दुरितातिपर्षि ।
अग्ने अत्रिवन्मनसा गृणानोऽस्माकं बोध्यविता तनूनाम् ॥४॥
Vishvaani No Durga-Haa Jaatavedah Sindhum Na Naavaa Durita-Ati-Parssi |
Agne Atrivan-Manasaa Grnnaano-[A]smaakam Bodhy[i]-Avitaa Tanuunaam ||4||

Meaning:
(We offer our oblations to the Fire of Durga to cross over this very difficult ocean of worldly existence)
4.1: O Jataveda (one from whom the Vedas are born), You remove (grave) difficulties in all the Worlds; Please carry us like a Boat in this very difficult Ocean of the World (Samsara),
4.2: O Agni (Fire of Durga), our Minds are invoking You (ardently) like sage Atri (who continuously chants the mantras), and our beings are (now) filled with Your Consciousness (by continuously invoking You),

पृतनाजितँसहमानमुग्रमग्निँ हुवेम परमात्सधस्थात् ।
स नः पर्षदति दुर्गाणि विश्वा क्षामद्देवो अति दुरितात्यग्निः ॥५॥
Prtanaa-[A]jita[ngu]m-Sahamaanam-Ugram-Agni Huvema Paramaat-Sadhasthaat |
Sa Nah Parssad-Ati Durgaanni Vishvaa Kssaamad-Devo Ati Durita-Aty[i]-Agnih ||5||

Meaning:
(We offer our oblations to the Fire of Durga to cross over this very difficult ocean of worldly existence)
5.1: (She is) the (Great) Fire Who is Invincible in Battle, and charges ahead in a Terrible manner conquering (the Enemies); We invoke Her together from the Highest Assembly (i.e. ardently invoke Her together with the greatest reverence),
5.2: May that Agni (Fire of Durga) carry us over this World full of Great Difficulties, by (charging ahead and) Burning to ashes the very difficult Enemies (within us) with Her Divine Fire,

प्रत्नोषि कमीड्यो अध्वरेषु सनाच्च होता नव्यश्च सत्सि ।
स्वां चाग्ने तनुवं पिप्रयस्वास्मभ्यं च सौभगमायजस्व ॥६॥
Pratnossi Kam-Iiddyo Adhvaressu Sanaac-Ca Hotaa Navyash-Ca Satsi |
Svaam Ca-Agne Tanuvam Piprayasva-Asmabhyam Ca Saubhagam-Aayajasva ||6||

Meaning:
(We offer our oblations to the Fire of Durga to cross over this very difficult ocean of worldly existence)
6.1: You are lauded for spreading Bliss in the Sacrifice since ancient times (The Bliss resulting from killing the inner Enemies); You act as a Hota (Invoker of Bliss) by abiding as a New Maiden (Who is eternally young and free of decay) (in the Sacrificial Altar within the Hearts of the Devotees),
6.2: Your own Conscious Form, O Agni (Fire of Durga) is a source of Happiness (Bliss) for us, and a source of Welfare for our Sacrifice,

गोभिर्जुष्टमयुजो निषिक्तं तवेन्द्र विष्णोरनुसंचरेम ।
नाकस्य पृष्ठमभि संवसानो वैष्णवीं लोक इह मादयन्ताम् ॥७॥
Gobhir-Jussttam-Ayujo Nissiktam Tave[a-I]ndra Vissnnor-Anusamcarema |
Naakasya Prssttham-Abhi Samvasaano Vaissnnaviim Loka Iha Maadayantaam ||7||

Meaning:
(We offer our oblations to the Fire of Durga to cross over this very difficult ocean of worldly existence)
7.1: With Senses (i.e. Mind and Heart) Pleased (by Your Blissful Presence) and becoming Unattached (to the external world), we are Infused with Your (Devotion), O the Highest One; May we Follow (i.e. Immerse ourselves in) Your All-Pervading (Blissful Consciousness) ...
7.2: ... within the Spiritual Sky (Chidakasha), and dwell here in this Vaishnavi Loka (World of Your All-Pervading Consciousness), being Intoxicated (by Your Blissful Nature),

ॐ कात्यायनाय विद्महे कन्याकुमारि धीमहि
तन्नो दुर्गिः प्रचोदयात् ॥
Kaatyaayanaaya Vidmahe Kanyaakumaari Dhiimahi
Tan-No Durgih Pracodayaat ||

Durga Gayatri:
1: Om, (Let our mind contemplate) on Devi Katyayani to know Her (Conscious Form); (And then) Meditate on that Kanyakumari deeply (Who is the Universal Mother),
2: May that (Fire of) Durga awaken (our Consciousness).

ॐ शान्तिः शान्तिः शान्तिः ॥
Om Shaantih Shaantih Shaantih

Om, (May there be) Peace, Peace, Peace

Agape

25th July 2020, 13:38

Thank you Shaberon and Old Student 🙏

Yes it seems to me also and longer I place my mind on the teachings and mandalas, trying to read their true message on various levels as time passes (oh now it’s only few decades, so slow I’m ) their greater meaning is revealed to us spontaneously and openly to those who have eyes to see.
The vector seems to be interplay of cosmic forces as described conceptually in Vedas,
Buddhist Cosmology, the Cosmic Butterfly of Mayans,
frequency waves rotating in and through this Universe,

the hidden meaning turns to obvious
confirmed by our physical observations of greater reality
we are inhabiting but do not understand yet fully.

There was something about the ancient seers of human civilisation not everyone today can match,
they had impeccable character and also impeccable memory.

They could redraw and describe in the sacred language of mantras creation and dissolution of mind and matter.
They could repeat the sequence correctly. They knew the right frequency any particular pronouncement should follow.

They did not talk a lot otherwise and did not indulge in vain gossip. They had characters difficult to encounter today.

We still get glimpses of those visions, memories and abilities since they are deeply coded in us on more levels than we know of even and they link us to our ancestors that is also ourselves through our various advanced and pure dimensions.
It’s where we should return as well, in better case ,

sometimes..in my dreams and small visions I see lots of pilgrims going somewhere for hundreds of miles in the dark ,
that’s also us, in this difficult age of Mahakali.

But the light is so bright out there at all times,
so I presume that my vision is only metaphorical
but has reality meaning to it as well.

It’s where my Bodhgaya ET Encounter paradoxically placed me and where other life events always place me times to times , to the checkpoint of reality we are living being the dream we are dreaming,
in this specific kind of conditioned human world.

The time is so accelerated now that one can see reflections of all possible eons, epochs and entities repeating and exhausting the last few of their natural cycles.

But we are really watching and counting for the reality sequence nowadays, globally,
and will probably understand the meaning of all previous “prophecies” in one little lifetime.

It’s since we invented washing machines, anyway😅
( *and particle accelerators)

The CERN Mandala: https://www.smithsonianmag.com/smart-news/cern-seeks-international-artists-full-time-residency-180958448/

Interactive panorama: Step inside the Large Hadron Collider (https://www.google.co.uk/amp/s/time.com/3790245/interactive-panorama-step-inside-the-large-hadron-collider/%3famp=true)

Better chant Om Nama Shivaye on entry I presume 😷

Om Subham 🙏 Om Shanti:

shaberon

25th July 2020, 19:15

Thank you Agape.

What I am doing may seem very in-depth and hardcore, but, in a way, I am just re-tracing the steps of the first western convert to Buddhism.

When rather young, I had a powerful kundalini catharsis based mostly from Laya Yoga. I tried conglomerating Buddhism and several other systems of magic together. Later, even after I "shut off" the yoga, I kept trying to make spiritual practice that drew from Egypt, Gnosticism, and so forth.

I had picked up a copy of The Secret Doctrine as a collector's item and never paid much attention to it.

Over the years, with more study, I was left wondering why S. D. seemed closer to the most meaningful and intact praxis system I could find, Prajnaparamita Heart Sutra with Vajrasattva--Vajradhara Guru Yoga. I started realizing that everything New Age was distorted bunk that had nothing to do with it. So I started letting go of most everything that was not legitimately attached to the traditional style.

And so when I started getting a little more serious, then I got another catharsis from a Lightning Deity (http://projectavalon.net/forum4/showthread.php?90069-Lightning-Deity), which welded original Theosophy to Buddhism. Since then, I have been doing that...around fifteen years by now.

HPB never revealed "who or what" she was dealing with. She had been given an honorary Masonic diploma by John Yarker, is perhaps the only outsider initiated into the Druze, but in Tibet, she was not allowed in the inner sanctum.

The Eighth Panchen Lama re-printed Voice of the Silence with Alice Cleather, and said his predecessor knew HPB well.

She said she was in a Buddhist Yogacara school which had continuity to the Yogachara of Yajnawalkya and Sita. We can show this is accurate. The entity called Yogacara in Buddhism is only half of the more complete philosophy, Madhyamika Yogacara, something like "mind-only" plus "emptiness". Shentong or Para Sunya is within this. HPB is also correct that Para Sunya is not really a different philosophy than that of Adi Shankara of Shaktism--slightly different practice, certainly not enough to fight about.

However--and we only know this thanks to Boris de Zirkoff and Katinka Hesselink--deep inside her memoirs, she defines occult initiation as that of Cinnamasta.

That is barely a part of "Tibetan Buddhism".

However it clearly is the teaching of Vajrayogini.

I am not sure how I would have tried to present Cinnamasta to Victorian England, I do not think it would have gone over well.

By intense scrutiny, it would be a small addition to how we have discovered the Cinnamasta attendant Vairocani to be something like an esoteric practice of Katyayani which has continuity into Samvarodaya tantra.

Indrabhuti's Vajrayogini mandala captures almost everyone: Vajradhara and White Consort on top. Kalachakra + Vishvamata on one side, with White Vajrayogini Kachod Karmo a Raised Leg flyer or Maitri Dakini special to Shangpa. Other side, Hevajra + Vajra Nairatmya and Naro's Dakini. Bottom center is un-named White yogini with twelve arms on a buffalo. On one side, Chanda Maharoshana (Acala) + Consort and Standing Red Charchika. Other side, Sera's very secret Hayagriva Heruka + Consort and then either Krodhakali or Vajra Nairatmya. Between the Palace and Circle, nothing but cemeteries. Six Yoginis in the hexagram, Four Dakinis in the core, and she is in a downwards triangle:

https://www.himalayanart.org/images/items/resized/1800px/4/1/0/41018.jpg

What is excellent is that Charchika is involved, which is a very specific Candika of Orissa, who is Vajra Muttering, the main practice based on Om Ah Hum which grows more intricate and subtle. In essence, "this" is important, and the Cinnamasta Triple Mantra is to be avoided.

Indrabhuti's sister Laksminkara was Cinnamasta.

Newari Cinnamasta:

https://i.pinimg.com/originals/95/ee/d2/95eed25301049b981d339750d97e6f1b.jpg

So I will say there definitely is continuity, and, a thorough practice which blends all the necessary pieces, and does not need to be bombarded by externals.

Ernie Nemeth

25th July 2020, 19:28

With all respect, as a mere student, could it be that a point can be reached where study can interfere with practice? And conversely, that practice interferes with study.

It has always seemed to me to be very much a high wire act.

The fools path seems safest...and the most direct. imnswio (in my not so well informed opinion) :decision:

shaberon

26th July 2020, 09:41

We might say, outer interferences can be removed by Marici, and inner interferences by someone with a Vajra Chopper.

I have not disposed of them all, yet, however I am in a position to maintain there is a viable method to avoid using Vam for Vajravarahi and instead to use Vam for Vajracharchika to replicate Indrabhuti's mandala. It simply rolls straight from her definition and through her attestation in Sadhanamala, and she is pinned to a pretty exalted spot with the rest of those lineages.

Kurukulla has been described as "what everyone wants".

I can't recall exactly where but apparently L. A. Wadell in Lamaism (https://ia800908.us.archive.org/14/items/buddhismoftibeto00wadd/buddhismoftibeto00wadd.pdf) found the assembly:

Mrtyuvacana Tara with Kurukulla and a male Wrathful Niladanta Krodha Raja.

There is also such a thing as Bhutadamara (Demon Subduing gesture) Kurukulla, done on her Astabhuja Kurukulla (eight arm) form in Sadhanamala.

If you study the Sri Yantra, its chief deity is Tripura Sundari "who has the bauddha philosophy as one of her branches". And her two chief attendants are Varahi and Kurukulla, who are the white and red bindus in that system.

In Sundari Tantra, Varahi is the New Moon, Kurukulla is Full.

Kamala (Lotus) is tantric Lakshmi, usually golden, and moves in a sequence similar to what we might call Generation and Completion or even Reversal:

Lower Kamala is Varahi, Charchika, Ushas, Yellow Sun, Yama Shakti

Higher Kamala is Sundari, Kurukulla, Uddiyana, Moon, Brahman Shakti.

It is not our system, although if you look at the arrangement the resemblance is evident, and so if we think we might find a type of Lower Kamala by sealing Varahi behind Vasudhara, but perhaps using Charchika and Ushas--Marici, then that is pretty much what is happening.

So if Power of Kumari (or Sundari) is definitely a thing, and Kurukulla is a Kumari and hardly ever shown in union, since we have a Maha Cina Tara in Nepal that keeps saying think of Kamakhya Devi, here is something from an Indian study in Chapter Three (https://shodhganga.inflibnet.ac.in/bitstream/10603/169770/9/09_chapter%203.pdf) concerning Assam:

Tara was worshipped as Mahacina Sweta Tara along with Sambara Heruka at
Kamakhya in the seventh –eight century when Kamarupa developed as a center of
Vajrayana. There are various Vajrayana pantheons such as Sambara Heruka,
Kurukulla Vajravarahi and Vajra-Vairocini were prevailed in Kamahhya.

Heruka was worshipped in Kamarupa (at Nilachala) in the form of
Sambara Heruka along with its consort Tara Kurukulla.
The concept of Heruka is revealed in Kamakhya tantra,
which is an offshoot of Hevajra tantra.

The color Sveta is synonymous for Sita. It may also imply Venus which is Sukra which is semen white. And so now, Maha Cina is telling us something about Vairocani and a mated Kurukulla at Kamarupa Pitha. Samvara Heruka is Seven Syllable deity.

As a major observance, there is even a Dravidian Agni Kurukulla Homa (http://www.chinabuddhismencyclopedia.com/en/index.php/A_Ritual_of_Fire_Sacrifice_to_Kurukula).

Concerning a noose, and Lotus Family, there is a widely-esteemed inter-faith deity that we like to call the mysterious Padmavati.

The mysterious Padmavati is perhaps a Noose goddess.

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

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

“when the Buddha Śākyamuni transforms the Sahā universe, he gives it a resemblance (sādṛśya) to the Padmāvatī universe. This is why it is compared here to the Padmāvatī universe” (of Samantakusuma) or of a Devaputra at Buddha's Enlightenment, which can be seen as Emerging in Reverse Order, he descends through the planes of Kamaloka. Then he is on his way to Kashi. In Japan, this devaputra is in the heaven of the fourth dhyana, bodily cessation.

The Transformed Saha Universe (https://www.wisdomlib.org/buddhism/book/maha-prajnaparamita-sastra/d/doc225204.html) compares to Padmavati because other Pure Lands such as Sukhavati are weaker. Samantakusuma is then re-iterated as Samantabhadra.

Kusuma is to bloom, whether the Saha or Universe Lotus or tantric Kamala, into a Quintessence and a Quintessence of Quintessences so to speak.

Most Secret Guru:

http://www.rigpawiki.org/images/1/1b/Man-ladrup.jpg

Four Lamps of Transcendence:

http://www.buddhavisions.com/wp-content/uploads/2016/03/Jewel-of-Reality-e1457044036135.jpg

Having already mentioned her, Emerald Citta Mani is that Tara who runs the Eight Dissolutions of Death by dissolving Tam.

There is Ten Arm White Marici, and Fourteen Arm White Amaravajra, and despite being able to explain Indrabhuti's mandala in voluminous capacity, he for some reason has shown us an unidentified Twelve Arm White Dancer. Although a lot of these figures appear a bit androgynous, males almost always have a squared hairline, and females have a rounded one.

Detail of Twelve Armed Deity doing one Dharmachakra gesture:

https://www.himalayanart.org/images/items/resized/2000px/4/1/0/41018a.jpg

Old Student

26th July 2020, 22:56

If we look at Samadhi of Vajra Garland of Waves, it tells us to do Om Ah Hum of Cunda.

In Kagyu we usually teach this on Prajnaparamita, so there is an exercise based in Hrim syllable which raises Sarasvati and then uses her mantric identity to obtain Prajnaparamita and do Om Ah Hum on her.

Those are classed as Sherab deities which increase one's faculties, and is consistent with the theme of a white goddess who is found through emptiness and remains, growing, and displaying other forms of emptiness.

The dhyanas are not really the Bliss teachings which is what we use at the upper part of Yoga.

Sukha is the opposite of Dukha.

Over the last two nights, there has been another thing introduced, and that is balance. Apparently the different movements are separate the way the different blisses are separate, and what happens in my throat is a product not just of the "cleaning" they do but also the balance. The night before, there was a massive cleaning in my throat, during the four body movement, precipitated by the arrival of another dancer, with many arms, rainbow colored (or some other colored and splattered with rainbow), and after it pushed through, there was flow to my head, and my neck became glass-like and clear with a very clear view from within of the jewel at my neck shimmering in the front. Then last night the balance was different, and there was again the glass-like clearing out of my neck, but no jewel, and instead a "river" of rainbow liquid rushing into my head.

Vimala is often an attribute of Lotus Family, is the name of the second Bhumi, and is also a name for Katyayani. She is commonly taken for a regular love goddess like Kurukulla is, but, each of them have a little more to say.

The Virgo-esque Katyayani is like Sodashi or Sixteen, Kurukulla, the Red Powder or Kunkuma. Kanya Kumari has an incarnation at the very tip of India, and another in Nepal, who is simultaneously a Hindu and Buddhist Goddess. The Buddhist one is also Varahi. Varahi usually has a chopper, which is curved. This shape derives from Katyayani.

Katyayani seems very close to Durga in her iconography? If she's related to Varahi, then how close is Durga to Vajrayogini?

Old Student

26th July 2020, 23:39

We still get glimpses of those visions, memories and abilities since they are deeply coded in us on more levels than we know of even and they link us to our ancestors that is also ourselves through our various advanced and pure dimensions.

I wonder about this sometimes. Whether things are "coded" in me and come out in my shakings or come in from the outside. A lot of times I think it's some of both. I think they make use of anything in my subconscious or collective subconscious that is relevant and already there, when trying to get a point across.

The CERN Mandala: https://www.smithsonianmag.com/smart...ncy-180958448/

Interactive panorama: Step inside the Large Hadron Collider

Better chant Om Nama Shivaye on entry I presume 😷

Ha! It's the ultimate in "move fast and break stuff." When I was taking physics, there was still some concern that just because you break a coke bottle and find shards doesn't mean coke bottles are made of shards, but that worry is long since gone.

Om spin color charm beauty svaha!

Old Student

27th July 2020, 00:06

Over the years, with more study, I was left wondering why S. D. seemed closer to the most meaningful and intact praxis system I could find, Prajnaparamita Heart Sutra with Vajrasattva--Vajradhara Guru Yoga. I started realizing that everything New Age was distorted bunk that had nothing to do with it. So I started letting go of most everything that was not legitimately attached to the traditional style.

And so when I started getting a little more serious, then I got another catharsis from a Lightning Deity, which welded original Theosophy to Buddhism. Since then, I have been doing that...around fifteen years by now.

I actually started with a random event. I was asked to pick a second book to read over the summer (by parents), and didn't have one in mind so I walked down the aisle of the bookstore and closed my eyes and picked a book off the shelf. It was called "Yoga and Health". My brush with Theosophy and the Rosicrucians was going through a series of books and ending up on one about astral projection. I did the exercises and put myself across the room from where I was lying in bed. The next day, I dropped the book out of the pocket of my jacket on the way to work, grabbed the brakes in the wrong order on my bike and went over the handle bars and then eventually to the hospital to be stitched up.

And so when I started getting a little more serious, then I got another catharsis from a Lightning Deity, which welded original Theosophy to Buddhism. Since then, I have been doing that...around fifteen years by now.

In physical, I have had lightning go through me -- it hit my apartment when I was home reading, I was sitting reading and then I was standing holding the book and nothing in between. It knocked out all the dimmer switches, set my computer on fire, and broke off the tree it jumped to on the way down destroying my neighbor's balcony. Lightning comes in two voltages, one blows things to bits and the other sets things on fire.

In shaking, I have two lightnings: One is wedded to a dew drop in my abdomen at the point of generation (I described this before) the other is a sheet lightning that cuts my skull in planes when I make my scalp shake.

Old Student

27th July 2020, 00:14

It has always seemed to me to be very much a high wire act.

It is a balance to be sure. Thank you.

I am from a math background. The Aha! experience in math requires filling the brain with the tiniest details of the problem before it happens. So I tend to think of it this way. I find that if I work on trying to understand all the details in my shakings and my visions and perceptions, then the sequel is that much better created, and if I write down what happened, then I make progress but not if I don't.

I tend to think of it as a bargain. I do my part to try to keep up and write stuff down, and they impart and teach.

Old Student

27th July 2020, 00:54

This is one form of an Apollonian gasket:

https://plus.maths.org/issue43/features/serieswright/gasketglow_still.jpg

Detail of Twelve Armed Deity doing one Dharmachakra gesture

She looks very much like the rainbow colored dancer who has shown up in my upper chest, if you see her "from a distance". The dancer is much smaller so I have no details (or whether she is really rainbow colored or is smeared with the rainbow liquid which is so much a part of these shakings), and the dancer has a much more sinuous body below the waist (and might even not really have legs, like a naga or something). Her function in that spot is very much like the white one we had been discussing in my lower abdomen, to "create a womb space" in that part of me. Collectively, they use the four body movement that they have had me do to "clean out" my throat, and make it flow, when they were done the night before last, my throat and neck were clear like glass and I could look out of them.

We are definitely headed for the crown of my head. There is suddenly old wooden dusty scaffolding there, and it will need to be "cleaned out". Like my throat, there was nothing to "clean out" before we got there. Now there is. Maybe its wood because of all the Newari stuff you've been showing me, after all, Kathmandu is the "city of wood".

shaberon

27th July 2020, 07:20

In shaking, I have two lightnings: One is wedded to a dew drop in my abdomen at the point of generation

That almost certainly is Vasanta Tilaka "drop of springtime", the real consort of the Mahasiddhas.

What you referred to as "balance" is like the second half of Vajra Muttering. It has an initially vertical component, or i. e. the reversal of winds, which, for most of us is Accomplishment, but it sounds like you can do this basically at will, and so when they are moving, it is something like a matter of balance in the Three Channels until you are able to enter solely into the Avadhut.

I am thinking the Wrathfuls or Yakshas may interpose between those stages. Perhaps from within the dusty scaffolding.

The most accurate way of understanding Wrathful Deities is Brain Mind. It "may" be adhered to the Bodhi Mind, but, it may be dualized. And so the Wrathful arises in a different kind of flame called Incandescence. The thing itself is not angry or violent, but acts in a Reflex to either subjugate or destroy obstacles.

Katyayani is Durga in that particular form (Kanya Kumari): magically born, the answer to a sage's prayer by erupting from the eye fire of the Trimurti or Trinity. She is very beautiful and peaceful and extremely violent.

There are Nine Durgas and a tenth Jaya Durga. It is astrology among other things.

Durga is "Fortress", Durgottarini is Tara, and there is a Tara Vajrayogini. In Buddhism, Four Arm Durga is Durgottarini and also a pinnacle of Sarvadurgati Parishodana.

Hindu Tara is from the set of Mahavidyas, which pertains to the incarnations of Visnu, and also states that the wisdom of the Devi resides in her sounds and mantras. Mahacina Tara is Sankhu Vajrayogini of Nepal, somewhat clandestinely; generally, Naro Dakini is Vajrayogini and basis of Cinnamasta.

The way I see it is that Vajrayogini has for her Tri-kaya Cinnamasta. She teaches the entire outer Yoga Path up to the Fifth Dissolution in Dakini Jala Rahasya: The Secret Doctrine of Dakinis' Net.

So it is like a summary or guide to the set of Dakini Jala deities and mandalas. And so, like Vajrasattva Jala is the root of Guhyagarbha Tantra which is famous as Bardo Thodol and the Kagye' or Hundred Peaceful and Wrathful Deities, Dakini Jala is "this" and it is "the Samvara" or i. e. root of Chakrasamvara. And so especially in Nepal, we would see Samvarodaya as the first of these because it is like saying Dharmodaya of Chakrasamvara, and this is where it has a very specific use of Vairocani with Vajrasattva at the Vasanta Tilaka. And then we go back and, oh, this Vairocani is the Tapas of verse two of Durga Suktam. The meaning is the same.

She is not even mentioned in many major Puranas such as Srimad Bhagavatam. However, both Varuni and Vairocani have an intricate existence in at least some of the Puranas. And so if we train to this point, we have one way of doing our rite, the deities' history and meaning is always the same. It takes a while to get the hang of it but, it gels.

By definition, they raise Khandaroha and Vajravarahi. Khandaroha is one of the Four Dakinis which penetrate the entire tantric system, who are arrayed by Guhya Jnana Dakini's mantra. Vajravarahi is so conflated with Vajrayogini, some would just say they are the same, except Vajravarahi is Samding Dorje Phamo. Varahi has a specific pedigree and saga according to Vajrapani, which is a motion from Varuni towards Marici or Hell to the Sun.

Buddhists do not like to talk much about Durga and what they perceive to be non-Buddhist stuff, however, you would probably be 75% accurate in thinking Hindu Shakti is re-cast as Buddhist Prajna.

So then when Ganesh collects all the Shaktis, this is like Vajrasattva collecting all the Prajnas.

So they don't like to say, Mahanarayana Upanishad is Durga Suktam, even though we have a single answer to it, The Inquiry of Narayana to the Buddha for Mahamaya Vijayavahini Dharani.

Dharani is from the same stem as in Vajradhara or Vasudhara, to bear, to hold, etc.

The Dharanis are Amoghasiddhi goddesses.

Shiva's wife is Durga.

In Buddhism, Shiva is Amoghasiddhi.

Amoghasiddhi's wife is Tara.

Verb forms of Tara are right there in verse two of Durga's song.

And so one would tend to view Tara as Durga; it is a little more than a stylistic difference, because we could reason our basic philosophy in Para Sunya is virtually identical to that of Adi Shankara and Shaktism, but the practice and motivation are very specific, especially the way we mean Refuge of One in relation to Karuna.

Probably the most compassionate thing we can do with any sentient beings is try to promote each other's Bodhi Mind in a Field of Constructive Emanations (Nirmana Kaya).

This causes Yoginis on the four levels to arise.

When the Vajrayogini gets in balance with Vairocani and Varnani, it blows her head off and replaces it with a Dharmodaya. Cinnamasta arises in a normal form with her head, and the decapitation is the rite. They very specifically are the Three Channels.

Is this related to magnetism and the human brain, certainly. Polarization is the alignment of parts that otherwise scramble. So we designate the Avadhut as having North and South Poles.

And so with the "dual" Peaceful Green Day---Wrathful White Night Tara, then there is a different Day Yoga and Night Yoga.

Koothoomi said a couple of peculiarly interesting things about his training. And in the Puranas, 1/8 of the Sun's rays are sheared off because he is too hot for his wife. And so one may find images of Surya with his head gouged out. There is also an old Indian prayer translated as something like, lead me from the unreal to the real, and show us the true face of the sun. This, of course, is rarely possible at a full solar eclipse, but Koothoomi said they could view the corona at will.

He also described a dark place which sounds intended to view the aura in a magic mirror. It would be in some small adjunct room of a temple, probably underground, where one of the walls would be covered in a sheet of copper alloyed with certain rare metals. A neophyte would sit in a chair before it with his feet in a glass bowl and a big bar magnet suspended over his head, which would be set spinning.

Most people can not spontaneously astrally project or have coherent visions of dakinis. That is something like HPB who within Tibetan culture is thought of as a self-arisen yogini. Besides Dream Yoga and Mayavi Rupa, she was also clairsentient or able to see or know whatever had happened or had been written.

I have never been able to do much of that kind of thing. The method I say is completely real is that, in the upper part of the head, the forces will burn Locana and all the Buddhas and there is a White Seed, which melts. If successfully placed in the Container, it makes a cool Mercury. If successfully raised, it will transfer to the Vajra Danda or Staff which is the Avadhut extended through the crown aperture. It will experience the Four Pithas as Voids, which have a spring-like resistance to an individual. In the Fourth is the Para Sunya. That is what we meditate.

The teachings say that Transference is to move one's Indestructible Drop through this into the Deity.

I have not personally enjoyed this part. It is correct to say that the prior part is physiogical, and without Bliss, is Cold as Death, because we are using the Death Bardo consciousnesses. If it is impure we will see that too. The Vimala is the pure one. And then the Buddhist instruction is to Emerge in Reverse Order, with the rites of all the Families and make a Nirmanakaya in the Ten Directions and let that replace us back to ordinary waking consciousness.

I am not as adept as when they say Sixteen Joys.

Part of Muttering is to balance the three nerves, which can be done in the Three Jewels or Three Families. This is going to be done in the following mantra. Since it is the three, what it will do is to Mutter Marici, and it is a very nice job.

This was made for an earthquake benefit for Nepal:

zf8DfnJiFKg

Om Manipadme Hum (Avalokiteshvara or all consciousness in our solar system)

Om Vagishvari Mum (Manjushri, founder of Nepal)

Om Vajrapani Hum (Lord of tantra, Protector of Shaolin temple, used in Voice of the Silence)

Om Maritsye Mam Svaha

They are calling the Bodhisattvas of the primary three Buddha Families (Lotus, Buddha, Vajra).

Marici obligingly just uses the syllable for the first letter of her name.

The secret twist is that Mam is also Varuni, and finally or ultimately, is Mamaki, or, the arch-goddess or Adi Prajna of the entire Nepalese occult system, which, roughly, is Marici along with Ekajati her dark side or Midnight, the Buddhist Dharmakaya.

If you listen to it, your ego will simply be swept out of existence.

If you balance to it and get your Dhruvam then it may affect you. Then we would learn to do this internally and mentally. Using the Three Families as Om Ah Hum syllables is the most direct way, but, it can progress, for instance if you look at Pratisara in her Three Places, her Ah Throat syllable is Gold. Pratisara is also Mamaki.

shaberon

27th July 2020, 09:20

As to the literal stitch of Durga to Tara, there are exactly three evidences. One is a modest article in Sadhanamala. In her sadhana she is part of Mahakarunika, she is Mahayogeshvari (generally meaning Durga or Parvati) and Dhruvam Arya Tara. She has or is with Ten Directions as Locana and the rest. Her title of being the North Pole (or, Tara "star" = pole star) is a unique meaning and I believe a unique usage. Her close resemblance called Dhanada is rather more esoteric and more like a full mandala.

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 has somehow gotten Avalokiteshvara's friend.

At Ratnagiri: Khadira, Astamabhaya, and Durgottarini:

https://html2-f.scribdassets.com/9h2sal8d345reju5/images/4-3054a100ed.jpg

Another epithet of Durga is Kha Kamini (https://www.wisdomlib.org/definition/khakamini). "Kamini" may just be woman or devi generally, but, this name continues into the higher tantras such as Vajradaka, Dakarnava, and Buddha Kapala.

NSP (https://archive.org/stream/nispannayogavali015084mbp/nispannayogavali015084mbp_djvu.txt) copy with spelling problems, or cleaner Nispanna Yoga Vali (https://ia600706.us.archive.org/29/items/nispannayogavali015084mbp/nispannayogavali015084mbp.pdf) scan.

A bit more on Abhisambodhi:

Mkhas grub rje is a primary disciple of Tson-kha-pa; he became the head of Ganden monastery and is retroactively considered the first Panchen Lama. He divides the Paramitas into seven and three, the last three being irreversible stages. He gives the abhisambodhis:

First is called Pratyaveksana; resulting from discrimination and the attainment of Mirror Wisdom (which is transmutation of alaya-vijnana according to Lva-ba-pa, Blanket Guru). Its mantra is Citta Prativedham Karomi: I perform thought penetration. One faces the svabhava visuddhi, intrinsic purity, of sixteen kinds of sunyata--voidness, which become the sixteen vowels on a moon disk in the heart.

Second is called Paramabodhicittopada, its mantra is Om Bodhicittam Upadayami, and so this is generation of bodhicitta. With this, one attains Equality Wisdom of Ratnasambhava, freedom from defilements, and the consonants occupy a (red) moon disk in the heart.

The third is called Drdha Vajra, firm vajra, and its mantra is Tistha Vajra, which is a command to vajra to stand up, and it puts a five-pronged thunderbolt in the heart. It is the attainment of the Discriminative Wisdom of Amitabha, which itself has the same name as the first Abhisambodhi. The concept is that something previously awakened, but unexpanded, becomes newly awakened and expanded.

Fourth. He (Buddha) had been given the garment and diadem initiations prior to the Abisambodhis, and here, he takes the third initiation of the name, becoming Bodhisattva Vajradhatu. It is called Vajratmaka, vajra composition, the mantra being Vajratmako Ham. When this happened, the vajras and perfections of all Tathagatas streamed into the five-pronged vajra in his heart. This accomplished the perfect action wisdom of Amoghasiddhi.

Fifth is called Sarvatathagata Samata, equality with all tathagatas, its mantra being Om Yatha Sarvatathagatas Tatha Ham. At this point, Mahavairocana, the Sambhogakaya, came into direct view, accomplishing the Dharmadhatu Wisdom. This is when he became a Manifest Complete Buddha.

Jnanapada explains the Abhisambodhis a bit differently, giving him the third initiation, Prajnajnana-abhiseka, same as the "name" initiation, before the sequence begins. Artha-prabhasvara (Absolute Object) is what is eventually seen, and he attains the fourth initiation and the rank of Vajradhara, beyond learning.

By moving the third initiation to the beginning, they seem to intend abhisambodhis as "completion stage", whereas with Tson-kha-pa and Vajrapanjara, they are generation stage. They mention three voids, citta, caitta, and avidya.

In Yoga, the goddesses are seen as capable of bestowing the Diadem initiation of the Families. So again this training would be the link into Highest Yoga, irrespective of where Name Initiation or Prajna Jnana Murti occurs.

Ali Kali is intended to be in the first two Abhisambodhis, vowels and consonants.

Lotsawa Vairocana ca. 800 was considered "the best" by HPB. His Vajrasattva tantra did not enter Tibet, but is available now as Equal to the End of the Sky. (http://promienie.net/blog/philosophy-spirituality/buddhism/dharma-collection/item/378-vajrasattva-tantra).

RGV is perhaps the main doctrinal collision of the Shentong or Para Sunya concept of the Absolute with seven aspects or Families. Dolpopa gave the philosophy its Tibetan name, Shentong.

The "Maitreya" line, for the Sarma or Second Transmission to Tibet concerns Ratna Gotra Vibhaga, Sublime Continuum, or Uttaratantra Sastra (Seven Vajra Points attributed to Sthiramati by the Chinese). This line includes: Naropa (950-1040) --> Ratnakarasanti (Santi pa) --> Atisha and Maitripa (ca. 1000); Maitripa-->Anandakirti in Srinagar-->Ratnavajra-->Sugata --> Sajjana or Satyajnana (source of the full RGV book)-->Ngok Lotsawa-->Tsen Kawoche-->Third Karmapa (Luminous Heart), Dolpopa. "Great Lion's Roar".

Old Student

28th July 2020, 00:14

That almost certainly is Vasanta Tilaka "drop of springtime", the real consort of the Mahasiddhas.

It was the first of the "micro-pairs". I had months of problems hooking the shaking from below dantian to the shaking from above. Most of the time if it became visual, I was on the side of a mountain looking downward at the clouds there. The fire from below could not mix with them so there was no working together between the two parts of me. When they finally did, there was the first of what I call the 'murmuration' shaking, in which the clouds were simultaneously birds murmurating, and usually simultaneously like the ripples from raindrops on a lake as it begins to rain. When I went down to the very smallest part of what made things fuse, what made the fire and the water fuse, at the very smallest, the dewdrop in the (thunder) cloud was creating its tiny piece of lightning and being created by the energy in the cloud, so the two of them as the lightning came off the drop were an act of creation or genesis between fire and water.

What happened next was an "external Phowa". I had a sequence through to the Phowa experience in my head, which I've described here already, but I was outside of it. There was an act of creation waiting there, a lily and a jewel, the lily white and green and the jewel light yellow like topaz. The light from the jewel created the white moonlike surface of the lily and the lily germinated and brought forth the jewel.

At that point I went looking for other "micro-pairs". Most of them were found after the Phowa sequence, in the external part. So the complete list is this:

crown -- lily and jewel
center of head -- seed rootlet and fetid decay (at the point when the decay or foul becomes nutrient to new life)
front upper of head -- ring of clouds and empty space
throat -- jewel and river / Samantabhadra and Samantabhadri
subclavicular -- crescent moon and milk drop
heart -- sunflower and dust/pollen
solar plexus -- maple branch and stream
dantian -- dewdrop and flame
huiyin -- thin smoke between twilight

There are times when these symbols hang like ornaments on my clear body.

When the thing happened in the notes I put up previously, the lily and jewel could be seen shining like a moon on the other side of the passage they brought me to in my head (which was wrong because it was at Shen Ting (spirit temple, the point at the hairline) instead of crown). It made up one of the two "moons.

What you referred to as "balance" is like the second half of Vajra Muttering. It has an initially vertical component, or i. e. the reversal of winds, which, for most of us is Accomplishment, but it sounds like you can do this basically at will, and so when they are moving, it is something like a matter of balance in the Three Channels until you are able to enter solely into the Avadhut.

I think I understand what you are saying here, that this is basically like a subtle method to get a flow upwards, like the flow in the nadi? It is similar, but in my meditation the nadi are there, in my shaking the whole symbolic landscape is portrayed differently, like connecting bandhas (in common parlance, bandha can mean "link" in addition to lock or belt), links in a chain. At will yes, but it took quite a while to figure out how to do it. It is a balance, but it's more like a dance between forces, and my usual problem is that I have to be competent and "not know" what to do at the same time. When they are joined, the energy surges upward, but it doesn't go all the way to the top unimpeded, there are other places to link things up.

The most accurate way of understanding Wrathful Deities is Brain Mind. It "may" be adhered to the Bodhi Mind, but, it may be dualized. And so the Wrathful arises in a different kind of flame called Incandescence. The thing itself is not angry or violent, but acts in a Reflex to either subjugate or destroy obstacles.

I think most of the Dakinis that teach me are at least partly or fully "wrathful". I'm sometimes confronted by it -- they do something so abruptly that it seems violent because I have the wrong idea. Also on the usually rare occasions when they make me fully embody them, I am always surprised by having things like fangs push outward from my lips or to be holding things that have to do with death. I made the offhand comment one night to Ekajati that I had missed her (I usually manage not to make mundane comments but this time it slipped out), and was confronted with, "You missed me? One does not miss the destroyer of souls!".

Most people can not spontaneously astrally project or have coherent visions of dakinis.

Have most people tried? On the astral projection thing, I just followed instructions out of a book. On the Dakinis, I was told repeatedly first to ignore shaking when it happened (I followed that advice for over 40 years), and then, once I had stopped following that advice and started to have visions, was repeatedly told that the "contents" of the visions was not useful, they would go away, and to ignore them. I don't know for sure that this could be more common, but I do know that people all over the place are ignoring things purposely because they believe that the visions "are not real" and "are a distraction from "non-dual" emptiness which is the true goal."

I wrote above that I think of writing my stuff down and studying to understand it as part of the bargain that I work for the lessons and trainings. I would maybe further say that narodha is cessation of desire and attachment, cessation of dukkha, not cessation of the world, which is and always was "non-dual" and not to be ignored. Melting or dissolving into things where there is no me is about giving up control and comfort of "me" when it happens, it isn't that I disappear into nothingness, it's that "I" cease and there is nothing that is me.

I hope that didn't sound too harsh, I know I did a lot of hard work over a year and a half but I still don't see what I did that wasn't something anyone could do at the beginning.

The teachings say that Transference is to move one's Indestructible Drop through this into the Deity.

I have not personally enjoyed this part. It is correct to say that the prior part is physiogical, and without Bliss, is Cold as Death, because we are using the Death Bardo consciousnesses.

The first sounds like the Phowa sequence, the second sounds like when they brought me to the Spirit Temple point to scare the living *** out of me for wanting to go off and do something I didn't know how to do, that was in the notes I put up.

I wonder if the muttering is the same as the sitting at the fulcrum balancing. It seems like it. I wonder why it is called muttering?

Old Student

28th July 2020, 04:45

shaberon

28th July 2020, 05:46

I had months of problems hooking the shaking from below dantian to the shaking from above...

That is "past the point".

The object of what we call Vase Breathing in Pranayama is this hooking of upper and lower winds. In Yoga I am only able to present it as Soft Vase Breathing. Usually the expectation is to train this way for at least six months. If there is no sign at that point, then Hard Vase or Fire Breathing or the like may be used to force it.

Traditionally that is at a guru's discretion. And so when compiling information that would be safe for most people to practice, we disregard the other techniques, and it is all about hooking upper and lower winds. This is what is pulled inwards and up and "balanced".

It would be pretty useless to tell someone to stick to Soft Vase when they are past that point, but, if one has not realized the result, it is best to say that stage represents six months or even more. And yes, it is possible to attain in the Soft method which has no kind of physical exertion, or, I personally know it to exist solely as the Soft method.

You are not only past that but are finding the clarity of the Sixth Skandha which is about not having a "me" or identity with any skandhas. The fact that this does not mean "become nothingness" is the Para Sunya view, which states that reality is Neti Neti or has nothing that can be named, it is empty of everything else, except for what it actually is. Most Prasangikas are apparently loath to say this, and, I am not trying to argue, I am simply presenting Para Sunya as it is.

We can describe various stages which each have a goal or Accomplishment, but, Ultimate Meaning is that there is only one goal, Anuttara Samyak Sambuddha, Complete Manifest Buddha. Non-dual emptiness is like the power it holds or the sphere that it is in, but, it has seven aspects which are matured by the Seven Jewels of Enlightenment, which is what Seven Syllable Vajradaka is about.

Look at Avatamsaka Sutra even briefly, and this one goal is obvious even on a Sutra level. All we are doing is a more intensely-lived version of the Sutras by using symbolism, living lights, and magic words.

I am not sure what people may apply themselves to or if they succeed. I talked to someone on here with a similarly powerful type of experience who wanted to take Durga and re-brand her as the Sumerian Innana. Why would you do that? Do you really have a full library and school of Innana? I don't think so. We do however have such a thing with Tara.

The electric result of fire and water you mentioned sounds accurate to the fact that Agni called Vaidyut, or Lightning, is Ocean Fire. It is not called Electric Fire, it is electrical, but its existence is tied to water.

Dakinis would probably have to be described as partly or temporarily peaceful. They have made irrational demands and sometimes attacked some of the Mahasiddhas. Mostly, we should expect some noise, dark imagery, and harsh remarks from them. They may clean up, a little bit, sometimes, but peaceful nature is more exclusive to Bodhisattvas and Prajnas.

I wonder if the muttering is the same as the sitting at the fulcrum balancing. It seems like it. I wonder why it is called muttering?

Three Channels means the three main Nadi, and in Yoga we would try to balance these through Four Chakras, and, even if you know from experience that there "are" more than four chakras, let's say the Near Goal is still about the same, opening the caves in the head which are a reflection of the caves in the heart, and opening and passing the crown--Vajra Dakini.

The "balance" is not exactly gravitational, but more like fine tuning, like trying to broadcast specific frequencies at given amplitudes, something like a chord, and a dance, agreed. As if you could say, "Kaleidoscope, make the constellation Ursa Major!" and you get the result. Like you know how to make sand patterns on a drum head.

The reason it is called Muttering is due to the three stages of mantra: Spoken, Whispered, and Mental. So we recite or repeat (Japa) the mantra in that type of de-crescendo.

One does get benefit Muttering Om Ah Hum, which is probably the best way to get started, but it may be done with any Guru or Yidam.

Sadhanamala specifically mentions Mental Muttering in one place. Vajra Tara says:

manasā vācayen mantraṃ oṃ tāre tuttāre ture svāhā

And so if I was going to Mutter Tara, the high, or, rather, subtle end of it is intercepted by Vajra Tara.

Can you try this on another Tara without insulting her, yes, probably so, but if we ignored the existence of this subject until it forced its appearance, it happens here. And so we have jumped from "Three Places" to "Ten Syllables" to do our balancing.

Vajra Tara has a 3D mandala, the Jnanagni aura, and the mental extension of Pranayama--Muttering. She is the combination of pretty much everything we can train as outer Yoga.

I, personally, love Vajra Tara in her White Heruka form, but that does not grant me the ability to operate her major form with all the components in it. It will, however, make it easy to navigate the numerous intervening Taras who are intended to teach and compose the mandala. I have something in mind to show how this is the case and how it attaches to Completion Stage that I will try to post next.

shaberon

28th July 2020, 10:28

isn't it possible to have the same training be given for both generation and completion? The second Dalai Lama in discussing the teachings of Niguma seems to have each thing have both a generation "version" and a completion "version".

Is abhisambodhi (simultaneous enlightenment) related to simultaneously arising bliss -- something Lama Yeshe talks about in his explication of Lama Tsongkhapa's text to explain the stages of inner fire?

This depends, since Abhisambodhi is taught in all four levels of tantra, as a style of visualization. The early levels do not teach it in conjunction with Bliss or with Generation and Completion, and the things that carry those instructions ignore what Buddha actually did.

If we pry open the full Abhisambodhi that Buddha accomplished, he did so in Union with Tilottama. Her name is "finest", i. e., from the sesame seed, Tilo, plus Uttama, "the most". So she is the most beautiful, finest-textured one, i. e. the most subtle. And so Abhisambodhi must have acquired Bliss at some point.

"Simultaneous" resembles any time they say "co-emergent", "together-born", "co-natal", etc., this specifically means Sahaja. Spontaneously self-arisen is Swayambhu.

The closest thing to it being "the same training" is perhaps that in Nepal, there is no such thing as Hinayana or Mahayana Buddhism, it is all Vajrayana or tantric, which just has a public face and a restricted one. So if I just learn how to say Namasangiti, it is Kriya, if I study the doctrines, it is Chara, if I pursue these into their inner meaning, it is Yoga, and then Namasangiti is considered capable of working in non-dual Yoganiruttara or Highest Yoga.

Vajra Tara works the same way.

Things like Hevajra and Kalachakra do not have a Yoga version.

Generation and Completion are different beasts, and so--again, for most people who have an interest but are not that advanced in Yoga--Generation is really big and elaborate. But then once you Accomplish it, then it can start to truncate into just a few symbols and some breathing and then you can perhaps just Mentally Mutter and within a minute or two, completely cross the threshhold which generally is at least six months of daily practices of Generation in all its details.

"Completion" sounds a bit like, oh, now, we're going to finish something, but it just means "Complete", it is the applications of the "complete working unit" created by the Generation Stage, which is Seven Syllable deity.

The Durga in Sarvadurgati Parishodana is Simha Durga, i. e. Lion Durga; I cannot recall what said she is green with four arms, but I think that is the case.

Pandara "is" red "robed in white", Samadhi of Entry Gagana Locana is Gold robed in white. When I looked into what Durga and Tara might possibly be doing together in one form, Durgottarini, which is Syama or dark green robed in white, there was a re-direct to a fairly similar Four Arm Green Tara.

A major Indian study (https://www.exoticindiaart.com/book/details/development-of-buddhist-iconography-in-eastern-india-study-of-tara-prajnas-of-five-tathagatas-and-bhrikuti-NAB075/) looks at Ratnagiri Taras and Bhrkuti. The author says that Abhayakaragupta picked the Dharanis ad hoc; he has missed the point that Dharmadhatu Vagisvara Manjughosha assigns them. But he has found that the original system of Taras is that of Sadhanamala. This is, perhaps, the only set of archaeological ruins that comes with a gigantic user's manual.

We were easily able to find that Vasudhara flings out Yellow and Red Samaya beings.

From Taranatha, Four Arm Green Vasudhara is the Kashmir style arising from Tam and having Ten syllables at crown, forehead, eyes, throat, shoulders, heart, navel, secret place. It is an Amoghasiddhi Tara. She has a complete coven, a dozen attendants which are Four Prajna Taras (just using Family names Vajra, Ratna, etc.), Four Offering Goddesses (Peaceful on moon disks), and the Four Wrathful Activity Goddesses on sun disks or i. e., the Four of the Weapons Activities mantra that Manohara is the first line of (Hook). The Vasudhara key goes into the normal mantra, Om Tare Tuttare Ture Danam Meda Da Svaha. She does Dharmachakra, has rosary, utpala lotus, and text. Very appropriate. This is Amoghasiddhi quintessence on outer (Wrathful), inner (Offering) and secret (Prajna) circles.

This is Dhanada's mantra, and her same retinue, therefor she is the same as Green Vasudhara. So after all these centuries, Sadhanamala Dhanada #107 is the same as Taranatha's Green Vasudhara #64 from Kashmiri Pandit. Four Arm Tam arising Green Tara is the same in both; Sadhanamala is a little more explicative. In this book, Sukla Tara in the cemeteries who casts Fence is followed by Dhanada, who adds a flat-plane retinue, Canopy, and Blaze. She lacks the magnetic poles and the tantric items. These are Amoghasiddhi White and Green Taras.

And so she would be easily overlooked as a "wealth" goddess by her simple name, except when we put her in place, she is giving the majority of a full mandala. If I ignored this subject until Tara forced it on me, that happens here.

In Sadhanamala, she is invoked simply as Nama Aryatarayai; she is vasista ("Characterized by") Ati ("highest") Durlabha ("difficult to accomplish").

Near the beginning, there is Purity mantra, and Om Amrte Hum Phat. Something happens with the syllable Pam, and then 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

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

Then the Crossed Vajra emits a Red Pam with a Kamala or Lotus above, a Lunar Bhrum syllable becomes a white disk with Bhrum. Something else happens, then Dhanada appears. Her clothing is not white, but Vicitra, piebald or variegated; she is very peaceful in something called Candrasanaprabham, which is not her pose, sattvaparyanka is cross-legged posture similar to Vajra Feet.

She does Varada rather than Dharmacakra:

akṣasūtravaradotpalapustakadharāṃ

Rosary (Aksa Sutra, "syllable string", which, according to Vishnu Purana, is Time), Varada, Utpala lotus, Pustaka (book, i. e. Prajnaparamita).

Syllable or Aksara is the negation, a-, of ksara, to perish, change, or dissipate. Bliss is also designated as Ksara (oozing, or lossy) or Aksara (non-oozing ecstasy of the Akanistha). The syllables are immortal, immune to time.

Then:

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

Which is the Ten Syllable mantra strewn around her body.

tato hṛdaye padmacandrasthasvabījaraśmisañcoditalocanādibhir
devībhir abhiṣiktam ātmānam amoghasiddhimukuṭaṃ dhyāyāt /

Heart is lotus--moon--svabija (seed syllable)--rasmi (rays)--sancodita (https://www.wisdomlib.org/definition/sancodita) (instigated, excited, or ordered by)--locana and others, and then she is an Amoghasiddhi devi

atha vā puṭasthacandreṣu vajratārādidevīr jhaṭiti dṛṣṭvā paścād vibhāvayet /

It may be saying we are seeing Vajra Tara in this manner; in any case, she must be related, but is not in the retinue per se. Dhanada does not have Emptiness mantra, which Vajra Tara does.

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

Om Tare Tuttare Ture Dhanam Me Dada Svaha

Towards the end it refers to devatachakram and jnanamandala, in seemingly the only time in the whole book it is put together this way.

She is identical to Taranatha's Green Vasudhara from the Kashmiri Pandit, and this is a more sensible Sanskrit for her mantra, compared to the Tibetan notes on Taranatha, which again tend to stick syllables wrongly, just like Sumbhani Sumbha or Vyuhara Jaya are basically meaningless until you make an adjustment. However, we will find it is accurate that Mahasri's mantra is close to this one. Well, this means Mahasri, Amoghasiddhi Green Tara in Sambhoga Kaya or Akanistha, is not far from what Dhanada can do. This mantra is more or less just saying "give me gifts", which is intended to be spiritual treasure; male Dhanada is generally taken as Kubera.

This is a "krama", or method, like Mahacina Krama, and so it could perhaps be argued that Dhanada is not really even a name, since she has no personal seed syllable and seems to only be called Arya Tara. Mahacina has no syllable or name or invocation like Nama Mahacinayai, but she is called Arya Tara Bhattarika.

Taranatha's version of the sadhana 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 (Vairocana Family has been kicked to the North).

[White Puspa Flower is missing], Blue Dhupa Incense, Yellow Dipa Lamp, Red Gandha Perfume (these first two groups peaceful seated on moons)

Blue Hook, Yellow Noose, Red Chain, White (Sukla) Bell (wrathful, warrior pose on suns)

Although this retinue is rather generic, it is one of the few times that Bell is white in Vairocana Family. This is like Durgottarini's clothes and Day-Night Tara, if White to Green is the main axis of the most pure to the most materialized light, and green is what is going to be dis-assembled.

Sadhanamala Dhanada is "Haritasyamam" which sounds mid-toned. Dhanada's animal vehicle is not mentioned and Newaris portray her on a human.

In the primary image of Seven Syllable deity from the 1100s, the lower register is Dhanada, Tarodbhava Kurukulla, Prajnaparamita, Cunda, and (likely) Vasudhara.

In browsing "Himalayan Passages", this contains a pretty detailed study on the actual Seven Syllable Heruka painting that goes with the mantra. The paper is rigorous enough to refuse to identify the very common Yellow Vasudhara and call it "likely", I suppose due to the lack of an inscription. She is the last one in the lower row of goddesses, who have no standard relationship, in other words, those are a personal selection by the donor. He picked Gold Prajnaparamita for the middle one. However, they have no problem telling us the one closest to him is Dhanada.

Since that is the "complete working unit", we are not remiss in thinking it might be related to the Indian Taras, among whom we can easily say that Dhanada and Kurukulla lack a "beginner" level, and that what they have must be pretty close to Completion.

From Rinjung Lhantab which illustrates the batches of initiations, they come in sets of frames, which might make one big assembly, or, be individuals following the roster.

This is Day/Night Tara, Pitheshvari, and Cintamani:

https://www.himalayanart.org/images/items/resized/1070px/4/0/0/40046.jpg

The very next one is Manohara, Green Vasudhara--Dhanada, followed by what seems to be a seated Cintamani or Yellow Vasudhara Ila Devi:

https://www.himalayanart.org/images/items/resized/1070px/4/0/0/40047.jpg

By implication, if you get the Yellow and Red Samaya Vasudharas, the Green one pretty much fits in.

Vajra Tara gives the finishing touches, like 3D retinue and Jnanagni aura.

Amoghasiddhi emanates most of these greens and quite a few other goddesses, but, he has only one male emanation, Vajramrita, who quixotically is Jewel Family Tantra.

His other obscure Sadhanamala entries include Mahasri, who then becomes something like Quintessence Sambhogakaya Tara, whereas Mahattari is Varendra Vana Icchi and something like "inclusive of Kubjika and Matangi" from Hindu Yoga.

So before I would ever consider getting anywhere near Varahi, there is indeed a Vasudhara who interrupts and wants us to gather the magical elements.

Large Dhanada:

https://www.himalayanart.org/images/items/resized/1070px/4/0/3/40330.jpg

https://www.wisdomlib.org/uploads/files/fig172-Dhanada.jpg

So there are numerous examples of retinues that are "assemblies", like with Khasarpana, they are just standing around. With Dhanada, it is a retinue formed into a mandala. It is a very "cookie cutter" retinue using the most basic names; this, or parts of this, continue to be used in the tantras. Here, you are cobbling together the basics such as Four Activities, on three levels.

She has a single, specific role in the system of Taras, and is seen as highly germane to Seven Syllable deity. And if it is just a progression of the basic Green Arya Tara that helped me with mental and emotional problems so long ago, then she must have a Tara-based samaya being, but when she steps up to the mandala, then she is also a Vasudhara, and only a slight change from Durgottarini.

Old Student

28th July 2020, 17:56

You are not only past that but are finding the clarity of the Sixth Skandha which is about not having a "me" or identity with any skandhas. The fact that this does not mean "become nothingness" is the Para Sunya view, which states that reality is Neti Neti or has nothing that can be named, it is empty of everything else, except for what it actually is. Most Prasangikas are apparently loath to say this, and, I am not trying to argue, I am simply presenting Para Sunya as it is.

I have taken quite a bit of "comfort" in the interpretation of everything, including emptiness, as illusion that is in Niguma's Stages in the Path of Illusion, e.g.:

Beginningless basic space itself,
primordially nonexistent illusion,
is the seed of all phenomena,
the buddha nature, and virtue.
It is known as the essential base of all.

If I put it all in the (admittedly) idiosyncratic terms of my shaking and the vocabulary I have built up around it by writing them down all this time, there is a difference, to be sure, between the perception of "reality" as "emptiness", and the perception of reality "in forms", one is much harder to maintain "meditatively" than the other, and it is easy to see all the possible "in forms" realities being versions of the "emptiness" version. The emptiness version is what happens within the dissolve, the "in forms" versions are before and after passing through it. It is possible to see the state in the dissolve as being primordial and empty and "before form", and that any "in form" reality is a possible "direction" to go from that primordial state.

But it's also possible to feel them all as illusion and that the empty primordial is just the illusion from which the other illusions are "created". Then everything is just as empty, or just as not empty. Preference for one of them, be it the empty one or any of the "in form" ones is a composition of likes, dislikes, desires, attachments, etc., which isn't necessarily bad or good, it just is how the one that is one's "home base" for experience is chosen. Accessing the others vary in difficulty. That's what it seems like after a while. Any recurring motif can become an attachment, being lazy or obsessed by a particular state makes one "stuck". I can't dissolve if I am attached, because I have to lose myself for it to happen, whichever self that is.

There is a phenomenon in my shaking that I call being "completely in" my clear body. When it happens, I have no "muscle memory" at all of my physical body or how I got to this state or how to get back. The first time it happened I completely freaked, and it dredged up all sorts of past trauma and I was miserable for several days after. The reason I bring it up is that it is possible from that state to go through the dissolve to my physical body, which then feels like the clear body of my clear body. That is how the lack of there being a "more real" world feels. (I hope that actually explained something, it occurs to me that it doesn't.)

The "balance" is not exactly gravitational, but more like fine tuning, like trying to broadcast specific frequencies at given amplitudes, something like a chord, and a dance, agreed. As if you could say, "Kaleidoscope, make the constellation Ursa Major!" and you get the result. Like you know how to make sand patterns on a drum head.

Thank you. I'm very glad to be doing this, I'm learning a lot of context and feeling a lot more comfortable with things.

shaberon

28th July 2020, 18:27

Tara has a well-sculpted path and teaching in the Indian version; Vajrayogini is similar, if we examine the tantras from the same standpoint.

When Tara arises as Pitha Ishvari Tara, she uses the same Body Mandala Syllables as Jnana Dakini--who indicates Vajradakini at the crown.

And so there are two elusive groups of goddesses we want to follow in Generation and Completion Stages: Gauris and Vajraraudris.

Gauris are in Dakini Jala in unique forms.

Samputa Tantra, which shows Jewel Family as the single fiery one, uses Paramadya Tantra, Dakini Jala, and Jnana Dakini. It adds Vajraraudris, only in the NSP version, and this ring is transferred to certain Hevajras other than the common skull one. Mitra's 108 Sadhanas reflects this continuity; Mitra is considered personally close to Ekajata and Sukha Dakini, and the transmitter of Seven Syllable deity. If we look elsewhere, the Vajraraudris vanish.

One of their retinues is with Trailokya Ksepa Hevajra; he is a Vilasa or male Vilasini, throws his limbs in wild abandon. He has eight Vajraraudris near him; and then there are the Musicians and Gatekeepers:

http://www.surajamrita.com/images/Vajravali/5a_2arms_Hevajra_mandala.jpg

Vilasini is love play, which, semi-exoterically may be sex or Karma Mudra with Guhya Jnana, Padma Jala and Padma Jalini--Dharmadhatu Vajra, but it has further use.

Virupa's Vajrayogini begins by saying Locana and others are Ten Vajravilasinis in an equivalent way to the next line saying Yamantaka and others are Ten Wrathful Ones. That piece is based on Guhyasamaja Trikayavajrayogini. The subsequent song puts her in Kubjika's family in verse fourteen.

Vilasini must have something to do with Cinnamasta.

This has a close Shiva Ucchusma parrallel: Ucchusma (‘Desiccating [Fire]') is the first of Ten Rudras, who have female counterparts by the same names, and in some variations, Candali, Matangi, Sabari, Yami, and Pukkasi start showing up, until the reviewer finds that there is a common group in dharanis as we found with Parnasabari, five non-Vedic goddesses: Gauri, Gandhari, Candali, Matangi, and Pukkasi. So they straddle a twilight area between Ten Vilasinis, and various sized groups of Gauris. Although Parnasabari is a major exoteric goddess, she is used in occult healing, and burrows right through Yamari into Dakarnava tantra, with this group and Janguli.

Shangpa version of Weapon Shastradhara Hevajra that blends Tramen, Musicians, and Gatekeepers into one, and so the Gauris are skewed from their directions, but, the Agni Kunda can be found on one:

https://www.himalayanart.org/images/items/resized/1800px/3/0/9/30918.jpg

Aside from the Samputa Tantra, the most common reference and ritual source for the Shastradhara form of Hevajra is the Vajravali text of Abhayakaragupta.

There are at least two "Vajravali Samputa Hevajras" which turn out instead to be Kapala Dhara with two arm goddesses. The correct one was made by Newaris, so the upper left large form has the Gauris, the other three have Vajraraudris, and the second ring of Musicians and Gatekeepers is the same for all:

https://www.himalayanart.org/images/items/resized/2000px/8/7/0/87084.jpg

Pabonkha was anti-Rime'; Jamgon Kongtrul was Rime's prodigy. The first took Vajrayogini from Sakya, tried to pin it on Tson kha pa, and make this the new blanket policy for all Buddhism. It throws Cinnamasta right in the neophyte's face. Instead, we are working under her hood.

Jamgon Kongtrul mentions Samputa a few times:

For Mahamaya, the shape, mantra, and reality;
For Chatuhpita, the four seats; Samputa, seven secrets;

(seven secrets may also be considered the subject of RGV)

The Continuation of the Samputa Tantra is to be expounded by means of
the seven secrets, such as the obscure. These are summarized as follows:
one, the obscure, the causal continuum, the meaning to be understood;
two, the concise formulation of essential reality, the eleven [vase] initiations; three, the five seed syllables, the phase of generation; four, the concealed sacred element, the view that realizes the meaning of essential reality;
five, the secret lotus, the path connected to the third initiation, the means
of the mandala circle; six, the joy at the navel, the phase of self-blessing;
and seven, that which serves all [purposes], the different branches of the
path such as pledges and vows.

The Samputa and the Net of Magical Manifestation, and masters such as Nagarjuna and his spiritual heirs teach in addition the preparatory ritual of the earth goddess.

That means it begins like a Homa.

In 2016, "Before a Critical Edition of Samputa", we find that only paper copies have been used in translations. One of the main unworked originals is Hodgson's manuscript from ca. 1045 which includes Samputatilaka (eleventh chapter, "Continuation", which uses portions of Tattvasiddhi). Samputa shares verses with Chaturpitha Tantra. The study dissects the origin of every bit of Samputa, mostly from Chaturpitha and Hevajra, Dakini Jala, Maya Jala, Vasanta Tilaka, Vajradaka, and various Chakrasamvaras. It says Marici and Parnasabari are used. There is very little original in Samputa, but it sculpts a relation among tantras, with the overall purpose being Homa. It has nothing to do with Kalachakra, which was almost certainly published later. In its place we would set Dakarnava which is based in all of our stuff.

Samputa Tantra, Abhayakaragupta, and Vajravali are all working towards Agni Homa.

What appears original in this tantra is the Vajraraudri goddess ring shared by Samputa Vajrasattva and Samputa Hevajra; they are with Body, Speech, and Mind of Hevajra, and with the large, elaborate Vajrasattva. Jnanadakini was written first, and, from her, Vajradakini is the only one placed in this group, and would seem to be associated with Agni by design, since she was moved from the East to his corner in the southeast.

Concerning who the Vajraraudris are:

Samputa Vajrasattva's core is Jinas and Prajnas; and, his special ring of Four Armed Vajraraudri deities is cast normally. The cardinal directions as a cycle are Vajraraudri, Vajrabimba, Ragavajra, and Vajrasaumya; and the second cycle to the corners are Vajrayaksi, Vajradakini, and Sabdavajra and Prthvivajra.

Vajraraudri is also with Seven Syllable deity as found at Ratnagiri; Smoky, Hrih-arising. One could say Seven Syllable mantra begins with Om Hrih like Ziro Bhusana and Guhyajnana, and the rest are wrathful syllables. Vajrashrnkala at one point seemed to be the Activity of this Vajraraudri; both are Samadhi. If we take it literally, Raudri is Maheshvari--Ghasmari. A Chinese basket has a thangka of her, but she is not smoky, and with Seven Syllable, she is loose hair, naked, greatly fierce, three eyed, four armed.

Bimba is one of those words which in astrology, means an original orb such as sun or moon, but otherwise usually means reflection as was discussed at Rajgrha:

They accepted that dharmas are like a reflection (bimba). The reflection (bimba) in the mirror is not produced by the mirror (ādarśa), nor by the face (vaktra), nor by the person holding the mirror (ādarśa-dhara), nor by itself (svataḥ); but it is not without causes and conditions (hetupratyaya). It is the same for the dharmas: they are not produced by themselves (svataḥ), nor by another (parataḥ), nor by both together (ubhayataḥ); but they are not without causes and conditions (Catuskoti or Jewel of the Doctrine).

On its own, Bimba is used in a conventional way, but this Vajrabimba deity is found in:

samaya-saṃbhava-ratnādhiṣṭʰānaṃ samādhi

In STTS, Vajrapani is Maha Bimba. Around the middle of the text where we might first look for the main meaning, there is a turn of phrase after a dozen or so invocations and descriptions of Suksma, at:

sarva-tathagata-suksma-jnana-vajra-bimbam atmnam adhisthaya

followed by a large batch no longer pertaining suksma, but to Vajra Bimba, and what appears to be four heart seals:

vajra-ratn'atmaka'//hrdaya-vajra-surya'// tistha vajra-dhvajagravam'// hrdaya-vajra-hasa'//sarva-tathagata-vajrabhiseka-jana-mudrah/

Jewel Family is intended to match Vajra Surya as a wrathful, in this somewhat difficult document, which is the name used in Sarvadurgati and Dakini Jala.

A more extensive Gretil document invokes Vajra Bimba four times related to Nidhi; and then Nidhi opens into Vajra/Ratna/Dharma (Lotus)/Karma Families, or, it is a type of Pancha Jina evidently stemming from Suksma, which links Ratna to Vajra Family via Nidhi, secret subterranean treasure; Yaksha realm. The relevant mantra is Om Tishta Vajra, a vajra in general stands at attention, or, Hand Symbol manifests. This central Samputa is called Vajrasattva, "or" Vajradhara, in other words a hypostasis, where they have blotted out Akshobya. It is the same concept as Kagyu Guru Yoga; the one is the forefront of the other, who does not directly teach us, but to Bodhisattvas. To us it is tantra. Vajrapani does most of the explaining to Mamaki.

Third:

Male Ragavajra would be a form of Lokeshvara or of Atisha's Ganapati, one of the common phallic deities, of Vajrabhairava, Yama Dharmaraja, Black Jambhala, Ganapati, and Mahadeva. It means he has Mahasukha.

Rāgavajra (रागवज्र) or Mahāmāyā is the name of a deity associated with the Āyatana (sense) named Mukha, according to the 9th century Vajraḍākatantra chapter 1.16-22. If Mukha is not meaning the face generally, its next choice is mouth, so this must mean taste. Female Ragavajra is Vajrasattva's first glimpse in the East, so to speak, at non-duality; there she is in Vajra Family, and her duty is to please Vajrasattva's mind so he will not swerve from the thought of Enlightenment. The basic pattern of that one formula is more or less permanent, in the sense that each portion is forever increasing. But compared to that first retinue, now for Samputa she moves West, in a manner suggestibly close to a female equivalent of the male version.

Fourth:

Saumya (सौम्य, “pleasing one”), alluding to Soma, lunar (there is also a male one in Chandra--Moon mandala, Yellow on a Lotus in the South), is a Vidya or Wisdom produced by Vajramrita Tantra. She perhaps is an Amoghasiddhi deity close to Ghanta--Bell, which would fit North here. If Ragavajra has a need to please, here is the ability.

A similar statuette set from Forbidden City:

1. Vajraraga (Fo mu) (Ragavajra). 2. Vajrasanti (Fo mu) (vajrasaumya). 3. Dakini (Fo mu) (Vajradakini). 4. Vajrabhumi (Fo mu) (Prthivivajra).

In the corners of Samputa's mandala, Vajra Yakshi--secret world is before Vajradakini--flaming crown, followed by Sound which perhaps is Gandharvas, and then Prithvi here is likely intended as Vajra Bhumi or First Bhumi.

The male Vajra Yaksha is an all-purpose banisher in Yoga tantra such as Vajradhatu.

Vajradakini is The End of Seven Syllable mantra: Upeksa. So two Seven Syllable deities are in this retinue, her and Vajraraudri.

Jamgon Kongtrul ends his long list of initiations with the cycle of Vajradakini Sitatapatra and the cycle of Padmadakini Kurukulle; Mongolia has a Seven Arm Sitatapatra.

Vajradakini Nispanna Krama (Completion Stage) is by Vinapada; her sadhana is by Dipamkara. I am not sure how you count him as an author. She has another sadhana by Kanha, and a "Giti Nama" translated by Sha ma Lotsawa, which sounds like a namasangiti, name song.

Vajradakini's Completion Stage author is Vinapada in Melody of Dharma:

The lineage of Ashvapada, Vinapada,
Indrabhuti, Lakshminkara
Lilavajra, Ghunaderi
greatly compassionate Master Padma

and is mentioned similarly in Indian Kavya Literature, and thought of perhaps as a teacher of Tilo (whom Taranatha does not mention).

In Nepal's archive, so far there is only Nagarjuna's Vajra Devi Stotram, where she is Varahi, Vilasini, Jnanadakini, and others; verse two starts:

nagnāṅgā grīvamālyā naraśirasahitā bhūṣaṇaṃ pañcamudrā

which includes the name Ziro Bhusana if you splice it; generally saying Naked Body Neck Garland Human Heads with Ornaments of Five Seals. This Vajra Devi is in at least Vajra and Tathagata families; the verse quoted is a Padma Rupa.

Kongtrul saw in a dream:

Seated on thrones were the deities Vajradakini and the three-faced, six-armed form of Simhamukha; they effortlessly bestowed on me a blessing of supreme timeless awareness, the unity of bliss and emptiness.

Kongtrul begins his classification of Anuttarayoga — Mother Tantras 1. Sarvabuddha-samayoga [Dakini Jala] one hundred and thirty-five and one hundred and twenty-seven deity mandalas 2. Sarvabuddha-samayoga Vajrasattva two hundred and eighteen deity mandala.

Samputa Vajradhatu and Samputa Vajrasatva are called Non-dual. Spiritual Advice includes Mayakaya Maheshvari mandala (Shangpa Kagyü), shortly followed by Vajrayogini mandala (Rechungpa).

The rest of Samputa's retinue uses a slight trick.

If we see how Bimba is in a Catuskoti with Adarsha, then, after Samputa ends a cycle abruptly by "doubling" Gandha Tara and Gandha Vajra, his last cycle before Gatekeepers is:

AdarsI, Rasa, Sparsha, and Dharma [Dharmadhatu].

It is, perhaps, going inside the Mirror or Form via Nectar--Rasa, Purified Touch Object--Sparsha, to Dharmadhatu Vajra and Dharmadhatu Ishvari.

The last deity is equivalent to the culminatrix of Dakini Jala; or, Dharmadhatu Vajra realized as Dharmadhatu Ishvari, who esoterically becomes Jnana Dakini by using Four Chakras.

So it is Vajradakini which arises as the power of the crown, and has continuity through the tantras, unto the highest or seventh power of the Jewels of Enlightenment as in Vajradaka.

Tibetan Art (https://www.tibetanart.com/Product.asp?PID=383&MATCH=1) portrays the large Samputa Hevajra with Guhyeshvari Kali at the top centre, flanked by the four Newar aspects of Vajrayogini; and with the ten-armed form of Buddhadakini Vajravarahi at the bottom centre, flanked by red Kumara and white Ganapati (sons of Shiva) with their consorts Kumari and Lakshmi.

Guhyeshvari's main human face is blue; she has eight tramen faces topped by Lion; and her upper human face is yellow; this form is a Hindu Guhyakali from Mahakalasamhita. Vajrayogini is considered the consort of Chakrasamvara; In the top right she appears in her six-armed form as Khandaroha Yogini, who is one of the four direction yoginis that encircle the central dais of Vajrayogini's five-deity mandala. Red Khandaroha abides in the east and traditionally holds a skull-cup, curved knife, damaru and khatvanga in her four hands, but she appears here with six arms holding a curved knife and skull-cup in front of her heart, with a damaru, rope-noose, lotus and bell in her other four hands.The lower Varahi has two Ghonas and shares Varuni's trait of being on a fish. Guhyeshvari's heads include the first tier having the heads of a horse, a makara, her main human face, a garuda, and an elephant. The second tier has a boar, a tiger, and a monkey head; she shares Varuni's trait of Bindu Kapala Mudra at her heart. The Vajrayoginis are Swayambhu Bijeswori Maitri Vidyadhari Dakini, Sankhu Naro Khecari, and Pharping trampling Maheshvari, and they do not know where Khandaroha is from, except she belongs in the mandala.

Old Student

28th July 2020, 21:01

The Vasudhara key goes into the normal mantra, Om Tare Tuttare Ture Danam Meda Da Svaha. She does Dharmachakra, has rosary, utpala lotus, and text. Very appropriate. This is Amoghasiddhi quintessence on outer (Wrathful), inner (Offering) and secret (Prajna) circles.

This seems to put her close to Prajnaparamita. So far, I've found at least three mothers of all Buddhas, for various reasons.

...Mahasri, who then becomes something like Quintessence Sambhogakaya Tara...

Isn't Sri a kind of general moniker for Shakti type goddesses?

Vajra Tara works the same way.

Things like Hevajra and Kalachakra do not have a Yoga version.

Generation and Completion are different beasts, and so--again, for most people who have an interest but are not that advanced in Yoga--Generation is really big and elaborate. But then once you Accomplish it, then it can start to truncate into just a few symbols and some breathing and then you can perhaps just Mentally Mutter and within a minute or two, completely cross the threshhold which generally is at least six months of daily practices of Generation in all its details.

"Completion" sounds a bit like, oh, now, we're going to finish something, but it just means "Complete", it is the applications of the "complete working unit" created by the Generation Stage, which is Seven Syllable deity.

So "completion" is somehow filling in the details of "generation"? That would correspond well to what the Second Dalai Lama wrote, the two seem to be covering the same material, but differ. I had also heard that, for instance, visualizing Heruka is generation stage, arising as Heruka is completion.

shaberon

29th July 2020, 08:22

...Mahasri, who then becomes something like Quintessence Sambhogakaya Tara...

Isn't Sri a kind of general moniker for Shakti type goddesses?

Yes, which would render it quite diffuse, except we have had reason to hone our attention on Kolhapur Mahalakshmi and Lakshmi Tantra.

It is like using the name Chamunda but however referring to Candi and specifically to Charchika.

It is like trampling Kalaratri, since Kalaratri is a Durga and we just revered her as Tara. What is going on here? It may have something to do with Buddhist Lakshmi's Mule. In Buddhism, Lakshmi is very heavily loaded, put it that way.

In the process of converting Hindu deities to Buddhism, it appears that out of the "general and popular" terms, it is highly selective and then narrowly focused in its application.

Mahasri has a Sutra basis, is a Sambhoga Kaya Tara, with Mayuri, Janguli, Marici, and Ekajati; in the tantras, Lakshmi is Kama Dhatu Ishvari, which must be related to a subtle aspect of the Dharma Kaya. It means she is ultimate enlightenment as accessible through Kama Dhatu Vajra which would mean the Object in Kama Loka. That also refers to the Black Void and Ekajati and Tamas Guna.

So the real Kama Dhatu is not perceivable by the physical senses. One can manifest Sambhoga Kaya physically, or, in the Akanistha. And so the Akanistha is the Pure Land in the Kama Loka. That is what the Vimala quality will perceive. For others, not so.

From Uma Mohan, Lakshmi Gayatris and Root Mantras:

hNOl-vdjzGM

Siddha Lakshmi:

tB1mcbh5k7k

Traditional song of Kolhapur Mahalakshmi, often called Ashtakam or Namostute or Mahamaya:

uQ4OiARvPSE

That is the tantric one and contains for instance the line: Sthula Suksma Maharaudre, and, again, I am trying to get to who the Vajraraudris are, and I think it may be in there somewhere and for the time being I am just going to tack it to "first Dharani goddess".

I am putting the full lyrics at the bottom of the post.

So "completion" is somehow filling in the details of "generation"? That would correspond well to what the Second Dalai Lama wrote, the two seem to be covering the same material, but differ. I had also heard that, for instance, visualizing Heruka is generation stage, arising as Heruka is completion.

Yes, exactly, Heruka Yoga.

We are talking about Sahaja Heruka. He is in Union with White Vajrayogini who is called Vairocani and is said to be able to Reverse the Union.

In the following, think of the White Heruka as Spontaneously Arisen and tied to the various iterations. In other words, a student could be initiated and trained in the sadhana, without necessarily having its key factor, the power of this Arisen One. And so he would remain in the Generation Stage, at least physically. I suppose you could also be trained in the Completion ritual without really being able to do it. I am only talking about that force which will place one at the Akanistha or Stupa, and following the teachings of Generation Stage, that is, enabling the Heruka to Arise. Then you would easily be able to tack on Completion Stage and do it fully.

Part of what that means is that the actual Completion consists of only a small amount of ritual material and time spent, because that is just going to act as a kind of trigger or catapult to enter the Samadhi that is being displayed.

It is like a tapestry of Samadhis, so you have Samadhi of Entry and then other main forms and you can look and find hundreds and thousands of Samadhis. So we go through these and whip up a broth of Nectar and Void Gnosis, which typically comes on by degrees until we "have" Heruka.

And so he will make subtle Kayas inside the Dharmakaya--Ultimate Enlightenment or Dharmadhatu Kaya because he operates the Jewels of Enlightenment, and Deathlessness or Vajra Kaya since purified white deities sling out of him. We used Svabhavika Kaya (Vajrasattva) and the multiply-named Bliss kaya to get here, there is nothing left. All that can be done is increase and expand.

According to Taranatha, there is a Seven Syllable Maha Sri Avalokiteshvara, "inseparable from Heruka", because they share the same mantra. This is Blue Avalokiteshvara with Red Gegmo (Varahi), surrounded by six Four Arm drummer dakinis of the White Vajra Dakini class, which is Armor or Rays.

So the "Armor-like" deities is like Sat Chakravartin, showing Six Families or Elements. Seven Syllables is the Near Essence mantra of Chakrasamvara; With Avalokiteshvara, who is Hum, continuously pronounced, it makes a ring of Six Vajra Dakinis.

In Rinjung Lhantab, there is a series of four armed drumming dakinis (Armor-like Heroines), then White Heruka with consort, and then Seven Syllable Saptaksara Heruka Avalokiteshvara with Red Two Arm Varahi Archer (Lasya), just as in the sadhana. Starting from the Blue one at the end of this frame:

https://www.himalayanart.org/images/items/resized/1800px/4/0/0/40021.jpg

https://www.himalayanart.org/images/items/resized/1800px/4/0/0/40022.jpg

https://www.himalayanart.org/images/items/resized/1800px/4/0/0/40023.jpg

Seven Syllable deity is the first one of these, then something else, then Kalachakra:

https://www.himalayanart.org/images/items/resized/1800px/4/0/0/40024.jpg

Reduce the male to two arms, it becomes Sahaja Heruka, Chakra Paramasukha, which is Chakrasamvara, an Akshobya deity, united with Red Varahi, a Vairocana deity. Same mantra.

Avalokiteshvara takes the Hum syllable and gives Hrih to Amoghasiddhi Heruka and Akshobya Samvara, but they all use Seven Syllable mantra.

This Seven Syllable Avalokiteshvara is simply Maha Sri Heruka. He is the root of a shared mantra. The full explanation of it is given by his Vajradaka form.

This makes a pretty straight equivalency of Vajrasattva, Heruka, Hevajra, and Avalokiteshvara, at the center of Six Shaktis, from a common mantra. Vajrasattva is the source of Peaceful Deities, Heruka of the Wrathfuls, Red Vidyadhari Guhyeshvari Jnanadakini of Sages or throat center (mantra).

According to Bhattacharya, Saptaksara Hevajra is with Varahi, is crowned with Vishvavajra, has a crescent moon and six auspicious symbols on his head. On the spokes of his sun disk are Blue Heruki, Yellow Vajravarahi, Red Ghoracandi, Green Vajrabhaskari, Smoky Vajraraudri, and White Vajradakini. Each has a sava vahana, corpse vehicle, they stand on a sun orb on a corpse. All carry human skin. You may notice the strange nature of Varahi Armor Deities since Varahi repeats herself in the retinue. This is about to be resolved.

Saptaksara mantra is mentioned several times in Sukla Kurukulla sadhana, 180.

The full Sanskrit Seven Syllable Vajradaka sadhana by Durjayachandra (250) commented by Advaya Vajra or Maitri (251) (as in Mitra's 108 sadhanas) has been published in Himalayan Passages: Tibetan and Newar Studies.

The Seven Syllable mantra is the end, not beginning, of this rite. You go through your Buddhist and tantric prestidigitations to set it up and get to it.

The powers of this retinue include at least some Vajraraudris:

Smrti is Sri Heruka, Dharma Pravicaya is Heruki, Virya is Vajrabhairavi, Priti is Ghoracandi, Prasrabdhi is Vajrabhaskari (Light Maker), Samadhi is Vajraraudri, Upeksa is Vajradakini, These are Saptabodhyangabhavana, born or becoming through the Seven Jewels of Enlightenment.

Of all those, Vajrabhairavi would suggestibly be rather common but, this is almost her only appearance in Buddhism. These are not Armor Deities, but, she winds up being a substitute for Varahi--and/or in Samputa, Vairocani overwrites Varahi in Armor.

The Seven Syllable male deity is like the Kalachakra Va syllable, Fifth Yoga, Smrti, which is the Sati or Mindfulness of the Seven Jewels of Enlightenment at Completion Stage in this engagement.

All Six Yogas is Buddha Kapala, produced by this deity, just as Smrti produces Samadhi.

Nothing in the sadhana mentions Avalokiteshvara, except maybe "Sadaksharabhava", suggesting that you cultivate the Six Syllable form first. Vajradaka was the chief of the "Six Buddha" mandala, now he is central here. It could also be pointed out that Vajradakini is not his consort.

Most of the texts use the term, Embrace; this is allowed in the Outer meditations.

Vajrasattva gets together with Varahi or the Clear Mind of one's own, and her fruit, or Vajradhatvishvari, is something like an offering to Vajradhara, or, opens the awareness and realization of the Sahaja couple.

According to Taranatha, there are two deities who exclusively have Vajra Vairocaniye (active radiance) in their mantra.

One is Hrih-arising Golden Varahi Kurmapadi which is Tortoise Pose (I think there may be one similar in a normal pose).

The other is White Vajrayogini who has reversed White Heruka. They arise from Hum and evoke her and Seven Syllable mantra.

So if I do Varuni Yoga, Vairocani is in her body, and she comes out to get this Heruka. She is part of Cinnamasta, and this is what she does. In Samvarodaya, she proceeds to melt him.

The other Cinnamasta attendant, Vajra Varnani (Sarva Buddha Dakini), is the true nature (varna = color) of the vajra: transparent, pure, object-free, non-dual, changeless and indestructible like Void. Accordingly, at the beginning of Tummo or inner heat practice, the body of Vajrayogini should be clear. Varnani appears to be a mix of Vairocana's empty consort niche with Vetali (corpse). That stage is the turning point, since tummo is the basis for the other aspects of Completion Stage, or the Six Dharmas of Naro or Niguma. So you get to this body-less dakini, stage five, Dharmadhatu, and then reversed White and Green Tara and Buddha Kapala unpeel the normal color spectrum.

On this particular subject, one of the oldest artifacts has been kept in high regard as being the best illustration of cemeteries. Maybe so. It is the one used in Vajradaka, with the lower register of Dhanada, Tarodbhava Kurukulla, Prajnaparamita, Cunda, and Vasudhara.

Here is an 1100s Nepali showing the Six Yogini retinue, Avalokita Chakrasamvara and the consort Lasya, accompanied by six female retinue figures and surrounded by a palace, mandala circle and extensive cemetery scenes according to the tradition of the Indian siddha Advayavajra as found in the teachings of Mitra Yogin. A description for this deity and retinue can also be found in the edited Bhattacharya version of the Sadhanamala Sanskrit text (see #250) where the tradition is attributed to the Indian siddha Durjayachandra.

Seven Syllables and Seven Jewels of Enlightenment:

https://www.himalayanart.org/images/items/resized/2000px/8/6/4/86435.jpg

It is correct that very, very few, perhaps only one other mandala, uses a hexagram or six figure retinue.

Same deity appears for Vajra Kaya:

https://www.himalayanart.org/images/items/resized/2000px/4/3/2/432.jpg

Indra Krita Mahalakshmi Ashtakam by Uma Mohan

Namastestu Mahaa-Maaye Shrii-Piitthe Sura-Puujite
Shangkha-Cakra-Gadaa-Haste Mahaalakssmi Namostute ||1||

Meaning:

1.1: Salutations to the Mahamaya (the Great Enchantress), Who is Worshipped by the Devas (Suras) in Sri Pitha (Her Abode).
1.2: Who has the Conch, Disc and Mace in Her Hands; Salutations to that Mahalakshmi.

Namaste Garudaarudhe Kolaasura Bhayangkari |
Sarva Paapahare Devi Mahaalakshmi Namostute ||2||

Meaning:

2.1: I Worshipfully Salute Devi Mahalakshmi Who is mounted on the Garuda, and Who is the Terror to Kolasura,
2.2: (I Worshipfully Salute) the Devi Who Removes All Sins (when we Surrender to Her); I Worshipfully Salute Devi Mahalakshmi.

Sarvajnye Sarva Varade Sarvadushta Bhayangkari |
Sarva Duhkhahare Devi Mahaalakshmi Namostute ||3||

Meaning:

3.1: (I Worshipfully Salute Devi Mahalakshmi) Who is All-Knowing (Knowing even our Innermost Thoughts), and Who Gives All Boons (When Her Compassion is Aroused); (I Worshipfully Salute Devi Mahalakshmi) Who is the Terror to All the Wicked(Destroying our Evil Tendencies),
3.2: (I Worshipfully Salute) the Devi Who Removes All Sorrows (When Her Grace is Aroused); I Worshipfully Salute Devi Mahalakshmi.

Siddhi Buddhi Prade Devi Bhukti Mukti Pradaayini |
Mantra Murte Sadaa Devi Mahaalakshmi Namostute ||4||

Meaning:

4.1: (I Worshipfully Salute) the Devi Who Bestows Accomplishments (When She becomes Gracious) and Intelligence (to direct our Lives properly with those Accomplishments); (I Worshipfully Salute the Devi) Who Bestows both Worldly Prosperity as well as directs our lives towards Liberation (Merging in Her Lotus Feet),
4.2: (I Worshipfully Salute) the Devi Who Always Abide by the Subtle Form of Mantra (behind Everything in Creation and Within our Hearts); I Worshipfully Salute Devi Mahalakshmi.

Aadyanta Rahite Devi Aadya Shakti Maheshvari |
Yogaje Yogasambhute Mahaalakshmi Namostute ||5||

Meaning:

5.1: (I Worshipfully Salute) the Devi Who is Without Beginning (Aadi) and End (Anta), being the Primordial Shakti (behind Everything); I Worshipfully Salute that Great Goddess,
5.2: (I Worshipfully Salute Devi Mahalakshmi) Who is Born of Yoga (out of the Great Consciousness) and Who is always United with Yoga; I Worshipfully Salute Devi Mahalakshmi.

(alternate verse five)

Adyanta-rahite devi
adyasakti mahesvari
Yogaje yoga-sambhute
mahalaksmi namo stu te.

Meaning -

O ! Goddes Maheshwari,with you is the begining and with you is an end,you are the energy source of the universe born of yoga,O ! Mahalakshmi I always worship you.

6.

Sthula-suksma-maharaudre
mahasakti-mahodare,
Maha-papa-hare devi
mahalaksmi namo stu te.

Meaning -

O ! Mahalakshmi,you are the life of all the beings in ultra fine,you are the great power,who has great prosperity and you are the remover of all sins,O ! Mahalakshmi I always worship you.

7.

Padmasana-sthite devi
parabrama svarupini,
Paramesi jagan matar-
mahalaksmi namo stu te.

Meaning -

O ! Mahalakshmi,seated on a Lotus flower,who art lord Brahma ,who is the great lord and look after your devotees like a mother , you are the source energy of the Universe.O ! Mahalakshmi I always worship you

8.

Svetambara-dhare devi
nanalankara-bhusite,
Jagat-sthite jagan-matar-
mahalaksmi namo stu te.

Meaning -

O Goddess,who is in white saree,decked with very precious ornaments,you are the mother of the Universe and the energy support fo it,O Mahalakshmi I always worship you.

She who is Forgiving , Pure ("Satva") , who is worshiped by Gods without whom the world is Lifeless , the one who is Everywhere in Everyform , The one who causes the Cosmic/Celestial Dance , The one who feeds all forms of Life .

9.

Mahalaksmyastakam stotram
yah pathed bhaktiman narah,
Sarva-siddhim-avapnoti
rajyam prapnoti sarvada.

Meaning -

This song is for you the great Goddess of wealth,If read with devotion will attain all the success and will get all the worldly position.

10.

Eka-kale pathen nityam
maha-papa vinasanam
Dvi-Kalam yah pathen nityam
dhana-dhanya-samanvitah

Meaning -

If this song is read Once a day,all the sins will be destroyed and if a person reads this twice a day wealth and prosperity will be showered on him/her.

11.

Tri-kalam yah pathen nityam
mahasatru-vinasanam,Mahalakshmir-bhaven-nityam
prasanna varada subha.

Meaning -

If a person reads this thrice a day,all the enemies (ego) will be destroyed.Goddess Mahalakshmi will be ever pleased with that auspicious one.

Uma adds a line that has something about Sambuddha, and this is very near Sarva Siddhim in verse nine as we use in Vajrasattva mantra; and her outcome is Prasanna. There isn't really anything here I could call non-Buddhist, and it has to do with purity re-applied towards a beneficial outcome, and the main difference is we give her a green murti called Maha Sri, and she is green because that is supposed to mark Accomplishment

shaberon

29th July 2020, 18:38

In thinking about nagas, I have just found a surprise.

Janguli is not a "regular" snake goddess, because the lower half of her body never becomes a naga.

Nagas themselves are already magical; Mysore has a preponderance of triptych style masonry, the panels being firstly, male cobra of one to seven heads; next the female naga or half woman, with a tiara; and finally, them entwined round a linga, as a caduceus.

Nagas pertain to the number five, like Varahi, and among their offshoots is Khodir Maa or Crocodile Devi.

Among the nagas, there is a rare, and very rare in Buddhism, exalted (virgin) species.

The distinction of a Nag Kanya from a Naga is the wings:

http://cdn3.bigcommerce.com/s-m7i0ox/products/859/images/1055/masindia_2271_25698022__43364.1425416565.1280.1280.jpg?c=2

This makes of her a Sky-Goer. Flight is the desired ability for all the Dakinis and Yoginis, showing their mastery over Form and Space and enlightened natures.

She is said to be Manasa, but Manasa is Janguli--however as we can see it is not her form, and is not a plain form but a tantricly-advanced one, where does it come from or who is it?

In the Book 9 of the Devi Bhagavatam Purana, Chapter 1, the following text is written (starting with verse 71): "Then comes the Manasa Devi, the daughter of Kasyapa. She is the dear disciple of Shankara (Lord Shiva) and is therefore very learned in matters of Shastras. She is the daughter of Ananta Deva, the Lord of Snakes and is very much respected by all the Nagas. She Herself is very beautiful, the Lady of the Nagas, the mother of the Nagas and is carried by them. She is decorated with ornaments of the Snakes; She is respected by the Nagendras (Lords of Snakes) and She sleeps on the bed of Snakes."

Traditionally she is Manasa because mind-born from Kasyapa. However the passage somehow refers to two fathers.

If she is mystically Ananta's daughter, Varuni is mystically her mother, Varuni is Ananta Shakti.

As Daughter of Ananta, she would appear as the enemy of Lakshmi's Garuda and slashed into pieces. Thus the halves of Daivi Prakriti are split right now and we are starting to form the connection. Some speculate the manifest Nag Kanya is the re-unification of Garuda and Serpent (Finite Time Cycles and Infinite Time). By Daivi Prakriti, it refers to the virginal solar essence and its "missing half" in a person, having to do with Varuni and melting Heruka.

If we ask Sadhanamala, we get one answer. Naga Kanya appears one time in Sukla Kurukulla 180. It is nowhere near the beginning of the article, and even further from the end. It says:

saptākṣaramantro 'kṣaralakṣa-
japena homāktavidhānayuktatrimadhurāktaśuklapuṣpāśīti-
sahasrahomena nāgakanyām api ākarṣayati, aprārthitadivya-
mānuṣīṃ ca labhate /

Seven Syllable mantra is repeated a lakh, 100,000 times.

During a ritual to anoint and bind (yukta, similar to yoga or yoke) impurities to the three:

Madhu, honey or mead
Rakta, Red
Sukla, White

Madhu Rakta Sukla sounds like it is talking about Om Ah Hum or the three skulls in the Triangle or, i. e. the tantric offering substances Varuni--Soma, Meat, and Nectar, but I cannot be positive.

A thousand puspasiti, probably white flowers, are offered.

Naga Kanya then is hooked and pauses for rest

full of or busy with wishes, desires, petitions of

Celestial--Human

are Accomplished.

Divya--Manushi is tricky:

According to the 2nd century Mahāprajñāpāramitāśāstra (chapter XIV), it is customary in India to call celestial (divya) anything that is beautiful. Even though the flowers of the manuṣya and amanuṣya do not come from the heavens, they can, nevertheless, be described as ‘celestial’ because of their beauty.

It is, perhaps, saying communication from the Bodhisattva to the Human.

The phrase Divya Manusya occurs one other time near the beginning of Sadhanamala.

This is curious, because you have a bajillion of a relatively secret mantra which we say is an important "switch" into Completion Stage, and it evokes the Nag Kanya who then herself is apparently not named. So this is the tip of an iceberg. I can say approximately what is happening here, Kurukulla and Seven Syllable mantra produce something like a White Heruka except it is not human, is more like Quetzal Coatl, and more than just an image it must correspond to an inner reality.

Manasa--Janguli is mostly from around Bengal.

The Nag Kanya is Haridwar Manasa:

http://3.bp.blogspot.com/-Y6kkY_O1Eo4/VCgRaAV-uVI/AAAAAAAARTI/bSaLOrQ1Jdg/s1600/goddess_manasa_devi_with_her_yantra_dk35.jpg

Old Student

30th July 2020, 01:09

Yes, which would render it quite diffuse...

Om Manipadme Hum in Mongolian is apparently Ong Manibamai Hongshi, which elsewhere is Om Manipadme Hum Shri. Which seems like it is also a Shakti usage, but I'm not sure.

Mahalakshmi,seated on a Lotus flower,who art lord Brahma ,who is the great lord and look after your devotees like a mother...

This is interesting but not unexpected -- the words go back and forth between being lord and being mother. I am aware that Lakshmi is Brahma's Shakti, this kind of vocabulary seems like they are always conjoined or co-emergent.

i am kind of used to people going back and forth between various equivalent goddesses -- Parvati, Durga, Devi maa, Chandi -- but seeing this is interesting.

Here is an 1100s Nepali showing the Six Yogini retinue, Avalokita Chakrasamvara and the consort Lasya, accompanied by six female retinue figures and surrounded by a palace, mandala circle and extensive cemetery scenes according to the tradition of the Indian siddha Advayavajra as found in the teachings of Mitra Yogin. A description for this deity and retinue can also be found in the edited Bhattacharya version of the Sadhanamala Sanskrit text (see #250) where the tradition is attributed to the Indian siddha Durjayachandra.

One of the mandalas you posted earlier when I looked up things, there was a gate, then a wall, then a wall of fire, then the cemetery. Is the double ring on this one supposed to be that, or does that not always occur?

Old Student

30th July 2020, 01:44

So this gets somewhat confusing. I had told you that the Dakini who carved out a womb space in my upper chest was rainbow color and I wasn't sure if she was dancing or did not have legs and was more Naga-like. Descriptions of Nag Kanya have her as rainbow colored, too. But:

As Daughter of Ananta, she would appear as the enemy of Lakshmi's Garuda and slashed into pieces. Thus the halves of Daivi Prakriti are split right now and we are starting to form the connection. Some speculate the manifest Nag Kanya is the re-unification of Garuda and Serpent (Finite Time Cycles and Infinite Time). By Daivi Prakriti, it refers to the virginal solar essence and its "missing half" in a person, having to do with Varuni and melting Heruka.

The wings that generate from the center between my shoulder blades are part of a "body" or dissolve or being that is a golden eagle. In Shang-shumg --> Tibetan Bonpo, that being is pretty close to Khyung which is often Sanskrit-ized or Buddh-ized as "Garuda".

This is curious, because you have a bajillion of a relatively secret mantra which we say is an important "switch" into Completion Stage, and it evokes the Nag Kanya who then herself is apparently not named. So this is the tip of an iceberg. I can say approximately what is happening here, Kurukulla and Seven Syllable mantra produce something like a White Heruka except it is not human, is more like Quetzal Coatl, and more than just an image it must correspond to an inner reality.

Quetzalcoatl is quetzal colored, which matches early descriptions in my notes for the coloring of my clear body when various things happened.

I did feel that because there was beginning to be shaking there, and then the "womb sequence" that a balance in my upper chest was forming that was like, but not the same as, the balance in my pelvis that created the desert-flags-loom-tapestry | cavern-cauldron-rainbows-lake split. The bird emanates from between my shoulder blades the rainbow figure who dances out a womb space is directly across in my upper chest.

Last night the hollowing and murmuration-enabling continued, one of the things that happened was a shaking deep in my chest that seemed like a flickering flame or a swimming eel.

Agape

30th July 2020, 03:26

shaberon

30th July 2020, 05:58

Om Manipadme Hum in Mongolian is apparently Ong Manibamai Hongshi, which elsewhere is Om Manipadme Hum Shri. Which seems like it is also a Shakti usage, but I'm not sure.

Mahalakshmi,seated on a Lotus flower,who art lord Brahma ,who is the great lord and look after your devotees like a mother...

In Tibet, because Hrih is the seed of the mantra, they say Om Manipadme Hum Hrih and call it six syllables. It is just how his mantra wheel is drawn. Like for Tara, you could have Tam in the center, ringed by Tara's mantra, but that wouldn't mean you add the Tam back into it.

I was unaware of it becoming "Sri", which can be masculine or feminine.

In the Seven Syllable tantras, Avalokiteshvara is clearly stated to commandeer the syllable Hum: he is Hum continually pronounced.

As to the second part, we can always take the translators to task. Lakshmi is generally Vishnu's consort, and the verse does not actually change that:

Padmasana-sthite devi
parabrama svarupini,
Paramesi jagan matar-
mahalaksmi namo stu te.

Meaning -

O ! Mahalakshmi,seated on a Lotus flower,who art lord Brahma...

She is seated on a lotus, but she is Parabrahm Svarupini. It means her form or body is Parabrahm. Brahma is not an object of worship in Hinduism. Parabrahm is also called Brahman. The objects of meditation in Hinduism are generally Sadguna Brahman and Nirguna Brahman--with and without Time. Brahman with Time has six attributes, shaktis, or transcendent perfections. Infinite universes emerge from and dissolve into Brahman, but Brahman remains unchanged.

Brahma is the Creator of the individual universes and "lives" for a hundred of them.

When universes arise, one of my favorite ways of understanding the Hindu male trinity says:

One time Shiva cast infinite light. Brahma lied and said he found the end; Vishnu told the truth and said he could not.

One of the mandalas you posted earlier when I looked up things, there was a gate, then a wall, then a wall of fire, then the cemetery. Is the double ring on this one supposed to be that, or does that not always occur?

This one looks like it is on a lotus with petals in three colors, red, green, and white, then there is a black ring which actually has gold vajras end-to-end, and then a ring of flames.

What looks like four big gates is the fact it is on a crossed vajra. The cross is on the ground or Bhumi, and outside the circular territory is Vajra Rekhe or Fence and Jvala or Blaze, so these additional rings is a pretty common style. I have never looked all that closely at how it could be changed or iterated.

I think it would be pretty accurate to say that Dhanada is giving all the Yoga components in a mandala, and there are not many items left, sort of like how Generation elaborates most of the details and Completion is like a finishing touch.

The lower register is a Quintessence or Five Families view centered on Vajra Family--Prajnaparamita. Going across are Amoghasiddhi Dhanada or Arya Tara, Lotus Kurukulla, Vairocana Cunda, and Jewel Vasudhara, and they are all Tara.

If Jamgon Kongtrul can be considered helpful, he said Vajradakini is Parasol.

One thing about Cunda is she frequently carries a Patra or "alms bowl" which is an inverted Tapatra or Parasol.

Sitatapatra Parasol has accumulated the deities Maha Pratyangira, Amaravajra, and Vajradakini, and the Parasol is one of the Victory items "above" the mandala or Mt. Meru. She is the chief of the Usnisa class as well as the tantric application of the crown chakra in Jnana Dakini--Samputa terms. It would seem to be this plus Seven Syllable mantra which would emit her tantric forms.

In these tantras, "to move" or Cala becomes interpreted as the Swing Recitation of Vilasini.

Garuda has many, many tantric practices, such as Shabala or multi-color Garuda. According to HPB, it is usually among the most helpful occult creatures. It is a Kinnara class Gandharva. Vajravarahi is said to use it to head towards the sun.

I believe a real one is more subtle than what I have experienced, and I have not paid much attention to it, as it can be ignored until it forces its way in from a trinity which I think is Vajrapani--Hayagriva--Garuda. Something close to that.

In Sadhanamala, it is included a few times in a list of "many creatures", but it only seems to be individualized one time in Arya Srimati Kurukulla 178, after a dharmodaya and her "Amuka" (smasana or cemetery) mantra, this comes near the end:

saptalakṣeṇa surāsurakanyāś ca, koṭyā garuḍai-
rāvatādayo divyapaśavaḥ sāmānyapaśavaś ca

Seven hundred thousand, or, perhaps seven laksana or characteristic marks

Sura (Varuni) Sura Kanyas (virgin daughters)

Kotya is probably "residence" of Garuda Ravata (roaring, shouting)

Divya, celestial, pasavah, bringing forth or offspring, samanya is "sameness", bringing forth again.

Even without being able to figure out much about the sadhanas, it seems evident that Kurukulla is the custodian of Nag Kanya and Garuda.

I do not generally have any kind of visionary experiences. The closest thing to what I could say generated herself on me, anyway, is probably Maroon Sri Devi:

https://www.himalayanart.org/images/items/resized/2000px/5/9/8/59888.jpg

Dorje Rabtenma, (English: the Vajra Stable One), belonging to the iconographic category of Shri Devi. This form of Shri Devi originates from the Nyingma Tradition of Tibetan Buddhism. Dorje Rabtenma is commonly found as the protector deity in the bottom registers of paintings belonging to the schools originating with the Pagdru Kagyu of Pagmodrubpa. Subsequently the deity was predominantly practiced in the Shalupa and Tsarpa sub-schools of the Sakya Tradition.

Fearsome in expression, maroon or black in colour, she has one face, three eyes, bared fangs and yellow hair flowing upward. The right hand holds aloft a flaming sword and the left to the hip clutches a jewel-spitting mongoose bringing forth a stream of variously coloured gems. With some forms she holds a skullcup with the mongoose balanced on the forearm. Crowned with a tiara of five white skulls, gold earrings, bone ornaments and snakes, and a long white snake necklace, she is adorned with a garland of severed heads - pink, green and blue. At the navel, emblazoned below flaccid hanging breasts is an emanating golden sun and above the head a white circle of the full moon. She wears across the shoulders an upper garment of a human skin and elephant hide. With the two feet shackled in iron chains, she sits atop a human skin saddle on a mule, above a sea of churning blood awash with human and animal corpses, completely surrounded by dark smoke and the red licks of flame of pristine awareness.

"Goddess Dorje Rabtenma, Great One, with a body maroon in colour, one face, two hands and three eyes; the body is covered by a human skin. Held in the right hand is a blazing sword; a mongoose grasped in the left, riding atop a three-legged mule." (Shalu Liturgical verse by Shakya Gelong Rinchen Namgyal).

Dorje Rabtenma was the special protector of Shalu Monastery famous for the teacher Buton Rinchen Drub Tamche Kyenpa (1290-1364) the founder of the Bulug-Shalu sub-school of the Sakya tradition of Tibetan Buddhism. Alternately, a very similar form of the deity is found in the Bon (Sarma) Religion and called Machig Lhamo. The mongoose is absent from this Bon iconographic form.

No, I have no "connection" to her and no clue of her mantras or verses or anything. Something, shall we say, happened, and she was required to oppose it. She was successful.

I did not know her name was "Stable" but that had a whole lot to do with it.

shaberon

30th July 2020, 07:52

Looking at the quintessence of all the teachings I’ve ever studied, practised or encountered, no matter how “high” or good they are,
it always brings me back to where I started.
I would say the (accomplished) end is like the beginning.

Speaking of Quintessence, I have just asked Sadhanamala about Rudra, and it returns Pancha Raksa, the Five Protectors.

This group is exoteric and is centered on Pratisara, using the normal color scheme, where, for instance, Red is West, "up". And there are loads of images and mandalas of this group, and some of them add up to twenty-five or fifty-six deities, but, the Quintessence is always the same. This Ngor mural is an example:

https://www.himalayanart.org/images/items/resized/2000px/7/3/2/73293.jpg

Well, the red western goddess is called Sitabani, which is also the first peaceful cemetery, and a real place which was a major nexus of dharma transmission.

And in tantra, once we are generating some heat, then we develop a need to counter-balance it by having a cooling mechanism. We want to melt the Heruka, not fry our brain. And Sitabani is Red, sitting there in the Fire quadrant and yet her name means Cool Forest.

In Sadhanamala, there is a tantric Pancha Raksha which shows exactly this. We say there is a "basic format" which "may change", and, what happens is, Pratisara does a type of triangular rotation of her retinue so that the Fire goddess goes North into Air, which seems to express cooling.

Not only that, suddenly, the goddesses arise in more powerful or Maha forms. On the previous page, we found "unidentifiable twelve arm white deity"--and with the rotation, West, or "up", becomes occupied by a Twelve Armed White deity.

There is no known picture of this reconfiguration, although I believe there may be an individual Sitabani from it.

Pratisara is Gaura--possibly orange (pale red-yellow)--and crowned by a caitya or stupa. Gaura also appears as an equivalent to Vimala who Buddha trained nine Bhumis under. In her mantra, she is still Manidhari Vajrini, i. e. it means she holds a Mani, but it is hard to tell since the description of some of her arms is missing. However, her four right arms have the items shown in her left above: chakra, trisula, bow, and axe. So her items are probably the same as her regular form, which has eight arms anyway--and she is not physically holding any Mani. According to Gudrun Buhnemann (http://lca.wisc.edu/~gbuhnema/deities.pdf), pratisara and mani likely refer to an amulet.

Because it was triangular, the East or "down" goddess, Blue Sahasra Pramardani, does not move; however, she is imputed with Mahabala Krama Raudravesa--Mahabala's method of becoming possessed by Rudra.

In the south is yellow eight arm Mayuri crowned by Ratna.

In the west--also crowned by Ratna--is Twelve Arm Sukla Maha Mantranusarini. Because Sukla is usually used for white, Pratisara is probably no longer white.

Mantranusarini may not be note-for-note identical to the painting, but her first hand does one dharmachakra, which corresponds:

prathamabhujābhyāṃ dharmmacakramudrā

dvitīyabhujābhyāṃ samādhimudrā

tṛtīye varadaḥ

caturthe abhayaḥ

pañcame vajraṃ

ṣaṣṭhe śaraḥ

tṛtīye tarjjanīpāśaḥ

caturthe dhanuḥ

pañcame ratnacchaṭā

ṣaṣṭhe padmāṅkitakalaśaḥ

Some of her arms are missing too.

In her mantra she is Vimala and Viraj, the only Viraj in the book. She appears to have evicted Lotus Family; the fire element here would seem to be weakened. Although her last item is Kalasa (vase) Ankita (marked) by Padma (lotus).

Her name simply means Mantra Knowledge, or Mantra Smrti.

Sitabani then leaves fire, goes north, somehow arises from Tram syllable, turns Harita or Green and is crowned by Tathagata.

So again, if something combines rare to unique uses of Rudra and Viraj, this is something like the single story or the one way to tell it or do it.

Because Pratisara is Mamaki and an outer activity of Vajra Panjara tantra, this would appear to be how.

This is not quite reversed, but, it is like a first esoteric change to a full mandala.

Old Student

30th July 2020, 16:22

The state of Knowing Mind is quite like the state of No Mind. It’s our higher intelligence no different from intuition and perfect insight of seeing reality just for what it is, not more or less or something else.
It’s. Mind of Yoga empty of alterations.

Everything else including psychic and energy work and experiences is more like our effort to balance ourselves carefully on our “designated spot” and passage through this world,
the rebalancing of inner energies and whatever kind of practice we can undertake themselves help to bring more balance and transformation of the environment.

As in Dzogchen, the Advaita school of philosophy I also believe we are endowed with the Knowing State naturally and experience it whenever we can dissolve both action and non-action principles.
So the “path to enlightenment” is hard trial of indulgence in the fullness of illusion that contains all principles one may encounter in any human lifetime,
all emotions, consciousnesses , living transformations of forms and emptinesses,
as some of the most powerful experiences of human kind.

If a place existed in which every state was yet to be determined, then each possible resolution of all of the quantum entanglements would "create" a different universe, as the "decision" of billions upon billions of questions. In such a universe, one would be, for a fleeting instant, connected to everything and everything connected back. And then, as if in a big bang, a reality would be chosen and one's intimate connection to places light-years away would come to an end. If there were even a trace of a memory of the initial state or an inkling of its presence, the inquisitive mind would spare nothing to come to a perception of that state once again, and to again sit at the nexus of an infinite number of balances.

Agape

30th July 2020, 17:15

I don’t offer any empty philosophical statements that I can not see 🙏

The Universe is relativistic in my observations, quite like the dispersal of Light. I do know quite a bit about the diversity of different time-spaces.

Our biological ancestors did not start here, on this planet, they’ve arrived here from distant and more evolved -much older Star system- so old that the time difference is actually vast.
We all still suffer from complex and chronic adaptation process to this environment.

It’s what my Bodhgaya ET Event Report is about, after all.

Universe and no matter whether it’s perfect and still or fast crumbling on its edges with dispersal of light is always relativistic.

This is thread of “personal practical insight” to clear body matters ,of yours and so, I only offer what I can that is of direct perception.

But do not feel diverted from your own philosophical passage please,

my apologies for not being fond of long descriptions as we talk
as my practical situation has to be quite different from yours,
long journey ..

Please do not cast suspicions on my statements as something other than personal observation. I was bullied and doubted too many times in this little lifetime not to open my mouth in front of people unless I’d feel quite safe about it.

It was thanks to you and Shaberon that I started to share some insights here but should they be misread as empty chat and interruption
please remove my postings

Apologies

😢

shaberon

30th July 2020, 17:38

The idea from above about a change to a basic Quintessence has a bit more detail. Again, we will find that the academic practice is to record writings and images, which are always clues--although they never ask what it means in practical terms or as inner meaning.

For one thing, Pramardani is the only distinctly wrathful member--and her name relates to Buddha's Final Samadhi and crushing all obstacles. Yet she does not rotate.

The Pancha Raksa are frequently found with the "tantric transition" deities Vasudhara and Amoghapasha.

Gerd Mavissen (https://www.academia.edu/3765582/1992_-_Transmission_of_Iconographic_Traditions_Pa%C3%B1caraksa_Heading_North) on p. 417 about Sadhanamala 206 found that it is the "Nepalese style", i. e. practically all of their Pancha Raksha images are based on it. But, only two of the earliest ones have Mantranusarini in white. The artists decided that she "must" be in Lotus Family and so she "must" be red, and this was copied by Tibet, who got the sadhana text correctly, but never drew a white one.

Ch. 3 p. 218 (https://shodhganga.inflibnet.ac.in/bitstream/10603/157235/6/06_chapter%203.pdf) finds a single instance of her in white. It makes it clear that some of her arms are not described because a pair of them does Dharmachakra, and another pair does Samadhi Mudra (i. e., holding a bowl).

This is an example of Nepalese Sadhanamala 206 Maha Pancha Raksa:

https://www.himalayanart.org/images/items/resized/2000px/5/4/4/54481.jpg

Its corresponding leaf is their Sadhanamala precursors centered on Pratyangira.

Nepal continues Pratisara in white, or, have interpreted "Gaura" as white, which is at least possible. But then you can make out Mantranusarini with twelve arms, with one pair doing dharmachakra and another pair holding a bowl (samadhi mudra). Making her red is like asserting the sadhana is wrong because you don't understand why something unexpected happens.

Pratisara is usually Jewel Family, or, possibly Vairocana (which is normal for any kind of stupa deity), which would make the following possible:

Maha Pratisara Prayoga Vidhi (https://manasataramgini.wordpress.com/2006/04/04/mahapratisara/) (Ritual Book) affiliates her to Pratyangira, and involves Vajradaka and Kunkuma powder. It does not quite say where it comes from and I have not seen it elsewhere, and it changes their names.

There are however a lot of things that say where they come from, but, of course, do not have all the documents online, such as the Nepalese scripture catalog (http://www.aioiyama.net/ask/search/list.php), which has a few specific instances of Vajrayogini, several of which are as the expected Varahi. But there is also:

parabrahmasvarUpiNI vajrayoginI

vajrayoginI mantrAnusArinI

ugratArA vajrayogiNI

vajrayoginIguhyeCvarI nairAtmAghyeCvarI

vajrayoginyA CrImatmantrANusAraNI

"Vajrayogini and Buddha" on the cover of Aparamita Ayur with Bhattarika Sragdhara and Bhattarika Ekajati

Right after "Chum Dharani" is vajrayoginI parameCvara dhAraNI. One would guess this is talking about Cunda and Parabrahm Svarupini.

Not only is Parabhram Svarupini originally a bit shocking since Lakshmi elevates herself to/or took over Parabrahm, later, when she says "I am Parabrahm and not-Parabrahm", this is considered the Hindu equivalent to the Buddhist Catuskoti. For the math-minded, it is the Four Corners that shear off the logical, linear mind with conditions simultaneously true:

It is

It isn't

It neither is nor isn't

It does not lack is or isn't

In the center of it is stability or i. e., Para Sunya, after false mental constructs have been eliminated.

And so these Vajrayoginis are fairly predictable, aside from the fact they bring in Kolhapur Mahalakshmi and Mantramanusarini. Not even Pratisara is called Vajrayogini--why is "Mantra Memory" singled out?

In the Vajrayogini list, she even has a Srimati form, which refers to the increase of Sri, to the abundance of wealth, or growing in secret treasure.

In Sadhanamala Pancha Raksha, the basic Pratisara is:

viśvasarojagarbhavilasaccandrāsanasthāyinī

Visvasaroja (universe lotus) garbha (womb) vilasa candra asana

The other basic Raksa follow, then Pratisara and Vajrapani are used to raise Vajra Gandhari, and then this aberrant Maha Pancha Raksha is after her.

So it appears to me that Gandhari may have something to do with the empowered Mantra Memory and the Cool Forest leaving fire for the northern Accomplishment zone.

Old Student

30th July 2020, 19:25

She is seated on a lotus, but she is Parabrahm Svarupini. It means her form or body is Parabrahm. Brahma is not an object of worship in Hinduism. Parabrahm is also called Brahman. The objects of meditation in Hinduism are generally Sadguna Brahman and Nirguna Brahman--with and without Time. Brahman with Time has six attributes, shaktis, or transcendent perfections. Infinite universes emerge from and dissolve into Brahman, but Brahman remains unchanged.

So more Brahman than Brahma. Okay. The reason I'm either seeing or looking for the pervasiveness of Shakti is because of the constant drumbeat of creation and female creation in my shakings.

In Sadhanamala, it is included a few times in a list of "many creatures", but it only seems to be individualized one time in Arya Srimati Kurukulla 178, after a dharmodaya and her "Amuka" (smasana or cemetery) mantra, this comes near the end:

saptalakṣeṇa surāsurakanyāś ca, koṭyā garuḍai-
rāvatādayo divyapaśavaḥ sāmānyapaśavaś ca

Seven hundred thousand, or, perhaps seven laksana or characteristic marks

Sura (Varuni) Sura Kanyas (virgin daughters)

Kotya is probably "residence" of Garuda Ravata (roaring, shouting)

Divya, celestial, pasavah, bringing forth or offspring, samanya is "sameness", bringing forth again.

I think "kotya" is probably 10 million (crore).

Even without being able to figure out much about the sadhanas, it seems evident that Kurukulla is the custodian of Nag Kanya and Garuda.

This is very interesting. The eagle that is in my shakings is a golden eagle -- North America variety -- the Khyung of the Shang-shung is a "horned eagle" which is either a mixture of a golden eagle (Eurasian) and a Eurasian great horned owl, or there was originally a horned eagle species. Nag Kanya is rainbow colored, which matches the being in my upper chest in the same place as the eagle emanates from but front and back.

Khyunglung was originally the capital of the Shang-shung kingdom. I sometimes wonder if "Khyungpo Naljor", "The Sorceror Khyungpo" isn't better described as the Khyung Po (Bon Khyung shaman) Sorceror, a given and descriptive name, than by "Khyungpo of the Garuda clan of Chenmo".

The area those two occupy is the area that Kurukulla had been forcing me to pay attention to, I first saw her a little lower, like Mandareva and Samaya Tara (at different times) standing on my heart.

No, I have no "connection" to her and no clue of her mantras or verses or anything. Something, shall we say, happened, and she was required to oppose it. She was successful.

Then a good vision to have.

Old Student

30th July 2020, 19:42

For the math-minded,...

It isn't

It neither is nor isn't

It does not lack is or isn't

In the center of it is stability or i. e., Para Sunya, after false mental constructs have been eliminated.

Ha! There is a subbranch of mathematics called fuzzy logic, in which truth is a real number between zero and one. If I make a graph of the truth of two statements, "It is," and "It is and it isn't" and assess their interesection, the place where all of your four statements will be equally true is in the center of the (square) graph. ("Fuzzy" hear does not have to do with lack of clarity of thinking, it comes from the notion of a fuzzy set, which is a set for which some elements are not fully in or out of the set, so the boundary is not "crisp", hence "fuzzy".)

shaberon

30th July 2020, 22:37

I cannot say for sure how Pratisara is related to Gandhari, as this is one of the major flaws in our copy of Sadhanamala.

Gandhari's backstory is likely more useful than what we can actually scratch up of her in Buddhism. Maybe we will dig that up soon. Her records are sparse.

On p. 166 (ftp://vps.ingmardeboer.nl/Chattopadhyaya%20-%20Taranatha's%20History%20of%20Buddhism%20in%20India.pdf), Taranatha attributes Asanga's use of Gandhari mantra to enter Tusita and to "move through space".

If you can read it, 84000 (https://read.84000.co/section/O1JC76301JC21626.html) has the two Gandhari sadhanas in Tibetan.

The basic Pancha Raksa is supposed to be followed by some others missing from our Sadhanamala, before the Maha Pancha Raksha 206:

Mahapratyangira (202), Dhvajagrakeyura (203), Aparajita (204), Vajragandhari (205).

As much as Tibet misplaced a lot of the older Tara material off the bat, and continued to do so over time, a close to correct Sadhanamala order of these with Gandhari is followed by the Tenth Ngor Lama (https://www.himalayanart.org/search/set.cfm?setID=1076) of the 1500s who includes others such as Khadira, Mahacina, and Sukla Tara.

Bhattacharya describes Gandhari's six face form as being from pp. 403-404. He says she is considered the consort of the Yaksa general, Canda Vajrapani.

We can also find her in Parnasabari's mantra of five Gauris, and in the retinue of eight arm Kurukulla 174.

However, sadhana 201 talks about having done the Pancha Raksa and uses ten arm Pratisara, who is abruptly followed by Gandhari's dharani; nothing is mentioned of her form. Well, actually it is pp. 402-404, with the middle missing, and it is confusing, since the split happens after Pratisara's five right arms and resumes with Gandhari's six left ones.

So our book is damaged, in a way that seems like scribal error, since Bhattacharya used the missing pages. It seems even more likely that we have the beginning of 201 spliced to the end of 205, and the 201 is really a Pancha Raksa, not Gandhari.

When Bhattacharya describes the end of Sadhanamala, there is a misprint; our last one is Nairatma 228, so these 100s should all be 200s. He also makes the error of thinking Paramasva is Hayagriva, since he has not used Dakini Jala as a resource.

Nairatma, an emanation of Aksho-
bhya, then appears and to her four Sadhanas (128-131)
are ascribed. VajrayoginI the next goddess is also a
powerful and awe-inspiring deity, and she is the subject-
matter of an authoritative Buddhist Tantra known as
the Vajrayoginitantra ; to her worship there are seven
Sadhanas (132-138) in the Sadhanamala. Then follows
a series of Sadhanas devoted to the worship of Heruka
who is probably the mightiest god in the whole pantheon
and is the subject of a popular Tantra entitled the
Herukatantra. Heruka is conceived in a variety of
forms and to each of these forms several Sadhanas are
attributed. Mahamaya or the four-faced and the four-
armed Heruka has two Sadhanas (239-240); the two-
faced Heruka with or without the Sakti has nine (241-
249) ; while Vajradaka or the three-faced and six-armed
Heruka, who is also called Saptaksara, because of the
seven-syllabled Mantra ascribed to him, has the two
next Sadhanas (250-251). The two subsequent Sadhanas
(252-253) deal with the processes of Bodhyapuja (external
worship) and Hastapuja, (worship with hand) of
Cakrasamvara a form of Heruka who is so called
when he takes the Sakti Vajravarahi; the union
of the two is the subject-matter of the Cakrasamvara-
tantra. The next Sadhana (254) is devoted to the
worship of Buddhakapala who is none but Heruka himself
with four arms and represented as united in Yoga with
his Sakti Citrasena. This also is the subject-matter of
yet another Tantra by name Buddhakapalatantra. The
last Sadhana (255) in the Heruka series is again devoted
to the worship of Cakrasamvara or Heruka who is
associated with his Sakti Vajravarahl. The next
Sadhana (256) gives four one-syllabled Mantras and
explains the results obtainable therefrom. Then
oome Vajrahumkara (257) and Mahabala (258) to each
of whom one Sadhana is ascribed. To Hayagrlva, also
called Paramasva, no less than three Sadhanas (259-
61) are ascribed, while the two subsequent ones Trai-
lokyavijaya (262) and Vajrajvalanalarka (263) get only
one Sadhana each. Several Sadhanas then follow for
the worship of a rather fearful but popular deity named
Bhutadamara (264-67) who in his turn followed by
another popular Vajrayana deity known as Yamari or
Yamantaka with a red or blue form : to the latter no
less than thirteen (268-280) Sadhanas, some in prose
and a large majority in verse, are devoted. The deity
who follows next is Vighnantaka and is rather unfortu-
nate to get only one Sadhana (281) squeezed in between
a Sadhana of Yamantaka and his Balimantra (282).
Maitreya the future Buddha to whom only one Sadhana
(283) is given shows vividly the apathy displayed towards
this mighty personality of primitive Buddhism by the
Vajrayanists. The case of Jambhala the god of wealth,
however, is different, and the eagerness with which
this Buddhist Mammon was worshipped is indicated in
the sixteen Sadhanas (284-299), some in prose and others
in eloquent verse, contained in the book. Then follow
seven Sadhanas (300-306) for the worship of a fierce god
Mahakala who is also conceived in a variety of forms.
Mahakala is followed by Ganapati who, though origi-
nally Hindu, readily found a place in the Vajrayana
pantheon ; to him one Sadhana is awarded. Rajasri
Tara comes next (308) and the subsequent Sadhana (309)
contains a panegyric of the same goddess. She is
followed by Pltha Tara in one Sadhana (310), while the
next (311) gives the Malamantra of the same deity.
The last Sadhana (312) in this volume and in the
Sadhanamala is ascribed to Mahakala whose Mandala
with all attendant deities is described in detail.

So we have a very good idea what most of that is, except for Raja Sri, who would probably be taken as an equivalent of Sri Raja Rajeshwari. Aside from that, the book no longer has any mysteries or great unknowns, aside from what Gandhari is doing.

shaberon

31st July 2020, 00:27

So more Brahman than Brahma. Okay. The reason I'm either seeing or looking for the pervasiveness of Shakti is because of the constant drumbeat of creation and female creation in my shakings.

A male god without his Shakti is considered dead.

It is Ganesh who gets them all, and, he is certainly part of Buddhism and Agni Homa. It seems that Buddhism deflects the term "shakti" since it means power, and could easily devolve to mundane affairs, so to show the Noumenal difference, it is called Prajna and considered transcendental wisdom and the internal powers are emphasized. So if we are trying to get "the Mirror Wisdom of Akshobya", it means we are trying to get Akshobya's Prajna, which is his consort and shakti.

Goddess is easier for me to follow, since she is the experience and the one who gives initiations. You can feel your way through it.

We are still doing the "science of Brahman" like any kind of Adwaita, and, even now, they use Arthur Avalon's Serpent Power about Shakti at Nalanda University.

I think "kotya" is probably 10 million (crore).

It is like "kotinam" as used with Cunda. Yes, both instances could mean a vast number. With Cunda, its seems to me unlikely as a number, since "Saptanam" means Seven Names in the Vedas, and then there are other words before you get to "kotinam".

Catuskoti has not been asserted to mean forty million, but, "four ends", or "four categories of existence", which "Koti" may also mean, as well as the perpendicular of a right triangle, colloquially, "corner".

The closely-spelled "Kotya" could be the number, but also has the usage as in:

Bhūta-koṭya.—(IA 23), the place of residence of the family ghost (Bhuta).

I am not sure either way is right or wrong, both have their possibilities.

As well as being the name of an ancient kingdom, the same or a closely-spelled Shangsung are Kinnara Garudas who clash cymbals and have sex all the time. I don't recall in exactly which sadhana they appear. Chenmo or Lha Chenmo is one of the specialized Red Avalokiteshvaras.

Then a good vision to have.

With Remati, it was good in terms of effectiveness.

It was very long and very difficult. She is Big Momma. Any psychic flinch and you would go ballisticly insane. One false move and you will kill or be killed. It's not something I hope I need again any time soon. It was a Demon Subduing episode like you would expect to train in Bhutadamara for years to be able to do, but it was spontaneous. It may have been a vision, but, it was definitely a power.

Old Student

31st July 2020, 18:24

This is a different Gandhari than the one in the Mahabharata? Is there a connection between them?

Old Student

31st July 2020, 18:59

So I gather, but I'm not a Sanskrit person, saptanam can mean "seven names" when it is sapta nam. It can also mean "of the seven" as a declension of the number itself, apparently and an "invisible" verb to have. Koti/Kotya is also apparently several declensions of several words. The reason I thought it meant 1 crore here is because the construct ...saptanam laksyasena ...kotya ... shows up elsewhere with different things in the ellipses. So it seemed like they were talking about an army of divine maidens each with an equal flock of 10 million screaming Garudas.

But I was doing it more like the way I do classical Chinese, which is to find parallel usages from multiple documents because the meanings of things change with time. That may not be a great way to do Sanskrit.

W/respect to shaktis/prajnas, I "perceived" ("was" is probably more accurate) something similar to the interlocking hexagram or the Sri Yantra last night, except that it was interlocking wombs and the original isn't, it's interlocking male and female, isn't it? The night before, I had been put to sleep (a way to do a repetitive exercise they want me to practice) with the word "Dharmadhatu". Last night, somehow in connections to the wombs, there was again a word, it was Dhatugarbha (it was during active shaking, there was no "exercise period" last night). I looked it up and it's the dome part of a stupa where the relics are stored? Is there more to it than that?

Old Student

1st August 2020, 20:28

So I did just a small amount of digging about the Shri Yantra. This version is called the Tripura-sundari Yantra, the beauty of the three worlds,
https://upload.wikimedia.org/wikipedia/commons/thumb/c/c2/Tripura-sundari_yantra_color.jpg/330px-Tripura-sundari_yantra_color.jpg

My concerns about it all being feminine triangles as mused above are apparently not to worry: The Yantra is also called the Navayoni Chakra. The masculine (according to Wikipedia) is the masculine of the Goddess -- Brahm, the same term that I had asked shaberon about earlier and he had clarified as Brahman. The feminine is apparently linked via Devi Tripura Sundari, to Durga/Devi Maa.

The Yantra does not actually appear as such in my shaking, and I have not actually counted triangles. What does appear is wombs and when seen from a particular angle, there are glowing "idealization triangles" surrounding each one.

shaberon

6th August 2020, 07:53

Every couple of months our internet goes out, and it takes anywhere from a couple of days to a week or so to get it fixed. So I am posting what I started back then relevant to the deities or goddesses being discussed, and then will get back to the thread. What is a little weird is that when I put the stuff about Camel Rider and Janma or Birth planet, my friends went to see a baby camel.

With pages missing from Sadhanamala, we only get part of a deity who is hardly ever mentioned, but definitely is someone.

From what we are able to find, Vajra Gandhari has six faces, which is a powerful symbol of Mars (Manjushri). It is six faces on Mars, Kumara, Angaraka, Murugan, also known as Kārttikeya ("son of Krittika"), Shanmukha ("one with six faces"), Skanda ("attacker"). Krittika is Pleiades, i. e., the use of six mayavic Agni seeds to bear progeny.

So we think the faces of Mars reflect the antics of the Pleiades and the descent in world systems as Ganges.

This six face attribute is shared with Manjushri and Krsna Yamari, and Marici. Since the first two are the same guy, I am not sure if this is like saying Vajra Gandhari is Krsna Marici, but we see that it is rare, powerful, and specific. Or, maybe she is Krsna Mantramanusarini, who at least matches the twelve arms. The only other one that seems to have twelve arms is Maya Jala Krama Avalokiteshvara.

Gandhari has three appearances in Buddhism: on her own, with Kurukulla, and with Parnasabari.

Bhattarika 115 is a four arm Kurukulla who is not an archer.

It is hard to ever know that Kurukulla has anything other than four arms, but she has a Heruka and other forms. Nepalese Kurukulla simply takes Shakta's Sri Yantra:

https://www.himalayanart.org/images/items/resized/2000px/7/7/0/77027.jpg

Nepal would probably not be able to answer whether she is Hindu or Buddhist, it would be "both or neither" because they would probably just say she is tantric.

Eight arm Kurukulla does Trailokyvijaya mudra, and her company is:

pūrvvadale prasannatārāṃ dakṣiṇadale niṣpanna-
tārāṃ paścimadale jayatārāṃ uttaradale karṇatārāṃ aiśānadale
cundāṃ āgneyadale aparājitāṃ nairṛtyadale pradīpatārāṃ
vāyavyadale gaurītārāṃ ca dhyāyāt /

Prasanna, Nispanna, Jaya, Karna, Cunda, Aparajita, Pradipa, Gauri

Here you have an honorable mention of Pradipa or Lamp Tara, an Offering Goddess who has been placed in a new group.

etāś ca sarvvā rakta-
varṇāḥ pañcatathāgatamukuṭā vajraparyyaṅkaniṣaṇā dakṣiṇa-
bhujābhyāṃ varadamudyā''karṇapūritaśaradharā vāmabhujābhyāṃ
utpalacāpadharāḥ /

All are Red Vajra Feet with Varada Mudra and Lotus, Sara "arrow" and Capa "bow".

Dvare is dvara, door, like in Haridwar, Door (Gate) of Hari (Vishnu). And so this says it is her group of Gatekeepers:

pūrvadvāre vajravetālīṃ lambodarāṃ
vikṛtamukhīṃ raktavarṇāṃ akṣobhyamukuṭāṃ dakṣiṇahastābhyāṃ
tarjjanyaṅkuśadharāṃ vāmakarābhyāṃ vajraghaṇṭāpāśadharām,

All of them have an individual item, and a Hook, Bell, and Noose. The first Gatekeeper is Fat Red Four Arm Tarjani Gesture Vetali. Here again, Chain for some reason is excluded.

dakṣiṇadvāre aparājitāṃ pītavarṇāṃ ratnasambhavamukuṭāṃ dakṣiṇa-
hastābhyāṃ daṇḍāṅkuśādharāṃ vāmahastābhyāṃ ghaṇṭāpāśadharām,

Yellow Four Arm Staff Aparajita, second instance of her in this mandala. The staff is a Danda, not Khatvanga.

paścimadvāre ekajaṭāṃ kṛṣṇavarṇāṃ ūrddhvakeśāṃ lambodarāṃ
dantāvaṣṭabdhauṣṭhāṃ amitābhamukuṭāṃ dakṣiṇakarābhyāṃ vajrā-
ṅkuśadharāṃ vāmakarābhyāṃ ghaṇṭāpāśadharām,

Fat Blue Big Hair Four Arm Vajra Ekajati in Lotus Family, which makes it look like Vairocana is kicked out, instead of traded into this sector.

uttaradvāre vajragāndhārīṃ kanakaśyāmāṃ amoghasiddhimukuṭāṃ vikṛtamukhīṃ
lambodarāṃ dakṣṇabhujābhyāṃ khaḍgāṅkuśadharāṃ vāmabhujābhyāṃ
ghaṇṭāpāśadharāṃ cintayet

Fat Dark Gold Four Arm Sword Gandhari.

Why does such an obscure, little-used character get such an impressive mark? It would be considered the "seal", Bell, or Accomplishment of the rite.

In Buddhism, the Four Kings are not wisdom beings, they guard the lowest level of Kama Loka closest to earth. They are all harmful in a particular sense. If Dhrtarashtra hears a sound, it will be reflected harmfully to its source. So he wears a helmet and plays guitar all the time. He is considered the chief of the Gandharvas.

Dhrtarashtra "Grasps the Kingdom" was a Gandharva son of Kasyapa and Muni. It is he who was reborn in earthly form in the Mahabharata as a king by the same name.

This human king's wife is Gandhari. She was the daughter of Subala, king of Gandhar, which we call Kandahar. She was the sister of Shakuni, the sorceror who started Armageddon, but she has some of the strongest morals in the whole story. She blindfolds herself to be like her husband (born blind). They have a hundred sons and one daughter, the Kauravas, the losers of Armageddon.

One out of her hundred sons survives, and in the end she goes into a trance and self-immolates in a forest fire along with Dhritarashtra and Kunti as a form of penance.

Once, the King Dhritarashtra had gone to crush Bhima with evil intent, but Krishna instantly replaced Bhima with a metal statue of himself. He crushed this statue, releasing all his anger and apologizing for all his folly. His name means "a good king" and he was born blind due to a fault of his mother.

He was basically good but went around in a blind fury until he got a catharsis. His wife, blindfolded and fair, resembles Virgo. The question about her is how she got a hundred and one children from some jars and a piece of meat.

But she is very Sita-like, devotion and purity seem to be her qualities. What would get her hitched to Yaksa General Canda Vajrapani, in some secret way that none of her three appearances in sadhanas show it? Her form is characterized similar to him, but it has not been found that he is present, although it cannot be determined without the missing page.

Vajrapani and the Four Kings? Even his wrathful side has much more wisdom than Dhrtarastra?

Vajra Gandhari's main items are Vajra and Bell, her main face is blue, then she has faces in five colors. She is on a sun disc on a double lotus, warrior pose, strong, and frightening. One review that uses Sadhanamala shows that in the Jain (https://shodhganga.inflibnet.ac.in/bitstream/10603/219307/8/08_chapter%205.pdf) view, Gandhari is part of Chamunda with Candi, Cinnamasta, etc. Bhattacharya says her statuettes are found in China, but, just because she is an Amoghasiddhi deity with Kurukulla, does not mean that is the case here. There is not much unique to her besides her faces. Since her main item is a Vajra like Vajra Tara, then, the name does not mean she is in Vajra Family. Although her personal form appears to match that. Mantricly she is Triple Hum.

She is something like Gandharva Shakti, which leads in the next exercise to a state of Pancha Raksa wherein the Mantra deity becomes strikingly large as well. The Pancha Raksha sadhanas have made a sandwich around the deities Parasol, Banner, and Invulnerable Witness, along with Gandhari, and then arise in Maha form. When one asks, what happened to the Pancha Raksa, who are the twelve armed deities, and what could Gandhari possibly mean, it all seems to focus together. Then, the Pancha Raksa twelve arm goddess is always painted red as some means of negligent camouflage, I suppose maybe the artists refuse to consider how Jewel Family might emanate a white deity in the West. Previously, in standard Pancha Raksa, Pramardani was a white six arm goddess, and Mantramanusarini was a blue Vajra goddess with an Axe. So Vajra experiences a change or process towards Jewel within Mantra goddess. The sadhanas generally seem to indicate a libation from Jewel to Vajra, and a response is expected, since Vajra Family is the hypostasis for Vajrasattva and Vajradhara.

What got me started looking at Maha Pancha Raksa was the change to Sitabani, as appears meaningful to the symbolism in Agni Homa with Cool Forest Peaceful Cemetery. The change to Mayuri is less noticeable, since she has a major existence outside of the Pancha Raksa, multiple forms, is one of the oldest and perhaps pre-Vedic deities. She has a Sutra basis, seems to be an aspect of Kumari, and of course her peacock is associated with Mars to begin with. However, part of what Buddha explains is his incarnation as Golden Peacock. And so Mayuri is also an early Buddhist convert. She is highly connected to the system of Tara.

Pratisara as the chief of the Pancha Raksa is Mamaki, which is not too hard to see when she is in Jewel Family, but she is also a Stupa deity. This is like a mix of Jewel Family and Dharmadhatu Vajra.

According to Gandhari's position in Sadhanamala right after the main Victory items of a mandala plus the Ratnagiri Witness of Buddha's Enlightenment, before a somewhat baffling twist to a standard, exoteric Quintessence, which seems to be known in Nepal and Ngor, it does seem like a switch from a very specialized esoteric sound, to the arrival of the large Mantra goddess.

According to Wiki:

The terms gandharva and yakṣa sometimes refer to the same entity. Yakṣa in these cases is the more general term, including a variety of lower deities.

So then Yaksha are like an underworld border guard, and they exist throughout it, although there are more specific kinds like Gandharvas.

The ancient term for the Wrathful Deities is Krodha Vinyaka--Anger, Remover of Obstacles.

Vinayaka were mischievous spirits we found pacified by Tara at Mathura (in the Golden Rosary). Then they became known as Ganeshvara Vinayakas.

Ganesh is also named Ganapati, Vinayaka, and Oṃkārasvarūpa (his form is pranava Om, i. e. Primordial Sound). In Hinduism he is already Lambodara or fat, has a Dhumra or Smoky form, searching for Ucchusma or "scraps"...this is perhaps unique for a Hindu deity, but becomes proliferous or standard in Buddhism.

Yakshavinayaka still just means a Yaksha.

Gandharvas are the Celestial Musicians whose sound conveys the esoteric sciences to man. They are in charge of the Soma plant. Ganadevas inhabit Mahar Loka, govern our Kalpa, so are called Kalpadhikarin. They last only One Day of Brahma. Mahar is the Fourth Loka or same as the plane of Kama Loka. Ganesh does not have a physical planet but is associated with Ketu.

Ganesh and the Gandharvas are the unstruck sound of Om; gandharva as a common noun is music.

HPB says Ganesh is Egyptian Thoth (Sirius) and Anubis (Sirius)--Ring-pass-not. Thoth and Anubis are Hermes-Mercury and the Underworld, the One Initiator and Death.

Kinnara means half-animal (usually bird or horse), related to the Kinnaurs of Himachal Pradesh.

These are all Asuras, as in the two main heavenly populations of Devas and Asuras.

Yakshas (or Guhyaka) are usually presented as dwarfish and fat, often perverse or wicked, whereas Gandharvas mostly just play musical instruments. Both are basically humanoid.

Also, Gandhari travels with Matangi to follow Parnasabari. The only Buddhist Matangi is Janguli, who is Matta Matangi (drunk). And Matangi is like Sarasvati, music, and primordial sound, rolled into drunk elephant power. The rest of the group is three Gauris as known in Hevajra (Gauri, Candali, Pukkasi).

So it is like equating Parnasabari to the Gauris and adding two of the most powerful sounds, Gandhari and Matangi--Janguli.

Janguli is not the Nag Kanya; she has been described as tantric Sita Tara. Ngor also has these.

Sita Tara:

https://www.himalayanart.org/images/items/resized/2000px/5/9/7/59732.jpg

That is the actual one simply named White Tara. She should be with Yellow Marici and Priyangu Green Mayuri. "Sita Tara" is also used as an interior name of Mrtyuvacana and Sukla Tara; Sita's color is actually sukla. She arises from a Sukla Hum and the closest thing to a family is Five Buddha Crown. She does not even have Tara's mantra, it is closer to Manohara but saying Hare once. The hands are:

bhujadvayenotpalamudrāṃ dadhānāṃ dakṣiṇabhujena cintāmaṇiratnasaṃyuktavradāṃ
sarvasattānām āśāṃ paripūrayantīṃ vāme
notpalamañjarīṃ bibhrāṇāṃ dhyāyāt

So she does not have Cintamani Chakra, but a Ratna or Jewel "vrada" or giving it, so you could imagine one raining out of her hand I suppose.

Her main hands are a bit weirder.

Kwan Yin says:

If you want to be reborn in the pure lands of the ten directions, then make the utpala mudra of holding a blue lotus.

The mudra is from Vairocana Abhisambodhi (https://books.google.com/books?id=SY4GUaAUNEYC&lpg=PA245&ots=kXmutCtrHX&dq=%22utpala%20mudra%22&pg=PA245#v=onepage&q=%22utpala%20mudra%22&f=false). Bhattacharya (https://archive.org/stream/indianbuddhistic033312mbp/indianbuddhistic033312mbp_djvu.txt) explains it well around p. 22 on Arya Tara, although Sita is the only one given who actually does it. Vajra Bell (https://www.aryaloka.org/vajrabell/vajra-bell-2009-01.pdf) magazine describes it differently, and it sounds like they are really talking about Prithvi mudra.

Arya Tara says:

"With this Mudra the goddess of the essence of Knowledge in the
front should be propitiated, and then she should be commingled with
the goddess of the essence of Time within, and by so doing the non-
duality of the two should be meditated upon. Then the rays issuing
forth from the yellow germ syllable Tarn placed on the spotless
moon will appear to him as illumining the ten quarters, as causing the
removal of the poverty and misery of all beings by showers of various
gems and as satisfying them by the nectar of advice on the nature of
Sunya."

Janguli:

https://www.himalayanart.org/images/items/resized/2000px/5/9/7/59727.jpg

That is not her only form, but it is not well-known either. Janguli 106 and 122 are both sukla colored and arise from Sukla Hrih; they have four arms. Her Three Places are Ah Hrih Hum on moon discs, although the places appear to be head, throat, and navel.

She has a couple of pieces which do not refer to a specific form, including something like a Sutra spoken at Jetvana Grove. The many creatures who attend Janguli's dharani utterance include Mahoraga, Manusya, and Amanusya. The Mahoraga is only shared with Srimati Kurukulla and Maha Pancha Raksha. It is a rare type of Dragon.

Janguli 122 starts as a white lotus, then moon disk, and White Hrih; it uses Hook Rays from Hrih to draw from the sky her samaya being, i. e. "Vajrasattva-alike", and to operate on her with the Four Activities:

tad anu hrīḥkāraraśminā' 'kṛṣya
gaganasthān jñānasattvasamayasattvān ekīkṛtya vibhāvayet
jaḥ huṃ vaṃ ho prayogeṇeti / punar api hrīḥkāraraśminākṛṣṭāḥ
sarvatathāgatā gaganasthāḥ sattvārthodyataṃ māmabhiṣiñcantu /

Then it hooks all the Tathagatas.

Janguli 122 refers to "garuḍeśvaratvaṃ'; there is also a garudesvara with Sukla Ekajati. Since it is not spelled like "Garuda", I did not notice it previously, whereas this means Garuda Ishvara. With Janguli, it deals with Visara or Visahara, Water Poison, and Ekajati uses it similarly. This is the only unusual combination of "esvara" in the book, although another Janguli has perhaps a spelling error with gurudesvara. It does not sound feminine, but Manjushri is Vagishvari, which does not sound masculine.

Garudesvara is a place related to Kolhapur Mahalakshmi (https://books.google.com/books?id=-kZFzHCuiFAC&lpg=PA178&ots=Su-dyD486_&dq=garudesvara&pg=PA178#v=onepage&q=garudesvara&f=false) or at Kanci (https://books.openedition.org/ifp/2712), and is in Skanda Purana.

There are only a few "ishvaris", especially Marici: Dharmadhatvishvari, Vajradhatvishvari, Vajrasattveshvari. Varahi is Guhyeshvari, Jvalamukhi is Mahavidyeshvari, Hariti is Yaksheshvari.

Mahacina Tara is a good view of what we might call "spawn sequence". Most things in Sadhanamala start with Pam, as if Pandara is the "thing revealed", but that is not done here. And we will keep in mind Katyayani's Chandra Hassoja or Moon Scimitar as the likely basis of the curved-blade instrument Kartri.

Mahacina 100 arises from Red Ah, Lotus, White Tam, Sun Disk, Nila Blue Hum, Kartri, Krsna Blue Arya Tara Bhattarika.

Mahacina !01:

Red Ah, Lotus, Tam, Nila Hum, Kartri—Chopper, ātmānaṃ tāriṇīsamam. So she arises from her Hand Symbol. Tara Atman is the same as the item. And so it is like establishing this item from these components, and so for instance the more vivid Ah and Hum are to us, the better it will work. And then the item is of course passed along to a few other deities later.

She has eight naga ornaments and grants five seals.

yogī mahākaviḥ

labhate mañjuvāṇīṃ

Those indicate Poetry and Eloquence.

Hum is her heart syllable which emits five colored rays—rasmi,

ajñānendhanadāhakaḥ //
tasya dvāravidhiṃ vakṣye yogācārānusārataḥ /

That is a Dvara or gate for Vidhi,of Vak or Vach, Yogacara and Anusmrti.

Tram becomes caturthenaiva bhūṣitam

Ham becomes sampūrṇaṃ siddhamantrakam

Sword niraṃśumālikāṃ

And Mahakavih is re-iterated.

Her mantra uses Hrim Hum; and she is not closely connected to Om, but, rather, to Ah Hum.

Between Sita and Mahacina, we get a look at the distinction of White and Blue Hum syllables. So that is why "White Tara" is not really in Lotus Family--there may be a limited type that is, but, if we look at the original sequence in Sadhanamala, it is something about a White--Blue axis. Janguli is in Vajra Family, but she is never blue. If it is accurate to call her "tantric Sita", then you are flowing from Hum to Hrih. Then we could call the white and blue colors Hrih Hum and Hrim Hum, also the distinction of the two main chanting modes.

Nagarjuna's Blue Ekajati 127 is the most direct invocation of Vajrayogini in the book. This one is Bhotesu, which is supposed to mean he got it in Tibet, which is why Mahacina does not mean Tibet. She uses Hrim Trim Hum. How, exactly, she may be Tibetan, when she is adding Hindu Ugra Tara's syllable from Assam, is unclear. She uses a two arm form first, and then comes in as a four arm archer also having a Sankha or Conch. And then it looks like she becomes a six arm sword goddess. All within the space of a few lines. It is possible such a thing means to do the full sadhanas of each one.

Ekajati can perhaps be seen as an "extension" of Mahacina Tara, although she lacks the titles of Bhattarika or Arya Tara.

Her blue forms are relatively brief practices, the white ones are hefty, and the big one is vast. Big Ekajati uses Inverted Stupa. Again there would have to be some meaning of "the full sadhana of it".

We could dispute her that she does not teach what it means, she just casts it. And so in the "scale of Ekajati", there is a serious gap in teachings and the growth of her form from small to large. That is why I think the big one is devised to be elaborated by other Vajra Family goddesses such as Nairatma and perhaps Gandhari. And so you make all the pieces of the Stupa so there is a working version when you bring it here.

Similarly to Samantabhadri, Nairatma is defined as the "center of five", as well as the "center of six". In terms of Five Skandhas:

rūpaskandhe bhaved vajrā gaurī vedanayāṃ smṛtā /
saṃjñāyāṃ vāriyoginī saṃskāre vajraḍākinī //
vijñānaskandharūpeṇa sthitā nairātmyayoginī /

Rupa sounds like "a" Vajra, followed by remember/be aware Gauri is Vedana, sentience/feeling.

Samjna is Vari Yogini, which is Pali for Water, and so is along the lines of Varuni, which matches Samjna from the Puranas.

Vajradakini is Samsara--Cetana. Well, this usually conditions the Nadir, and we have recently shown that Vajradakini operates the crown; that is a but mystifying, but, if it means Samsara should be governed by Upeksa, it is hard to dispute. Since it is not, and Vajradakini is the skandha, then in general she probably would be experienced as a trip to hell. Samsara is called misery, is hard to defeat, but the strategy is to quit projecting the "imaginary pattern" onto the actual pattern.

Vijnana Skandha perceives two Objects: Form--Rupa Skandha, and Name--Nama Skandha, meaning the other three which are only mental. So when we say Skandhas, it is like taking all the senses as one unit, Form, which is Vairocana or Buddha Family or Tathagata. Vijnana is like an Observer whereas the other three are processes. It is this same Vijnana which is swung around into the Asta Vijnana symbolism as in Lankavatara Sutra, where the senses unfold again on an individual basis. I think it asserts that I can have an only-mental experience via a sense, which is not coming from a Form or physical stimulus. So then there is a sixth sense of manas or mano vijnana. Then there are the subtle minds, Klista Manas or a seventh principle which is Defiled, something like the base duality of delusion, but is more subtle, fine, fast, an asymptotically decreasing scale. Against this scale, we would usually be seen as sinning first thing in the morning and losing our way ignorantly.

In terms of Sense Objects and Sense Faculties:

rūpe gaurī sadā khyātā śabde caurī prakīrttitā /
vetālī gandhaviṣaye rame ca ghasmarī tathā //
sparśe ca bhūcarī khyātā khecarī dharmmadhātutaḥ /

Khecari is Dharmadhatu Vajra; Vetali is Scent, Ghasmari is Taste.

cakṣuṣormohavajrī ca karṇayordveṣavajrikā /
ghrāṇe mātsaryyakī khyātā vaktre ca rāgavajrikā /
sparśe īrṣyāvajrī ca mano vairātmyayoginī //

The last is presumably Nairatma as the sixth sense of manas or mind. And so she is like a Prajna over Dharmadhatu Vajra, or she is a type of Dharmadhatvishvari. These are calling the Prajnas by their opposing sins, and so the mouth or faculties of taste is Raga, who is Pandara "full of attachment".

Nairatma then uses the strand of vowels, so, she must be part of Ali Kali.

I was surprised that I found the phrase "at the beginning of Tummo practice, the body of Vajrayogini should be clear". Not sure where it came from. The main idea in all these sadhanas is that you self-generate, so "you" are clear Vajrayogini. I do not do self-generation since that is what empowerment is supposed to be the key for. If something spontaneously arises, that is different.

We cannot literally say how Gandhari arises, but, as Triple Hum, it sounds like she ingests tons of practices.

shaberon

6th August 2020, 08:43

Last night, somehow in connections to the wombs, there was again a word, it was Dhatugarbha (it was during active shaking, there was no "exercise period" last night). I looked it up and it's the dome part of a stupa where the relics are stored? Is there more to it than that?

I did not know that.

Metaphysically my reaction is that it is Garbhadhatu, i. e. Womb Realm mandala.

I am not an adept on Sri Yantra but my understanding is that it is very precise in terms of the angles, and there is a "pro" version which does not quite seem symmetrical, and a "trainee" version that usually has lines evenly intersecting and so forth. And so in the given image, it seems very regular, probably not the aficionado design.

Sri Yantra takes place in Mani Pur "city of gems" or solar plexus, which is why I use it as the Buddhist Nirmana Chakra. Of course, 90% of the material would say this is wrong, but there are a few authorities who allow this interpretation.

The details of it are really difficult, but seeing as how Varahi and Kurukulla are the main deities, and if you scope out the throne room and so forth, a little bit of the main story is useful.

In Sri Kula I think it is all yoginis, they are all attendants and gatekeepers and so forth, "64 yoginis" or Yogini Jala is even found in stoneworks associated with this; although I think Shiva tantra also has its own 64 yoginis. I am not sure if Hindu tantra actually has Union.

The song of Sri Yantra is Khadga Mala Stotram (Sword Garland). Sword Goddess "points to the center" of the Yantra:

TmKo72JSLac

The presiding deity of Sri Chakra is Tripura Sundari. Tripura Sundari is also known by names as Ṣoḍaśī, Lalitā, Kāmeśvarī, Śrīvidyā and Raj Rajeshwari (in Karnataka, southwest India). Her most important temple is Kanchi Kamakshi. Khadga Mala or Sword Garland points to the central divinity, giving the other yoginis and their roles or locations. Matangi is primarily considered Sri Rajarajeshwari in Carnatic or hymns from Karnataka. Usually in most other sources, she is only a high minister or acolyte of Sri, like Varahi.

Adi Shankara is presumed to be heavily influenced by Nagarjuna and the doctrines of Emptiness and Catuskoti. And so I think the basis is the same, we are looking at the same Bindu or Sunya, which has the same five sins, klesha, or obscurations, the same Worldly Deities and so forth.

Maha Mantranusarini:

http://museumofnepaliarts.com/images/collection/63PA2019.jpg

Mantranusarini as produced in Nepal (http://museumofnepaliarts.com/indexmona.php?title=View%20Item&id=244), 2019. The included text says shes is red, but, the art makes it easier to imagine she is white.

In the large Nepal archive (http://www.aioiyama.net/ask/search/list.php), Nairatma and Varahi are both Vajrayogini and Guyeshvari, but, such titles are limited. One of the only distinct Vajrayoginis is Mantranusarini.

She is in Pancha Raksa, which is a Nepalese householder liturgy. She is not obscure. Her mechanics are. This is her part of the Pancha Raksa song:

om namaḥ śrīmahāmantrānusāriṇyai

buddhādhiṣṭhānato buddhābhayadāṃ bhayanāśinīm |

bhavāmbudhinimagnānāṃ namo mantrānusāriṇīm || 1 ||

yanmantroccāraṇādeva ṣaḍītayaḥ sudāruṇāḥ |

nāśaṃ prayānti varadāṃ namo mantrāmusāriṇīm || 2 ||

mantrānusāriṇo lokān nānye mantrādayo grahāḥ |

pīḍayanti priyāṃścāpi namo mantrānusāriṇīm || 3 ||

buddho'bhyabhāṣad gāthāstā yanmantrakathanāntaram |

yābhiḥ sarvatra svasti syānnamo mantrānusāriṇīm || 4 ||

kalau buddhavihīne'smin lokānāṃ hitamācaret |

pāpotpātapraśamanīṃ namo mantrānusāriṇīm || 5 ||

And so it is no difficulty to find her name, which perhaps means "mantra follower", and a standard practice, and if we stopped there, we would miss something.

Sadhanamala emphasizes Pratisara in Jewel Family along with Vajrasattva Hundred Syllable mantra. So, she would be a relatively easy outer bond, however we know she is a tantric Bodhisattva who is an outer activity of Vajra Panjara Tantra and of Mamaki. And Mamaki definitely shows an interaction of Jewel Family to Vajra Family; Vajradhatvishvari is similar. So there are clues to say, we may be looking at a Quintessence based in Jewel Family, but we know it does not exist in a sliced-off compartment, and so at a deeper level it becomes a Quintessence of Quintessences. The Pancha Raksha does not show any large elaboration of deities, but it does look like a change or switch, or a step into Maha nature, starting a major expansion.

I am not sure that Sadhanamala even uses the basic Pancha Raksa mandala. Bhattacharya says he got it from NSP, and Mantranusarini is blue. So there are two (https://www.wisdomlib.org/definition/mahamantranusarini) blue forms of her, small and large. The NSP uses regular Gatekeepers, but, they have an unusual set of corner deities:

1. Kali Agni
2. Kalaratri Nairrta
3. Kalakanthi Vayu
4. Mahayasa lsana

In this version, any of the Pancha Raksha are allowed to take the center. That is typical, predictable, one could find similar examples. However, Sadhanamala does not do that, it changes their nature entirely. The given blue Mantranusarinis are both in the South in Vajra Family. And then it is specifically said in Sadhanamala that she moves to Lotus quadrant in the West, turns White, and is in Jewel Family--who thereby has two representatives in the mandala.

Mahayasa (https://www.wisdomlib.org/definition/mahayasha) is the southwest deity for Buddha Kapala, but other than that, I am not sure who it means. Kalakanthi immediately suggests "Nila Kanthi" which is a standard Shiva practice also used on Avalokiteshvara, blue or poisoned throat.

But for a moment, Ratri, who is famously trampled in most of the trampling scenes, is here in the southwest with a name meaning "Night Time". Obviously, the whole thing simply sticks Kali onto it, who has no personal Buddhist practice that I am aware of, but shows up in places like this.

Mantranusarini's new arising in Sadhanamala mode is:

tasyāḥ pratisarāyāḥ paścimadiśi viśvāpdmopari candra-
maṇḍalamadhye maṃkārabījapariṇāmajāṃ mahāmantrānusāriṇīṃ
bhāvayet śuklavarṇāṃ dvādaśabhujāṃ trimukhāṃ trinetrāṃ sphuratsūryya-
maṇḍalālīḍhāṃ ratnamukuṭinīṃ sarvvālaṅkāraśobhitāṃ nava-
yauvanopetāṃ hāranūpurakuṇḍalālaṅkārāṃ śirīṣavṛkṣepa-
śobhitām, tasyāḥ prathamabhujābhyāṃ dharmmacakramudrā dvitīya-
bhujābhyāṃ samādhimrdrā tṛtīye varadaḥ caturthe abhayaḥ pañcame
vajraṃ ṣaṣṭhe śaraḥ tṛtīye tarjjanīpāśaḥ caturthe dhanuḥ pañcame
ratnacchaṭā ṣaṣṭhe padmāṅkitakalaśaḥ, mūlamukhaṃ śuklaṃ dakṣiṇe
kṛṣṇaṃ vāme raktam, nānākusumābhikīrṇā sāṣṭaloka-
palādidevaiḥ saṃpūjanīyā sacaturmahārājikadevasaṅghaiḥ
saṃstutā samalāvidyādharair arccitā / tasyā jāpamantraḥ - oṃ
vimale vipule jayavare amṛte viraje huṃ huṃ phaṭ phaṭ svāhā /

She arises from Mam and is Sukla colored. By doing Dharma Chakra mudra, it suggests she is the "teaching moment" of the experience. As you see, in her mantra she is a rare application of Vimala and a perhaps unique application of Viraj of Jaipur, and here again, in that milieu, HPB described Viraj as the best method of understanding cosmology, starting as the unity of Brahma Viraj and Vach Viraj. This is perhaps its only possible representation in Buddhism, at least as a deity. It may be deeply embedded with Vasudhara, but it springs to attention here.

Old Student

6th August 2020, 23:58

Thank you, Agape.

I was not being philosophical, I had not thought of what I wrote before reading your post. I thought about writing a second paragraph and did not, so perhaps it is I who owe the apology: In graduate school, we had a guy who wanted to specialize in "room temperature physics". It was at a time when there were many who thought that, aside from subfields like biophysics or solid state physics, pretty much the only frontiers were in cosmology and quantum, neither of them room temperature, nor small grant study. He devised experiment after experiment, using only things available in a typical classroom, that could test the validity of quantum mechanics.

But he/we we had a "coffee shop clique" that consisted of math and physics people and the occasional engineer, and his favorite topic which we all debated for hours was whether or not high energy particle physics was actually finding the building blocks of matter or was just finding ramifications of the uncertainty principle. This was not a philosophy discussion, people had careers in quantum, smashing things. There were always two problems:

1) If you smash a coke bottle, you get shards. You can't really say that a coke bottle is made of "elementary particles" called "shards".
2) The uncertainty principle, which applies to any pair of "observables" linked by a Fourier transform the way position and momentum are (we had it in computer image processing as well), does in theory mean that if you keep smashing, you will endlessly find particles that are "building blocks" of the previous building blocks, as long as you can keep exponentially escalating the energy you use to smash them.

So when you said that you sit at a place that is "designated", my mind went to that entanglement description. If it were true, it would, by (2) above, mean that everything genuinely is an illusion, and the universe is indeed "created" by how you handle each balance from each designated spot.

Old Student

7th August 2020, 03:02

Nepalese Kurukulla simply takes Shakta's Sri Yantra:
Nepal would probably not be able to answer whether she is Hindu or Buddhist, it would be "both or neither" because they would probably just say she is tantric.

Who are the people holding her up? I looked around and got not too far (I found one Hindu explanation, calling her Lalita, that said they were "Krishna, Brahma, Indra, and Shiva" but that doesn't make sense since there is only one blue one, and Shiva is supposed to be who she is sitting on.

Old Student

7th August 2020, 04:24

Mantranusarini seems very powerful -- 12 arms 3 heads. She has 3 of the arms that Kurukulla has but no hook. She also has the begging bowl that Cunda has. You say "Mantra follower", does she follow mantras perhaps the way Avalokitashvara listens to sounds?

In re the internet outage: We've actually been good this year, last year is was about once a month. I put up the stuff about the Sri Yantra that you saw.

I started another thread asking if people had had experience with opening the third eye/pineal gland. The movement of liquid and cleaning out inside during these shakings recently is getting very close to that point. The wombs was part of that, I'm still trying to figure out the reference to the stupa or, as you suggest, to the Garbhadhatu the realm of wombs.

When the Dakinis found out about that other thread, or about my concerns with that, they said it would be okay (meaning that the opening would be okay, as in nothing to worry about) and had me feel like a whole breeze (instead of feeling it on my skin in this case). It was the first dissolve that "melded" with something in the physical world beyond my body. It was amazing but it didn't actually make me feel more at ease, as the concern is about stories I've heard about "reading" or seeing those around one, and how disruptive that can be.

Last night, there was a shaking that ended with an "energy gathering" point just above the back of my hard palate that was identical in form to the one that happens at dantian when I do my standing meditation, but differently colored (I think the difference may be that it was just forming instead of strong). They are also gradually working on some of the symbols in my head and infusing them with rainbows.

shaberon

7th August 2020, 06:21

There is one more change to the standard Pancha Raksa.

Originally, Pratisara arises from Pram, like Prajnaparamita.

The main Pratisara of Maha Pancha Raksa arises from Pam. We would tend to guess her color is light yellow-red, and that her only type of family identification is a Caitya:

mahāpratisarā gauravarṇā
dviraṣṭavarṣākṛtiḥ caityālaṅkṛtamūrddhā candrāsanasthā sūryya-
maṇḍalālīḍhā vajraparyyaṅkinī trinetrā aṣṭabhujā cala-
tkuṇḍalaśobhitā hāranūpurabhūṣitā kanakakeyūramaṇḍita-
mekhalā sarvvālaṅkāradhāriṇī, tasyā bhagavatyāḥ prathamamukhaṃ
gauravarṇaṃ dakṣiṇaṃ kṛṣṇaṃ pṛṣṭhe pītaṃ vāme raktam

Then it just lists her weapons and that she is attended by everything in Hinduism from Brahma to Mahoraga.

Pramardani was a Six Arm White Vairocana goddess, but now she is Vajra Cihna, which means having Vajra as her family symbol, blue with eight arms. Then there is Mam-arisen Yellow Mayuri in Jewel Family, White Mam-arisen Mantranusarini in Jewel Family, and Harita Green Tram-arisen Sitabani:

https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Pancaraksa%2C_AD_1653%2C_Ranjana_script%2C_Sitavati_Wellcome_L0035406.jpg/532px-Pancaraksa%2C_AD_1653%2C_Ranjana_script%2C_Sitavati_Wellcome_L0035406.jpg

At first when I found her, I followed Bhattacharya's reasoning that she is green in the north, so she must be an amoghasiddhi goddess, but this turns out not to be the case. She still leaves Lotus Family:

tato mahāpratisarāyā uttarasyāṃ diśi viśvapadmopari
candramaṇḍalamadhye trāṃbījapariṇāmajā mahāsitavatī
haritavarṇā sūryyamaṇḍalālīḍhā trimukhā trinetrā ṣaḍbhujā
tathāgatamukuṭinī sarvvābharaṇālaṅkṛtā divyavastropacchādanī,
tasyāḥ prathamabhuje abhayaṃ dvitīye vajraṃ tṛtīye vāma^
prathamabhuje tarjjanīpāśaṃ dvitīye dhanuḥ tṛtīye ratnadhvajam,
mūlamukhaṃ haritaṃ dakṣiṇe śuklaṃ vāme raktam, campakavṛkṣopa-
śobhitā sakāmadevādipramukhaiḥ sampūjya stutā sahārītyādi-
yakṣayakṣiṇīvidhvaṃsanakarī kākolūkagṛdhraśyenakapotādi-
vidrāvaṇakarī sabhūtapretapiśācavetālarākṣasādisaṃmohana-
karī / asyā jāpamantraḥ - oṃ bhara bhara sambhara sambhara
indriyabalaviśodhani huṃ huṃ phaṭ phaṭ svahā /

She is a Vairocana (Tathagata) deity primarily doing Amoghasiddhi's Abhaya gesture, related to Sambhara and purification of the Indriyas or sense faculties.

Sambhara is Sila Paramita (Virtue) and:

Sambhāra (सम्भार) refers to “two kinds of requisites” as defined in the Dharma-saṃgraha (section 117).
puṇya-sambhāra (the requisite of merit),
jñāna-sambhāra (the requisite of knowledge).

Sitabani's change appeared relevant to Agni Yoga, which is sort of its own topic. It is so much of its own topic, the subject is so vast I could not do much besides try to generalize it as a new year's event or something like that. However it does seem to indicate Cool Forest as the entrance to one of the main fires, in a way that seems to be related to the handling of inner heat so one does not overdo it. Correspondingly, the degrees of Mayuri also look like a Kumari in her raising of fire. Conversely, these spiritual practices are inert and meaningless to one who has not generated heat.

If she is something like a "safety valve", it appears she does so with Virtue, Merit, and Gnosis is how we usually translate Jnana.

If she is, that makes it look like the previous power, Mantranusarini, is so extreme she could easily crash.

In the pantheon, Mantranusarini appears to be a step from ten and twelve armed Marici and Varahi, to fourteen arm Amaravajra. In other words, she is combining all the mantric force of the prior in a form that blends the special mudras of Prajnaparamita and Cunda to mantras of Vimala--Katyayani--Mayuri and Viraj. It is so potent, it knocks the regular governor of Speech and Mantra, Lotus Family, out of its own lair.

On an occult basis, if I took the position that the real Amaravajra or Deathlessness is considerably beyond the reach of an ordinary sentient being, then it could be surmised that Mantranusarini is a type of judge, a distant but conceivable phase wherein the power of one's mantra is sufficient to generate immortality.

The simple sadhana pattern of Parasol, Banner, Victory, and Gandhari as some kind of triumphant crescendo, prior to the appearance of the unique and almost lost form of major mantra goddess is very telling.

Without a single teaching about her, if you just read the symbolism, it is fairly precise.

One thing the Pancha Raksha do is instead of trampling Kalaratri, she is placed in the southwest or destructive zone. Kalaratri is a Durga, and we looked at her previously related to the tantric levels of intensity: Smile, Gaze, Embrace, Union, and the Daughter, Sister, Mother classes. And so we are harnessing one for Sambhogakaya purposes called "Activity of Durga". We are not talking about the outer mantric field or Nirmanakaya, but more of the energetically-triggered inner response.

If I were moving into Sambhogakaya which is in the Akanistha, I am going to Gaze at my Sister Kalaratri.

Concerning which Durga killed Mahish Asura and drank the blood of Raktabija, she did it in all Nine Forms at once.

https://techfactslive.com/wp-content/uploads/2016/10/durga.jpg

You can discern Kalaratri on that. She has the largest Body Aura. Sambhogakaya Sister.

To cross Yama and Mara and accomplish Samhbogakaya, she must become Purity of Sense Objects on the Outer Wheel of Time.

Lightning Jewelry:

http://rimple.in/wp-content/uploads/2017/09/goddess-Kaalratri-photo-1200x800.jpg

As the Seventh Durga, she would appear to be the seven chakras, but actually is the secret chakras in the head, opened by the heart. Buddha found Kalaratri having intercourse with Mahadeva constantly, and when he arrived they stopped and pledged to Dharma. This essentially makes Vajravarahi possible; otherwise, Varahi is worshipped with Vamachara in a temple of Kalaratri.

The two upper portions of Kama Loka are characterized as Nirmana Rati: Constructive Emanations--Sex. In one, anything you want to think of, happens, and in the next you get the ego pleasure of others offering those things to you--the opposite force of Offering Goddess Bodhisattva.

The Sister class Kalaratri is in are Daityakanya, from Talas below the earth ("Field-born", Sisters, in Ksetra fields {in bodies and in tattvas}, Sambhogakaya, who yield mostly sukha.). Virgin Daitya, with Varuni emitting as Ananta's radiance from the bottom of the Talas. According to HPB, "Daitya are Giants, Titans, exoterically demons, but identical with "certain" Asuras--intellectual gods--enemies or opposed to gods of useless ritualism and literal sacrifices." There is only one Saturn Durga, she lines up with the Saturn Maha Vidya; Kalaratri Daughter of Kali, Varuni Daughter of Varuni, this is how the Sister of the Fourth plane is balanced and aligned. High Shakti of Kama Loka.

Mantra is, so to speak, Catuskoti Om at this level, Point or Dhatu the indicated Mystery; centering the Fixed Cross. One's self as Air--Touch meets Watery Fire producing Sambhogakaya.

And so we see her featured with a mule, which becomes relevant to Sri Lakshmi.

Therefor if we are harnessing her now, the advanced tantras that trample her are not really to insult her, but to show she has been transcended. Same for Ganesh, or even trampling of the Buddhist deity Vajrabhairava. And if we "get" her, it isn't necessarily by name, there are no Kalaratri sadhanas, but by energetic equivalent, this definitely moves inside Lakshmi's mirror. Lakshmi is loaded with Kalaratri, and for instance she takes Human Skin from Seven Syllable deity, and the Jewels are all hers. In accordance with Agni Yoga she is non-invocable and can only be forcefully manifested by her appropriate methods contained in Sarasvati. So we attempt to use Sarasvati and Sherab-class deities to forcefully cause changes in the major powers of Jupiter and Venus (Lakshmi). We will still take the Jupiter power, Mahakavih, but because he is not the Human Guru but the Deva Guru, these mainly operate natural laws that we cannot really "break into", but, instead, "work with". This is called Yoga Maya and is a certain limitation on the "realm of possibilities", for example, as a being, we are not going to enter the atmosphere of the sun, or live like one of its inhabitants, but we are going to tap a refined emanation of its energy and return this in the act of Nirakara meditation, according to the Human Guru.

We are not really that interested in a hundred fifty gazillion quadrillion days of Brahma and the entire history of each material molecule, and that line of inquiry is said to lead to insanity. So we cannot be too utterly fascinated by Devas since that is what most of them are about.

Maha Pancha Raksa appear to harness Kalaratri and erupt in a weird change emphasizing mantra and inner heat.

shaberon

7th August 2020, 07:14

You say "Mantra follower", does she follow mantras perhaps the way Avalokitashvara listens to sounds?

I started another thread asking if people had had experience with opening the third eye/pineal gland. The movement of liquid and cleaning out inside during these shakings recently is getting very close to that point.

There is another Prakrit or root language argument which suggests Avalokiteshvara is not even composed of "ishvara", but from "-asvara" or sound, which would make it mean something more like Sound which is Seen.

From making a Sitabani post and looking at what this Mantra goddess with no personal background or any parallel usages could possibly be, it makes a lot of sense to see her as a recipient of all mantra practice up to the point one is able to realize Amaravajra. She fuses some of the most potent mantra practices known to history as far as I can tell, a significant handful of them. It looks to me like the Maha Pancha Raksa have a lot to do with raising her to fullness while at the same time having a built-in safety feature.

On a deity basis it looks like you have a pretty clear line from White Hum Sita Tara and Blue Hum Mahacina Tara up to White Mantranusarini and Blue Gandhari with twelve arms.

The underlying white goddess is certainly Parasol and the blue is Guhyeshvari (to also attach green), whereas the third main player with yellow and red is Vasudhara. That is what they consider the Adi Prajnas.

So, there is a physiological process that regularly occurs during sleep, which these meditative exercises bring under our conscious control. HPB said the third eye was really in the "middle" of this experience during sleep, and if we could become conscious of it, we would remember our past lives. And so that is placing it in the position of Prabhasvara, inside the Voids.

In my personal experience with clairvoyance, it opened correspondingly to the quiescence of personality. I had a fairly weak ability to see purely physical things like x-ray vision of one's hand, but with a little refinement, it would adjust to perception of what is called Kama Rupa on the fourth plane, which is sort of similar to pictures of auras, but, the ones that are normally shown do not quite match what I was seeing.

I am guessing that detailed perception of dakinis and energetic structures within the subtle body is on the third plane of Prana. I have never seen much of it. I have tried to look for it.

I think it is all related to the phosphenes which may open erratically and "snow":

http://3.bp.blogspot.com/-eK_NzEJjGSs/VXCnqkhG7WI/AAAAAAAAAHM/okbBF_LuR_A/s1600/d1a1429f38dd8a48fe10dd91c1842b48.jpg

and we want to make them into something stable:

http://images.futuristech.info/post/embedded_images/imgs/000/003/296/original/psychedelic-fractal.jpg?1456555027

Merkaba is similar:

http://images.futuristech.info/post/embedded_images/imgs/000/003/297/original/merkaba-field-star-david-tetrahedron.png?1456555309

It is fairly close to the geometry whereby Subba Row described the astral plane Icosahedron emerging as the physical Dodecahedron.

I see phosphenes continually, mostly pink and yellow. Blue and green are there but do not stand out as much. And I think we are in a process of binding small, random units into a larger, working one.

The breeze thing is almost literally the definition of the esoteric change from "Touch = Air = Entire Surface" which is the starting point of Quintessence or Pancha Jina. Touch Object or Sparsha Vajra moves to the center, into the Space Element.

I am not sure who is uplifting Kurukulla. Often, such a group would be the project's donors, but since they are not human, that is unlikely.

Vajradakini is a slippery name that "sometimes" is meant as a synonym for Vajrayogini.

With Mahamaya, it means Four Arm Blue Dakini in Vajra Family:

https://www.himalayanart.org/images/items/resized/2000px/1/0/2/102224.jpg

They make a standard quintessence, but we do not think Vajradakini statically stays as such in Vajra Family, even though she only has a few more definitions.

She is with Seven Syllable deity (upeksa) and Jnana Dakini (crown).

She is Samsara Skandha in Nairatma's retinue:

indre vajrā yame gaurī vāruṇyāṃ vāriyoginī /
kaubare vajraḍākī ca madhye nairātmyayoginī //

Since "yogini" is a standard epithet, we might surmise the first means Vajrayogini, which distinguishes her from Vajradakini.

And we can find Vajradakini is uplifted as an individual, using four activities to hook her as a samaya being by Two arm Vairocana Tandava Varahi 226 who casts Armor and becomes Vairocani in her heart mantra, and by Red Twelve Arm Six Face Vajrasattvesvari Marici 140 who Mutters Vetali. Both of those use a type of Kha Khahi dharani and are fairly short. Both of them appear to be specifically aimed at compelling Vajradakini to do what they do. According to Sadhanamala, this is the most direct and individual work of Vajradakini, which happens to fall on some of the most explanatory deities we can come up with.

There is a group who are sort of re-iterated and re-stated, such as Vajradakini, Khandaroha, Aparajita, Gauri, Sitabani, as if there are two of them or even two at the same time.

The stage of Vajra Dakini with Jnana Dakini, is with someone to whom we make a close parallel with Guhya Jnana Dakini, who does not use the Mahamaya generic Family names for her dakinis. But if you follow her ring to find the dakini in Vajra Family, it would be the one named Dakini.

So far, Vajradakini is a bit like a tug of war between hell and your highest head center, revolving around upeksa.

Nagarjuna's Dharma Samgraha culminates by revealing the four major samadhis given in the Sutras:

Catvāraḥ samādhayaḥ, tad-yathā:
There are four concentrations, they are:

{1} Śūraṅgamo,
{1} Heroic march,

{2} gagaṇa-gañjo,
{2} sky-jewel,

{3} vimala-prabhaḥ,
{3} pure light,

{4} siṁha-vikrīḍitaś-ceti.
{4} and lion’s sport.

Surungama Sutra (Parasol), Gagana is Locana, Vairocana Abhisambodhi, etc., Vimala Prabha, and then Lion's Roar, such as that of Queen Srimala Devi. Sarvadurgati starts with Lion Buddha and goes to Lion Durga, and we see that means only a few forms who are also directionally-coded. Manjushri, Avalokiteshvara, and Lakshmi all have Simha Lion forms.

followed by a type of Triple Catuskoti, and the very end is:

Tisraḥ śikṣāḥ, tad-yathā:
There are three trainings, they are:

{1} Adhicitta-śikṣā-
{1} Training in the higher mind,

{2} ’dhiśīla-śikṣā-
{2} training in the higher virtue,

{3} ’dhiprajñā-śikṣā ceti.
{3} and training in the higher wisdom.

which refers us back to the importance of Sila and Adi Prajna, which are literally the last things here.

Agape

7th August 2020, 08:45

I found this page and blog very interesting, some time ago but did not have time to read through it all yet:

Qualia computing, on computational properties of human consciousness (https://qualiacomputing.com/category/physics/page/3/)

With amazing illustrations if you scroll down the page. Of course you may just want to use the idea and take it further to your clear meditations.

I had so many things on my mind last few days( of Kalachakra ) that I now started to forget things around the room :) it’s the 101 monkey mind trick I suppose,
probably need some rest

It’s the lockdown phase called Unlockdown 3 out there, they’ve just bombard Hiroshima and Nagasaki and Beirut ( again ) and I swear at Three Jewels it’s not getting any better.
Since we came here ...millions years ago.

The real Elders always insisted there is a Way out. It’s the newer Elders who taught us to compromise and get reconciled instead.

So I’m on the Way out there, if something , and back to the Stars 🌟🌟🌟🌟🌟🌟

Providing I can sleep on the way back..

😷

shaberon

7th August 2020, 16:01

So we have most of the information that might brush away some of the clouds from the murky names of Vajrayogini and Vajradakini. There may be a mentality of popular association which describes them nowhere near adequately enough as the fact they have specifically different uses in very particular places.

For example, we just found out that Mantranusarini is Vajrayogini, so she is capable of teaching the methods of Dakini Jala, as well as the underpinnings of Cinnamasta (Yogambara with Jnana Dakini, Mahamaya with Buddha Dakini), including a special use of Varuni which by definition brings Vairocani, Khandaroha, and Varahi; and it is all vined into the major Chakrasamvara and Hevajra tantras, which are the continuity of Varahi and Nairatma.

Mantranusarini is a public outer deity. Anyone may worship her.

She has more or less just been proven as a vessel for not just the entire Dakini Jala, but probably anything we could ever accomplish up to Amaravajra. What??

Nothing says that about her, unless you just follow the symbols, it is all esoteric.

We found that Vajradakini currently is probably very little Upeksa and probably a lot more Samsara, and since this would seem to be crucially important, I want to post the actual articles that employ her. I can only get so much from them, but, perhaps we can boil it down over time.

Vajradakini is used by two Vairocana goddesses.

The Varahi Heruka is plainly a nest egg of Cinnamasta Tri-kaya Vajrayogini:

226.

prathamaṃ tāvad yogī śmaśānādau manorame sthāne
svahṛdīndau oṃkārakiraṇair gurubuddhabodhisattvān anīya purato-
'valambya pūjāpāpadeśanādikaṃ kṛtvā khasamaṃ traidhātukaṃ
vicintya huṃvajrīkṛtabhūmau śmaśānāṣṭakamadhye dharmmo-
dayāntargatapadmavaraṭake candrasthavisomasampuṭasthavaṃkāravajraṃ
tadbījasamudbhavāṃ bhagavatīṃ vajravārāhīṃ pralayānalasannibhāṃ

She is Khasamam "Equal to Sky" or a synonym for Khasarpana. Cemeteries, Dharmodaya, and Samputa are mentioned, until Vam becomes a Vajra which becomes Varahi in the fires at the end of the world.

ekavaktrāṃ dvibhujāṃ dakṣiṇe -
tarjjayantīṃ diśaḥ sarvvaduṣṭatarjjanavajrikām /
vāme kapālaṃ viśvapatākāvirājitabahudaṇḍāsakta-
khaṭvāṅgadharāṃ bhairavakālarātryākrāntāṃ pratyālīḍhena tāṇḍavāṃ

She does Tarjani gesture, has a skullcup, and then a Khatvanga in her elbow. She does Tandava on Bhairava and Kalaratri.

digvāsāṃ muktakeśāṃ khaṇḍamaṇḍitamekhalāṃ daṃṣṭrākarālavadanāṃ
trinetrāṃ vikṛtānanāṃ viśvavajradharāṃ mūrdhni vajramālākapāla-
śobhitāṃ muṇḍasragdāmadehobhayaśobhāṃ sarvvālaṅkārabhūṣitāṅgīṃ
sarvvabuddhābhiṣekabhujāṃ vairocanakulodbhavāṃ sarvvasiddhipradayikāṃ
sphuratsaṃhāravigrahām -
pūjāstutyamṛtāsvādaṃ kṛtvā yogī samāhitaḥ /
sādaraṃ bhāvayan nityaṃ laghu buddhatvam āpnute //
bhāvanāṃ kṛtvā nyāsaṃ kuryyāt baliṃ ca dadyāt yogavit /

She casts Armor:

Oṃ vaṃ vajravārāhī nābhau, hāṃ yāṃ yāminī hṛdi, hrīṃ moṃ
mohanī vaktre, hre hrīṃ sañcālanī śirasi, huṃ huṃ santrāsanī
śikhāyām, phaṭ phaṭ caṇḍikā sarvvāṅgeṣvastram -
nābhau hṛdi tathā vakre śiraḥ śikhāstarm eva ca /
kṛtvāgragraṃthyā khalu madhyasūcī
aṅguṣṭhavajro dṛḍhaṃ saṃprapīḍya /
saṃsthāpyatāmadho lalāṭadeśe
āvarttyāvarttena ca vibhrāmayet //

Virayogini is attracted, who turns out to be Vajradakini. In Shiva tantra (https://books.google.com/books?id=vEKkuLQUza8C&lpg=PA94&ots=L93sgeBK6u&dq=virayogini&pg=PA94#v=onepage&q&f=false), this concerns sex and retention of semen (same as Heruka (https://archive.org/stream/Tantric_Texts_Series_Edited_by_Arthur_Avalon_John_Woodroffe/Tantric%20Texts%20Series%2007%20Shri%20Chakrasambhara%20Buddhist%20Tantra%20-%20Arthur%20Avalon%201919_djvu.txt)); in Buddhism, the Viras are generally Armor Deities, or one who has employed them to obtain realization in Yoganiruttara tantras.

ākrantapādorddhvadṛṣṭis tu mūrdhnā pheṃkāranādataḥ daśadi-
glokadhātusthā vīrayoginīḥ ākarṣayet - oṃ yogaśuddhāḥ
sarvvadharmmāḥ yogaśuddho 'haṃ oṃ acaṇḍi hoḥ jaḥ huṃ vaṃ hoḥ
vajraḍākinyaḥ samayas tvaṃ dṛśyahoḥ / vajrāñjalyā ūrddhvavikacabaliṃ
dadyānniśārddhake -

oṃ kha kha khāhi khāhi sarvvayakṣarākṣasa-
bhūtapretapiśāconmādāpasmāraḍākaḍākinyādaya imaṃ baliṃ
gṛhṇantu samayaṃ rakṣantu samayasiddhiṃ prayacchantu yathaivaṃ yatheṣṭaṃ
bhuñjatha pibatha mātikramatha mama sarvvākārasatsukhaviśuddhaye
sahāyakā bhavantu huṃ huṃ phaṭ phaṭ svāhā - balimantraḥ /

Vairocani is her ten syllable heart mantra, Varnani is her twenty-one syllable near heart mantra:

oṃ vajravairocanīye huṃ phaṭ svāhā - hṛdayamantraṃ daśākṣaram /
oṃ sarvvabuddhaḍākinīye vajravarṇanīye huṃ huṃ phaṭ phaṭ svāhā /
upahṛdayam ekaviṃśatyakṣaram /

The only other Vairocanis are Varahi 215 and 227; the only Varnani is 225.

Then there is a type of "purifies comestibles" (bhaksya) mantra, and it ends with meditation on Prabhasvara and Mahasukha:

oṃ sarvvavajrakāmini sarvvabhakṣyaṃ
śodhaya guhyavajriṇi huṃ svāhā - sarvvabhakṣyaśodhanamantraḥ /
athavā upadeśaḥ svacittaṃ sthirīkarttukāmaḥ svanābhi-
kamalopari somapuṭāntasthasarṣapasūkṣmavaṃkāravinirgatamṛṇāla-
tantvākāraraśimiṃ dhyāyāt, traidhātukaṃ prabhāsvaraṃ mahā-
sukhākāraṃ paśyed iti /

// saṃkṣiptavajravārāhīsādhanaṃ samāptam //

In the food mantra, Guhyavajrini (https://books.google.com/books?id=UD5qDwAAQBAJ&pg=PT170&lpg=PT170&dq=guhyavajrini&source=bl&ots=heCa2oDVXe&sig=ACfU3U1a1tmDLGjpXDkmcPnDv7gypLpSLQ&hl=en&sa=X&ved=2ahUKEwi42JiWmonrAhUOU98KHbInAzIQ6AEwAHoECAIQAQ) in the Method of Laughter involving drunkenness and sexual contact to Sparsha Vajra.

Kamini (https://www.wisdomlib.org/definition/kamini) generally is "woman" but is also a yogini who continues through Buddha Kapala, Vajradaka, and Dakarnava tantras.

Quoting Samvarodaya (http://card.ioc.u-tokyo.ac.jp/uploaded_dir/pmantr11.txt) in a study of food in esoteric Buddhism, Sarva Vajra Kamini is replaced by Sarva Vajra Dakini. Perhaps they are equivalent.

Dharmakirti's Chakrasamvara commentary (https://kupdf.net/queue/dharmakirti-39-s-commentary-on-chakrasamvara_59f152ffe2b6f5c610ec1447_pdf?queue_id=-1&x=1596817861&z=MTczLjE4NS4xNDQuNTY=) says:

Greatly terrifying, with bared fangs,
Ornamented with the flower garland of mantra,
Voraciously eating great meat,
Praises and prostrations to the glorious blood-drinker!
Glorious Vajradakini,
The Dakini who turns the wheel,
The five wisdoms and three bodies personified,
Praises and prostrations to the protector of beings!

Recite this with the stable pride of the deity.
OM SARVA VIRA YOGINI KAYA VAKA CHITTAM VAJRA SVABHAVA ATMA
KO HANG.

Six Face Marici uses a red triangle on Odiyana Pitha, her Suci or Needle, Brahma's head, somewhat wrathful warrior pose. She does not even take a full mandala but does use Fence:

140.

ādau hṛdi sūryyāsane huṃkārakiraṇair ānīya bhagavatī-
m ekavidhapūjābhiḥ sampūjya pāpadeśanādikaṃ kṛtvā
śūnyatābhāvanānantaraṃ viśvavajrākāraṃ cetaḥ saṃcintya
tatpariṇāmena vajrabhūmiṃ vajraprākārādikaṃ dhyātvā tanmadhye
śrīodiyānapīṭhaṃ trikoṇamāraktaṃ tanmadhye sūryyasthapañca-
sūcikavajraṃ oṃkārādhiṣṭhitvaraṭakaṃ tatpariṇāmena bodhi-
cittarūpāṃ mahāpralayānalavisphuliṅgadurddharṣāmaṭṭāṭṭahāsāṃ
samākrāntacaturmārāṃ pratyālīḍhapadāṃ dvādaśabhujāṃ ṣaṇmukhīṃ
trinetrāṃ raktavarṇāṃ prathamadakṣiṇaṣaḍbhujeṣu khaḍgaviśva-
vajraekasūcikavajraparaśuśaramuṣalān dadhānāṃ vāma-
bhujeṣu satarjjanīpāśikātriśūlāśokapallavacāpapāśa-
brahmaśirodhāriṇīṃ naraśiromālāpralambitasarvvāṅgāvayava-
śobhāṃ vyāghracarmmottarīyavāsasaṃ mūlamukhaṃ raktaṃ sitakṛṣṇaṃ
vāmamukhadvayaṃ pītakṛṣṇaṃ dakṣiṇamukhadvayaṃ kṛṣṇorddhvārāha-
mukhaṃ lalajjihvāmūrddhvajvalitapiṅglakeśāṃ vairocanamukuṭinīṃ
bhujagāṣṭābharaṇabhūṣitāṃ nijakiraṇaiḥ sarvvato māravidhvaṃ-
sinīṃ daśadikpalāyamānaḍākinībhūtavetāḍaphetkāra-
hāhāravabhīṣaṇapariveṣṭitaśmaśānāṣṭakamaṇḍitāṃ śrīmado-
ḍḍiyānamārīcīm ātmānaṃ jhaṭiti niṣpādyaśiraḥkaṇṭha-
hṛdayeṣu oṃ āḥ huṃ sarvvāṅgeṣu phaṃkāraṃ cintayet / tato
nābher api viśvakamale candrasūryyasampuṭamadhye huṃkārāt
mṛṇālatantusvabhāvaṃ viśvavarṇam akṣaraṃ cintayet /

oṃ vajra-sattveśvari sarvvaduṣṭān hana hana daha daha paca paca oṃ
mārīcyai māṃ huṃ huṃ phaṭ svāhā hṛdayamantraḥ / oṃ āḥ huṃ
bhāvanāmantraḥ /

She Mutters Vetali and then does a second muttering for herself:

oṃ vajravetāli huṃ phaṭ jāpamantraḥ / oṃ
mārici oṃ māṃ huṃ huṃ phaṭ dvitīyajāpamantraḥ /

Her Bali mantra is a variant of the previous, and there is no sense of hooking from a distance; Sandhya is like Vepsers, usually three, but this is made of four, so we would guess that to Dawn, Noon, and Evening, it includes Midnight. So it seems to suggest this Vajradakini offering four times a day:

tad anu catuḥsandhyāsu balimantraḥ oṃ alalli hoḥ jaḥ juṃ vaṃ hoḥ oṃ
vajraḍākini samayas tvaṃ dṛśyahoḥ kha kha khāhi khāhi sarvva-
yakṣarākṣasabhūtapretapiśāconmādāpasmāraḍākaḍākinyādaya
imaṃ baliṃ gṛhṇatha pibatha jighratha mātikramatha mahāsukha-
vivṛddhaye mama sahāyakā bhavatha huṃ huṃ phaṭ phaṭ svāhā /
bhojanādikaṃ ca hrīḥkāreṇa huṃkārādinā vā saṃśodhyā-
cared iti /

// dvādaśabhujaraktavarṇaoḍiyānasvādhiṣṭhāna-
kramamārīcīsādhanam //

Hariti or Smallpox is Yakseshvari; in terms of hunger, she had five hundred cannibal children. She is a non-Indic foreigner who nevertheless is highly regarded in the heart of Kathmandu. Nepal is a cross and its music is very weird. There is an odd Hariti Temple right at Swayambhu. She is understood as subdued by Buddha and her name is often pronounced Harati. Here, they are invoking Yo Maa Harati Jagata Janani:

imcM_1_Waws

In Nepal, they readily take Harati as Jagata Janani or birth mother of the world. A black bag of diseases from Iran, cannibalism, hunger, has been converted to Dharma. And since it is Nepal, and who was there first, and what is one of her first epithets, Sita, Jagat Janani, as included in another song from India.

As well as the normal cycle of Eight Offerings, in Sadhanamala there is also a cycle of five which ends with food or Navediye. And so in Yoga terms we are looking at this second cycle being equal to the Five Dissolutions as taught by Vajrayogini in Dakini Jala Secret Doctrine. This is why we have a second Mega Lamp. There are different ways of doing the ritual, but the aspect of heat and its transfer to a vessel is what we are using Ghasmari for. I believe Sita is also used for a "doorway ritual"; Aarti (https://en.wikipedia.org/wiki/Aarti) is the Lamp Offering as well as the song and music for it, which removes Ratri. So we are getting a feel of what the fourth esoteric offering is, corresponding to a purely tantric view of the fourth dissolution where, to the majority of beings, the swarm of fireflies will have driven them mad in some way or another. We want it to coalesce into a stable unit, we see from Pancha Raksa that Cool Forest may have something to do with it, and our most accurate guide is Turquoise Lamp towards the Akanistha of Tara's Forest of Turquoise Leaves.

This Sita does not mention Rama, she is Janaka Dulari, or King Janaka's beloved daughter, who receives the Aarti:

sgkXn-47gH8

Aarti Shri Janak Dulari Ki,
Sita Ji Raghuvar Pyari Ki,
Jagat Jannani Jag Ki Vistarini,
Naitya Satya Saket Viharini,
Param Dayamyi Dinodharini,
Sita Maiya bhaktan Hitkari Ki

Aarti Shri Janak Dulari Ki !!

Sati Shromani Pati Heet Karini,
Pati Seva Vit Van Van Charini,
Pati Heet Pati Viyog Swikarini,
Tyag Dharm Murti Dhari Ki,
Aarti Shri Janak Dulari Ki ||
Vimal Kirti Sab Lokan Chaahi,
Naam Let Pawan Mati Aayi, Sumirat Katat Kashth Dukh Daahi
Sharanaagat Jan Bhaya Hari Ki
Aarti Shri Janak Dulari Ki !!

Old Student

7th August 2020, 22:58

...Avalokiteshvara is not even composed of "ishvara", but from "-asvara" or sound, which would make it mean something more like Sound which is Seen.

From making a Sitabani post and looking at what this Mantra goddess with no personal background or any parallel usages could possibly be, it makes a lot of sense to see her as a recipient of all mantra practice up to the point one is able to realize Amaravajra.

So I like the modification of "Sound which is Seen", because Guan (觀) in Guanshiyin means more of "observe" or "view" than it does necessarily "to listen". I had heard there was a sutra that talks about Avalokitashvara being told by Buddha to listen, and then listen more closely and then deeper and so forth and this is how he reached enlightenment.

What you said about the receiver of all mantras makes the kind of 'complement' I was thinking about when I responded about Mantranusarini.

So, there is a physiological process that regularly occurs during sleep, which these meditative exercises bring under our conscious control. HPB said the third eye was really in the "middle" of this experience during sleep, and if we could become conscious of it, we would remember our past lives. And so that is placing it in the position of Prabhasvara, inside the Voids.

In my personal experience with clairvoyance, it opened correspondingly to the quiescence of personality. I had a fairly weak ability to see purely physical things like x-ray vision of one's hand, but with a little refinement, it would adjust to perception of what is called Kama Rupa on the fourth plane, which is sort of similar to pictures of auras, but, the ones that are normally shown do not quite match what I was seeing.

I am guessing that detailed perception of dakinis and energetic structures within the subtle body is on the third plane of Prana. I have never seen much of it. I have tried to look for it.

I think it is all related to the phosphenes which may open erratically and "snow":

Interesting. The particular image you chose for "Merkaba" looks like scaffolding for hyperbolic geometry:

https://www.d.umn.edu/~ddunham/notices/figure1.gif

The difference is that when the centers of all the circles lie outside the inner diagram, and the circles make right angles with the border, then it represents an infinite space (and a source of inspiration to Escher).

I have not seen any auras, that I know of. Some of the things people are describing as "third eye" are things (like hallucinatory images) don't strike me as being clairvoyance, auras do. I related the breeze thing. It is interesting that it is so close to the start of the Quntessence. I will find out more I guess, as of last night, it is now an "assignment" (meaning that it is now something I'm expected to accomplish without help). I will probably put up something on the other thread, too, about this, because I was apprehensive and Mandarava told me I "wasn't upset at all about the crows." I had forgotten about it. A while ago, we had a problem with broken trees and crows moving in. I had heard them one morning while I was still shaking and went full-on eagle (this has been a persistent thing to partly change into), and kind of rose up to full stature and told them to leave, because the other birds were our "protection" and the crows had scared them. They left.

There are four concentrations, they are:

{1} Śūraṅgamo,
{1} Heroic march,

{2} gagaṇa-gañjo,
{2} sky-jewel,

{3} vimala-prabhaḥ,
{3} pure light,

{4} siṁha-vikrīḍitaś-ceti.
{4} and lion’s sport.

This is interesting.

Old Student

7th August 2020, 23:04

So I do have my own idea about computing and human thought, that digital computing and human thought do not have the same basic element so they will never converge. They do make beautiful pictures though.

Old Student

7th August 2020, 23:19

In Shiva tantra, this concerns sex and retention of semen...

Ugh. I tried to shed some light on this on the Dao Bums forum, because such retention is also a time-honored Daoist tradition. I was kind of shouted down, I didn't realize people were fascinated by it. I can't vouch for everyone, but I do have experience that the thing to retain and redirect is not the semen but the orgasm. Successful "reverse ejaculation" causes damage, and can cause permanent injury. Redirecting orgasm provides bliss that can open new worlds, and only requires a small amount of muscular effort.

In the food mantra, Guhyavajrini in the Method of Laughter involving drunkenness and sexual contact to Sparsha Vajra.

Kamini generally is "woman" but is also a yogini who continues through Buddha Kapala, Vajradaka, and Dakarnava tantras.

Quoting Samvarodaya in a study of food in esoteric Buddhism, Sarva Vajra Kamini is replaced by Sarva Vajra Dakini. Perhaps they are equivalent.

I don't think I've ever heard of the Food Mantra before, this looks interesting that there would be a "method of laughter."

shaberon

8th August 2020, 07:55

So I like the modification of "Sound which is Seen", because Guan (觀) in Guanshiyin means more of "observe" or "view" than it does necessarily "to listen". I had heard there was a sutra that talks about Avalokitashvara being told by Buddha to listen, and then listen more closely and then deeper and so forth and this is how he reached enlightenment.

What you said about the receiver of all mantras makes the kind of 'complement' I was thinking about when I responded about Mantranusarini.

That is correct, Avalokiteshvara listened to Primordial Sound.

The Sound could perhaps be called Ganesh picking up many iterations one by one, such as Matangi--Janguli and Gandhari. We actually have her from an illustrated Bari Gyatsa.

Vajra Gandhari:

http://www.surajamrita.com/images/bari/Bari_69.jpg

Her near-counterpart Mantranusarini is a simple compound with "-anusarin", which is basically to follow, obey, conform to, and the like. This deity begins in Vajra Family, but she is just a picture without any mantra whatsoever:

mahāmantrānusāriṇī caturbhujaikamukhī kṛṣṇā dakṣiṇa-
bhujadvaye vajravaradavatī vāmabhujadvaye paraśupāśavatī huṃkāra-
bījā akṣobhyakirīṭinī sūryyāsanaprabhā ceti /

She is negligible, a generic thing anyone could come up with, probably the least of the Pancha Raksa; Sitabani at least got a syllable. Mantranusarini rising to an egregious stature in Jewel Family is perhaps consistent with Vajradakini.

One detail I had forgotten about Vajra Dakini is that in Samputa, she is in the Vajraraudris in Jewel Family. This ring is something above and beyond the Gauris, who are similar to Dakinis, except they are capable of being seated. Dakinis exist on multiple levels, and are capable of outer manifestation; Gauris are internal. Vajraraudris are perhaps similar to Gauris; there are six named ones who then puzzlingly end with Sabda--Sound and Prithvi--Earth Element. Is this something akin to Sparsha--Touch Object leaving Air--feeling of entire surface and entering Space--arena of mind, probably so.

We found Hrih for Janguli; and Jnana Dakini is Hrih and her Activity is Vetali.

The Gauris in Dakini Jala are an original set of names, however two of them were changed as a later institutionalized version common to Hevajra systems. Nevertheless, it is found that Vetali begins in Dakini Jala as Nectar and Taste, and continues this role with Jnana Dakini.

As Hevajra states the Gauris are in Samapatti, Padmavajra explains:

The Sambhogakaya is those (yogins) with samapatti in the initial
samadhi (prathamasamadhi)...Whatever the gods
dwelling in the wind and vijnana (i.e. vijnana riding on the winds),
their non-apperception is the Dharmakaya. Moreover, those with
samapatti (https://www.wisdomlib.org/definition/samapatti) in the three samadhis are
the Sambhogakaya. Those who mutually gaze by reason of
habit-energy of adhering to the idea of “mine”, are the
Nirmanakaya.

Likewise, it is explained by knowledge: The non-oozing ecstasy
of dwelling in the Akanistha (heaven), is the Dharmakaya. Those
with the ecstasy of frequently tasting the Dharma in introspection,
are the Sambhogakaya. Those who are self-originated by rea¬
son of a former vow, but do not know it, are the Nirmanakaya.

So for us, attempting a Tri-samadhi or to perceive Akanistha, at best, "oozes" because it is unstable and leaks. Whereas the lowest existence of a Dharmakaya being is an appearance in Akanistha, without those defects. By translating into a western philosophical term, "apperception", it says these beings have no mental process by which a person makes sense of an idea by assimilating it to the body of ideas he or she already possesses, or no introspective or reflective apprehension by the mind of its own inner states; there is not an object which is apprehended as "not-self" and yet in relation to the self. It abrogates all normal psychological processes described as Apperception.

Vajradakini is part of Jewel Family, which is the only flaming dancer in this mandala, Buddha Samayoga [Dakini Jala] in five-fold mode from Lokesh Chandra's Samuccaya (https://www.himalayanart.org/search/set.cfm?setID=1069):

https://www.himalayanart.org/images/items/resized/2000px/5/8/1/58198.jpg

They call this from around the 1500s Buddha Samayoga with Ishvari, which would be one of those small interior courts in wrathful form:

https://www.himalayanart.org/images/items/resized/2000px/7/7/0/770.jpg

In the actual Six Court version, it is to be visualized that the sixth is above the others:

https://www.himalayanart.org/images/items/resized/2000px/5/8/1/58197.jpg

From Abhidhanottara commentary on Chakrasamvara, Vajrasattva is Pramudita (Joy), Vairocana is Stainless (Vimala), Ratna is Providing Radiance (Prabhakari), Amitabha is Intense Radiance (Arcismati), Akshobya is Difficult to Achieve (Sudurjaya), Amoghasiddhi is Highest Face (Abhimukhi). The central deity is Blue Vajrasattva and Red Jnanadakini, whereas Akshobya is actually zenith, and nadir is an empty dharmodaya, which is in the Nirmanakaya; most deities are in Akanistha--Sambhogakaya; Akshobya is in Dharmakaya.

Dakini Jala and Jnana Dakini are virtually copied into Samputa Tantra.

The real Ghasmari is the Power of Food and the Enjoyment of Nectar and is the whole Samputa Tantra. The highest doctrines, Bardo and Transferrence, come from Sukhasiddhi. Transferrence is based in Mystic Kiss (four yoginis joined at the mouth) and Vajra Chaturpita or Four Vajra Thrones tantra. Samputa is the common explanatory tantra; Chatur Pitha are the four chakras.

In Chaturpitha, White Jnana Dakini is with Blue Yogambara (Namkhai Naljor):

https://www.himalayanart.org/images/items/resized/2000px/6/5/0/65002.jpg

Vajravali mandala:

https://www.himalayanart.org/images/items/resized/2000px/8/9/4/89467.jpg

In Sadhanamala, we found a sensible cluster of Blue and White Hum goddesses.

In Rinjung Gyatsa, the Armor sadhana is bracketed by Blue and White Heruka who use the Seven Syllable mantra, followed by Seven Syllable deity with retinue. Armor is used with most major deities, but physically, in the book, it is balled up with Seven Syllable mantra all around it, and the Armor goes onto the Seven Syllable deity.

Blue and White Herukas are the primary formats of Dakini Jala, and of Seven Syllable.

One of the main transmitters of Seven Syllable practice was Mitra; Avalokiteshvara is the recipient of this and of Guhya Jnana Dakini.

There is something described as samadhi of Om Manipadme Hum, and Avalokiteshvara was liberated into sound.

Taranatha's Secret Accomplishment Avalokiteshvara (Mitra tradition) is a Two Armed, Three Eyed, White form with reddish radiance, an Amitabha Hrih deity with Red Guhyajnana Dakini (Sangye) in the aspect of Varahi with a drum and skullcup. They are seated and he embraces her with his left arm. She becomes a simple extension to the mantra:

Om Manipadme Hum / Dakini Ha Ri Ni Sa Hum

Mitra White Lokeshvara with Guhyajnana, but not seated:

https://www.himalayanart.org/images/items/resized/535px/3/4/8/34825.jpg

Here appears to be the Shangpa view of Seven Syllable deity centered on Chakrasamvara Heruka with Vajrayogini. The other major tantric deities are above him, also in Heruka form: Hevajra with Nairatma, and Mahamaya with Buddhadakini (alt. Ākāśadhātvīśvarī; Sparśavajrā). Below is Guhyasamaja with Sparsha Vajra and Vajrabhairava with Vetali:

https://www.himalayanart.org/images/items/resized/2000px/1/0/2/102241.jpg

We found a peculiar Food Offering mantra with Varahi, which involves Kamini who may be Vajradakini (who may be Vajrayogini in some editions of Samputa), and then it referred to Guhyavajrini. This is hard to find, perhaps only in one commentary, but since we have been plucking around in the originals, we have determined that Varuni's Samvarodaya epithets include:

Guhya Vajrini (secret vajra lady)
Rahasyam Sarvatantram (secret doctrine of all tantras; the only similar things are Samputa and Vajra Mala)
sarva vira samayoga dakini jala sat sukham (all heroes, yoga of dakini jala, absolute reality of bliss)
kundarh dharmodayakhyatam (famously known as dharmodhaya)
sura vajrayoginyo (sura sundari or effulgent power)

Samvarodaya is that Chakrasamvara which uses Vairocani after defining Varuni as the "one element of tantra", and so, going through the Samputa method, it goes to Samvarodaya, Weapon Hevajra, and Cinnamasta.

So far it makes great sense to me, even if the graphic study of Mitra's sadhanas could figure out that Vajraraudris are unique to the Samputa tradition, all it could tell about Seven Syllable was that "it does not fit Buddhist iconography".

Yes, I would agree from personal experience that Yogic Bliss is a reversed psycho-physiological orgasm; in the readings of Tson kha pa, you find "orgasmic bliss" about every thirty seconds. I have read there is a technique to reverse physical semen in books, but, I have not experienced it, and would conclude it certainly is not necessary for Suksma Yoga. If one can indraw semen, it must have been outburst, and the idea is not to burst. Tantra is like winding up for a sneeze that never expels. It is that arc of intensity, but only the building side of it, not the release that the ordinary human body does.

Ekajati laughs, and it is perhaps possible Vajrasattva does so with "Ha Ha Ha Ha Hoh", this laughter being the Four Joys followed by wisdom seal. It is called Hasya, which is why I did not understand "Rahasya" at first; although these look alike, it is "humor" and "secret doctrine" respectively.

Old Student

9th August 2020, 01:47

From Abhidhanottara commentary on Chakrasamvara, Vajrasattva is Pramudita (Joy), Vairocana is Stainless (Vimala), Ratna is Providing Radiance (Prabhakari), Amitabha is Intense Radiance (Arcismati), Akshobya is Difficult to Achieve (Sudurjaya), Amoghasiddhi is Highest Face (Abhimukhi). The central deity is Blue Vajrasattva and Red Jnanadakini, whereas Akshobya is actually zenith, and nadir is an empty dharmodaya, which is in the Nirmanakaya; most deities are in Akanistha--Sambhogakaya; Akshobya is in Dharmakaya.

Dakini Jala and Jnana Dakini are virtually copied into Samputa Tantra.

The real Ghasmari is the Power of Food and the Enjoyment of Nectar and is the whole Samputa Tantra. The highest doctrines, Bardo and Transferrence, come from Sukhasiddhi. Transferrence is based in Mystic Kiss (four yoginis joined at the mouth) and Vajra Chaturpita or Four Vajra Thrones tantra. Samputa is the common explanatory tantra; Chatur Pitha are the four chakras.

[...]

Taranatha's Secret Accomplishment Avalokiteshvara (Mitra tradition) is a Two Armed, Three Eyed, White form with reddish radiance, an Amitabha Hrih deity with Red Guhyajnana Dakini (Sangye) in the aspect of Varahi with a drum and skullcup. They are seated and he embraces her with his left arm. She becomes a simple extension to the mantra:

Om Manipadme Hum / Dakini Ha Ri Ni Sa Hum

Last night, there was an Om Mani Padme Hum in my shaking, in an unusual manner (that's why I quoted so much of your piece back, those parts seemed to resonate with it).

There is a being called the tan dancer, one of the few "he"'s in my shaking, characterized by the fact that he is not there, he is dust and desert landscape and sky that isn't there but can be seen dancing in tandava-lasya position in the upper front center of my head. For the past few nights, as the inexorable move of liquid is going higher and is more and more in my head, there has been what seemed like an effort to "rainbowize" him, and this has caused a lot of confusion for me because he is dry dusty colors, like maybe the Grand Canyon or the Taklamakan desert, and rainbows are moist brilliant colors. So last night there was more of this, an iridescent cloud trying to "merge" with him and emitting a sound like the twang of a sitar each time, which I had initially thought might be a HUM, but was then most definitely an OM.

Fast forward a little bit, the liquid made it to where it was pushing against the crown of my head, and structure was forming in my head to fit it. A lotus formed, upward facing, white, and a disc or sun below it brilliant white. Fast forward a little bit more and there was a four Dakini effort at my throat and with these to properly do the tan dancer. Mandarava, with help from Kurukulla, and a mudra at my chest from the one we identified as Cunda, and the rhythm from Samantabhadri at my throat, took the sun disk into her rainbow drop but brilliant, sent its light through the jewel at my throat into tan dancer, and he "merged" with the rainbow dancer of not too sure whether naga or not fame in my chest, and they became like a shivshakti, male and female, each the other's empty spaces. The dancer(s) is still empty but now it is male-female male a desert mirage female an ephemeral rainbow.

The music plus the lotus plus the jewel plus the dancing plus the disc "became" Om Manipadme Hum.

If one can indraw semen, it must have been outburst, and the idea is not to burst.

Exactly. One can indraw the bliss there instead, and the semen never "bursts", and nobody gets hurt.

shaberon

9th August 2020, 06:59

Last night, there was an Om Mani Padme Hum in my shaking, in an unusual manner (that's why I quoted so much of your piece back, those parts seemed to resonate with it).

That was all pretty amazing.

Sitar + Om = Sarasvati, Matangi, Janguli. That is the right track. There are eight or ten layers of this until Thunder at the End of the Mind.

And so you get the "inevitable" male, I think we can do a lot or most of the path just by goddesses alone, and although there is such a thing as a "solo Varahi", there is no such thing as a "solo Heruka". They have to conjoin, eventually. And I think it follows social tendencies: if the lady is there, the guy will show up, but the reverse is not necessarily the case.

They are not usually described as a dust phantom and a rainbow, but, if they merge into an Ardhanarishvar, then the Divine Androgyne is Vajrasattva, especially when arising as Svabhavika Kaya.

And so there definitely is a goddess samadhi of Om Manipadme Hum, she is simply called Sadaksari or Six Syllables, this is her mural at Shalu near Shigatse. She has Four Arms and Sukla color:

https://www.himalayanart.org/images/items/resized/2000px/5/7/0/57023.jpg

Shadaksari is a Mahavidya, which means she has wisdom inherent of the sound itself (i. e., of the mantra).

We found one Bhutanese Drukpa Kagyu inscription which identified the mantra with "System of Six", such as the Six Realms, which is standard. and then it blew the lid off everything by announcing Six Kayas, whereas almost everyone would say that the important thing in Buddhism is the Tri-kaya and have difficulty from there.

The sixth kaya is slippery to name, just like the fourth chakra, however it is correct that Padmavajra calls the kaya, Jnana Kaya, and Vajra Charchika calls the chakra, Jnana Chakra. So if Dakarnava Tantra and Sadhanamala have become something like Omega and Alpha textual standards, I personally would tend to use this name. It also works in the Six Family Wheel as Vajrasattva Jnana Daka and Jnana Dakini.

The inscribed goddess roster makes Sadaksari the sixth goddess above Samantabhadri, and says that Vajrayogini is above dakinis of five families.

In Lotus Family it is a slightly different view. Vajra Family shows themselves as the Dharmakaya, over a Five-fold Sambhogakaya, over an empty Dharmodaya in the Nadir which is Nirmanakaya.

Lotus Family would be allowed to take the center in Dakini Jala, but that does not mean it has anything to say about them. You would probably have to import your own Manis and Mahakarunika and so forth. Since I cannot do anything without Vajrasattva, this Drukpa view is Vajrasattva meditating under Avalokiteshvara, and Sadaksari is in the Six Realms:

https://www.himalayanart.org/images/items/resized/2000px/9/0/1/90131.jpg

Well, it can be in the six kayas, or six families, and so on.

The curious clue goes back to Brian Hodgson. It's a note right before he explained Ninefold evolution, which I would say is compatible with "System of Seven" since the seventh is three-in-one..

Now firstly, the only other name for her is Sadaksari Mahavidya, which means she is a shakti or power resulting from use of the mantra. Then, Hodgson explains that the common six syllable mantra is only one of three for the Triad:

Om Sarva Vidya Hum

Om Prajnaye Hum

Om Manipadme Hum

By "Triad", he means (Adi) Buddha (A), (Adi Prajna) Dharma (U), (Padmapani) Sangha (presumably M). This Padmapani holds Jewel and Lotus, and Nine Hindu Deities issue from him. Adi Prajna is Lakshmi or Prajnaparamita, Arya Tara, mother of Adi Buddha, wife of Buddha, Desire, Akasa springs from her, Trikonakara Yantra or Yoni or downward triangle with bindu, Dhyanarupya, Modesty, Prosperity, from the description.

The first mantra in that list is incorporated in the mantra of Grahamatrika Mahavidya.

Padmapani is Avalokiteshvara and Sangha is the Bodhisattvas, so, in this analysis, his mantra brings a Durga-alike ninefold Hindu Scale, and it can get us into meditation in a Bodhisattva state which is on the one side Offering Goddesses and on the other are animal-headed Tramen.

Adi Prajna is Dharma, is the Dharmadhatu in fullness, Guhyeshvari.

Her cohorts are Parasol and Vasudhara, and these are above the Prajnas of the Six Families.

So Om Manipadme Hum has stuck together all six and automatically stuck it to something rarely discussed, but, it is a way of taking Refuge in the Sangha which is really part of a higher Triad, Adi Buddha, Adi Dharma or Prajna, and Jewel Lotus Sangha.

Here is what Sadhanamala has to say about Sadaksari. At the beginning of the book, they were numbering the lines, and that stops in here:

6.

026ḷ02 āryaṣaḍakṣarīmahāvidyāyai namaḥ

026ḷ03 ādau tāvan mantrī sukhāsanopaviṣṭaḥ mukhaśaucādikaṃ
026ḷ04 kṛtvā svahṛdi candrasthasitahrīḥkāravinirgataraśmibhir
026ḷ05 gurubuddhabodhisattvān purato buddhādīn dṛṣṭvā sampūjya triśaraṇagamanādikaṃ
026ḷ06 kuryād ratnatrayaṃ me śaraṇam ityādinā /
026ḷ07 yāvantaḥ sattvāḥ sattvasaṃgrahena saṃgṛhītāḥ aṇḍajā vā
026ḷ08 jarāyujā vā saṃsvedajā vā aupapādukā vā rūpiṇo vā rūpiṇo vā
026ḷ09 saṃjñino vā asaṃjñino vā naivasaṃjñānāsaṃjñino
026ḷ10 vā yāvat kaścit sattvadhātuḥ prajñapyamānaḥ prajñāpya
026ḷ11 te sarve mayā anupadhiśeṣanirvāṇadhātau pratiṣṭhāpayitavyā
026ḷ12 iti / tataḥ oṃ svabhāvaśuddhāḥ sarvadharmāḥ svabhāvaśuddho
026ḷ13 'ham iti vāratrayam uccārayet / tad anu śūnyatāṃ muhūrtam
026ḷ14 ālambayet / tadanantraṃ svahṛdaye sitapadmopari candramaṇḍalaṃ
026ḷ15 tasyopari sitahrīḥkāraṃ tato niścarad anekaraśmiśatasahasraṃ
026ḷ16 dhyātvā tena sarvasattvānām aśeṣānādikālasañcitaṃ
026ḷ17 rāgādikleśasamūhaṃ sattvānāṃ viśodhyante / tat
027ḷ01 punas tatraiva praveśayet / tatpapariṇatam ātmānaṃ lokeśvararūpaṃ
027ḷ02 sarvālaṅkārabhūṣitaṃ śuklavarṇaṃ caturbhujaṃ vāmataḥ padmadharaṃ,
027ḷ03 dakṣiṇato akṣarasūtradharaṃ, aparābhyāṃ hastābhyāṃ hṛdi saṃpuṭāñjalisthitaṃ
027ḷ04 dhyāyāt / dakṣiṇe maṇidharaṃ tadvadvarṇaṃ bhujānvitaṃ
027ḷ05 padmāntaroparisthaṃ vāme tathaiva aparapadmasthāṃ ṣaḍakṣarīṃ
027ḷ06 mahāvidyāṃ / tataḥ oṃ mahāsukha vajrasattva jaḥ huṃ vaṃ
027ḷ07 hoḥ suratas tvaṃ alalalalahoḥ aḥ aḥ aḥ aḥ ity adhiṣṭhānamantrajājam
027ḷ08 uccārayet / evaṃ dhyātvā tato lokeśvarātmahṛdayacandramaṇḍalād
027ḷ09 akṣasūtrakāraṃ śuklavarṇaṃ mukhena nirgatya
027ḷ10 nābhau praviśantaṃ cakrabhramaṇayogena imaṃ mantrarājaṃ sarva-
027ḷ11 buddhahṛdayacintāmaṇikalpaṃ paśyed animittayogena / tato japaṃ
027ḷ12 kṛtvā bhramaṇapraveśanādikaṃ prāpyācireṇaiva kālena śrāddhaḥ
027ḷ13 kṛpāvān gurubhakto yogī sidhyati /
027ḷ14 oṃ maṇipadme huṃ iti jāpamantraḥ / tata utthānakāle
027ḷ15 imaṃ mantrarājam uccāryottiṣṭhet / oṃ vajrasattva samayamanupālaya
027ḷ16 vajrasattvenopatiṣṭha, dṛḍho me bhava, sutoṣyo me bhavaḥ;
028ḷ01 supoṣyo me bhava, anurakto me bhava, sarvasiddhiṃ me prayaccha,
028ḷ02 sarvakarmasu ca me cittaṃ śreyaḥ kuru, huṃ hahahaha hoḥ bhagavan
028ḷ03 sarvatathāgatavajramā me muñca vajrībhava mahāsamayasattva
028ḷ04 āḥ / evam uktā yathāmukhaṃ vihared iti /

028ḷ05 // āryaṣaḍakṣarīmahāvidyāsādhanaṃ samāptam /

It binds Mahasukha Vajrasattva, then tells me to Mutter Manis and do Hundred syllable. She is also holding a lotus and rosary and doing Samputa Anjali mudra.

This next part is from Karanda Vyuha Amnaya, and it uses the group of Five Offerings ending with Navediye or Food:

7.

028ḷ07 padmakulodbhavaṃ nāthaṃ sarvajñakṛtamaulinam /
028ḷ08 praṇamya sādhanaṃ vakṣye sarvarogavināśanam //
028ḷ09 prathamaṃ tāvad ācāryānugatā siddhiḥ-
028ḷ10 tasmāc ca sarvabhāvena guruṃ pūjayed yatnataḥ /
028ḷ11 guruṇā parituṣṭena karmasiddhiḥ prajāyate //
028ḷ12 maṇḍalapraviṣṭasya siddhir anujñātā ca sarvathā /
028ḷ13 svasamayasamvaraṃ rakṣayan sidhyate dhruvam //
028ḷ14 mukhaśaucādipūrvakaṃ devagṛhe paṭādigatabhaṭṭārakam avatārya
028ḷ15 svahṛdaye ādyakṣareṇa candramaṇḍalaṃ tasyopari aṣṭamasya
028ḷ16 caturthakaṃ bījaṃ saptamadvitīyenāsanaṃ prathamacaturthena maṇḍitaṃ
028ḷ17 ṣoḍaśena saṃyuktaṃ śuklavarṇaṃ manoramaṃ tato viśvaraśmīn
028ḷ18 niścārya tau raśmibhir niṣpannān gurūn sabuddhamūrtīn dṛṣṭvā
028ḷ19 pūjayitvā abhivandya cānena mantreṇa oṃ vajrapuṣpe huṃ,
028ḷ20 oṃ vajradhūpe huṃ, oṃ vajradīpe huṃ, oṃ vajragandhe huṃ,
028ḷ21 oṃ vajranaivedye huṃ tato-
ratnatrayaṃ me śaraṇaṃ sarvaṃ pratidiśāmy agham /
anumode jagatpuṇyaṃ buddhabodhau dadhe manaḥ //
ābodheḥ śaraṇaṃ yāmi buddhaṃ dharmaṃ gaṇottamam /
bodhau cittaṃ karomy eṣa svaparārthaprasiddhaye //
utpādayāmi pramaṃ varabodhicittaṃ nimantrayāmi bahusarvasattvān /
iṣṭāṃ cariṣye varabodhicārikāṃ buddho bhaveyaṃ jagato hitāya //
iti praṇidhipūrvakaṃ sarvadharmanairātmyaṃ bhāvayet anena mantreṇa /
oṃ śūnyatājñānavajrasvabhāvātmako 'ham /
bījaṃ māyopamākāraṃ traidhātukam aśeṣataḥ
dṛṣyate spṛśyate caiva yathā māyā hi sarvataḥ /
na copalabhyate caiva sarvasya jagataḥ sthitiḥ //
iti adhimucya / tato 'nādikālīnamasatkalpanābījam apanīya svabhāvam adhimuñcet /
oṃ svabhāvaśuddhāḥ sarvadharmāḥ svabhāśuddhāḥ sarvadharmāḥ svabhāvaśuddho 'haṃ / tataḥ pūrvoktabījaniṣpannaṃ padmaṃ tasyopari hrīḥkāraṃ tatsarvaṃ niṣpanne sati śrīmallokanāthaṃ vajrapadmagarbhacandrasthaṃ vajraparyaṅkaṃ śaśiprabhaṃ kundenduvarṇam ujjvalaṃ jaṭāmakuṭadharaṃ śāntam amitābhakṛtaśekharaṃ vyāghracarmanivasanaṃ caturbhujaṃ nānālaṅkārabhūṣitaṃ, dakṣiṇekare akṣamālādharaṃ, vāmakare padmamaṇivibhūṣitaṃ, dvau hastau saṃyuktau sarvarājendramudrā hṛdi saṃsthitaṃ tato 'haṅkāraṃ kuryāt aham eva lokeśvara iti /
tato jñānasattvam ākṛṣya yathopadeśataḥ svamantreṇārghyapādyādikaṃ dadyāt / samājamudrayā ekīkṛtyānena mantreṇa saha vinyaset /
oṃ suratavajra alalalalahoḥ samayas tvaṃ samayas tvaṃ samayam aham /
yathopadeśato abhiṣekakavacapaṭṭabandhādhimokṣaṇasamatālapūjāstutiṃ ca kṛtvā bhāvanāpūrvakaṃ japaṃ kuryāt / svahṛdi candropari ṣaḍakṣaraṃ pradīpamālām iva gṛhāntaradyotinīṃ paśyet / mantraḥ
oṃ maṇipadme huṃ / akṣaralakṣaṃ japet /
tato dvitīyatṛtīyena vigatakalmaṣo bhavati, pañcānantaryakāriṇo 'pi koṭijāpena siddhyati /
tata utthātukāmo 'rghyādikaṃ dattvā viśiṣṭāhaṅkāreṇa viharet / catuḥsandhyaṃ japitvā kuśalamūlaṃ pariṇamyābhipretasiddhaye ardharātrau jñānasattvaṃ visarjya śatākṣaraṃ coccārya kāyavākcittarakṣāṃ ca kṛtvā yathāsukhaṃ vihared iti / yadi rogādi nāśayituṃ icchati tadā yathopadeśataḥ puṣyanakṣatreṇāpatitagomayena bhaṭṭārakasyāgrataś caturasraṃ maṇḍalakaṃ kuryāt / abhipretaṣaḍakṣaravidarbhitam aṣṭottaraśataṃ japet / ṣaṇmāsena sidhyati na saṃśaya iti /

// kāraṇḍavyūhāmnāyena racitaṃ sādhanaṃ samāptam //

The samaya is to Surata Vajra, essentially the same meaning as Mahasukha, and since the same term is applied in the previous sadhana, it is understandable.

The six syllables appear to be to insure that Vajrasattva's experience of Gnosis is qualified by Bliss, or, that is what the power of this goddess does. Infuses him.

This is the function of Paramadya Tantra, to get him in a Quintessence, to initialize his gnostic ability as non-dual Prajna--Upaya or Wisdom and Method, and subsequently, Prajna--Karuna. That is the type of Vajrasattva needed for Samputa.

11.

namaḥ ṣaḍakṣarīlokeśvarāya /
samyak parahitodyuktamanasā ''lambya dehinām /
niḥśeṣaduḥkhopaśamaṃ satsukhe ca pratiṣṭhitam //
tanmanā hṛdi sañcintya bhāvayec chubhradīdhitim /
tatprabhābhiḥ sphurantībhis tanuṃ svām avabhāsayet //
viśramya vidhivan mantrī saṃhṛtya sadvitarkkitaḥ /
sphuṭam uccārayen mantraṃ śvetadhīdhitibhāsvaram //
svanābhimaṇḍalenaivaṃ praveśya hṛdi saṃharet /
iti kurvan tridhā dhyāyāt kāyavākcittaśodhanam //
tatra svadehasaṃsthena kāyādeḥ śuddhim ātmanaḥ /
bahirgatena mantreṇa prāṇināṃ tu vicintayet //
dṛṣṭoccāritamantrotthaṃ purato devatātrayam /
mantroccāraṇasaṃhārakramāt pratyekam ācaret //
vicitrapūjānirmāṇaṃ tanniṣpādanam eva ca /
paripūriṃ tataḥ śuddhim iṣṭārthe pariṇāmanām //
mantrajāpaṃ tataḥ kuryāt vidhinā 'nte japasya tu /
pūjādi pūrvavat kṛtvā devatāṃ hṛdi saṃharet //
samādhipratilambhādau catuḥsandhyam imaṃ vidhim /
kurvan lakṣaṃ japen mantrī vijaneṣu gṛhādiṣu //
śvāsacintāṃ vinā kāryo jāpasphuraṇasaṃskṛtaiḥ /
pāpakṣayādau sarvatra caturasraṃ ca maṇḍalam //
kārayitvā paṭādyasya puro dhyātvāthavā vibhum /
maṇḍalārccanamarccāṃ vā kṛtvā kuryād amūn vidhīn //
tatrāyaṃ devatākāropadeśaḥ-
paryaṅkinaṃ sitaṃ sākṣamālābjaṃ sampuṭāñjalim /
dṛṣṭvā vibhuṃ tatpratimāṃ devīṃ vīrāsanāśritām //
āryāṃ tu cintayet pītāṃ vāme ratnacchaṭābhṛtām /
riktasavyakarāṃ ratnamailiṃ vīrāsanānugām //

ity āryaṣaḍakṣarīmahāvidyālokeśvarabhaṭṭārakopadeśaparamparāyātasādhanavidhiḥ //

12.

kvacit ṣaḍakṣarīsādhane bhagavān samaṇipustakāṅkitapadmadharaḥ, maṇidharas tu pustakarahitamaṇipadmadharaḥ, ṣaḍakṣarī tu maṇirahitaustakapadmadharā / pūjāmantraḥ oṃ lokeśvara puṣpaṃ pratīccha svāhā evaṃ dhūpaṃ dīpaṃ ityādi boddhavyam / anyadevatāyāṃ tatsambodhanaṃ kāryam / jñānamaṇḍalākṛtaṣṭāvayaṃ mantraḥ, oṃ mahāsukha vajrasattva jaḥ huṃ vaṃ hoḥ suratas tvaṃ alalalalahoḥ aḥ aḥ aḥ aḥ //

[ṣaḍakṣarīsādhanam]

There are no other Mahasukha Vajrasattvas, and no other use for the Mahavidya of six syllable mantra.

She is pretty direct. Hrih is the seed of this mantra, which is Avalokiteshvara and Guhyajnana Dakini. So if you do the mantra, or especially with the Vajrasattva practice, it will energize the seed, which is connected to Dakini realm.

In one more Bhutanese view of Avalokiteshvara, Sadaksari is on the right, over a white dakini:

https://www.himalayanart.org/images/items/resized/2000px/6/5/9/65915.jpg

That includes the common three deity Four Arm Avalokiteshvara with Manidharin and Sadaksari from Karanda Vyuha Sutra.

Here, Avalokiteshvara has picked up Black Jambala, Parasol, and Marici:

https://www.himalayanart.org/images/items/resized/1800px/2/4/3/24315.jpg

This is a Kagyu presentation of him amongst Eight Bodhisattvas, with White Tara at the top, and Two Arm Usnisa Vijaya from the dharani:

https://www.himalayanart.org/images/items/resized/2000px/7/7/0/77018.jpg

Interestingly, in figure 50.6, Gerd Mavissen (https://www.academia.edu/3765582/1992_Transmission_of_Iconographic_Traditions_Pa%C3%B1caraksa_Heading_North) found "a thangka" whose lower register is seven goddesses from the special series leading to the Maha Pancha Raska 206. It is centered on Pratyangira, and the deities appear in mandala sequence, not linear. It does not include Mantranusarini; Mavissen believes that since accurate detail was paid to the group, the display stopped in order to avoid the issue that the normal Mantranusarinis are incorrect.

It does at least show there is some kind of coherence to that unusual series. Description was on the previous pages:

https://html1-f.scribdassets.com/25pif4qdc02jcz2t/images/7-83230cea29.jpg

Old Student

10th August 2020, 05:34

They are not usually described as a dust phantom and a rainbow, but, if they merge into an Ardhanarishvar, then the Divine Androgyne is Vajrasattva, especially when arising as Svabhavika Kaya.

Svabhavika Kaya because they are empty? The strange thing about the development until this happened is that the attempts to just merge with the tan dancer were definitely the wrong way to do so, and then when the mantra showed up, I was quite bothered by it being where it was, since I had somehow associated it with my heart.

The curious clue goes back to Brian Hodgson. It's a note right before he explained Ninefold evolution, which I would say is compatible with "System of Seven" since the seventh is three-in-one..

Now firstly, the only other name for her is Sadaksari Mahavidya, which means she is a shakti or power resulting from use of the mantra. Then, Hodgson explains that the common six syllable mantra is only one of three for the Triad:

Om Sarva Vidya Hum

Om Prajnaye Hum

Om Manipadme Hum

By "Triad", he means (Adi) Buddha (A), (Adi Prajna) Dharma (U), (Padmapani) Sangha (presumably M). This Padmapani holds Jewel and Lotus, and Nine Hindu Deities issue from him. Adi Prajna is Lakshmi or Prajnaparamita, Arya Tara, mother of Adi Buddha, wife of Buddha, Desire, Akasa springs from her, Trikonakara Yantra or Yoni or downward triangle with bindu, Dhyanarupya, Modesty, Prosperity, from the description.

I was confused by the middle mantra, it seems a syllable short. I managed to find the footnote in Hodgson (google scholar found it) and he has an accent on it:

Om Prajnáye Hum

He doesn't have a modern transliteration system, is this supposed to be a long a or is it doubled (to produce the needed syllable) or something? It really is an extraordinary thing.

shaberon

10th August 2020, 06:15

From the above, I am not the only one who thinks weird things were being done to Sadhanamala, and we find someone centuries ago was willing to focus on one of these groups and centered it on Pratyangira, a form of Parasol.

If the sadhanas perhaps have a shape to them, let's say we are dealing with what comes after a large amount of Kurukulla. Among whatever else she does, her white aspect is that charge of increasing nectar which we really want to illuminate the crown of a full mandala. And then it is why I would set up Muttering based from here. This group comes before the basic Pancha Raksa who themselves are frequently with Vasudhara and Amoghapasha Avalokiteshvara.

Does this illumination have its defining moment, yes, there is a deity who is not in her outer invocative form but simply means the concentrated prana which powers the thing.

Usnisavijaya 191

Holds a Padmasthana Buddha but she is a Stupa deity in Vairocana Family.

She is simple or normal for her with eight arms, however when we say she is in stupa then it always means Atma Vidya or realizing her existence for oneself.

This is Usnisavijaya Dharani, although it does repeat Tadyatha and the stuff before it.

If we do not really understand it, at least we can recognize Amrita and Vajra Kaya and be pretty sure we have the main exoteric article of Deathlessness or Bardo Cleansing. It must be among the best examples of a dharani. This works with Namasangiti, or on her own, or with Sarvadurgati.

These two are some of the most powerful recordings.

Ed9plaTh3oU

Parasol 192

Om-arisen six arm sukla colored without any parasol, and by strong implication corresponding to Grahamatrika, also in Vairocana Family. She holds a white vajra.

There is a chief Usnisa deity, if not an outright Queen.

Shurangama or Samadhi Sutra is the basis of Parasol, but they do not much know it in Tibet.

As is said in Shurangama Sutra:

The principle now being explained will lead to an explanation of the seven elements - earth, water, fire, wind, emptiness, perception, and consciousness - as pervading the dharma-realm. The five skandhas, the six entrances, the twelve places, the eighteen realms discussed before explained the wonderful true suchness nature of the treasury of the Thus Come One, but it was not said that they pervaded the dharma-realm.

One person on Stack Exchange states "... when I was practicing Tibetan Buddhism, several practicing Buddhist inform me that what I was experiencing while meditation are well described under Chapter VIII of the Surangama Sutra when one is near Samadhi If any scholars say this Sutra is not from Sakyamuni but from a group of Chinese monks that created the Sutras are mistaken."

According to Alex Wayman, "the Shurangama Mantra contains all of the major 32 Tantric deities of the Nagarjuna introduced practice of the Guhyasamaja Highest Yoga Tantra Sadhana contained in the Geluk tradition". According to an expanded study, section one of the mantra should include:

H. Sages of the Seven Elements Section
Perfect Penetration Sages reveal 7 elements, 7 cognitive organs, 7 sense objects

It is considered vitally necessary for this Shurangama mantra to remain in the world to subjugate evil.

Q8kW9DAFirE

So we get unique or esoteric forms of known popular deities, but then there is a twist.

Charchika 193 is an identifying character with Indrabhuti's Vajrayogini, representing a single specific origin in Orissa. She has also been acquired by Gelug. Nevertheless she is not prominent. However if we understand that these corner deities are the Four Vajrayoginis of Nepal, she stands in for Guhyeshvari--Khaganana--Agniyogini--Kakini.

Charchika and Indrabhuti were both devotees of Jagganath.

She arises from Vam and is a type of Red Chamunda, which already has a meaning along the lines of bringing joyful speech out of pain. She is in Vajra Family and does a mix of warrior stance and tandava, which looks like a reverse stance. Nevertheless there is sukla adivarna (https://www.wisdomlib.org/definition/vedadivarna), primal letter or Om, which becomes Cam in her heart, which becomes Jnana Cakra, which is Four Dakinis Chakra.

One of her personal mantras from India is Om Vajra Charchika Siddhendra Nila Harini Ratna Traya. Siddhendra was a Hindu yogi; Harini could be a doe, a woman, various flowers or spices. The legend of the Golden Deer is its own subject; and yet Harini is 3/4 of Four Dakinis' mantra and Jnana Chakra is their residence. Charchika goes into Red Yamari just as Janguli goes into Black Yamari. She shows up again with Mahakala followed by Golden Deer.

Her sadhana is one of the few that says "changes form according to purpose"; this one has six arms, is emaciated or possibly fleshless. Most of her images have two or four arms according to the common practices.

We have taken a Hindu deity and featured her with six arms, which Hinduism does not do.

193.

pūrvvoktavidhānena śūnyatābhāvanānantaraṃ aṣṭadalakamalo-
pari sūryyasthahuṃkārajavajraṃ vaṃkārādhiṣṭhitavaraṭakeṃ dhyātvā
tatpariṇatāṃ vajracarccikāṃ trinetrām ekamukhīm arddhaparyyaṅka-
tāṇḍavāṃ mṛtakāsanasthāṃ kṛśāṅgīṃ daṃṣṭrotkaṭabhairavāṃ
naraśiromālāvibhūṣitakaṇṭhadaśāmasthyābharaṇavibhūṣitāṃ
pañcamudrādhāriṇīm akṣobhyamukuṭinīṃ vyāghracarmmanivasanāṃ
muktakeśīṃ ṣaḍbhujāṃ dakṣiṇe vajrakhaḍgacakradhāriṇīṃ
vāme kapālamaṇikamaladharāṃ raktavarṇāṃ karmmānurūpataḥ
śuklādivarṇayuktāṃ ca dhyātvā svahṛccaṃkārakarānītajñānacakraṃ
puraḥ saṃsthāpya pūjādikaṃ nirvvarttya praveśayet tato mantraṃ
japet - oṃ vajracarccike huṃ svāhā /
// iti vajracarccikāsādhanam //

The first Sanskrit definition of carcika (https://www.wisdomlib.org/definition/carcika) is repetition, so her name literally means Vajra Muttering. Her last item is a Kamala which we could say is a lotus of tantric Lakshmi, or you could say she has the unusual combination Manikamala.

Because she uses Vam, I can quickly tie that down to a red deity other than Varahi.

Besides the Vajrayogini mandala, she makes minor appearances.

On a partly-identified piece, on our left around Buddha is a descending row of two Simhanadas, White Padmanartesvara and "consort", a pratyeka, and Eighteen Arm "Padmanartesvara or Padmajala". The lower left is Hayagriva beside Charchika, [who is almost Guhyajnana], she has chopper, sword, bowl, and lotus, wears a tiger-skin skirt and an elephant hide. The bottom center is Green Vidarana. Bhrkuti is second on the lower right. The top center is again Buddha in a more formal appearance. Most of the figures are the Sixteen Arhats and various kinds of Lokeshvara, although it includes Blue and White Acala. Nothing is said about Six Arm White Lokeshvara with a small consort:

https://www.himalayanart.org/images/items/resized/1800px/4/3/7/43763.jpg

Here is Simhanada Jnanadakini. These are just my guesses at the retinue. At the top is a unique Cinnamasta who has severed a pig head. On the left, Four Arm Simhamukha is over normal Guhyajnana, over a Green Cintamani Vasudhara picking and offering fruit. This Simhamukha has Sword, Bowl, Staff, and Chopper, and so if she was red, she would be Ziro Bhusana. Towards the bottom are a Red Kurmapadi (Vairocani) beside what looks like Red Bharati. On the right are an Orange Ila Vasudhara and a White Six Arm Sword Yogini. The lower left red one is most likely Charchika, her items are still changed, but she does have six arms, and that type of reversed stance may be her very own:

https://www.himalayanart.org/images/items/resized/2000px/7/7/2/77247.jpg

It is just the same kind of puzzle logic, this Charchika appears to be the "inroad" of Muttering (i. e., Pranayama and Suksma Yoga) where the neglected Mantranusarini appears to be a dramatic finale in the group of practices. That is why I think Charchika is the most excellent guide for Muttering and would tie her in to an approach to Guhya Jnana and Vajrayogini. Something like building a Jnana Chakra from zero to hero. Almost the same as the picture; Vairocani and Bharati would be considered destinations of what I am trying to do with Charchika, and some of those others are quite involved.

She comes after Kurukulla and two very important Usnisa deities, before the strange Pancha Raksa "library".

In the sadhana she is more like this with fangs and vulture-like claws:

https://www.wisdomlib.org/uploads/files/fig143-Vajracarcika.jpg

This is her Indian temple, sunyavahini mandapa:

https://2.bp.blogspot.com/-lVUNG86Dtfk/W6z7gOxeOKI/AAAAAAAABqk/TbbQRTFLx_kggUWhQpBP9MktPh1AcnplQCEwYBhgL/s1600/charchika%2B3.jpg

shaberon

10th August 2020, 07:18

Svabhavika Kaya because they are empty? The strange thing about the development until this happened is that the attempts to just merge with the tan dancer were definitely the wrong way to do so, and then when the mantra showed up, I was quite bothered by it being where it was, since I had somehow associated it with my heart.

I was confused by the middle mantra, it seems a syllable short. I managed to find the footnote in Hodgson (google scholar found it) and he has an accent on it:

Om Prajnáye Hum

He doesn't have a modern transliteration system, is this supposed to be a long a or is it doubled (to produce the needed syllable) or something? It really is an extraordinary thing.

Svabhavika is considered "self-existent" like Swayambhu. It may seem to dawn, or arise, to us, but that is seen as removing the blinders, you produce nothing but a change in yourself, the fruit always exists even though we do not always have it.

Masters of Mahamudra states that Saraha was a student of Haribhadra (ca. 700-770) at Nalanda. Haribhadra championed the then-problematic "four kayas" or svabhavikakaya of Abhisamayalamkara chapter 8; so it comes from a Maitreya text.

In Wayman's Guhyasamaja (https://web.opendrive.com/api/v1/download/file.json/NTBfMTE0MTEzNTJfclJ2VVM?inline=1),

The Subhasita-samgraha (Part II, p. 42) quotes the Samvaratantra
about yuganaddha :

exa svabhavikah kaya sunyatakarunadvayah /
napumsaka iti khydto yuganaddha iti kvacit //

This Svabhavika Body, the non-duality of voidness and
compassion, called the Androgyne, is sometimes said to
be yuganaddha.

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

The non-dual source of Buddhakapala's mandala is Samvara as Svabhavikakaya.

Consorts of Vajradhara, of Manjuvajra, Rakta and Krishna Yamari, have been called Svabhaprajna or Svabhadhatvishvari--who is chiefly that of Vajramrita. So in the sense of Svabhavika Kaya, which is a product of Gnosis and Bliss, this seems to be the underlying theme to the apparently contradictory mix of Amrita and Wrathful Deities.

Aspects of Dharma Kaya have been described as:

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

Vajrasattva is or creates Svabhavika Kaya because:

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

Svabhavika is more or less the tantric definition or basic nature of Vajrasattva, beyond his samaya or purifying initial form, when states of non-duality occur. You would need this to exhibit the very subtle kayas (Vajra, Jnana, Dharmadhatu).

Vajrasattva likely in Peaceful Dakini Jala format:

https://www.himalayanart.org/images/items/resized/2000px/5/8/1/58129.jpg

As for the mantra, I wondered the same thing about it. I think you can legitimately pronounce it "Prajeeenaye", not necessarily that goofy, just slow it down and drag an extra syllable in there. Some dialects pronounce "ajna" similarly. In some of them, "Sri" sounds like "sherry". That is my best guess.

Hodgson was the only authority on Sanskrit Buddhism for over a hundred years and was ridiculed for things like "svabhava" and "dhyani buddha", which, not only turn out to be justified, but he really got an ace tour of the Nepalese system and for instance recorded all five colors of Yamari. And literally, if you unroll what comes with those short mantras he partners with Om Manipadme Hum, everything comes out of it. It takes volumes upon volumes of material, depending on one's requirements; and it not only houses the most complete remains of Indian Buddhism, but also is the home shrine of Vajrayogini.

Old Student

11th August 2020, 00:07

It is just the same kind of puzzle logic, this Charchika appears to be the "inroad" of Muttering (i. e., Pranayama and Suksma Yoga) where the neglected Mantranusarini appears to be a dramatic finale in the group of practices. That is why I think Charchika is the most excellent guide for Muttering and would tie her in to an approach to Guhya Jnana and Vajrayogini. Something like building a Jnana Chakra from zero to hero. Almost the same as the picture; Vairocani and Bharati would be considered destinations of what I am trying to do with Charchika, and some of those others are quite involved.

She comes after Kurukulla and two very important Usnisa deities, before the strange Pancha Raksa "library".

So would it be fair to say Charchika is the act of saying the mantras and Mantranusina is the power resulting from them?

Charchika's temple is a Shakti Peeth, and the oldest in Odisha?

Old Student

11th August 2020, 00:18

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

The tan dancer really is empty -- as in doesn't sort of exist, is a mirage. With his empty places "filled in" by a shakti counterpart, the union is still empty and she is an empty counterpart. He "generates" landscapes (visions of big vistas and such), I'm not sure what she will generate, maybe the same only a complementary version?

As for the mantra, I wondered the same thing about it. I think you can legitimately pronounce it "Prajeeenaye", not necessarily that goofy, just slow it down and drag an extra syllable in there. Some dialects pronounce "ajna" similarly. In some of them, "Sri" sounds like "sherry". That is my best guess.

Good to know, I would have thought the ah got extended and had it wrong, thanks.

shaberon

11th August 2020, 08:37

So would it be fair to say Charchika is the act of saying the mantras and Mantranusina is the power resulting from them?

Charchika's temple is a Shakti Peeth, and the oldest in Odisha?

In the grand scheme of things, yes, pretty close to this. There is not much beyond Mantranusarini in terms of expanded numbers of arms except for Amaravajra and rare forms of deities we already know, and the general observance that an Eighteen armed form is considered the "worshippable" form of a 1,000 arm deity.

I am not sure that Charchika is the oldest; she may be relatively young and was considered to have undergone a penance in medieval times I believe. However, Parasu Rama is thought to have carved her Yantra.

In Indian research, "The Buddhist Pratimalaksanam enjoins that images of such deities as Brahma, the goddess Charchika, the Risis, the Brahmaraksasa, the celestial beings, and the Buddhas should be made according to dasatala measurement, and no images of others should be made in this manner."

For some reason, she is the only goddess who should be the same size as Buddha.

Soundarya Lahiri or the Sri or Sakta teaching uses the name Charchika for the remains of mahadeva, it regularly uses the word for muttering.

And so we have traced an elusive thread in tantra called Samputa, which if nothing else, is unique for an additional ring of esoteric deities, Vajraraudris, which continue in Weapon Shastradhara Hevajra.

There is also the ring of goddesses called Gauris which are shared across the tantras, and these have a unique origin in Dakini Jala. And so we have to borrow a little bit from Hevajra to say what they are. There is kind of a lot to this, and sometimes the notes may appear contradictory like red for white, but that is because there are a lot of versions, and Dakini Jala has not been studied. Explaining it requires a lot of cross-comparisons. It is like explaining Sukla Tara, she is just there in the cemeteries. So what? All this.

The Gauris are where the Eight Cemeteries become the subtle body on a level beyond dakinis.

Gauri is a bit misleading since in their Tibetan name, it is the Kyerim which are shown in Book of the Dead in ultimate nightmare mode. But their real meaning and purpose is a little different than this.

When we look at Generation Stage, it is apparent that Varuni Yoga which begets Khandaroha is the predecessor of the Gauris.

Utpatti:

Dum Skyes is Khanda (part) roha (https://www.wisdomlib.org/definition/roha) (germinated seed, growth, rising, ascension, a generating cause).

kyerim (skyes rim), the development, or generation, stage — whereby the appearance of the deity and his or her entourage is memorized until it can be reconstructed vividly within the mind of the practitioner.

In Chakrasamvara (https://books.google.com/books?id=M5EwDwAAQBAJ&lpg=PA132&ots=wgTyYeACJy&dq=%22skyes%20rim%22&pg=PA132#v=onepage&q=%22skyes%20rim%22&f=false), it is "Arising Yoga", focusing on the brilliance and coolness of many moons inside the body and beyond. This is what Hevajra deals with, so, the Gauris must perform this arising yoga which is experienced like moons.

Completion is:

Nispanna: Dzogs rim

The Gauris are only a ring, they have no center of their own. They have to be a retinue for someone. It seems they may be four senses minus touch, generally the center, and then four elements minus space, generally also the center. Guhyasamaja appeared to merge Touch and Dharma Object into Space, but this is the basis for 3D in the Hevajra format:

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

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

Purified, they produce, Gauri the Mirror-like Wisdom; Cauri the Wisdom of Equality, Vetali the Wisdom of Discrimination, Ghasmari the Wisdom of Accomplishment; Pukkasi limitless love; Shavari limitless compassion; Candali limitless joy; Dombini limitless equanimity [Upeksha].

So if the Gauris are on a flat plane, Tactile Object and Dharma Object are one thing. Even if Dakini Jala uses a prior naming convention, when cast, they land in the respective roles indicated above.

They are for Smasana or Cemetery Yoga, and this has elaborate scenes which are like kingdom of the Nagas who "cultivate" Bodhicitta and Paramitas, but, the overall guardian or gatekeeper is a Yaksha who sits in a tree. There are eight charnel grounds, the Asta Vijnana which at the crudest, could be described as eight kinds of maya that block prana from the Avadhut. Each particular cemetery destroys a given maya.

And so this has the ability to look as Sutra-based as it needs to be, but when it has shifted from conceptual to Utpatti and inner transformation is taking place, the Gauris are Eight Drops of the subtle body. So each cemetery will begin to harness and operate a Gauri.

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

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

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

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

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

What goes on is a type of feast, in the manner of dancing Ganesh, who is Ganapati, and the feast is a Ganachakra.
At first they may be eight fiery petals of Nirmana Chakra, but they are more or less "getting ahold" of this force, and utilizing it through the rest of the tantras.

And in Yoga, we will find that the Gauris are less vicious beasts and a bit more like instructors in Sambhogakaya.

Much of the descriptive resource for Sarvabuddha Samayoga Dakini Jala is Genesis and Development of Tantra (https://archive.org/stream/GenesisAndDevelopmentOfTantra/GenesisDevelopmentOfTantra_djvu.txt) text or pdf (https://ia800608.us.archive.org/29/items/GenesisAndDevelopmentOfTantra/GenesisDevelopmentOfTantra.pdf). And here again if we challenge the original, black may be blue, and it is possible "eating a corpse" is not the only translation, but it gives a lot to start with.

Illustrated History of the Mandala (http://dl.booktolearn.com/ebooks2/science/history/9781614292784_An_Illustrated_History_of_the_Mandala_753d.pdf) full text contains some of the Dakini Jala information in ch. 6.

It tells us Lotus Family is the following from Sadhanamala:

30.

pūrvoktavidhānena viśvapadmacandre raktahrīḥkārapariṇataṃ padmanartteśvaram ātmānaṃ bhāvayet sattvaparyaṅkaniṣaṇṇaṃ dvibhujaikamukhaṃ raktaṃ sakalālaṅkāradharaṃ amitābhamukuṭaṃ vāmapārśve pāṇḍaravāsinīsamāśliṣṭaṃ āliṅganābhinayasthitavāmabhujena raktapadmadharaṃ narttanābhinayena sūcīmdrayā vikāśayadaparadakṣiṇakaram / tataḥ oṃ kāyavākcittavajrasvabhāvātmako 'haṃ iti mantram uccārayet / tad anv aṣṭasu dikṣu aṣṭadevīṃ cintayet / tatrāṣṭadalaraktapadmapūrvapatre vilokinī śuklā raktapadmadharā; dakṣiṇapatre tārā haritā palāśapadmadharā; paścimadale bhūriṇī pītā cakranīlotpaladharā; uttaradale bhṛkuṭī śuklā pītapadmadharā; pūrvakoṇadale padmavāsinī pītā māñjiṣṭha-
padmadharā; dakṣiṇakoṇadale vajrapadmeśvarī ākāśavarṇā sitapadmadharā; paścimakoṇadale viśvapadmā śuklā kṛṣṇapadmadharā; uttarakoṇadale viśvavajrā viśvavarṇā viśvapadmadharā / sarvā etāḥ sattvaparyaṅkinyo dvibhujaikamukhāḥ saumyāḥ / karṇṇikāyāṃ tu bhagavān eva / tato mantraṃ japet / mantraḥ oṃ hrīḥ padmanartteśvara huṃ /

// padmanartteśvaralokanāthasādhanam //

31.

namo padmanartteśvarāya /
tatra viśvapadmopari candre raktahrīḥkārapariṇataṃ padmanartteśvaraṃ raktavarṇam ekamukhaṃ jaṭāmukuṭinaṃ trinetraṃ aṣṭabhujaṃ sarvālaṅkārabhūṣitaṃ sarpayajñopavītam ardhaparyaṅkena tāṇḍavaṃ, prathamabhujadvayena nṛtyābhinayaṃ dvitīyadakṣiṇabhujena hṛdi vikāśayantaṃ sūcīmudrāṃ vāmabhujena raktapadmaṃ śiraśi dhṛtaṃ tṛtīyabhujadvayena vajravaddaṇḍatriśūladharaṃ caturthabhujadvayena akṣasūtrakuṇḍikādharaṃ aṣṭadevīparivṛtaṃ evaṃbhūtaṃ padmanartteśvaralokanāthaṃ bhāvayet /
// padmanartteśvarasādhanam //

Also called Nrityanath.

Gauris are Buddhist, their mantras were adopted from those of members of the retinue of Vajrajvālānalārka given in the “Mantrakhaṇḍa” of the Paramādyatantra, which itself is the major basis of Dakini Jala--except this adds Karma Family and gives it four corner mandalas as if to mean Four Activities. "Illustrated History" explains that Vajrajvalankara is Candisvari, and Paramadya uses the goddesses Vajraśrī (Prajnaparamita), Vajragaurī, Vajratārā, and Khavajriṇī (related to Akashagarbha, and Karma Paramita, as these are all secret names of four paramitas). In Paramadya, Trailokyavijaya absorbs Vajrajvalana.

Dakini Jala's wrathful side appears to be characterized by Gauris; its peaceful side by Mahasukha and Chakrasamvara Sacred Sites as in NSP 25.

In Dakini Jala, 6/8 of the Gauris are the same as those of Hevajra, although they have unique forms.

The Gauris are Wrathful; in Dakini Jala, they are called Vajradakinis and are the inmost retinue of Vajra Family Heruka, a Bhairava with a Trident and separate bowls for flesh and blood. In Anandagarbha's (https://www.rigpawiki.org/index.php?title=Anandagarbha) Vajrajvalodaya, the whole retinue is Srigauryadivajradakini gana.

The Gauris' order and some names are different from in Hevajra:

Gauri

Cauri

Pramoha

Vetali

PukkasI

Candali

Ghasmari

Herukasamnivesa or Herukasamnibha, meaning fully alike Heruka (so i. e., Heruki)

It does not have Sabari or Dombi. Heruka then has four unique goddesses (the intermediate corners are occupied by "Capa" Dharini SE, a Bow, she is an Archer, followed by Khatvanga SW, Chakra NW, and Citrapataka NE, or Multi-colored Banner, are just named for their item), and then the same Offerings and Gatekeepers as All Dakini Jala Families use: Puspa, Dhupa, Aloka, and Gandha; and finally four theriocephalic (Pisaci or Tramen) gate-guardians: Turangama, Vajramukhi, Vajramamaki, and Bhasmapralayavetali (horse, boar, crow, dog). Vajramukhi is the first name given to Varahi at her conversion. Crow is usually Dhumavati.

The Gauris are the closest thing to Vajra Heruka. This Heruka brings his original mantra from STTS that was used to draw in the Hindu mother goddesses and adds a seed syllable:

OM. HERUKAVAJRASAMAYA H<R>IH. SARVADUSTASAMAYAMUDRAPRABHANJAKA HUM PHAT

Musicians appear in this tantra because this Heruka is dancing (nrtyam). He is an Akshobya deity, but wait, he...has something in common with Lotus Family.

Heruka's Gauri is fair-complected and tranquil-faced, or Peaceful. She has severed four heads of Brahma with four arrows, which is unique and quite powerful. Some other deities have his head, but not in that style. Cauri is Red and Fierce. Pramoha means infatuation or fascination, has Visnu's boar avatar face, has wine, and does the same thing as Varaha avatar, uplifting the earth or the crust. White Nectar Vetali is similar to how she is with Jnana Dakini. Pukkasi has gotten Dombi's multi-colored role and dances in smoky cemeteries with a wind-whipped branch of a wish-granting tree; finally come Whirlwind Candali, Fire Pot Ghasmari, and a dark "Heruka-alike" similar to Naro Dakini except she has a Vajra instead of a Chopper. None of them have it.

Because of Dakini Jala's historical position, it is not hard to see that Vajravarahi with a Chopper, and Hevajra's Gauri retinue, are later adaptions of it. Since Pancha Daka uses Hevajra's Gauri names, as does Nairatma, these are all the modified style. Jnana Dakini is older and appears to have Four Gauris as her inner ring: Vajradakini, Ghoradakini, Vetali, Candali in reverse order, which are peculiar to her.

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

If we look at the nucleus of wrathful Dakini Jala, it is a cycle from White Gauri to White Vetali. It does this through a Boar Face Wine Goddess who is configured on a subtle mental disease to Amrita axis. Gauri has dissolved phenomena, or removed Brahma's perception of form (Four Form Elements) by the Avadhut, I am not sure what Cauri is doing, but she is followed by a type of Varahi Varuni, and Nectar Vetali. It is evident the second ring of Gauris are not in the corners, but again in the principal directions, with the four unique "item" goddesses in the corners. Ghasmari is the Purified Sixth Principle.

This [Dakini Jala] teaching is also pivotal since "we see for the first time in the Mantranaya the practice of the ganamandalam, orgiastic worship in an assembly consisting of a male and a group of female adepts (yoginiganah) personifying the deities of the cult, with a jargon of special terms and gestures known as chommah to be used in these gatherings." Candali's mood in the mandala is Savibrahma (samapatti) and she has an incomprehensible attribute: sadhya*pranamadayo pat[y]anti (?). Pukkasi is triply-aspected by Nrtya.

This kind of thing was forbidden by the Tibetan reforms of 814 which choked the tantra's dissemination.

The text seems to lack terms such as Ghora or Bhairava and their characters seem more dramatic and severe than ugly or hideous. Vetali is Harsya or humor. So if we study Dakini Jala Vajra Rasa, this is what we want to convey our nectar sample to Ziro Bhusana, by Sita Harsya Vetali with a cup that to me, seems more made of moonlight, "candrakantabhakapala", Candra--Moon Kantabhava Skull Casaka. "Heruka alike's" vessel is also a Casaka.

So if we see what happened, when Dombi was inserted into the practices, she took something from Pukkasi, the multi-colored aspect, and moved it to the end of the ring. Pukkasi is Indigo Plant, which, according to HPB, is among the most occult plants. While she is this, multi-colored, dancing in a cemetery, overall these seem more like actresses than monsters. It begins with a peaceful white form who has snapped through the Rupa Skandha or Khecari or soft palate center, Brahma as Shanpa or Entrance to Nirvana. So far, we have had a lot of luck with tracing the concealed evolution of a white goddess, and here this one sits as the definition of the start of a Sambhogakaya grade meditation, Samapatti. Throat is Sambhoga Chakra. So Dakini Jala perfectly matches the instructional basis for what would be taken for granted in Hevajra. Even though this is the wrathful aspect, the first Gauri cycle goes from White Gauri to White Nectar Humor Vetali. The second cycle appears to produce a dark Heruki from Ghasmari's dharmodaya.

This does "something" which would be intended to complement its peaceful practice which is for Mahasukha.

This something "is" horrifying cemeteries as much as it needs to be, but this is only connected to the Gauris who themselves are the Bindus or Drops of the subtle body.

Parnasabari's Gauris come from Lotus Sutra when Heavenly King Upholder of the Nations pronounces a Dharani; but this means it is Dhrtarashtra saying it. That explains how Gandhari got into it.

Gauris are inseparable from the root of all tantra, which is Vajrapani and Ghasmari defeating Rudra.

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

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

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

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

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

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

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

Candali is "the Mahasiddhas' consort", but, she is more like a basis for there being Eight consorts of Hevajra.

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

The multiple processes cleanse all four kinds of rebirth.

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

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

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

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

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

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

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

Upper drops:

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

The lower set meets at the navel:

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

The way the sets work is that during a given state, the upper winds collect at the first site, and the lower winds collect at the second site. The drop itself contains pure and impure potencies. So for example, the first pair is a drop at the forehead or ajna, which is highly tied to a drop at the navel during ordinary waking consciousness.

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

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

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

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

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

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

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

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

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

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

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

In Vajra Rosary, the teaching discusses entering the heart:

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

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

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

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

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

The Winds explained as Wisdoms are the Dhyanis and Prajnas.

Crown or Mahasukha (Wrathful Deities)

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

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

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

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

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

Dhamapa says,

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

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

Notes from Hevajra practices:

The Gauris make Offerings and Dombi offers her body.

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

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

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

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

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

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

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

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

Samputa says:

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

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

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

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

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

The first Abhisambodhi, Pratyaveksana, places the sixteen vowels as sixteen kinds of voidness transforming into a moon disk in the heart. This is basically the same as full Nairatma retinue, or, all ten Gauris plus the activated seed or nucleus of five. To speak of an Abhisambodhi sequence is the part that attaches to the end of all these preparations. It is the matured form of Six Yogas.

The sixteen vowels are: A, AA, I, II, U, UU, RI, RII, LI, LII, E, AI, O, AU, AM, AH.

About cemeteries, Rahulaguhya’s Sadhana of Hevajra called Luminous says:

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

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

Old Student

11th August 2020, 23:29

Wow, thank you. There is a lot here that feels very good, and I am going to have to pick something so I will try:

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

Upper drops:

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

The lower set meets at the navel:

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

The way the sets work is that during a given state, the upper winds collect at the first site, and the lower winds collect at the second site. The drop itself contains pure and impure potencies. So for example, the first pair is a drop at the forehead or ajna, which is highly tied to a drop at the navel during ordinary waking consciousness.

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

I had said that the current exercise is the breeze.

For going on weeks now, there has been a motion that is down in the bottom of my pelvis (not going to explain how that can move without the rest of it, but motions feel like they are at different levels there.), which is lateral, is a bliss generator, and is connected to something farther up in my body, starting near the bottom of my ribcage, and when it's at that level (the bottom of my ribcage) there is the perception of my body as a stupa, the dome of which is in the upper part of my ribcage and up into the bottom of my throat, and there is a "balcony" at the bottom of this that is where the square base of the stupa starts. If the motion in my pelvis is at what it started as, my abdomen sucks in hard against the bottom of my diaphragm (like an uddiyana bandha) and that place becomes like a pillared entrance and there is a desert with stones below and marching upward from the pelvic shaking and pushing in, which all sets off a sequence of events in my throat and palate into my head.

The nagging feeling is that the lower in my pelvis the motion is, the higher the "..." is above, where "..." stands for the fact that I just know that someone says it I don't know what is higher. The motion itself becomes more intensely blissful and more powerful the lower it goes.

There is also Samantabhadri identifying and then at some point lamenting that I am unable to see "the beauty of" her "embrace".

Last night my "motion" was pressed all the way down to the bottom surface of my pelvis, and it caused my point of view to move in centrally and my body to go completely clear, and I watched as this motion became the tandava dance centered on my (clear body) vagina, and sure enough, it had gone as low as it could go and it went as high as it could go and merged with the plane above my palate. This was a dance and a plane of motion at the same time, and somehow was what she was talking about with the beauty. Having merged the two centers at the bottom and the top of my nadi, I was sufficiently "nothing" to "be" the breeze. I couldn't hold on to it, but it was a breathtaking merging of centers at the bottom and top of my centerline. (Clear body is female, hence there can be a perception like that).

Old Student

13th August 2020, 17:53

The shaking last night corrects this feeling of merging of centers. This is apparently the "view from the top" -- from the plane above my palate. I had a different view of it last night, when this happens there is a merging but it takes the form of a surge of bliss moving upwards from the bottom to the plane, the reason it looks completely merged from the plane is due to an orthogonal projection, and to the fact that as it passes each of the wombs I mentioned somewhere before, it picks up the specific color of bliss from that point and adds it to the surge. The bottom part, at the very lowest plane of my pelvis, is a plane as well, it is red-tinged yellow, and the color of the bliss it generates is rainbow, like the cauldron. I had a very calisthenic shaking last night (the type when they "exercise" something they think is not able to do something well -- muscles that aren't strong enough, nerves that can't create a specific movement or feeling, etc.), the thing being exercised was the dissolve itself.

shaberon

13th August 2020, 20:36

That sounds like Dhruvam or Pole Star, you have a wind aligning the upper and lower extremities, this is certainly a sign of Near Approach.

Yes, that is apparently how Hevajra works. As novices we talk about drops, usually the lower red one and a white one in the head, and an important one in the heart, which is considered virtually unreachable because the heart chakra is in a cage of damaged nerves and has multiple layers of petals. It is still based on eight-fold, i. e. eight main nerves from the heart distributed to the body, each in a triple state of body/speech/mind.

Then we find out it is related to eight drops in all chakras which generally operate in pairs, conditioning the four states of consciousness; we are still in the basic principle of Four-fold Om, except it has been conjured in vivid detail.

So these eight nerves are directly emanated by the heart, but, when consciousness moves towards them, at first, at least, it stands on the eight petals of the navel chakra, gathering its heat and prana and finding how to move them into the subtle path.

Dakini Jala is strongly based in Paramadya Tantra, for which, there is not enough available material to reconstruct it as its own practice. We can, however, absorb its inner meaning from Alex Wayman and that its Vajrasattva court is imported into Dakini Jala. So it is still present. Then we keep in mind Khasama or Equal to the End of the Sky and the Samputa Tantra. With those things, Vajrasattva remains the main, major explanatory basis and gnostic experience of the system. As soon as we pay a little attention to Sadaksari Mahavidya, and we see that she carries a six-fold definition of everything, and her purpose is to manifest a Mahasukha Vajrasattva, it looks to me like an excellent equivalent or partner for what the Paramadya is doing, although Paramadya also produces Vajra Hand Symbol.

With the slippery-as-an-eel name Vajradakini, we have found that she means, in a limited way, a Dakini in Vajra Family, but, moreover, she has only a few specific appearances, which seem to frame the basis of the Path as Upeksa especially with reference to Samsara Skandha and to the proper tantric use of the crown center as taught by Jnana Dakini. If "basis" is not the best word, "strongest, most powerful, and most subtle" is a better description for her.

This is an Ngor composite mandala called Mahesvari (https://www.thangka.de/Gallery-2/Ngor/7-20/NM-122-0.htm) which pertains to most of the higher tantras. The explanatory text gives the upper left mandala as Vajradhara with Varahi and the Four Dakinis. The member of this group who is simply named Dakini is in Vajra Family; and, although the descriptive text says she is blue, we can see that the dakini with the blue background is actually white:

https://www.thangka.de/Gallery-2/Ngor/7-20/122-1-1.jpg

https://www.thangka.de/Gallery-2/Ngor/7-20/122-1-2.jpg

We found an odd Tson Kha Pa manuscript from Sichuan at the rock of death. It is an interesting series of seven initiations passing through Vajradhatu and going to Amoghasiddhi. In the C. A. Muses text published in 1961, Vajradakini (https://www.sacred-texts.com/bud/ettt/ettt18.htm) says the time to apply the teaching of Transference is death. The manuscript appears to match for instance Maitreya or Jampa Gompa in Upper Mustang. It is very unusual since it is not a Pabonkha-esque dominant stamp of Gelug liturgy, but tolerant of Nyingma and more of what would become the Rime' attitude that there may be many outer paths, which merge onto the Path. So she just belts out this phrase that says spend your life mastering this technique and launch it as hard as you can when you die.

Although the Gauris in Dakini Jala are not quite identical as in later tantras, their classification is Sri Gauri Vajradakini and it starts with Peaceful White Gauri. They surround Heruka who is Akshobya. This group is really a spectrum which begins with Gauri severing the form world by the Avadhut, and it has different moods, which include the terrible and smoky cemetery style--the point being they are not necessarily a wall of terror as implied by other tantras. Instead, the main definition is that Vajradakinis are like a power level which is deeper than other Dakinis, and they are in fact mainly characterized by Gauri, and that actually there are peaceful and wrathful cemeteries. Then, in Hinduism, there actually is a headless Lajja Gauri who squats similarly to Sukhasiddhi. If she has not been imported directly by name, her inner meaning may still reside in Cinnamasta.

Since each Family Lord in Dakini Jala has a unique inner retinue of eight goddesses, whether for instance this means the eight with Padmanarattesvara are functionally equivalent to Gauris, I am not sure. But the Heruka ones are the major basis of all the tantras. In Tibet, the first transmission over-wrote Heruki, and the second finished Pramoha, since as far as we can tell, Dakini Jala was banned by Tibetan prohibitions during the 800s--too strong for conservative kings.

One way the Gauris are normally cast by Hevajra:

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

If done similarly in Dakini Jala, Sabari and Dombi revert to Pramoha and Heruki and the order changes, you get:

Gam Cam Pram Vam Pam Lam Gham Ham

Although for a long time to me, it seemed like Offerings as in outer rituals were perhaps a bit of a superstition and not all that useful, but this is not the case. In general, they have to do with the transformation of senses. Some random, worldly dross is washed away, and replaced by a beautiful sacred object, which itself is then released as a spiritual discipline of non-attachment. At first, it is seven visible and one invisible (music) offerings, and there is another round of only five including food which very closely matches the total tantric offering of disintegrating one's mental processes through 5/8 of the Dissolutions of Death.

In Yamari tantra, Offerings come from unusual goddesses; "Charchika and others do it". In Hevajra, the Gauris make Offerings; Dombi offers her body, which in Dakini Jala makes sense if it is done by female Heruka to the central Heruka, who is with Ishvari.

In Samvarodaya Tantra, the males-first Armor Deities are the Wrathful Buddhas of Dakini Jala. Then it is the female-based Armor deities which use Vairocani. In Dakini Jala, the sixth wrathful Buddha is Vajradhara with Samvari. Male armor is for the surface, female armor is for the chakras, and many practices simply skip the male version.

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

Samvari Devi/Vimala Devi

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

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

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

There is a Vimala Dharani in Sanskrit literature (Vimala Mirbhasa Sutra) of Japan, the oldest known dated printed writings; and a "new" Vimala Usnisa mantra although she is an Usnisa. Samvari or "full water or high tide" is also a Nepalese Nirmanakaya mentioned by Chokyi Lodro. In terms of Armor as usually practiced, this Samvari is Sanchalani.

She is not a Gauri, Samvari is an aspect of the wrathful sixth prajna or that of Vajrasattva, or of Vajradhara when he steps in.

The Gauris are definitely on the main wrathful Heruka, who has something like "a consort and eight consorts".

The way they are referred by for instance Nairatma, the composite yogini's mantra of fifteen deities related to the moon is:

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

It starts with Pancha Prajna, then Ten Directions as the Gauris, plus nadir and zenith.

So the syllables would give you Ah central figure (Vajradhatvishvari, Svabhavishvari, etc.), Locana A, Mamaki A, Pandara I, Tara I.

Pukkasi u, Savari r, Candali r, Dombi l, Gauri l, Cauri e, Vetali ai, Ghasmari o, Bhucari au, Khecari am.

so if you reverted it, there would be something like

Pukkasi u, Pramoha r, Candali r, Heruki l, Gauri l, Cauri e, Vetali ai, Ghasmari o.

It does not alter the basic flow ending with Vetali and Ghasmari. Obviously it does not follow the casting order of the retinue to begin with.

For the math-minded in symbolic form, Mitra Yogin's 108 Mandalas (https://ru.b-ok2.org/book/3642936/b63adf) (pdf) is a book wherein the author compared the basic Pancha Jina format of the mandala, and produced a series of images showing how various rites change it. He successfully found the right question, but only got partway into the answer, which for one thing would be rapidly assisted by clarifying what in there is part of Samputa (15-18) and what is Seven Syllable deity. So he is able to detect that Vajramrita doesn't...fit the usual arrangement, nor does Seven Syllable. It also needs to take into account that sometimes, casting order is backwards. The Four Dakinis are frequently interpreted as "forwards", which is probably true for a basic format such as Mahamaya, but when you look at Guhyajnana Dakini, they are reversed.

Mitra does not have as much as Sadhanamala, but he does have the important part, and so he definitely has a reliable system to produce Seven Syllable deity. Again, the wide variety of sadhanas is to accommodate every type of disciple, it does not mean that you have to do all the 400ish items in Sadhanamala in order to reach the Accomplishment, it means you have to do whatever is necessary, and that is why for western non-initiates, the many Taras are very useful.

In Sakya, Bari's lineages are close to Mitra and Sadhanamala, it is only around seventy-six items, and it does feature the cluster around Aparajita, but for some reason, it moves Sukla Tara to the very end and calls her Tara Showing Virtuous Action. I am not sure how to explain that. But if we can show that in Sadhanamala, Viswamata only gets one paragraph which takes the entire Kalachakra Tantra to explain, then we can say that Sukla gets only one paragraph, which takes everything about Cemeteries to explain. She is related to Acala and is a mistress of animitta (https://www.wisdomlib.org/definition/animitta), signlessness, which has multiple meanings of causeless or not part of the chain of dependent arisings, or a type of samadhi in Prajnaparamita. Also it is among Eight Vimoksha or Liberations. And so if we follow the Prajnaparamita link, it is talking about the Gauris (Sampatti) and making them yield to mental cessation (amanasikara).

Prajnaparamita ch. 10 Bodhisattva quality two:

2. samādhigocara:

The three concentrations (samādhi) are those of emptiness (śūnyatā), wishlessness (apraṇihita) and signlessness (ānimitta).

1) Some say: Śūnyatā is seeing that the five aggregates (skandha) are not the self (anātman) and do not belong to the self (anātmya). – Apraṇihita is, within the śūnyatāsamādhi, not producing the three poisons (triviṣa, namely, passion, aggression and ignorance) in the future. – Ānimitta has for its object (ālambana) the dharma free of the following ten marks (daśanimittarahita): a) the five dusts (rajas, namely, color, sound, smell, taste and touch); b) male and female; c) arising (utpāda), continuance (sthiti), cessation (bhaṅga).

2) Others say: Śūnyatāsamādhi is the concentration in which one knows that the true nature of all dharmas (sarvadharmasatyalakṣaṇa) is absolutely empty (atyantaśūnya). – When one knows this emptiness, there is apraṇidhāna.

What is apraṇidhāna? It is not considering dharmas to be empty (śūnya) or non-empty (aśūnya), existent (sat) or non-existent (asat), etc. The Buddha said in a stanza from the Fa kiu (Dharmapada):

When one considers existence, one is afraid;
When one considers non-existence, one is also afraid.
This is why one should not be attached to existence
Or to non-existence.

This is aparaṇihitasamādhi.

What is ānimittasamādhi? All dharmas are free of marks (animitta). Not accepting them, not adhering to them is ānimittasamādhi. A stanza says:

When words (vāda) are stopped
The functioning of the mind (cittapravṛtti) also ceases.
This is non-arising (anutpāda), non-cessation (anirodha)
The similarity with nirvāṇa.

3) Furthermore, śūnyatā is the eighteen emptinesses (aṣṭadaśaśūnyatā). – Apraṇihitasamādhi is not searching for any kind of bhāva or existence. (Note: the five gatis, upapattibhava, pūrvakālabhava, maraṇabhava, antarābhava and karmabhava). – Ānimittasamādhi is suppressing all the marks of the dharmas (sarvadharmanimitta) and not paying attention to them (amanasikāra).

Question. – There are dhyānas and attainments (samāpatti) of all sorts. Why talk here only about these three concentrations (samādhi)?

Answer. – In these three samādhis, the attentiveness (manasikāra) is close to nirvāṇa; as a result, the mind of the person is neither too high nor too low, but evened out (sama) and motionless (acala). This is not the case in other states [of mind]. This is why we speak here only of these three samādhis. In the other samāpattis, sometimes it is desire (kāma) that predominates, sometimes pride (māna), sometimes wrong views (dṛṣṭi); but in these three samādhis, it is the absolute (paramārtha), the true reality (bhūtārtha), the ability to attain the gates of nirvāṇa. This is why, among all the dhyānas and samāpattis, these three emptinesses are the three gates of deliverance (vimokṣamukha) and are also called the three samādhis, for these three samādhis are the true samādhi. The other samāpattis also have the name ‘samāpatti’. Moreover, except for the four principal dhyānas (mauladhyāna), the concentrations from the anāgamya up to the bhavāgra are called samāpatti and also samādhi, but not dhyāna. As for the four dhyānas, they are called samāpatti or also dhyāna or also samādhi. The other concentrations as well are called samāpatti or also samādhi: for example, the four apramāṇas, the four ārūpyasamāpattis, the four pratisaṃvids, the six abhijñās, the eight vimokṣas, the eight abhibhvāyatanas, the nine anupūrvasamāpattis, the ten kṛtsnāyatanas and the other samāpattidharmas.

Some say that there are twenty-three kinds of samādhi; others say sixty-five, still others say five hundred. But as the Mahāyāna is great, there are innumerable samādhis, such as:

Pien fa sing tchouang yen san mei, Neng tchao yi ts’ie san che fa to san mei, Pou fen pie tche kouan fa sing ti san mei, Jou wou ti fo fa san mei, Jou hiu k’ong wou ti wou pien tchao san mei, Jou lai li hung kouan san mei. Fo wou wei tchouang yen li p’in chen san mei, Fa sing men siuan tsang san mei,

Yi ts’ie che kiai wou ngai tchouang yen pien yue san mei, Pien tchouang yen fa yun kouang san mei.

The bodhisattva acquires innumerable samādhis of this kind.

Furthermore, in the Prajñāpāramitā, in the Mo ho yen yi chapter (Mahāyānārtha), the 108 samādhis are enumerated as a whole (samāsataḥ: the first is the Hiu k’ong pou tche pou jan san mei (Śūraṃgamasamādhi) and the last is the Hiu k’ong pou tche pou jan san mei (Ākāśasaṅgavimuktinirupalepasamādhi). If they were to be enumerated in detail, there are innumerable samādhis. This is why the sūtra says that the bodhisattvas have acquired the concentrations (samādhipratilabdha) and course in emptiness, wishlessness and signlessness (śūnyatāpraṇihitānimittagocara).

Question. – The sūtra says first of all that the bodhisattvas have obtained the concentrations (samādhi-pratilabdha); why does it then say that they course in emptiness, wishlessness and signlessness (śūnyatāpraṇihitānimittagocara)? [Is that not a tautology?]

Answer. – First the sūtra speaks about samādhi but says nothing about its characteristics. Now it wants to speak about its characteristics and it enumerates emptiness, wishlessness and signlessness. When someone courses in emptiness, wishlessness and signlessness, it can be said that they have acquired the true samādhis (bhūtalakṣaṇasamādhi). Some stanzas say:

He who observes the purity of the precepts (śīlavisuddhi)
Is called a true bhikṣu.
He who contemplates emptiness (śūnyatā)
Has truly obtained the samādhis.

He who demonstrates zeal (vīrya)
Is called a true devotee.
He who has attained nirvāṇa
Is called truly blessed.

Sukla is perhaps showing virtuous action due to the presence of Sila, which is also indicated by Maha Pancha Raksha, which suggests that stability in the samadhis being discussed in these sadhanas is the Third Bhumi, Third Paramita. It has meanings on multiple levels, and the most basic outer one is that Virtue is not real if it is not tested, not seen by others, or fails to accomplish the purpose. When successful, it accumulates Punya or Merit, which itself becomes a cumulative offering.

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

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

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

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

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

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

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

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

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

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

So what I can do is construct a version of the Cemeteries where, I can't quite say, this is Hevajra and I am openly transmitting it, because it is not. In fact, it is only just taking the Nagas as mantricly-defined by Vajrapani in Sarvadurgati Parishodana--which itself has a parallel operation on Janguli--and put that together with cemetery names from Samvarodaya and the Gauris of Dakini Jala. Here, the Gauris are highly involved with burning out rubbish and manifesting Sambhogakaya in what is called Sampatti or Savikalpa, or, in Adwaita, Sadguna Brahman.

This is more like a Yoga instructional method to help us perhaps experience up to step six in Jalandhara's explanation. Does that mean it is the direct approach to being able to take a Hevajra initiation and have the ability to perform it in a highly charged version prepared to finish seven or all eight awakenings, yes, I am confident it would be. So I will post the Cemeteries tuned according to what we have.

shaberon

13th August 2020, 21:42

Asta Smasana or Eight Cemeteries

In Laghutantra, Vajrapani says:

The external circle of the Eight great cremation grounds, has its inner equivalent in the nadis that are positioned in eight of the nine traditional doors of the human body.

The sadhaka has to suppress the vital breath (prananirodha) in these channels.

The suppression (kumbhaka [Vase breathing]) of the vital breath is designed to direct all the pràna, which flows in bodily channels, into the avadhuti. Furthermore, this prànanirodha is mirrored outwardly in a halting of the vehicles (adhara) of the yoginis (represented by human corpses) in their former pithas.

Vajrapani appears to be commenting Paramadya into Samvarodaya and Six Limb Yoga as the basis for Kalachakra. This text has been relatively unused in Tibet. "Vehicles" is not a good translation for Adhara, which goes right back to Shiva Tantra and for example describes Kurma Nadi between the heart and throat. So it is another way of describing Sacred Sites, although a smaller number, sixteeen. According to Kṛṣṇavallabhācārya’s Kiraṇa on Patañjali’s Yogasūtras 3.7-8, “The tortoise-nerve (kūrmanāḍī) is said to be the same as the Nāḍīcakra in the heart.” Kūrmanāḍī (कूर्मनाडी).—When saṃyama (the simultaneous workings of dhāraṇa, dhyāna and samādhi) is directed on the Kūrmanāḍī (canal of the tortoise), it ensures the immobilisation (sthairya) of thought. Kurma Nadi is located in the upper chest below the throat. “By Samyama on the Kurma Nadi comes the steadiness of the body”. By Samyama on it you achieve Asana-Jaya (victory over Asana).

Since Adhara is also "foundation or support", and the Buddhist deity Kurma Padi is "tortoise feet", whereby "feet" are also normally a "basis or support" in esoterism, then what all this means is that cessation has become effortless. With the Crescent and Triangle, we are trying to bind, reverse, balance, and dissipate the winds and carry the heat through this nerve. When that really happens, then, for one, the distractions and kleshas will become rather self-exterminating; it will carry its own force to render the mind and body still. That is how we can tell this Yellow or Orange Vajrayogini is not a samaya being, but is a product of Khandaroha--Varuni's work, emerges from her, is a part of this physiological change.

So if I have a bond to Tara and I ask her about the subject, we get someone who, modularly, could enter Guru Yoga after a normal Purity mantra reducing everything to formless void.

105.

tathaiva śūnyatābhāvanānantaraṃ rephapariṇatasūryasthahuṃbhava-
viśvavajrapariṇatavajraprākārādi vicintya tanmadhye paṃkārajapadmopari
akārajacandre sitahuṃkārajaṃ sabījotpalaṃ paśyet /
tatsphuraṇādipūrvakaṃ tatpariṇatāṃ bhagavatīṃ sitatārāṃ
trimukhāṃ ṣaḍbhujāṃ pītanīladakṣiṇetarmukhīṃ pratimukhaṃ
trinetrāṃ varadākṣasūtraśaradharadakṣiṇatrikarāṃ utpalapadmacāpadharavāmapāṇitrayāṃ
ardhaparyaṅkaniṣaṇṇāṃ candrāsanacandraprabhāṃ
jaṭāmukuṭasthitāmoghasiddhiṃ pañcamuṇḍavibhūṣitamastakāṃ ardhacandrakṛtaśekharāṃ
nānālaṅkāradharāṃ dviraṣṭavarīākṛtim aṣṭaśmaśānam
adhiyasthitāṃ hṛccandrasthitanijabījam ātmānaṃ vicintya
mantraṃ japet oṃ acale animittavare huṃ huṃ phaṭ phaṭ
svāhā / poṣadhena pūjāpuraḥsaraṃ catuḥsadhyāyāṃ māsaikaṃ
japataḥ śāntikādi bhavatīti /

// ṣaḍbhujaśuklatārāsādhanam //

In voidness, Red Ra becomes a sun disk marked by Hum, which becomes a Crossed Vajra which becomes the vast Vajra Fence. Here, Pam becomes Ah which becomes White Hum. From this, Bhagavati Sita Tara arises.

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

At her heart is a moon disk with seed syllable; mutter her mantra.

http://www.surajamrita.com/images/bari/Bari_78.jpg

She may be in Cemeteries as described by Samvarodaya Tantra with Vajrapani's Nagas and Dakini Jala Gauris:

A samadhi is taken to spawn each gauri from her syllable which is in her place (gate or corner).

Caṇḍogra (east), Gruesome

https://www.himalayanart.org/images/items/resized/2000px/7/9/2/792a.jpg

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

Phuh

White Ananta [blue lotus stalk]

From the samadhi where one finds happiness in enjoyment:

Gam

Visual Form Object

Gauri (E) is fair in colour and tranquil-faced. Eight-armed, she cuts off each of the four heads of Brahma by simultaneously firing arrows from four bows.

Om Ah Gam Vajra Gauri Hum Phat Svaha

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

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

The Ground is Eye Consciousness.

Purified, it resembles an image in a mirror.

Subhīṣaṇa (south), Terrifying

https://www.himalayanart.org/images/items/resized/2000px/7/9/2/792c.jpg

Blue Yama with staff and skullcup on a buffalo

Phah

Red Takshaka [blue lotus and tortoise]

From the samadhi associated with manthana:

Cam

Sound Object

Cauri (S) is red and fierce-faced. Wearing a chaplet of skulls she holds a goad-hook (ankusah) in her left hand at her heart, with a skull-staff in the crook of her left arm resting on her left shoulder, and holds aloft an eight-spoked discuss with the middle finger of her right, pressing down on the three worlds with her left foot.

Om Ah Cam Vajra Cauri Hum Svaha

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

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

The Ground is Ear Consciousness.

Purified, it resembles a dream.

Karaṅkala or Jvālākula (west), Blazing with [the Sound] Ur Ur

https://www.himalayanart.org/images/items/resized/2000px/7/9/2/792e.jpg

White Varuna with serpent noose and skullcup on a makara

Phum

Blue Karakota [white lotus stalk]

In the samadhi associated with vajra and lotus:

Pram

Smell Object

Pramoha (W) is black and four-armed, with the face of Visnu's boar-incarnation (adivarahamukha, or, according to Humkaravajra, boar above and a red head below. Moreover, he has her raise with her two lower hands a wheel ('khor lo) rather than the earth). In her first left hand she holds a skull -bowl full of wine and in her first right a Vajra. With her other two
hands she imitates the boar-incarnation by raising up the earth.

Om Ah Pram Vajra Pramoha Hum Phat

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

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

The Ground is Nose Consciousness.

Purified, it resembles a magical creation.

Gahvara (north), Dense Wild Thicket

https://www.himalayanart.org/images/items/resized/2000px/7/9/2/792g.jpg

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

Phah

White Kulika [banner]

In the samadhi which destroys the great affliction, ignorance:

Vam

Taste Object

Vetali (N) is white and joyful-faced. With her right hand she pours a stream of the nectar of immortality from a transparent skull-cup and with her left shows the Vajra banner gesture.

Om Ah Vam Vajra Vetali Hum Phat

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

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

The Ground is Tongue Consciousness.

Purified, it resembles an optical illusion.

Aṭṭaṭṭahāsa (north-east), Wildly Laughing

https://www.himalayanart.org/images/items/resized/2000px/7/9/2/792f.jpg

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

Phih

Red Vasuki [snake]

In perhaps the same samadhi:

Pam

Earth Element (solidity)

Pukkasi is multi-coloured (visvavarna) and dancing in a smoky cremation ground full of strings of skulls and the like. In her right fist she clasps a five-pronged Vajra and in her left a wind-buffeted tendril from the wish-granting tree of paradise (kalpavrksalata).

Om Ah Pam Vajra Pukkasi Hum

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

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

The Ground is Touch Consciousness.

Purified, it resembles a city of gandharvas.

Lakṣmīvana (south-east), Marvelous Forest

https://www.himalayanart.org/images/items/resized/2000px/7/9/2/792b.jpg

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

Pheh

Yellow "Carrying a Conch Shell" (Sankhapala)

In the samadhi associated with manthana:

Lam

Water Element (cohesion)

Candali (S) is dark blue and riding on a whirlwind (vatamandalika). In her right fist she clenches a Vajra-topped trident and with her left releases a whirlwind against her victims.

Om Ah Lam Vajra Candali Hum

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

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

The Ground is Mano Vijnana or awareness of mental environment.

Purified, it resembles an echo.

Ghorāndhakāra (south-west), Interminably Gloomy

https://www.himalayanart.org/images/items/resized/2000px/7/9/2/792d.jpg

Blue Kardava or Rakshasa with sword and skullcup on a zombie

Phaih

Yellow Padma

Apparently continuing the samadhi associated with manthana:

Gham

Fire Element (heat)

Ghasmari is black and eating a corpse. In her left hand she holds a blazing sacrificial fire-vessel (agnikunda-) and with her right grasps a sword:

pastime ghasmari krsna*varna (corr. varnnam Cod.) mrta-
carvanamukhi bhaksanadrstih \ vamakarena vajrajvalagnikundadharini \ daksine
vajramustina khadgam dadya pratyalidhapadavasthita

She is krsna (blue).

Mrta is death, but the expression carvana is obscure, does not seem to mean "eating"; according to Rasa, or, the expression of emotion in theater:

"Bhattauta, another scholar from Kashmir, in his treatise called Kavya Kautuka, also says that a dramatic presentation is not a mere physical occurrence. In witnessing a play we forget the actual perpetual experience of the individuals on the stage. The past impressions, memories, associations etc. become connected with the present experience. As a result, a new experience is created and this provides new types of pleasure and pains. This is technically known as rasvadana, camatkara, carvana."

Bhaksana is a deity's consumption of sacrificed food. Drsti has to do with eyes, view, wrong view, look, divine eye, or in theater, "has the look in her eye". Her hands are busy, so, she does not seem to be eating a corpse the way some deities do. It sounds like she has a dramatic expression of eating the meditator's death. Mrta is not a noun, unless it means food obtained by begging, it is the adjective, dead, and the closest noun is mrtam, death, neither one of which is a body. If taken almost literally, it would say face of begging for food of catharsis, and satisfied look of receiving food offering. The closest term for "corpse" is Mrtaka, compared to all other forms of "corpse use" abandon this and use a form of Zava, or, occasionally, Kravya. Black corpse-eater seems to be a hasty translation, especially in context, they sound more like actresses, with expressions, gestures, and moods.

"Blazing", in this case, is Vajra Jvala, a whole new class of deity, taking place in her Fire Pot. Then she has Vajra Musti or Fist, another deity, not just any old hand for her sword. If from theatrics, it could even just mean a gesture as if she had a sword, but does not--it does not actually say Khadga Dharam. "Dadya" seems to be an obscure form of "give", as in Katyayani mantra, "Shubham Dadya". The chance that these facial features are meant as an expression is that other Gauris have Saumya or Harsa faces, i. e., peaceful or laughing moods, and most of them have Drsti or "glances", Vetali has some other kind of death gaze, is laughing and has death in her eye. Ghasmari is simply blue, perhaps is pointing a sword at the viewer, and has a type of Dharmodaya filled with Completion Stage Fire. This sounds a whole lot like what we would like to use to boil nectar.

Om Ah Gham Vajra Ghasmari Hum Phat

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

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

The Ground is Klista Manas or self awareness.

Purified, it resembles a reflection on water.

Kilakilārava (north-west), Resounding with the Sound Kili Kili

https://www.himalayanart.org/images/items/resized/2000px/7/9/2/792h.jpg

Smoky Vayu with banner and skullcup on a deer

Phauh

Blue Varuna [white lotus stalk]

Apparently continuing the samadhi associated with manthana:

Ham

Air Element (motion)

Herukasamnibha, black like Heruka, holds a skull-cup [to her heart] in her left hand, with a skull-staff resting on her left shoulder, and a five-pronged Vajra in her right. Again, black is usually just krsna.

Om Ah Ham Vajra Herukasamnibha Hum

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

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

The Ground is Alaya Vijnana.

Purified, it resembles space.

You would use something there and then thank Sukla or Sita and return her into void or a similar manner of conclusion.

shaberon

14th August 2020, 18:48

We can only get a little bit of Paramadya Tantra, which is a major basis of Dakini Jala, which then informs Samputa--which can now be updated.

In Paramadya (https://www.himalayanart.org/search/set.cfm?setID=2029), multi-colored deities include Amoghasiddhi and Namkha Dzo, which apparently is a mantra (https://books.google.com/books?id=JWuxAAAAQBAJ&lpg=PA233&ots=1N-5e1agZ0&dq=namkha%20dzo&pg=PA233#v=onepage&q=namkha%20dzo&f=false) related to Bodhicitta of Application and the Four Immeasurables.

I cannot say much about the Four Immeasurables; they are non-Buddhist in origin, and continue through all the tantras. The only mantra I personally use is just their names, Metta, Karuna, Mudita, Upeksha, and you can just say these and dwell in them before a moment of Samata or quiescence/beatitude.

Sadhanamala does not appear to give them any special mantra that might be called Namkha Dzo; it says almost nothing about them, except in one place on a Tara that has not otherwise come to attention.

Vistara (Expanding, Diffusion, Branches) Tara focuses on Refuge Vow and the Four Immeasurables coming up three times. In the second:

tad anantaraṃ caturbrahmavihāraṃ maitrīkaruṇāmuditopekṣāsaṃjñakaṃ vakṣyamāṇakrameṇa bhāvayet

There is a substantial explanation wherein Karuna has a Samsara Buddha and Samsara Sattva, and the Vihara compile into Purity mantra, then there is a bit more explanation, and then Emptiness mantra.

Otherwise, Brahmavihara are not described or given a specific mantra, but are mentioned at least twenty times, usually shortly before Emptiness mantra, such as in Maha Pancha Raksa 206:

tadduḥkhoddaraṇā karuṇā
sukhapratiṣthānā maitrī sthirasukhatvena muditā tathatarūpatvo-
pekṣā / tataḥ sarvvadharmmān manasā 'valambya nirvvikalpakaṃ
vicintya oṃ śūnyatājñanavajrasvabhāvātmako 'ham

or White Kurukulla 185:

parahitacintāṃ maitrīṃ padaduḥkhanāśa-
kriyāṃ karuṇāṃ parasukhatuṣṭiṃ muditāṃ paradoṣopekṣām upekṣāṃ
bhāvayet /

Vajrasattva Hundred Syllable (https://www.bodhicittasangha.org/100-syllable-mantra/) mantra says the laughter or four Has may be Four Empowerments, Four Kayas, Four Immeasurables, and Four Joys.

Vajrasattva is slightly elusive in that it is hard to get details for Paramadya, and also I have been struggling with what is actually in Samputa that makes it different, i. e. an additional retinue compared to Skull Hevajra.. But with some tinkering, there perhaps is a simplification.

Circle of Bliss (https://books.google.com/books?id=l3KmWbcq5foC&lpg=PA462&ots=LyCZr8DQ-V&dq=samputa%20vajrasattva%20retinue&pg=PA462#v=onepage&q=samputa%20vajrasattva%20retinue&f=false) explains Samputa Vajrasattva's retinue (Vajravali 3) as eight Jinas and Prajnas, then eight dakinis:

Vajrachandi, Vajrarupini, Ragavajri, Vajrashanti, then Vajrayakshi, Vajradakini, Sabdavajri, and Vajrabhumi.

Then eight offering goddesses, musicians, gatekeepers, and corner deities.

This is the same as NSP 3 giving the ring of Vajraraudris. That is to say:

Vajrachandi = Vajraraudri

Vajra Rupini = Vajra Bimba

Vajra Shanti = Vajra Saumya

Vajra Bhumi = Prithvi (or Bhucari)

Everything else is identical, and we would probably largely accept all the synonymous names.

This is a bit painstaking and hard to see. Himalayan Art calls these seventeen mandalas every one from Hevajra, Samputa, and Nairatmya, and leaves is at that. Circle of Bliss examines it in the given article, and it is mostly inscribed. So the center right is White Mahakala with ten deities. Opposite that, however, is an unidentified white deity, with what they claim are seven deities. This only makes sense if one realizes the three around the mandala are not more Hevajras, but a white, blue, and perhaps multi-colored winged deity. They say it is likely White Samvara--Varahi.

The top center is Sahaja Hevajra or Sixth Family, over a Pancha Jina of himself. He is flanked by Padma Hevajra and Kurukulla. The upper left is Samputa Vajrasattva (with Varahi). This uses the same Vajraraudri group, however the main four are called Vajrachandi, Vajrarupini, Ragavajra, and Vajrashanti. It looks like the difference between Samputa and Hevajra is that in Hevajra, these Vajraraudris become innermost.

We generally understand Wrathful Green Tara as Raudri or Chandi, or, Camunda is Usnisa-born from Candi with no assistance from a male. In this version, we might say Green Tara (Raudri--East) and White Tara (Saumya--North) have traded places.

Speech Hevajra with Varahi is under Amitabha, and Shrnkala is in Abbreviated and Complete forms, under Kurukulla and White Samvara. This Kurukulla mandala is described as a Red copy of Nairatma. The Sixteen Arm Heart Essence Hevajra has a Skullcup form and a Weapon form (lower left). Central Hevajra is also Skullcup or Kapaladharin trampling Four Maras.

The upper register contains (among others) Rakta Yamari, Dharmadhatu Vaigishvara Manjughosha, the cluster of Mahamaya, Yogambara, and Buddhakapala, and ends on Vajramrita. Janguli and Parnasabari are fifth and sixth from the right across the bottom. From the offerings on the left, it is Prajnaparamita, Green Tara, Usnisa, and Panca Raksa.

https://www.himalayanart.org/images/items/resized/2000px/8/5/7/85721.jpg

Thirty-seven deity Samputa Vajrasattva is such a fundamental basis that you'd think it would be easy to find. Well, it is in the upper left of that seventeen mandala maze above. Otherwise, very hard to get. This is the outline:

https://www.himalayanart.org/images/items/resized/2000px/5/8/1/58103.jpg

So, instead of struggling with eight or more ways different Candis may have been Raudri, the answer seems to be it is just Candi. That name is proliferous but Vajracandi is not.

Guhyakali Thousand Names (https://sanskritdocuments.org/doc_devii/guhyakAlIsahasranAmastotram.itx) includes:

guhyeshvarI vajrachaNDI mahAvidyA cha bAbhravI |
shAkambharI dAnaveshI DAmarI charchikA tathA || 101||

So if I am trying to edge my way into this with Charchika, it still does not seem to be a very wide miss.

She appears with Canda Maharoshana, and also Taranatha has a sadhana for:

Red Acala with Vajra Candi, who has a drum and flower garland.

Samputa has a version of Chapter One (https://www.academia.edu/15724082/The_Sa%E1%B9%83pu%E1%B9%ADa_tantra_Sanskrit_and_Tibetan_Versions_of_Chapter_One) from the same guy who translated Sarvadurgati Parishodana, with a detailed synopsis of all chapters.

The whole thing however is on 8400 as Emergence from Samputa (Samputodbhava (https://read.84000.co/data/toh381_84000-emergence-from-samputa.pdf)), it gives the retinue:

In the outer circle,
White Raudrī in the east,
Yellow Vajrabimbā in the south,
Red Rāgavajrā in the west,
And green Vajrasaumyā in the north.
In the northeast there is white and yellow Vajrayakṣī;
In the southeast, yellow and red Vajraḍākinī;
In the southwest, red and blue Śabdavajrā;
And in the northwest, green and white Pṛthivīvajrā.

So now we should be able to find more things from it.

Part of the basic meaning of the title is Seven Secrets, and the whole thing is Ghasmari, who is the Purified Sixth Element. It also is like putting together two bowls, or perhaps two halves of a bindu.

Whatever Hindu legend Ghasmari had, and however she arose in Buddhist sadhanas, ultimately she has a completely functional meaning which is on the other side of something like being washed by Kurukulla and gaining a balance towards Six Families, which is part of the meaning of Guna or Jewel Family in Paramadya-->Samputa, and also the whole Dakini Jala is Six Families as compared to for example Mahakarunika which focuses one of them.

Lokesh Chandra says:

In the îéãna corner around the central deity of the mandala of 37-
deity samputa-tantra vajra-sattva 3.6. is the Locanã with one face and
8 arms. Nisp. text p. 9 léãne Loeanã éuklã.'g{abhujã aauyaíé eakra-uqjrakha(ga-b:û,tAn,
u.ønaih kapãLa-ghaf!ã-pãéa-dhonl¡i¡si: white in complexion,
r.h. cakra, vajra, sword, arrow, l.h. kapãla, bell, lasso, bow.

Old Student

14th August 2020, 23:30

That sounds like Dhruvam or Pole Star, you have a wind aligning the upper and lower extremities, this is certainly a sign of Near Approach.

So I will post the Cemeteries tuned according to what we have.

Quite timely. I spent most of last night dancing in a form similar to one of the Citipati, with the words "stellar nine" repeated over and over. I did digging on "stellar nine" and it is roughly navagraha, who seem attached both to Marici and to Kurukulla. There was also a Chinese side to it, where navagraha was related to the Dipper and Marici was somehow Tianho -- queen of heaven. I was also pulled into a threatening stance with one hand in tarjani mudra, couldn't find such a person, but I could find it as either a Chinese or Japanese stance from which to attack.

The way they are referred by for instance Nairatma, the composite yogini's mantra of fifteen deities related to the moon is:

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

It starts with Pancha Prajna, then Ten Directions as the Gauris, plus nadir and zenith.

It isn't a coincidence that the 15 deities of the moon are mapped to the vowels?

Yes, that is apparently how Hevajra works. As novices we talk about drops, usually the lower red one and a white one in the head, and an important one in the heart, which is considered virtually unreachable because the heart chakra is in a cage of damaged nerves and has multiple layers of petals. It is still based on eight-fold, i. e. eight main nerves from the heart distributed to the body, each in a triple state of body/speech/mind.

In the Neijing Tu, the Dipper is at the heart, blocked from elsewhere by a river.

Sorry to quote you out of order.

Old Student

15th August 2020, 00:17

I am having trouble interpreting some of these, e.g. the last one, I cannot find the lake, or the blue mountain with fire at its base and a white stupa on its peak. Are the descriptions the same as the thangkas or are they slightly different? I can find all of the people riding on the animals, and have trouble with all of the mountains.

Old Student

15th August 2020, 05:06

Whatever Hindu legend Ghasmari had, and however she arose in Buddhist sadhanas, ultimately she has a completely functional meaning which is on the other side of something like being washed by Kurukulla and gaining a balance towards Six Families, which is part of the meaning of Guna or Jewel Family in Paramadya-->Samputa, and also the whole Dakini Jala is Six Families as compared to for example Mahakarunika which focuses one of them.

I looked up Ghasmari just now as "Ghasmari Gauri" on google, and found (putting several things together)
1) she is pictured doing a tarjani mudra in her left hand
2) she is green and black.
as of last night, both of those have happened to me.
I also found this thangka,
https://www.himalayanart.org/images/items/resized/1070px/8/8/5/88550.jpg
Dombini (is this Dombi?) is next to her, and is "multicolored". Seen that as well.

You have Kurukulla as a red Nairatmya. I found elsewhere, Kurukulla apposed to Vajrasattva as red and white, as in red and white drops.

I'm not sure what the question here is, but these things all seem to have some relevance to things in my shaking.

shaberon

15th August 2020, 06:46

Quite timely. I spent most of last night dancing in a form similar to one of the Citipati, with the words "stellar nine" repeated over and over. I did digging on "stellar nine" and it is roughly navagraha, who seem attached both to Marici and to Kurukulla. There was also a Chinese side to it, where navagraha was related to the Dipper and Marici was somehow Tianho -- queen of heaven. I was also pulled into a threatening stance with one hand in tarjani mudra, couldn't find such a person, but I could find it as either a Chinese or Japanese stance from which to attack...

It isn't a coincidence that the 15 deities of the moon are mapped to the vowels?

Navagraha in general are definitely the astrology of Durga; in Nepalese Buddhism, Grahamatrika is Mother of Grahas or Planets, and yes, Marici at the Dipper relates to the Seven Sages and cosmos per se. This is my fundamental question in astrology, if one is not that interested in making predictions, what, for instance, does it mean to say that a planet is a regent in some sphere of consciousness?

I believe that they are, and once I started to see why there are nine because using the Dragon or the Nodes of the Moon, the legends and the tantras started coming together. Mars turns out to be far from an "iron god of war" and perhaps one of his better esoteric names is Angaraka or charcoal--a blackened mess which nevertheless holds latent heat. As a graha or "seizer", it has the capacity for violence, but when turned towards wisdom, it is Manjushri.

I do not know Chinese very well, but in the eastern orient Marici is highly revered, to the extent that justifies her sixteen mega parcels in Sadhanamala. She probably has the most material in the book, and, as far as I can tell, the most comprehensive. Her more sublime manifestations appear to depend on Bhuta Damara or Demon Subduing gesture. Bhu and Aparajita witness Buddha's Enlightenment locally; it is Marici who is the light that reveals it to Tathagatas of the Ten Directions.

She eventually handles everything except for Ekajati and Kamadhatvishvari roles, which are in Vajra Panjara.

Lalita (http://www.shivashakti.com/nitya.htm) is fifteen Nityas or lunar phases, which in total is Kalachakra or wheel of time.

"The chakra of the letters of the alphabet is based upon time and so is identical with the sidereal zodiac." - Tantraraja Tantra

...the Nityas are the vowels of the Sanskrit alphabet and are identical with both time and space.

They are said to exist on Vishuddha (https://www.wisdomlib.org/definition/vishuddha) chakra:

The petals correspond to the vrittis of the mantra Ong [Aum], the Sama-mantras, the mantras Hung, Phat, Washat, Swadha, Swaha, and Namak, the nectar Amrita, and the seven musical tones.

It is even used to explain "explanation" or Atha (https://www.drkatyjane.com/blog/what-you-need-to-understand-the-yoga-sutras?utm_medium=Social&utm_source=Facebook&utm_campaign=ContentPromo&utm_content=KJFBPage+041920), as per how each is a different emotion and how any word like that has a feeling, which is part of its meaning, which is hard to "read". This is the same reason why Four Brahma Vihara are so omnipresent, because feeling is definitely what is sought here. We want to be having that intense feeling without any attachment of "me" or belief in a self of it.

Tantras such as Samputa all derive from Ah syllable.

In their true form the lunations and syllables are Prajnas and Gauris. And so now, with this Samputa, which was published only a couple of months ago, we see that Vajraraudris are a lot like six Gauris plus Sound and Ground. Everybody knows that Vajra Bhumi is Golden or Prithvi is Yellow, so, of course, here, she follows the color pattern that is forming and discards all prior clues and comes out Green and White. She is also Bhucari, the nature of Samsara (or external objects according to Shiva). This must be part of a Gauri group, and for some reason, are inseparable from Sound, and so I suppose it should be seen as a heavy influencer of Samsara.

It has White Raudri who is Vajracandi who is Guhyakali?? Candi is normally an Amoghasiddhi wrathful goddess, Saumya or Shanti is usually White, and so it is like a weird reversal of them in the first ring, which perhaps is pinned to Green and White Vajra Bhumi. Meanwhile there is a non-white Vajradakini subject to Agni.

There must be some reason this group shows up in addition to Gauris, but, since everything we can think of is already linked to a deity, I am not sure what else they could have.

With the cemeteries, the sample pictures are simply the only known set of such, in terms of individual images. It has no kind of self-identification. So it is the closest we can come to matching the descriptions. There are so many versions they are always changing something. The main and best definition I think is in letting Vajrapani assign the Nagas, so that this subject is really in tandem with Sarvadurgati Parishodana. In terms of inner meaning, the tantras are all the same, it represents a fanned out splay of principles of consciousness which may flee eight exits, or, may be redirected into eight branch nerves. And it turns out to be the Yakshas who "are" the very life-wind itself, in each of its playgrounds, which consist of various phenomena being destroyed and dissipated to emptiness. It is all based on impermanence, whereas peaceful meditations are about stability, such as everlasting mandalas which we perhaps become able to temporarily view or participate in.

shaberon

15th August 2020, 08:35

Dombini (is this Dombi?) is next to her, and is "multicolored". Seen that as well.

You have Kurukulla as a red Nairatmya. I found elsewhere, Kurukulla apposed to Vajrasattva as red and white, as in red and white drops.

I'm not sure what the question here is, but these things all seem to have some relevance to things in my shaking.

Haha, well, I am not sure there always is a question. Half of it all is just little reminders. I try to internalize everything, just like how Sila or Upeska may seem like theoretical constructs, but once you really digest them, you are just made of it, and might forget the words. Vajraraudris are almost a sore thumb right now, but, sooner or later we will find why they would be amassed as something distinct from the Gauris.

In some formats of Gauris, they all do Tarjani gesture. There are easily three or four different formats of them, most of which are similar to each other, few of which resemble Dakini Jala at all. Everything else in the world points out how wrathful they are, but, it is a bit like calling Heruka "blood drinker". In Dakini Jala, some of them are pleasant, or funny. Often I am not sure what the questions are, until you find the thing on which all the tantras are based and it is actually totally different from them.

Dombini or Dombi are the same, Outcaste I believe. They are all something like Rajaki Washer-woman and so forth, they have jobs. They are the esoterification of women. From the personal realizations of a couple Mahasiddhas, Dombi and Sabari were entered into the ranks of Gauris, and replaced two from the Dakini Jala format where the multi-colored one is Pukkasi dancing in cemeteries with a wind-whipped branch of a wish-fulfilling tree.

The difference between Vajraraudris and Gauris is seen wherein he text says a two, four, or six armed Hevajra (body/speech/mind) may use this retinue of Vajraraudris; Hrdaya Hevajra changes the Vajraraudris to Gauris. The two types of rings do not appear at the same time.

Trailokyaksepa Hevajra is a Vilasa or male Vilasini. Virupa's Vajrayogini begins by saying Locana and others are Ten Vajravilasinis in an equivalent way to the next line saying Yamantaka and others are Ten Wrathful Ones. That piece is based on Guhyasamaja Trikayavajrayogini. The subsequent song puts her in Kubjika's family in verse fourteen. This has a close Shiva Ucchusma parrallel: Ucchusma (‘Desiccating [Fire]') is the first of Ten Rudras, who have female counterparts by the same names, and in some variations, Candali, Matangi, Sabari, Yami, and Pukkasi start showing up, until the reviewer finds that there is a common group in dharanis as we found with Parnasabari, five non-Vedic goddesses: Gauri, Gandhari, Candali, Matangi, and Pukkasi. So they straddle a twilight area between Ten Vilasinis, and various sized groups of Gauris.

Pramoha and Heruki were removed, whereas Dombi took Pukkasi's appearance.

Pukkasi (https://www.lotsawahouse.org/tibetan-masters/dudjom-rinpoche/brief-offering-to-protectress-of-jarung-kashor) resides locally in Nepal at a stupa in a charnel ground. There they say she is Hariti (https://www.nekhor.org/padmasambhava/nepal/boudha) or Ajima. The word also has a connotation of a widow (https://books.google.com/books?id=oI9-1d9FrxIC&lpg=PT45&ots=kUpTaHbZOM&dq=pukkasi%20devi&pg=PT45#v=onepage&q=pukkasi%20devi&f=false) or lone-wolf. How this is an Indigo Plant, I am not sure, but Pukkasi is usually blue.

If she is Hariti, it would seem that Vajra Yakshi has no other meaning than Hariti, which would mean she is a Gauri and a Vajraraudri. Although Hariti has not been seen much by name in many of the rites, that is because she is in her pseudonyms.

So, a multi-colored goddess could be Hariti, whom we know much about, or, Dombi or Dombini, whom I currently can't remember how she got into it, and she is in all the pictures.

It would probably be a simple question of which are you closer to?

Neither one is wrong, the point is that either is an attested and validated vision of something stable that does what it says it does.

The mandala style does make Nairatma appear as a copy of Kurukulla, but again, these are often shortsighted reviews that do not take into account the fact that we might think they are more than different colors. Nairatma is like a chief of Gauris, who is perhaps even synthetic. Samputa is synthetic, it has mostly just grabbed twelve or so prior tantras and formed a common factor. Kurukulla however is an old Hindu deity. It is very weird that the copies, the mini-Kurukullas are actually all different deities that have simply taken Kurukulla's form.

From that point I think they mean different things, Kurukulla is more physiological and I could do that in a non-Buddhist way or a way that is not very spiritual at all, whereas Nairatma is psychological and by removing the mortal ego, a spiritual condition emerges, even if it is kind of low-power without a corresponding Kurukulla.

So then yes you do want both, along with a few other things.

I do not recall Vajrasattva--Kurukulla specifically as white and red drops, is it part of Sakya?

shaberon

15th August 2020, 17:35

Before combing the entire Samputa Tantra, we can show a few more things about it.

The following piece is unidentified, but appears to show the Vajraraudris appropriately.

This has Skull Hevajra in the center; the upper left is Weapon Hevajra with Gauris, and the others are the two/four/six arm Hevajras with dual-colored corner deities as in Samputa Vajraraudris.

1500s Ngor with Green-White Prithvi and others:

https://www.himalayanart.org/images/items/resized/1800px/3/1/9/31931.jpg

Tibetan Deities 474 discusses Vajravali Samputa (Peaceful Sambara Vajrasattva) without anything about the retinue.

Samputa is "Vajrasattva or Vajradhara" in a six-arm white ardha paryanka form with reddish tinge. He has vajra, sword, and hook, then bell, skull, and noose, copulating a consort (red and two armed, or similar to himself). He has a complex crown, but is an Akshobya deity. He has Concentration Hero, i. e. a Heruka in his heart, in whose heart is a black (probably blue) Hum. He is peaceful, but expresses all nine sentiments (somehow).

His heart mantra is:

Om Vajramrita Mahasukha Hum Ham Svaha

and the All-purpose mantra is Vajraghanta (Bell):

Om Ah Vajra Ghante Hoh Hum Svaha

Samputa's Tibetan name is Demchog Vajrasattva, which is a bit confusing, as Demchog generally indicates Jewel Family. Evidently, he is making some kind of exchange, he is an Akshobya Hum deity called Vajramrita.

In that the retinue includes Vajrabimba, in Sadhanamala, the only Vajrabimba is the big Ekajati 123. In Samputa, Vajrabimba appears to be in Jewel Family; Ekajati is the protector of Vajramrita or Jewel Tantra.

So if you produce a Mahasukha Vajrasattva, via Sadaksari or some other means, it continues more elaborately here. The principal is quite similar to Grahamatrika or Six Arm Parasol in appearance. And so this six-arm "boundary", not even seen in Hinduism, does seem to mean something one way peacefully with white/red/blue faces, and a little bit different wrathfully on Sukla Tara with different colors and the cemeteries, Karma Family.

If we re-iterate the ring with what has been found as explanatory correspondences:

White Raudrī in the east, [Vajrachandi--Guhyakali--Guhyeshvari--Charchika]
Yellow Vajrabimbā in the south, [Ekajati]
Red Rāgavajrā in the west,
And green Vajrasaumyā in the north.

In the northeast there is white and yellow Vajrayakṣī; [Hariti or Ajima or Pukkasi]
In the southeast, yellow and red Vajraḍākinī;
In the southwest, red and blue Śabdavajrā;
And in the northwest, green and white Pṛthivīvajrā. [Vajrabhumi or Bhucari]

The Vajraraudris follow a straightforward, typical color pattern, until you get to the end, where the Ground goddess has dispensed with everything we have said about the occult nature of yellow, earth element, and Nirmana chakra. What comes to mind is simply the Green-White axis which we said is the primary opposition of Form and Formless, and the main way we are going to melt mundane color into occult and gnostic light.

I am just trying to read the symbols without twisting it, and so if the solitary existence of Vajrachandi places Charchika on the same line in her hymn, this would be telling. In that sense, we port in our most wrathful and most esoteric deity made in Karma Family, who turns white and starts this thing by passing her momentum to Ekajati, which indicates Vajra Panjara Tantra, or perhaps anything from Mahacina Tara on up. Then you get somewhat generic Passion and Peace names, followed by a ring of non-duals.

Part of the elegance of Samputa is that it is plainly peaceful, just like Gauri in Dakini Jala, which seems important since the wrathful aspect is so prevalent in most art and study, just like there is an important White Lakshmi who is covered over by her wrathful forms. It is not excluded, but the white pattern ostensibly works from a white samaya Vajrasattva and Sherab-class deities through an emergent or self-arisen luminous white Heruka.

Ragavajri is found in a Newari (https://archive.org/stream/TheCultOfKumariVirginWorshipInNepalByMichaelAllen1975/The%20Cult%20of%20Kumari%20-%20Virgin%20Worship%20in%20Nepal%20by%20Michael%20Allen%201975_djvu.txt) explanation of Pancha Kumari and Nava Kanya rituals.

Vajrasaumya is in Circle of Bliss (https://books.google.com/books?id=l3KmWbcq5foC&lpg=PA78&ots=LyCZt1AO2U&dq=vajrasaumya&pg=PA78#v=onepage&q=vajrasaumya&f=false), in the male-based Moon (Chandra) mandala.

Also in STTS (http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/4_rellit/buddh/sarvttsu.htm) and in a Triloka Chakra (http://www.dsbcproject.org/canon-text/content/84/724) explanation.

Emphatically it appears in the Sarvadurgati Navagrahas (http://abhidharma.ru/A/Tantra/Content/Durgatiparisodhana/0001.pdf).

NSP gives the following unusual family information for Samputa:

Akshobya: Vajrasattva, Tathagatas, Mamaki, Sabdavajra, Gita, Sparshavajra, Dharmadhatuvajra

Vairocana: Locana, Vajraraudri, Prithvivajra, Puspa, Hasya, Vamsa, Vajrankusi

Jewel: Vajradakini, Vajrabimba, Dhupa, Lasya, Vina, Vajrapasi

Lotus: Pandara, Vajraragi, Dipa, Gandha, Mukunda, Vajrasphoti

Karma: Tara, Vajrasaumya, Vajrayaksi, Nrtya, Rasa, Muraja, Vajraghanta

Tri-kaya in the tantras is done differently:

For Chakrasamvara, the principal needs to enter union with Varahi in three families, Buddha, Vajra, and Jewel.

For Hevajra, the principal joins Varahi, Nairatma, and Shrnkala (Karma Family).

shaberon

16th August 2020, 18:56

Here is the approach to Saumya as just mentioned as a minor retinue deity in Samputa.

In Sarvadurgati Parishodana, the final major mandala refers to Seven Families (cf. p. 69); it explains the Sun deities Vajrakundalin and Vajramrita as Red, with a Vajra and Lotus in their right hand, Sun disc and Lotus in the left. Vajrankusa and Vajramukhi have boar heads. Sarvadurgati conveys Seven Paramitas, the first six plus Aspiration.

In terms of Navagraha, it gives a perhaps unique view of them as couples:

Vajrakundali and Vajramrita on a Seven Horse Chariot

Vajraprabha and Vajrakanti on a Swan

Vajrapingala and Vajramekhala on a Goat

Vajrasaumya and Vajrasaumya on a Lotus

Vajraguru and Guruvajra on a Frog

Vajrasukra and Sukravajra on a Lotus

Vajradanda and Dandavajra on a Tortoise

Vajrarahu and Vajrasuri

Vajraketu and Vajranagi

Amritakundalin is used as a separate deity here; he exists in this tantra, as does Vajrabhairava. Vajrahumkara states that Vajrakundali is the new name of Amritakundalin, as the wrathful deity in the south, when re-purposed for his own mandala. Maybe they are different forms of one another.

We see the Hindu sun Aditya has been changed into a new thing whose Shakti is Amrita. This sun is perhaps a bit occult, and we anticipate it is subsumed in Jewel Family. Her name is the same as the male who heads the only specifically Jewel Family tantra, Vajramrita. It is hard for us to write these names in gender, we have to remember that one ends with "A" and the other ends with "A".

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

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

Saumya (pleasant, mild, lunar) is for some reason in the Moon mandala as a second moon, asserts herself in Sarvadurgati, and actually appears to be the origin motor in Vajramrita.

What little we know of Vajramrita tantra is that it is among the oldest and main explanations. It is beside Paramadya in the Tibetan canon, and after Six Chakravartins or Dakini Jala equivalent in Tibetan Deities.

Paramadya is important to Vajramrita; Vajramrita is explanatory for Secret Treasury (Guhya Garbha or Book of the Dead). Samputa Vajrasattva is Vajramrita (or, Samputa has four kinds of Hevajra). The teaching of Vajramrita tantra was requested by Mamaki. It was promoted by the contemporary of Padmasambhava named Vimalamitra, who also made the pilgrimage to Wu Tai Shan.

Jagganatha (http://www.indiaconmassimotaddei.com/1/upload/parama_karuna_devi_puri_home_of_lord_jagannatha.pdf) tells us:

There are four main schools of Hindu Tantra, namely Odiyana, Jalashaila (Jalandhara), Shrahata
(Sirihata), and Purnagiri (Kamarupa or Kamaksha). The Odiyana, the most important, has it seat in Orissa,
and is also the Adi-bhumi of the Bauddha Tantra (the Buddhist Tantra). Here, Sarahapada started the
tradition based on the Buddha kapala Tantra, Kambalapada and Padmavajra started the tradition based on
the He Vajra Tantra, Luipada started the tradition based on the Samputa Tilaka Tantra, Lalitavajra started
the tradition based on the Krishnajamari Tantra, Gambhiravajra started the tradition based on the
Vajramrita Tantra, Kukkuripada started the tradition based on the Mahamaya Tantra.

Vajramrita deity is mainly called Mahasukha; he is Hah-arisen. His consort is often called Svabhaprajna. Vajramrita's sub-deities having their own mandalas are Amrita Humkara, Amrita Krodha, and Amrita Kundalin.

Its products are Eight Vidyas, devis such as Saumya, Vikata, Manojna, Surupa, Aprameya, and Candali. The final and total result is Vetali and Five Nectars. The Vidyas are the inner retinue, but Tibetan Deities does not list it at all, and the available Tibetan mandala description or the NSP does not match this Indian one. So far I have not managed to reverse-engineer the other two members. The less-clear version is:

1. Saumya East
2. Saumyavadani. South
3. Candri West
4. S'ainl North
5. S'aimandala Agni corner
6. S'ailekha Nrtta corner
7. Manojfia Vayu corner
8. Manohladanakari lsana corner

And so he is similar to Samputa or Dakini Jala, having eight unique deities, and then some common ones. He also has four unique deities. This set is perhaps similar to Gauris, who open four Buddha Wisdoms and the Four Brahma Vihara, since it includes Candali, but until the details are published, we have to chisel at it. It has "unusual visualization details" which are not given, but, one thing is that when these eight Vidyas are cast, they are around the edges, and they move on to the petals of the central lotus.

It uses Vajrahumkara, and, later, Saumya is with Vajrabhairavi in the Vajrakilaya Tantra, which uses Amritakundalin as All-purpose banisher.

In Jnanapada lineage, Amritakundalin is Vighnantaka from Guhyasamaja (which again seems related to Ganesh).

From a recording of a Rinchen Terdzo retreat, they give Amrita Kundalin (purifying), Humkara (fumigation) and Mamaki empowerments together. This is after Vase Empowerment and Guru Yoga based on Vajramrita. Before this is Amrita Guna, and Vimalamitra sadhana about Four Empowerments of Amrita medicine, pill, etc. for long life. Amrita Guna is preceded by Vajrapani. These are mostly all Jamgon Kongtrul versions of various tertons.

In Vairocana Abhisambodhi, Sumbha is the Vidya Queen before Mamaki. She has the perhaps not too surprising syllable Sam; not far away is Amritakundalin, who is Mr, they say this is a letter.

Vetali is the vidya of natural light.

Christie's calls this Vajramrita:

https://www.christies.com/img/LotImages/2012/NYR/2012_NYR_02551_0775_000(a_thangka_of_vajramrita_mandala_tibeto-chinese_18th_century).jpg?w=400

If so, Jewel Family in the center has turned white, and the directions have convoluted in some manner besides rotation or flipping.

These are disappointing smudges of Vajramrita Vajravali mandala from the Guimet:

http://www.guimet.fr/wp-content/uploads/2012/01/images_musee-guimet_collections_himalaya_mandala_vajramrita.jpg

https://images-na.ssl-images-amazon.com/images/I/71OCiEWeGfL._SY355_.jpg

Similarly to how Buddhas such as Amitabha are seen as having, at their lowest, a celestial bodhisattva such as Amitayus,
Hodgson or Amritananda handled Prajna Bodhisattvas as "Sangha Prajnamnayi", as Sita Tara, Ugra Tara, Bhrkuti Tara, Ratna Tara, Visva Tara. They deftly skip the "Six Families" version and give no bodhisattva for the sixth Prajna, Vajrasattvatmika, who is usually White with Varahi items, chopper and skullcup.

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

Nava Bodhisattva Prajnamnaya is:

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

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

"Nava Devi Prajnamnaya" means the Nine Dharanis.

Old Student

17th August 2020, 00:51

I do not know Chinese very well, but in the eastern orient Marici is highly revered, to the extent that justifies her sixteen mega parcels in Sadhanamala. She probably has the most material in the book, and, as far as I can tell, the most comprehensive. Her more sublime manifestations appear to depend on Bhuta Damara or Demon Subduing gesture. Bhu and Aparajita witness Buddha's Enlightenment locally; it is Marici who is the light that reveals it to Tathagatas of the Ten Directions.

So as far as I can tell, this follows a circuitous route. Marici is associated with the planets because she is the "first light" of the sun, usually at dawn, but also after an eclipse. So that makes her the slayer of the demon Rahu since he is the eclipse (Ketu and Rahu become the lunar and solar eclipses because they are associated with ascending and descending moons and the lunar and solar eclipses happen on full moon and new moon respectively). Apparently, because Rahu is one of the 9 celestials, and because Marici slays him as a demon, she actually has a Navratri celebration in some places, similar to Durga or maybe equivalent to Durga, there are pictures of her doing the demon slaying that are pretty much Durga slaying Mahish Asura.

So fast forward to the Chinese, for whom the 9 celestials are the kings of the Big Dipper. They comprise 9 because apparently Mizar and Alcor are counted separately and because the 'extended dipper' includes Arcturus (which in our system is in Bootes). So the woman in Daoism who is queen over these 9 gentlemen is Tian Hou, the Queen of Heaven, so Marici becomes Tian Hou. BTW, I think I already said that in the Neijing Tu, the Dipper is at the heart.

Everybody knows that Vajra Bhumi is Golden or Prithvi is Yellow, so, of course, here, she follows the color pattern that is forming and discards all prior clues and comes out Green and White.

I ended up looking up Bhumi/Prithvi this morning after last night's shaking, because of looking for someone who was brown. The one who was brown was related to the earth.

With the cemeteries, the sample pictures are simply the only known set of such, in terms of individual images. It has no kind of self-identification. So it is the closest we can come to matching the descriptions.

Thanks for that, I was wondering why I couldn't find everything but that makes sense.

Old Student

17th August 2020, 01:00

Old Student

17th August 2020, 01:26

The Vajraraudris follow a straightforward, typical color pattern, until you get to the end, where the Ground goddess has dispensed with everything we have said about the occult nature of yellow, earth element, and Nirmana chakra. What comes to mind is simply the Green-White axis which we said is the primary opposition of Form and Formless, and the main way we are going to melt mundane color into occult and gnostic light.

I spent some of the night before, and a lot of last night doing dissolves. They were calisthenic the night before, last night they started that way and apparently while I was practicing in my sleep, I got the hang of something and they woke me up. I danced while they kind of clapped and cheered. It was a very strange dance because I was dissolving constantly, so I was not the same person from movement to movement, but the general thread was that I had been two dissolve people from much of my shaking, only up on my feet (very strange): The two are brown-skinned earth and the valley spirit. The former is a kind of self-less being that I become at some times that seems like a brown-skinned woman lying on my back and then I merge into the earth and am the mud and the sticks and leaves and so forth. Think very earth and very formless. The latter is from Laozi 6. Since it is relevant I will put up the two translations I put up on Dao Bums (https://www.thedaobums.com/topic/49315-on-western-mental-orgasm/) about a year and a half ago:

谷神不死，是謂玄牝。玄牝之門，是謂天地根。綿綿若存，用之不勤。

This is the famous sixth chapter from Laozi, usually translated as,

The valley spirit does not die, it is called the Mysterious Female. The door of the Mysterious Female is called the root of heaven and earth. Continuously as if from a store, it is used without exhausting it.

At times, it is also

The valley spirit does not die, it is called the Mysterious Vulva.The door to the Mysterious Vulva is called the root of heaven and earth. Endlessly soft and silk-like as if it secretes, its manner of use is to be not focussed or attentive.

And that would not be wrong, but is rather more generative and sexual in nature, but totally in keeping with Daoist internal and gymnastic arts up to quite late in history.

The main difference between the two dissolves is that one sinks into the earth, the other often appears like she is gazing out from a valley over plains below, but she is also formless, she is the valley not someone in the valley.

But what was happening was that I was dissolving constantly -- this appears to have been the goal of the calisthenic the Dakinis set up, and they were calling out to me as "Brown Goddess" because I was dancing and going back and forth between wrathful and peaceful and a lot of other things. It was so confusing to be dissolving constantly that I had a hard time writing up last night's shaking.

Old Student

17th August 2020, 06:00

In terms of Navagraha, it gives a perhaps unique view of them as couples:

Vajrakundali and Vajramrita on a Seven Horse Chariot

Vajraprabha and Vajrakanti on a Swan

Vajrapingala and Vajramekhala on a Goat

Vajrasaumya and Vajrasaumya on a Lotus

Vajraguru and Guruvajra on a Frog

Vajrasukra and Sukravajra on a Lotus

Vajradanda and Dandavajra on a Tortoise

Vajrarahu and Vajrasuri

Vajraketu and Vajranagi

This list seems very mixed, some of the names of the couples seem related, others don't, some seem to have names of celestial objects others don't. Are the names contained in each pair related in some way other than being in this list? E.g. is Ketu related somehow to serpents?

shaberon

17th August 2020, 06:24

Dombini or Dombi are the same, Outcaste I believe.

Apparently from Dom or Doma, which are the people who cremates bodies, and yes, they are Dalit -- they have no caste. It's the same caste as has been theorized to be the ancestors of the Roma people in Europe.

Ok. Most of the modern converts to Buddhism since the Tibetan diaspora are six million Dalits.

Roma quite possibly are connected, except when we look at the musical aspect of them, it is Baul or Rajput or Dravidian or something I can't quite recall. Going the other direction, we believe there is a Syrian immigration mixed into the trans-Himalayan Kirats. Hariti is Persian, and the mundane figures at Alchi are Persian and some perhaps even Byzantine.

That sounds right for her name, however, it is likely the case that Dombi and Sabari were personal discoveries of a couple of Mahasiddhas who influenced the liturgy.

I remembered how to reverse-engineer the Vajrasaumyas, within the category of text matches for Vajramrita Tantra (https://www.wisdomlib.org/index.php?type=search&db=quick&mode=text&input=Vajramritamahatantra%2C+Vajr%C4%81m%E1%B9%9Btamah%C4%81tantra%2C+Vajramritamaha-tantra%2C+Vajr%C4%81m%E1%B9%9Btamah%C4%81-tantra%2C+Vajramrtamahatantra%2C+Vajramrtamaha-tantra%2C+Vajramritamahatantras%2C+Vajr%C4%81m%E1%B9%9Btamah%C4%81tantras%2C+Vajramritamaha-tantras%2C+Vajr%C4%81m%E1%B9%9Btamah%C4%81-tantras%2C+Vajramrtamahatantras%2C+Vajramrtamaha-tantras). The missing ones are:

Amritalocana (Prasanna Tara)

Amritavajra

Ugra

Sukhasadhani

Sasimandala

Candri

Dombika

Varuna

and others, so, it is inclusive of the standard list. But it plainly says there are eight, and of course it is an eight-petaled lotus. This is called Sri Heruka Utpatti or Heruka Generation Stage. Most if not all of them continue into Dakarnava wherein the vast multitude of entities are mirror-named couples like Saumya and Saumya, however, it is always female first. Since these are all females in Vajramrita Vidyas, it is likely that Varuna is feminized or i. e. Varuni.

It is possible they changes names when they enter the lotus. The definitions of all the devis just say they are one of eight in this mandala. It is possible each branch is body/speech/mind and multiple devis fuse to a singular. Just to plain copy what appears to be the relevant section, we get:

Amritalocana

Varuna

Surupa

Amrita

Aprameya

Amritavajra

Sukhasadhani

Vikata

Ugra

Vajramrita

Shashimandala

Candri

Karamudra

Candali

Pingala

Kulini

Daruni

Sotkata

Dombika

Shashini

Saumyavadana

Shashilekhya

Saumya

Manojna

Manohladanakari

It is not alphabetized, it is probably the order the terms appear, I am not sure. Vajramrita is the principal, so if you pick him off, there are twenty-four.

Since we have taken lengths to describe what Heruka is, and what Utpatti is, and how this is the basis of all tantra, you would think Herukotpatti would be found all kinds of places besides Vajramarita. But it is so obscure, it may have only two other attestations.

Buddhakapala (https://www.mdpi.com/2077-1444/11/3/124/htm) has a Herukotpatti Commentary:

Furthermore the same verses also occur in a similar maṇḍala ritual in the Sādhanāmālā. The seventh chapter of the Abhayapaddhati is a long description and explication of this maṇḍala ritual (Figure 3). After an extended passage, we reach the trope and motif of dissolving into emptiness, described as a liquid. Then out of this liquid, four trembling goddesses (sphuritāś catasro devyaḥ), observing the Lord (prabhum apaśyantyaḥ), with concern for His various previous vows (pūrva-praṇidhi-veśeṣa-āpekṣayā), full-throatedly (sotkaṇṭhya) arouse the Lord with songs.

Herukotpatti Tantra (http://chinabuddhismencyclopedia.com/en/index.php/The_Golden_Rosary_of_Tara,_by_Lama_Taranatha) was discovered around the Vajra Pitha in Oddiyana in the Golden Rosary.

It is its own text, and part of Buddhakapala.

However in defining it in terms of a chapter in Vajramrita, Wisdom Library says:

Then the text lists the eight Wisdoms (vidyā):

Sotkaṭā,
Vikaṭā,
Cāṇḍālī,
Ḍombikā,
Piṅgalā,
Kulinī,
Ugrā,
Dāruṇī.

It certainly is not the main retinue as described in NSP.

It definitely does have some that are considered Gauris. Like Samputa appears to mix Gauris with certain elements to make Vajraraudris, this may be intended as some Gauris mixed with some kind of meditation. We can make this group, the published one, and whatever is leftover, which would be accurate, but what exactly it is accurate to, we cannot say.

Vajrapani is in Union with Mamaki, then he has all these, is asked to explain mantra and turns wrathful, does a Vajrahumkara sadhana and generates Heruka, and finally achieves Vetali and Five Nectars. That is the plot of the tantra.

Vajrapani can emanate Garudas in All Families.

Vajramrita can be emanated by Amoghasiddhi and is possibly his only male emanation. But this is Bhattacharya's assumption because he is green. There is no particular family identification to be found. As we have seen, this could easily be wrong. So far nothing in the tantra has much to do with Jewel Family, except that Mamaki participates in it at other times.

We can say that Candali and Dombi must be at least as old as this is.

I don't know where I found it, I was doing a search to try to find out if Kurukulla ever had a consort, because the tandava position that she puts me in has been different lately as if more of an embrace.

I am not sure about that one. I think we can find Marici and Ekajati do, in rare circumstances. Why would I believe in a love goddess if she does not even have a mate? Well, her love seemed to be about the cemeteries.

I can't say that it never happens, but I am not aware of it. In the Red cycle, that sort of thing seems to be passed to Vasudhara and Bharati who frolic with Jambhala. In the most explicit terms, Jambhala is a lot of arousal and Vilasini is penetration and the rest of them are just "during" union.

shaberon

17th August 2020, 07:20

Vajrakundali and Vajramrita on a Seven Horse Chariot

Vajraprabha and Vajrakanti on a Swan

Vajrapingala and Vajramekhala on a Goat

Vajrasaumya and Vajrasaumya on a Lotus

Vajraguru and Guruvajra on a Frog

Vajrasukra and Sukravajra on a Lotus

Vajradanda and Dandavajra on a Tortoise

Vajrarahu and Vajrasuri

Vajraketu and Vajranagi

This list seems very mixed, some of the names of the couples seem related, others don't, some seem to have names of celestial objects others don't. Are the names contained in each pair related in some way other than being in this list? E.g. is Ketu related somehow to serpents?

It is freakish.

I saw it when I was thinking about Vajrasurya, and when this started with solar names from the largely unavailable Jewel Family tantra, I was at a loss to do anything but surmise that might have something to do with the full Sadhanamala Marici. She originally takes the Horse Chariot from here and converts it to Pig. Occasionally her charioteer is Rahu.

The sun is followed by a few planets expressed in purely tantric terms, then Jupiter and Venus in plain ones.

Ketu has two natures. As a "tail", it is like Sikhi, or a hair knot, or usnisa, or protuberance of the great coronal dome. Hence Ratnaketu as the original name of Ratnasambhava.

As a "tail of a comet or meteor", it is more like Dhumavati and Ratnolka--Dhvajagrakeyura. Generally it is a planet of death; the dragon's tail is karmic wind. At once, it is highly inauspicious, yet absolutely necessary in order to accomplish Suksma Yoga.

Those are its main aspects and Vajranagi is not a name of anything. In the 5th century, Nagini (https://www.metmuseum.org/art/collection/search/39892) would have been understood as the consort of Nagaraja. But that is generally Indian and does not mean Nagaraja Bodhisattva.

It is tricky but for one thing you see a cluster of them appearing in Vajramrita Tantra. Other than that, they do not appear to have any forward motion into sadhanas.

Old Student

18th August 2020, 04:22

It is possible each branch is body/speech/mind and multiple devis fuse to a singular.

The seventh chapter of the Abhayapaddhati is a long description and explication of this maṇḍala ritual (Figure 3). After an extended passage, we reach the trope and motif of dissolving into emptiness, described as a liquid. Then out of this liquid, four trembling goddesses (sphuritāś catasro devyaḥ), observing the Lord (prabhum apaśyantyaḥ), with concern for His various previous vows (pūrva-praṇidhi-veśeṣa-āpekṣayā), full-throatedly (sotkaṇṭhya) arouse the Lord with songs.

This kind of stuff is much more like what happens during shaking. Lots of dissolving these days, and lots of liquid-ness.

I am not sure about that one. I think we can find Marici and Ekajati do, in rare circumstances. Why would I believe in a love goddess if she does not even have a mate? Well, her love seemed to be about the cemeteries.

She maybe is not thought of as having a consort because she lures people to the Dharma with love and sex?

Old Student

18th August 2020, 04:40

Occasionally her charioteer is Rahu.

This is interesting. In one version she's slaying him in another he's her charioteer?

Ketu has two natures. As a "tail", it is like Sikhi, or a hair knot, or usnisa, or protuberance of the great coronal dome. Hence Ratnaketu as the original name of Ratnasambhava.

As a "tail of a comet or meteor", it is more like Dhumavati and Ratnolka--Dhvajagrakeyura. Generally it is a planet of death; the dragon's tail is karmic wind. At once, it is highly inauspicious, yet absolutely necessary in order to accomplish Suksma Yoga.

This duality is like the tail of a comet indeed. Comet means "hairy star" so it was originally seen as hair of the comet. How is it necessary for Suksma Yoga?

I seem to be working on dissolves. Last night I did another "extended" dissolve -- in that I just kept dissolving over and over, but this time I was doing so from a completely "disintegrated" body - all mist and fire. This is still part of the breeze exercise I'm sure, but they apparently don't think I can give up my self competently or quickly enough yet.

shaberon

18th August 2020, 07:23

Occasionally her charioteer is Rahu.

This is interesting. In one version she's slaying him in another he's her charioteer?

No, Marici is not in the Puranas (male Marici is).

Generally it perhaps is why we would say the ninth avatar of Vishnu is not Buddha, but Mohini:

The earliest reference to a Mohini-type goddess appears in the Samudra manthan episode of the 5th century BCE Hindu epic Mahabharata. The Amrita, or nectar of immortality, is produced by the churning of the Ocean of Milk. The Devas and the Asuras fight over its possession. The Asuras contrive to keep the Amrita for themselves, angering the Devas. Vishnu, wise to their plan, assumes the form of an "enchanting damsel". She uses her allure to trick the Asuras into giving her the Amrita, and then distributes it amongst the Devas. Rahu, an Asura, disguises himself as a god and tries to drink some Amrita himself. Surya (the sun-god) and Chandra (the moon-god) quickly inform Vishnu, and he uses the Sudarshana Chakra (the divine discus) to decapitate Rahu, leaving the head immortal. The other major Hindu epic, Ramayana (4th century BCE), narrates the Mohini story briefly in the Bala Kanda chapter. This same tale is also recounted in the Vishnu Purana four centuries later.

Svarbhanu the dragon managed to drink amrita without swallowing it, so, the head has it, the tail does not. In some versions the severed parts are attached to serpents.

Marici's chariot is variable. It can have seven bay green horses; it could have four, five, or seven pigs. She can drive it, or, it may be Rahu (with Eight Arm 137, Kalpokta 142, Samskipta 146), or, I believe there is also another assistant.

Rahu has hardly any other mention in Sadhanamala except Kurukulla born from Tara:

kurukullaparvvataguhāsthitarāhumastakasthitasapatnīkakāmadevoparisthitāṃ

I think that is:

kurukulla parvvata guhasthita rahu mastaka sthita sapatnika kama deva paristhitam

Rahumastaka would be similar to Cinnamasta, or i. e. head of Rahu. I am not sure what this says except maybe parvata--moutain guha--cave, where Rahu's head seems to have seven kama devis for wives.

Yes, that would actually be one of the better ways of describing it, love and sex is a lure towards Dharma. If a body is neglected, abused, etc., it correspondingly damages the subtle body and there is not much basis for cultivation of inner bliss. And so if Kurukulla and Katyayani are both seen as making mundane relationships work, that is actually fine, as long as one is not forced to see this as the be-all-and-end-all of what they can really do. It is like the tip of their iceberg.

This duality is like the tail of a comet indeed. Comet means "hairy star" so it was originally seen as hair of the comet. How is it necessary for Suksma Yoga?

The head and tail are something like current will versus old habits.

The head is like "wind in your sails" as you try to steer towards new directions in life.

The tail pushes, whether you want it to or not, according to your own causes. Something more like "wind at your back" which if you do not steer well, crashes you off the path.

Karmic wind is the main adversary of Suksma Yoga. When the winds arise, coarse minds will arise, or, if coarse minds arise, winds accompany it. It may be called habit-energy.

For most people, it simply kills them, via disease or accidents or something probably generated from karma. In Mahayana, we ask all this karma to ripen and we try to prevent new seeds (such as Cunda mantra) so it doesn't kill us or disturb meditation.

Ketu is the power of how the future is shaped by the past. This is usually very stupid, although we know it is possible for a conscientious choice joined with effort can change it. Rahu is usually inert, manipulated by the subconscious, or deceived into doing something ineffective. It is difficult to get these to work well, together. I do not think Ketu is removable or stoppable, it can only be cleaned up and guided appropriately.

So for example, if I play a video game all day, I dream about still being in it. If I meditate Tara, then I dream Marici and a few million pigs. The dream is usually an almost helpless condition where Ketu or habit-energy displays itself. Because of this, I can see why I would limit the time I would spend in a game (or anything else artificial), and why I would spend more time learning deities. Very basic things like Om Manipadme Hum or Om Cale Cule Cundi Svaha do not become outdated and discarded; they remain as habits and grow branches with tiny little gem-like details. In other words we wipe clean our mortal Ketu and replace it with something divine. The driving energy is still there, but it isn't dangerous.

When one totally withdraws (Nisprapancha), and all the force is centered and launching upward, that is a purified, balanced Ketu. So it is total success in that case, or complete failure if we still have distractions or anxieties perturbing it.

Vajra Humkara (https://jagannathavallabhavedicresearch.wordpress.com/2016/05/09/origin-of-vajrayana-buddhism-in-orissa/) was a yogi who lived in Sitavana charnel ground and empowered Padmasambhava with Vajrasattva. The article gives clear Sanskrit names for the Vidyadharas of this group and that Vajramrita was considered Wrathful Samantabhadra.

In Sarvadurgati, we find strange folks showing up to represent the planets or Navagrahas. Some of these are shared with Vajramrita Tantra. Although it is unpublished probably not even in Tibetan, we can distinguish three rings of what are probably the same Eight Vidyas, which is likely the principle of eight major branches from the heart which cover the body in the three modes of body, speech, and mind. It is also possible the rings are increasing degrees of tantric approach, since the sadhana specifies the goddesses arise at the edges and move on to the lotus petals.

The normally-published Vajramrita retinue is:

1. Saumya East
2. Saumyavadani. South
3. Candri West
4. S'asinl North
5. S'asimandala Agni corner
6. S'asilekha Nrtta corner
7. Manojfia Vayu corner
8. Manohladanakari lsana corner

The eight wisdoms defined as part of Heruka Utpatti chapter are:

Sotkaṭā,
Vikaṭā,
Cāṇḍālī,
Ḍombikā,
Piṅgalā, [tawny, brown, yellowish or reddish brown]
Kulinī,
Ugrā,
Dāruṇī

And the remainder that are also defined as vidyas are:

Amritalocana

Varuna

Surupa

Amrita

Aprameya

Amritavajra

Sukhasadhani

Karamudra

Those could perhaps also be classed as peaceful, wrathful, and nectarine or tantric.

There are some, to us, difficult names in the Sarvadurgati Navagraha and in Vajramrita Tantra; but just as Sarvadurgati is converting Hindu deities, this has been already done by Vajrapani, and that is where they come from.

In STTS (https://eprints.soas.ac.uk/28567/1/10672726.pdf), Vajrapani converts Hindu deities into the "external" Vajra Family by giving them Buddhist initiations. It will not directly tell us they are planets, but it does state the epithet Kundalin is "ear-ring", which frequently shows up as "kundala" if we see a Tara description where she has "ear-rings":

“Then, after Vajrapani induced (all the gods) to enter (the
mandala) correctly, he duly revealed the entire maha-mandala,
and initiated them with the vajra-gem-consecrations. After he gave
them the vajra-signs for their hands, he initiated them with the
vajra-name-consecrations. Since all the Tathagatas acted , for the
welfare of living beings, he established (the names).

Then, there followed the performance for the commanders of all three worlds,
for example, Mahesvara was named as Krodhavajra (WrathVajra),
Narayana as Mayavajra (Illusion- Vajra), Sanakumara as
Vajraghanta (Vajra-Bell), Brahmana as Maunavajra (SilenceVajra),
and Indra as Vajrayudha (Vajra-Weapon). Thus, these
gods were initiated as Knowledge-Kings (vidya-rajyaka).

Then, he bestowed (the names) on the commanders of all the gods
wandering in space, for example, Amrtakundala was named as
Vajrakundali (Vajra-Ear-Ring), Indu as Vajraprabha (VajraSplendour),
Mahadandagra as Vajradanda (Vajra-Stick), and
Pingala as Vajrapingala (Vajra-Treasure). Thus, these gods were
initiated as Vajra-Wrathful-Beings (vajra-krodha).

Then, he bestowed (the names) on the commanders of all the gods living in
space, for example, Madhumatta was named as Vajrasaunda
(Vajra-Liqueur), Madhukara as Vajramala (Vajra-Garland), Jaya
as Vajravasi (Vajra-Power), and Jayavaha as Vijayavajra
(Conquest-Vajra). Thus, these gods were initiated as CompanyLeaders
(gana-pati).

Then, he bestowed (the names) on the
commanders of all the gods living on the earth, for example,
Kosapala was named as Vajramusala (Vajra-Club), Vayava as
Vajranila (Vajra-Wind), Agni as Vajranala (Vajra-Fire), and
Kubera as Vajrabhairava (Vajra-Horror). Thus, these gods were
initiated as Messengers (duta).

Then, he bestowed (the names) on
the commanders of all the gods living beneath the earth, for
example, Varaha was named as VajrankuSa (Vajra-Hook), Yama
as Vajrakala (Vajra-Time), Prthiviculika as Vajravinayaka (VajraRemover),
and Varuna as Nagavajra (Serpent-Vajra). Thus, these
gods were initiated as Servants (cetaka).

Then, he (Vajrapani) initiated all the consorts of the commanders
of the three worlds with the vajra-gem-consecration. After he
empowered their own signs with the vajra, he initiated (them) with
the vajra-name-consecration. Since all the Tathagatas acted for the
welfare of living beings, he established (the names), for example,
the goddess Uma was named as Krodhavajragni (Wrath- VajraFire),
the goddess Rukmini as VajrasauvarnI (Vajra-Gold), the
goddess Sasthi as Vajrakaumari (Vajra-Maiden), the goddess
Brahmani as Vajrasanti (Vajra-Tranquillity), and the goddess
IndranI as Vajramusti (Vajra-Fist). Thus, these goddesses were
initiated as Vajra-Queens (vajra-rajanika).

Then, he bestowed (the names) on all the consorts (of the commanders) wandering in
space, for example, the goddess Amrta was named as Vajramrta
(Vajra-Immortal), the goddess RohinI as Vajrakanti (VajraBrightness),
the goddess DandadharinI as Dandavajragra (StickVajra-Best),
and the goddess Jataharinl as Vajramekhala (VajraBelt).
Thus, these goddesses were initiated as Vajra-WrathfulFemales
(vajra-krodhini).

Then, he bestowed (the names) on all
the consorts (of the commanders) living in space, for example, the
goddess Maranl was named as Vajravilaya (Vajra-Death), the
goddess Asana as Vajrasana (Vajra-Eating), the goddess Vasana
as Vajravasana (Vajra-Passion), and the goddess Rati as
Vajravasa (Vajra-Desire). Thus, these goddesses were initiated as
Courtesans (ganika).

Then, he bestowed (the names) on all the
consorts (of the commanders) living on the earth, for example, the
goddess Siva was named as Vajraduti (Vajra-Female-Messenger),
the goddess Vayavi as Vegavajrini (Speed-Vajra-Holder), the
goddess Agnedhrya as Vajrajvala (Vajra-Illumination), and the
goddess Kauberi as Vajravikata (Vajra-Dreadfulness). Thus, these
goddesses were initiated as Vajra-Female-Messengers (vajraduti).

Then, he bestowed (the names) on all the consorts (of the
commanders) of living beneath the earth, (for example), the
goddess Varahi was named as Vajramukhi (Vajra-Mouth), the
goddess Camunda as Vajrakali (Vajra-Death), the goddess
Chinnanasa as Vajraputana (Vajra-Disease), and the goddess
Varuni as Vajramakari (Vajra-Sea-Monster). Thus, these
goddesses were initiated as Vajra-Female-Servants (vajra-ceti).”

These are arranged around Vajra Humkara.

Normally if you query "Vajrasana" you will get Vajra Throne at Bodhgaya; here, it is eating. Kubera is the original Vajrabhairava. Vajravarahi is not an original name for her. Sasthi is "sixth", the sixth lunar night, or sixth Durga, Katyayani. Sasthi is Vajrakumari, is a Buddhist Katyayani. We can suss out the idea of the sun which is Amritakundali--Vajrakundali with Amrita--Vajramrita, the first couple wandering in space.

Dandadharini is a title of Mahalakshmi or of Varahi (staff holder with Lalita Tripurasundari). Jataharini is a child-stealing demon from Markandeya Purana. A poor quality archive of Krsna Yamari says:

In this way it goes on giving the mantra of Irsyavajra,
Mudgaravajra, Dandavajra, Padmavajra, Khadgavajra, and
their Safeties Vajra-Carcika, Vajra-Varahj, Vajra-Sarasvati,
Vaira-Saurl, and Kayavakcittadhisthana mantra;' in short,
the mantras of all the associates of Bhagavan, named in the
beginning. [male Dandavajra is Yamantaka]

Vajradanda (https://www.makersmakings.org/vajradanda-and-later-systems/) per se simply is the "one way".

Daruni (https://www.wisdomlib.org/jainism/book/trishashti-shalaka-purusha-caritra/d/doc213990.html) is in a rare list of Vidyas appearing after the subjugation of Ravana's Yakshas with Gauri, Gandhari, Amara, Santi, Kauberi, Varuni, and others related to this same theme.

The Varuni referred to in STTS is the consort of Varuna; so it is Varuni's mother Varuni who is makara devi. Varuna is never really shown as having a "pattern of descent", he is the deep dark and formless, who at most is simply included to show that he is perceivable. The total Net at its most subtle. Orthodox Hinduism blesses the Conch by Varuna; but in Buddhist Agni Homa, it is by Varuni daughter of Varuni, Samjna daughter of Samjna. And so this rarefied liquid daughter is much in step with the rarefied solar daughter Marici who, in Hindu yoga terms, is probably closer to Daivi Prakriti than to any deities.

Here, we get the basic idea of the three levels of space or sky, on the surface of the earth, and subterranean, the main categories of goddesses in tantra. There is a beginning group of five, and the other rings are four-fold.

I cannot mete out all the details, but it seems this batch of deities through STTS-->Sarvadurgati-->Vajramrita Tantra is at its core completely consistent with everything we have put together.

It is possible some of them are in Dakini Jala since we do not know all the retinues. It is said that Vajramrita appeared in the world because Gambhiravajra propitiated Vajrasurya (Vajra Sun or Ratnaketu or Ratnasambhava, Jewel Family) by means of Sarvabuddha Samayoga Dakini Jala tantra in Sitavana cemetery. This attaches to Samvarodaya, or Chakrasamvara Dharmodaya, which specifically says it was written at Ratnagiri, whereas most tantras are extremely reticent about their composition. So again, I would say this whole thing is completely historically continuous and intact, is a direct portal to Indian Buddhism in its then-current understanding. Beyond a point, it is un-translatable, or, to utilize a single word, takes a whole study on it. But this is even almost the same as the Japanese definition of esotericism: that learning the many meanings is exoteric, internalizing them until they are simultaneously present is esoteric.

shaberon

18th August 2020, 17:55

There are a few different ways of handling dharanis. There is the roster in Namasangiti, which could be applied to astrology and Tara days. In Nepal, there is also a "seven days of the week" formula. But there is also a Nepalese system of Dharanis as used with Navagraha:

Aditya -- Sun -- Vasudhara -- Sunday

Soma -- Moon -- Vajravidarani -- Monday

Mangala -- Mars -- Ganapati Hrdaya -- Tuesday

Budha -- Mercury -- Usnisa Vijaya -- Wednesday

Brhaspati -- Jupiter -- Dhvajagrakeyura (or Parnasabari or Prajnaparamita) -- Thursday

Sukra -- Venus -- Marici -- Friday

Shani -- Saturn -- Grahamatrika -- Saturday

Rahu -- Parnasabari

Ketu -- Pratyangira

One might conceive how Vasudhara is solar if thinking of the occult sun as being Jewel Family, but, I am not sure how Marici got applied to Venus, other than a blog comment suggests that verbs in her Dharani indicate a connection to Venus and/or Mercury. I cannot see this in Tibetan and English (https://www.lotsawahouse.org/words-of-the-buddha/marici-dharani) or Sanskrit (http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/4_rellit/buddh/maricdhu.htm). It does say she "travels before the sun and moon", she is not Surya, she is something invisible in the pre-dawn twilight, wherein Venus is usually the visible entity. Her dharani mantras are something else since they use playful twists on Vetali and Varahi.

Nine is a specific to Nepal classification which I would maintain is equivalent to a system of Seven, because that is Six Families plus something that soon has to be described as Three-in-One. Seven Families can arguably be derived from Shurangama Sutra and from Sarvadurgati Parishodana. We would then reason that Heruka Completion Stage relies on Seven Syllable deity, which itself relies on the Seven Jewels of Enlightenment.

Sarvadurgati achieves Seven Paramitas. The Seven Bhumis are for defeat of the Maras. Buddhaguhya interprets bhumis eight and up as the Perfections of the Seventh Bhumi. First Bhumi is stream-entry, path of seeing, darshana marga. Meditation or bhavana marga is stages 2-7, the last ones are consummation. Seven covers the entire Path, except for the Irreversible Bodhisattva Path.

Seven is not a common number in mandalas, but, we have found a Naga Hood or what we might call a Hydra used by Nagaraja Bodhisattva, Nagarjuna, Dombi Heruka, Janguli, and Amoghasiddhi (Janguli calls it Sapta Phana Bhoga). And so when the minor Red Avalokiteshvara emits his deities, it is hard to miss Varuna on a Makara with the hood, closely followed by Ananta, who is similar (Varuni is his embodied radiance):

https://www.himalayanart.org/images/items/resized/2000px/1/0/0/100013.jpg

Someone else is the main operator of Varuna's apparatus.

Janguli only has a mandala in Krsna Yamari Tantra:

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

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

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

om phuh jah

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

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

Her Yellow form introduces the syllable Phuh, uses weaponized Gatekeepers, Offering Goddesses, Yellow Mayuri, Red Bhrkuti, Dark Parnasabari, and Blue Vajrashrinkala; Feathers, Gourd, Branch, Chain.

Phuh is specifically for Ananta in Sarvadurgati Parishodana, it also could be all nagas (https://books.google.com/books?id=NHN6KTAVR28C&lpg=PA473&ots=zBHDqoH4Or&dq=phuh%20ananta&pg=PA473#v=onepage&q=phuh%20ananta&f=false), or Varuna Nagaraja (http://www.thlib.org/static/reprints/jts/JTS_SL_05.pdf) according to Alex Wayman. Only in the tantra does she directly use this syllable; however, her dharani includes the only instance of playing around with it: "Phutte".

So she has a white form which has been described as tantric Sita, and a Yellow form which has its own sadhana, but also performs in Krsna Yamari Tantra and brings in Shrnkala.

Sadhanamala appears to have one use of Green Janguli in #121, who is saptaphaṭvirājitamūrdhajaṃ, or sapta phat virajita murdhajam, Seven Phat syllables (eminent, brilliant, adorned) (in her hair or head-born from her or a crown). She has trisula and mayuri piccha or plume; sarpam or sarpa is the term for serpent here in another hand, and the fourth is "prasāritābhayam". This seems to be a type of Abhaya mudra.

I cannot be sure what it literally says, but, it is not too far from each serpent in the hood being a Phat that attacks hindrances and purifies skandhas. There are only two Vajrakayas in the book--Manjuvajra and this one, her Hrdaya or heart form:

121.

atha bhagavatyā hṛdayakalpaṃ vyākhyāsyāmaḥ / oṃ asijihve
śrūlajihve vajrakāye grasa grasa jvala jvala mahājvāle
mahāyogeśvari huṃ huṃ phaṭ phaṭ svāhā / daśasahasrajāpāt
sarvaviṣakarmaśamanasamartho bhavati / japaścānena vidhinā
kartavyāḥ / trikālasnāyī madyamāṃsavasāpalāṇḍutailalavaṇa-
vivarjitastrikālaṃ japet yāvad daśasanasrāṇi /
tataḥ siddho bhavati / paścāt karmāṇi kārayed anena
vinyāsena /
prathamaṃ tāvan mantrī ātmānam īdṛśaṃ cintayet kumāryākāraṃ
haritavarṇaṃ saptaphaṭvirājitamūrdhajaṃ caturbhujaṃ ekamukhaṃ
ekahastena triśūlaṃ dvitīyena mayūrapicchaṃ tṛtīyena sarpaṃ
caturthe prasāritābhayam / sarvāṅgena nūpuramekhalāvalayakuṇḍalādīn
sarpākārān citayet / ekaikasmāt romavivarāt
agnijvālāṃ samantānniṣkāśamānāṃ vicintayet /
evam ātmani kalpayet ahaṃ tāvad devatā / tataḥ sarpadaṣṭakaṃ
purataḥ saṃsthāpya tāmrādibhājane udakaṃ pratiṣṭhāpyānayā
vidyayā saptavārābhimantritaṃ taṃ sapta vārān śiraḥprabhṛtiviṣam
ākṛṣya tato daka eva prakṣipet punaḥ punaḥ / etena
nirviṣo bhavati / calaṃ ca viṣaṃ yaṃ yam evāṅgaṃ muñcati
tasmin tasmin sthāne mṛttikayā saptajaptayā dhāraṇībandhaṃ
sarpākāravalayayogena kārayet / etau mudrāṃ sarpākārau /
huḥkāraṃ muñced daṣṭakasyāṅge pibantam iva viṣaṃ cintayet /
evaṃ karmasiddhir bhavati nānyathā /
ity āryajāṅgulyā bhagavatyāḥ kalpaḥ samāptaḥ //

"calaṃ ca viṣaṃ yaṃ yam evāṅgaṃ muñcati tasmin tasmin sthāne mṛttikayā saptajaptayā dhāraṇībandhaṃ sarpākāravalayayogena kārayet" has calam, probably motion, visam, poison, yam or wind syllable, then evangam, probably "in that condition", muncati "loosens, releases, emits", tasmin sthane "in that residence" and gives us something called mrtti kaya which would mean death kaya, followed by, recite seven times her dharani (serpent [hand or maker] [bracelet, circle, mandala] yogini) (is compelled or becomes known).

Next, "sarpakarau mudra" or some kind of serpent hand, followed by huhkara; Nagas in Sarvadurgati are summoned by a Hood gesture. So far, she is not an identical, but like a feminized version of what Vajrapani is able to do with Eight Naga Kings. And so instead of the total cemeteries, she is more like the inner process of bodhicitta; she is never a naga and does not always have the hood, but she can use it.

"Huh" would seem to have no particular use, however, the Aryan Kriyakalagunottara uses it in Nilakantha's Meghamala Vidya or Garland of Clouds, whose purpose is to free one from all poisons. If bitten, it then invokes "Lady whose form is nectar" to determine which caste of serpent caused the wound, and responds with various seed-syllables. This is from a study of Garuda Tantras.

It is a linguistic seed, in that huh plus ah or ha makes the sound of laughter (Tathagata Family). Same root as Hah or Hoh. If it appears anywhere other than Garland of Clouds, I am not sure. Sarpa occurs once in Rig Veda where Ahi is usually found.

Bhattacharya also noticed she is alike Manasa Devi and Visahari; visam seems to be the word for poison in her sadhana.

For her Yellow Form (in verse):

oṃ namaḥ śabarakumāri
ye cūrcchacāḍi cālaya cuccālaya saṃghaṭṭani mattamātaṅgi
aḍaviddhe ahe oṃ jaḥ svāhā

Motion, repeated motion, then Samghattani is probably "sagghatana", encouters, meets, is in close union with, Mata Matangi. Ahe is "a particle", adaviddhe is probably a play on adhi vidya, science, or has acquired knowledge from. Hard to say for sure, but, in white, she got Sarasvati's syllable, and the lute, also used by Matangi, and this also makes her seem as a bridging goddess between a general outer one, and a highly charged magical one.

Then her large dharani is given. Next her short mantra (Yellow form prose):

oṃ jāṅguli sarvaviṣapraśamani huḥ svāhā

Then there is a Mahavidya expansion of her dharani, then the Green form. Then the last, White, is based from Ah Hrih Hum. It refers to jnanasattva samaya and Four Activities, and Hrih is her seed here. So White Janguli is not far from Sarasvati and Prajnaparamita, with the addition of a snake.

For her white form, after several depictions of "sukla", there is:

sukhāsanopaviṣṭo jagati maitrīkaruṇāmuditopekṣāṃ

Something about sukha, or bliss, then Jagati Maitri Karuna Mudita Upeksa.

Her visualization starts from Pam, emits a White Lotus, then a Moon Disk, upon which is Hrih. Shortly thereafter:

'kṛṣya gaganasthān jñānasattvasamayasattvān ekīkṛtya vibhāvayet
jaḥ huṃ vaṃ ho prayogeṇeti / punar api hrīḥkāraraśminākṛṣṭāḥ
sarvatathāgatā gaganasthāḥ sattvārthodyataṃ māmabhiṣiñcantu

Sthan is the same as "stan", home or residence of. So it twice refers to Gaganastan meaning Sky or Space is the residence. Akarsya (hook) (from her abode in space or sky) (gnosis being, samaya being) (gathered or unified) (causes to arise or appear) (four activities) (accomplishes yoga).

It goes on to recite Hrih seven laks (= 100,00), and something about seven white flowers. So we could say seven us a number highlighted by, or characteristic of, Janguli.

I will never figure out Jainism, but there is also some consideration that the mysterious Padmavati is Janguli.

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

Receptacle of the Sacred explained MSD3 as Prajnaparamita becoming Vajradhatvishvari by appropriating Six Arm Arch (Stupa) Marici and radiating light. This Arch form is rare and not among most known sadhanas; Six Arms is usually her Bay Green Horses (https://www.tbrc.org/#!rid=T739) form; compare to Arch (https://books.google.com/books?id=jtWCrY34h_0C&lpg=PA156&ots=V76yuIveUr&dq=marici%20six%20arms%20arch&pg=PA156#v=onepage&q=marici%20six%20arms%20arch&f=false) form. The authors believe this to be the Esoteric form of Prajnaparamita, i. e. generated by Prabhasvara. Quoting Sarvarahasyatantra, they say the goddess residing in the heart, causing the yoga of the yogin, the Mother of All Buddhas, is called Vajradhatvishvari (Queen of the Diamond Realm).

MSD4 has the retinue at first as Green Janguli with snake, Green Mayuri with plume, Durgottarini, Khadira, and Vajra Tara. Then, it is a higher-ranking scheme with Krsna Yamari, etc., that has Eight Arm Vajra Tara and puts Eight Arm Marici and Two Arm Sita in place of Janguli and Mayuri. This shows Sita as a potential consort to Vajrasattva, and already showed Durgottarini and Khadira with Krsna Yamari and Vignantaka. The un-coupled Hevajra and Samvara would be suggested with Eight Arm Marici and Vajra Tara. Prajnaparamita would mate with Enlightenment. This male enlightenment deity is "ambiguous", "possibly Manjuvajra", but is given the name Maravijaya. This is a Yellow Six Arm form in a "shrine", with a sword, bow and arrow, flower, with the principal arms crossed in front of the chest. So Six Arm Vajrasattva-Manjuvajra is thought to be the one under this one, who would merge with Two Arm Sita. This is about all that can be said for a damaged manuscript that uses Ratnagiri Taras.

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

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

https://www.himalayanart.org/images/items/resized/2000px/7/9/1/79151.jpg

Vajravali detail:

https://www.himalayanart.org/images/items/resized/2000px/8/1/8/81826f.jpg

Mandala (https://www.himalayanart.org/items/2110):

https://www.himalayanart.org/images/items/resized/2000px/2/1/1/2110.jpg

Old Student

18th August 2020, 23:47

Yes, that would actually be one of the better ways of describing it, love and sex is a lure towards Dharma. If a body is neglected, abused, etc., it correspondingly damages the subtle body and there is not much basis for cultivation of inner bliss. And so if Kurukulla and Katyayani are both seen as making mundane relationships work, that is actually fine, as long as one is not forced to see this as the be-all-and-end-all of what they can really do. It is like the tip of their iceberg.

You paired Kurukulla with Katyayani, so I ended up looking for Kurukulla amongst the names of Durga, and there is a Kurukullavirodhini which is the "Confronter of Duality". The constituent parts of the name make Kurukulla who induces love the dual-opposite of Virodhini who causes quarrels.

This notion that there are a single set of deities and as they move to different levels they become a different set of the same number sounds right for Ekajati as I perceive her at least. She is different people when she is doing different things.

Thanks much for the whole story on Rahu and Svarbhanu on the immortality and Amrita thing.

Old Student

19th August 2020, 00:03

Aditya -- Sun -- Vasudhara -- Sunday

Soma -- Moon -- Vajravidarani -- Monday

Mangala -- Mars -- Ganapati Hrdaya -- Tuesday

Budha -- Mercury -- Usnisa Vijaya -- Wednesday

Brhaspati -- Jupiter -- Dhvajagrakeyura (or Parnasabari or Prajnaparamita) -- Thursday

Sukra -- Venus -- Marici -- Friday

Shani -- Saturn -- Grahamatrika -- Saturday

Rahu -- Parnasabari

Ketu -- Pratyangira

These are mostly the same correspondences of days of the week that are in Hindi as well.

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

The Chinese caption at the bottom does say "Marici", albeit uses a set of characters not used currently with annotated characters underneath (common in some scripture things).
But it calls her a Buddha (Fo Mu, 佛母), specifically not a Bodhisattva or a goddess.

Vajravali detail:
She is in the womb (Dhatugarbha) part - reliquary - of a stupa? Is that also what the Mandala image is depicting?

Old Student

19th August 2020, 00:25

I should mention that I was "drilled" on dissolves again last night and during the sort of "testing" part, was corporeal but all liquid, dark blue in color with edges in red-rimmed yellow, and constantly changing, while I had to try to keep myself on a "fulcrum" of dissolve/"no mind". I slipped off of it a couple of times and was able to regain the balance point but then after that i could not. The colors "felt" like they were "waiting to be colored", as usual, the liquid visually seems like mist but sensorily seems like liquid.

shaberon

19th August 2020, 08:07

These are mostly the same correspondences of days of the week that are in Hindi as well.

It is one and the same time system east and west. You set up the seven main planets on a candelabra, short periods towards the inside, and when you go round counting, it sets the twenty-four "angels of the hours" and then the next hour for the next day is always shifted four from the previous. We still use it today, this very moment, the Latin, Greek, and Germanic versions are all the same. Nepal's days are no different, except they tell you to go off and meditate on a Buddhist Ganapati Hrdaya--Siddhi and Gauri from Hinduism. Here, perhaps we should remain aware that Gauri and Gauri are two totally different beings, even Buddha specifically states first and second Gauri.

She is in the womb (Dhatugarbha) part - reliquary - of a stupa? Is that also what the Mandala image is depicting?

Yes. I had not paid much attention to the fact it is only the top. I believe this is what was called "trefoil arch" in Receptacle of the Sacred Figure 3.1 (later they equate it to caitya) which calls the standing reverse-stance Marici having six arms, Vajradhatvishvari. That one has Vajra, Arrow, and Needle, then Tarjani with Thread, Bow, Akosa Branch--and one normal face, a green one, and a blue pig face. They say it matches nothing and she is "qualified" as Vajradhatvishvari because she faces Vajrasattva.

I think they are playing loose with the names. They made the thesis, "Prajnaparamita becomes Vajradhatvishvari by appropriating Marici and radiating light"--roughly correct but, it is someone just like me or us trying to put together the clues. We can provide one small sadhana that has Utpatti and Nispanna Prajnaparamita, so, we could say for sure she is an esoteric evolution. But once we are done with that set, there simply is no more Prajnaparamita, by name. She "is" an abundant number of other deities, until being equated with Guhyeshvari. It is all only one thing, but, it has different names in different circumstances. There might be a conceptual Vajradhatvishvari if one was trained in Guhyasamaja but not able to do it, whereas there is a real Vajradhatvishvari anyone might encounter, Buddhist or not. However in Buddhist practice, the fully-developed one is the biggest Marici, nothing unclear about that.

We do see in these manuscripts the use of Durgottarini, just like Dhanada is with Seven Syllable deity. Their use-by-name is in a highly syncretic esoteric position.

I do not think we can just decide to call something Vajradhatvishvari, most Maricis do not have this role, it is singular on her. It should not be too surprising she faces Vajrasattva, well, she is also Vajrasattva Ishvari. She is the only one I can think of who is multiple kinds of Ishvari.

The known six arm Maricis are the one above for the mandala, and the one with horses. Once we examine the items these forms have, the "custom" one is really no different. Recent Tibetan:

https://www.himalayanart.org/images/items/resized/2000px/8/1/6/81639.jpg

https://www.himalayanart.org/images/items/resized/2000px/5/2/5/52548687.jpg

Ancient Indian stonework:

https://www.himalayanart.org/images/items/resized/2000px/6/4/6/64647.jpg

Looking like Figure 3.1 yet?

These are not part of Sadhanamala; I was unable to find a six arm one at all. The one from the mandala is a stupa deity, so, the questionable one is probably this, just more aggressive. The one in the middle detail in the prior post has blue pig face and is doing an unusual Japanese seiza, whereas the other two have fancy pants. So you already see a variant on the same thing. Because those two (Horses and Mandala) are the primary, if not only, Maricis followed in Tibet, it should not be too surprising if this is the one used as the base model in the rare manuscript.

If we task the big Drikung Ekajati (Sweat-born from Buddha) who has all the big Maricis, I think we might still find a missing pair of arms or changed item, but this will not remove the fact that they are Sadhanamala Maricis. If we go back over Green Janguli, for some reason, they also see her as part of this. I am just following the leads, and nothing says that Janguli is doing something like Vajrapani with all the nagas, just like nothing says Sukla or Sitabani have anything to do with Smasana or Cemetery Meditation in full detail, but once you set up the definitions with the evolution of mantric syllables and changes in form and location, then you do get a crazy carnival ride which is actually a precisely-tuned and engineered mechanism. With goddesses, it is less important that they "mean" it verbally, but they "are" it in terms of experience. Sitabani was physically probably the main tantric dissemination center "outside of school", and if that becomes a type of protective deity who moves from fire and mantra into the meaning of her name, cool forest, in Air Element, then perhaps Touch Object leaves air and enters the center space as in Guhyasamaja.

It is partly an issue of, how many minor changes is one allowed to make to an image? Usually the stuff produced by a mill or for a monastery is highly conforming to scripture, whereas things made for private donors will show a few changes to the deity forms, or highlight a combination they practiced which isn't obvious from the books.

I bet twenty cents that we could get either Kurukullavirodhini or a plain Virodhini somewhere in the Buddhist sadhanas or tantras. That sounds familiar. Virodhini comes from the same section of Markandeya Purana where we just found a Vajramrita deity.

Now I think the arch-name Vimala is inclusive of the Sodashi (Sixteen) Kumari (Virgin) whether expressed as Katyayani or Kurukulla, Varahi, or possibly even Mayuri, so really what we are looking at is what exactly is Stainless and, oh, it is at the power of a Bodhisattva Bhumi. As long as you are not doing something silly like trying to make Dhumavati sixteen years old, then they all are conducive to the understanding of that state and the holding of its power.

Ekajati is weird. She may, at times, destroy souls, but I would just look at her with that knowing grin that "it was not by your volition, it was their own". Then we would laugh. I am just too comfortable with wrathful deities, the most elaborate practice I have done was Chod where you become a moat of your own blood and so forth, and it had little effect on me. I'm not scared by anything, so, Vajrabhairava can have nothing that disturbs me. Perhaps my worst sin is Irsya--Jealousy (Karma Family), which is less "I want what they've got", but more of an issue with inequality. I go berserk over this based on self. Yes, behaviorally, I try to find the most appropriate ways to work on obstacles, but, psychologically, it throws me into an uproar.

I believe I understand Karma almost completely and still quite possibly have it as biggest weakness, which is more or less what it means to be "of" a Family. The rest of them I understand fairly well and sin against mildly.

Ekajati is like Mahacina Tara except she can become White Heruka or massive Viddyujvali, and can somehow launch out a Red Vajrayogini. She is in a lot of retinues and continues to do weird things like turn white or enter Lotus Family. I will have to dig it back out, but, in the tantra, she is completely convuluted. Parnasabari is a stronger form of Gauri or Vetali which is a Pisachi or Tramen. Ekajati and her ilk however are the Rakshashi. From the get go, these would be considered one's worst enemies, but all are some part of the aura to be converted to Dharma.

Here we go. So, in some instances of mandalas, we can find a "double Marici" in the east--and, similarly, in perhaps the only other Hexagram retinue besides the ones discussed, it goes like this.

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

https://www.himalayanart.org/images/items/resized/2000px/9/0/5/90549.jpg

Old Student

19th August 2020, 23:58

I bet twenty cents that we could get either Kurukullavirodhini or a plain Virodhini somewhere in the Buddhist sadhanas or tantras. That sounds familiar. Virodhini comes from the same section of Markandeya Purana where we just found a Vajramrita deity.

Now I think the arch-name Vimala is inclusive of the Sodashi (Sixteen) Kumari (Virgin) whether expressed as Katyayani or Kurukulla, Varahi, or possibly even Mayuri, so really what we are looking at is what exactly is Stainless and, oh, it is at the power of a Bodhisattva Bhumi. As long as you are not doing something silly like trying to make Dhumavati sixteen years old, then they all are conducive to the understanding of that state and the holding of its power.

I found Kurukulla and Virodhini in lists of Kali Nitya Devi and this list of Kali's names (https://www.yoginiashram.com/kali-64-yogini-namavali-sacred-names-of-the-great-goddess/) (64 Yogini Namavali). In them, Virodhini seems to have something to do with "self".

In the statue of Marici you showed, Marici appears to be giving birth to herself? When I looked it up in Himalayan Art, they give yet a different Chinese name for Marici, this one not transliterated, "具光“ literally the Instrument of Light.

Ekajati has been doing a lot of "smoothing" lately, her outburst about destroyer of souls notwithstanding.

I had a "test" last night and flunked. I was unable to do a completely unassisted dissolve, and the best I could do unassisted with the breeze was kind of spread out into it, which is far short of "being" it.

shaberon

20th August 2020, 03:08

In the statue of Marici you showed, Marici appears to be giving birth to herself? When I looked it up in Himalayan Art, they give yet a different Chinese name for Marici, this one not transliterated, "具光“ literally the Instrument of Light.

It possibly is birth; I just took it as "emanated as charioteer". What I see is that Vajra is her main item like Vajra Tara, neither one of them are in Vajra Family, just have the name and the item.

Marici's outer forms are Akosakanta, which I believe is her samaya, and Needle and Thread, which is obstacle removal. Both units are obviously incorporated into the six arm one, along with the shared items.

Both Amritakundalin and Khandaroha are like obstacle removal with what is usually called an All-Purpose Mantra in the tantras.

The inscription on the reverse of the large Marici mandala begins:

om sarva vidya svaha

which as we have recently seen, is the Adi Buddha mantra of Nepal meant to conjoin with Guyeshvari and the rest.

Perhaps what you are experiencing is non-dualization in all of the 72,000 or 84,000 branch nerves.

Here is the difference between outer retinues that I use and something like Marici mandala, where the image has a meaning similar to things we mentioned:

Before the meditating person arrives at the mandala gates, she must, however, pass the four outer circles: the purifying fire of wisdom, the vajra circle, the circle with the eight tombs, the lotus circle. These are the circular borders of mandalas:

fire of wisdom: the outermost circle consists of the purifying fire
vajra circle: the diamond circle expresses strength and fearlessness
tombs: there are eight tombs, which symbolises the eight states of consciousness, which the person must go beyond
lotus circle: expresses the open state of devotion, that is necessary to enter the palace

Marici is a feminized version of Savitri from the Puranas:

Name of a sun-deity ([according to] to [Naighaṇṭuka, commented on by Yāska] belonging to the atmosphere as well as to heaven; and sometimes in the Veda identified with, at other times distinguished from Sūrya, ‘the Sun’, being conceived of and personified as the divine influence and vivifying power of the sun, while Sūrya is the more concrete conception; [according to] to [Sāyaṇa] the sun before rising is called Savitṛ, and after rising till its setting Sūrya; eleven whole hymns of the [Ṛg-veda] and parts of others [e.g. i, 35; ii, 38; iii, 62, 10-12 etc.] are devoted to the praise of Savitṛ; he has golden hands, arms, hair etc.; he is also reckoned among the Ādityas q.v., and is even worshipped as ‘of all creatures’, supporting the world and delivering his votaries from sin.

The daughter of the Sun. This Sāvitrī is the elder sister of Tapatī. Brahmā married these sisters.

The goddess Savitri is the presiding deity of the Suryamandala or the solar orb along with its aura. She is said to be the mother of the Vedas. Brahma in his role as custodian of the Vedas was the first to worship her.

So the Buddhist Marici is less the solar orb, and more its

Divine Influence and Vivifying Power

as was more frequently historically applied to a male Savitr. But then as soon as she may be a daughter of the sun, Tapati is there, i. e. Tapas--Vairocani.

Marici's Needle is called Suci (https://www.wisdomlib.org/definition/shuci) which is one of the first three sons of Agni and Svaha called Solar Fire.

Agni Yoga is based on three main fires, Prithvi in Manipur chakra, Sky--Pavaka--Vaidyut--Watery Fire--Lightning--Heart, and Agni Savitur Prajna--head. There is also a facial fire for invocation, and others, but it is based in a Trinity.

Male Agni is present but this must also be understood as three shaktis Iccha, Jnana, Kriya:

“ TRI-AGNI MAHA SHAKTI VIDMAHE

DATT SAVITRI DHI MAHI

KALYAN ARTHE PRACHODAYAT"

And so the shaktis of the three major Agnis are Savitri, so it is still Marici and why Agni Homa is involved in Buddhism. Evidently the way it describes inner forces is highly similar. And rather than yoga, the most appropriate term is probably Agni Vaisvanara or the practice of Yajnawalkya, Janaka, and Sita in the same Nepalese borderland shortly prior to Buddha.

Iccha, Jnana, and Kriya are Sarasvati, Lakshmi, and Gauri, the last being that state of prajna of the head which manifests Higher Yoni Triangle.

In the families of Agni, some of the fires are considered "mobile", and some are not. The crux here seems to be with one Samsya "Problem", who is something like shattered and being restored.

Fixed Fires, sons of Samsya, include the Ocean Fire, and Rtudhama in Udumbara Forest with Brahma Jyotir Vasu. It is this Rtudhama I took to be akin to Sitabani.

In the Puranas, you find:

the excellent god, Rtudhama - the lord of the gods, Suci and Sukla are to be worshipped.

(Jupiter, Sun, Venus)

Vayu Purana (https://om-aditya.com/userfiles/ufiles/purany/vayu_purana.pdf) says Rtudhama lives in Udumbara Forest, right before Brahma's region which houses Brahma Jyotir Vasu.

Brahma's region or Brahmasthana is a "cleared-out center" of a house, navel, heart, etc.

Brahma Jyoti (https://answers.yahoo.com/question/index?qid=20110516114148AAjQ7Zn) is accompanied by inner heat, can produce Bliss, but not Increasing Bliss. It has effulgent light and primordial sound. So this aspect of Agni has everything to do with regulating inner heat for the purposes of yoga, along with a forest aspect, which usually indicates cooling.

The Agni at Brahma Jyotir is Vishvavyacas (https://www.wisdomlib.org/definition/vishvavyacas), All-Embracing or Aditi.

Udumbara is a fig or custard apple, but also the name of a Kasyapa Gotra of Tattirya Brahmans of Krsna Yajur Veda, who use Vishvavyacas (https://www.wisdomlib.org/hinduism/book/satapatha-brahmana-english/d/doc63140.html#note-e-34399) also as a name for a certain cow.

Agape

20th August 2020, 03:14

Old Student, you’re right with “there’s no thoughts to digital transcription” but we are good with images ( thanks to Shaberon ) 🌟🌟🌟

I struggle with it all my life finding my neural connections are to slow to catch up with my mind flow to write as a think.

Just reflecting in my thoughts on your sadhana here and what I’ve experienced in the past ( long story, most parts were never told ..especially from the years in monastery, before and after ..it was not a habit we would ever discuss experiences : this kind of practice is still missing in broad Buddhist sangha sometimes to our common disadvantage and as I’ve observed with my parent and grandparent generation they had to learn to accept talking of personal experiences , it’s a process ).

There is also something greater coming through that process, something like observable evolution of life force , trained mind expansion process, no, not many people can see it quite yet and few are even on the edge of “entering the stream” and so many keep fighting the Life Force challenging them because they don’t want to change because someone hurt them too much and ordered them to stop and give up on evolution.

But what happens to those who have reached culminating point of their practice and transcended its levels to where no other being has gone , what happens to those who love everybody too much for the beauty of it ,
what happens to the wise man who after many years of struggle , finally, looses the last chains of his mind to become divine fool ?

My true dream is that we touch the greater Dream of greater Reality of Space and Time with our dreams, purified and magnified and then, I’ve seen it happened ,
the Mother of Reality dawns on us and minds of all are healed and awakened to see clearly what we see in rainy mornings,
crystal clear drops and rainbows in the mist

That powerful consciousness exists from Outer Space

And ..it appears as if empty of inherent existence.

Yet it stabilises the time and perfects all the rest

🙏🌟🙏

shaberon

20th August 2020, 06:47

..it was not a habit we would ever discuss experiences : this kind of practice is still missing in broad Buddhist sangha sometimes to our common disadvantage and as I’ve observed with my parent and grandparent generation they had to learn to accept talking of personal experiences , it’s a process

My true dream is that we touch the greater Dream of greater Reality of Space and Time with our dreams, purified and magnified and then, I’ve seen it happened ,
the Mother of Reality dawns on us and minds of all are healed and awakened to see clearly what we see in rainy mornings,
crystal clear drops and rainbows in the mist

That powerful consciousness exists from Outer Space

Yes, that was the schism I had with a formal sangha was the relative lack of discussion, and I found it was just some of the highly trained Rinpoches who could understand me.

In Space our seventh principle is a Zero Point "perceived everywhere, found nowhere" with the bounding circle being its reflection through a well-trained meditative consciousness. It occupies All Space and has Permanent Duration.

And so yes, we ought to magnify a feedback loop to it.

A major, but not ultimate, component of this is Deathlessness, which is a subtle yoga based from Amrita or Nectar. Theosophy would have been much more clear if they had stuck to Master's request to call the "monad" by the name Amrita. Then we have an obvious way to show it means certain spiritual and physiological guidance.

As in Samputa tantra, we are instructed to conjoin our Buddhist practice with an Agni Homa, which may be performed as an Inner Homa. One can also say that the Vedas were authored during trance-possession by Agni, state of a Kavya or Poet, and so this is being re-created on a personal level, one will know the Vedas in the inner sense (timeless).

Again there is a pattern of how Agni entered the manifested universe, and then the various fire sacrifices are a return to him, and ultimately we will just burn out our ego.

Agni is a very bulky, difficult character in the sources; and I think with a few passes, we can comb out a few notes which will explain his major basis (some of my notes are rough). Why would we do that, if we are only talking about Fire Philosophy, which is the Central Asian root of eastern mysticism and western alchemy, hidden in garb, mostly complete in Nepal?

This is about Nectar of Immortality, the origins of Hayagriva, and in particular the Aswins, called by HPB "the most occult deities". Yet they are the ones represented on rooftops in Lithuania. No one really knows about them, although at least one author has remarked that this type of tantra is pursuit of "Aswin shakti" which is Immortality. When we go through it, it will "handshake" with how we are taking Varuni and Vairocani as especially from Brahmanda and Vayu Puranas into Buddhist sadhanas.

Agni is the relation from the Great Bear to the Pleiades to the Ganges:

Agni's wife Svaha represents the star Zeta Tauri, which is the tip of one of the horns of Taurus. Svaha was desperately in love with the god of fire, Agni. Unfortunately, Agni was infatuated with the seven Krttika, who were married to the seven Rishis of the Bear. Svaha then disguised herself as the Krttika and conquered Agni's love. Six times, Svaha made love to Agni, who believed that he had conquered the attractive wives of the seven Rishis. Svaha could mimic only six of the Krttika since the seventh sister, Arundhati, was too devoted to her husband to be imitated. After a while, Svaha gave birth to a child that she named Skanda (Mars). With his birth, rumors began to spread that six of the Rishis' wives were his mother. The Rishis divorced their wives. Arundhati (Tara) was the only one that remained with her husband as the star Alcor. The other six Krttika went away to become the Pleiades. She is the only one invoked in the regular daily ghee offering.

So Skanda--Mars is really the son of Aerial Flame in Maha Sunya, of Svaha acting as Six Bear Shaktis, with the Seventh fully veiled or uninvolved. I think this explains both why we have Mars detached from his mother as a Fiery Veil pursuing a secret shakti in a hexagram under Varahi, and why the role of Taurus is stamped as a time reference for the Fixed Cross. It also suggests an interaction of electric fire and Varuni.

To look at the complex descent of Agni and Svaha from Matsya Purana Chapter 51, Vayu Purana Chapter 29:

Brihaspati, Atharva, Ushana (Venus) are the main families.

Their first son was Pavaka, fire from water (Abgharba, worshipped with Varuna) or lightning (also Daksinagni or Vaidyuta). His descendant fire is Saha raksa, fire of the asuras. Pavaka just means brilliant and pure. Vaidyuta is lightning, but it would have to be called Sikhin-Vaidyuta to be fire of lightning. From Pavaka, the fetus of waters, come Avabhrtha, Hrcchaya (in the belly, digestion), Jathara (gastric, in the belly), Manyuman (lord of living beings), Samvartaka (consumes ocean's waters, mare-faced, Brahma's region), Saharaksa, Ksama (burns human habitations), then Kravyid (consumes the dead). Vaidyuta is missile of the gods, Water Thunderbolt, from the clouds: Varuna explained this to Atharvan. Because we may interpret Vajra as Thunderbolt, we may call this missile Apas Vajra.

Sikhin (Peacock--Ketu) Vaidyuta appears to be a special case of lightning related to Varuni and Atharvan in the (purified) Human fire.

Second son Suchi or Saura (Ahavaniya, drinker of waters), which is solar fire (Ayus, 2nd principle of ether); his descendant fire is Havya vahana, fire of the devas. From Suchi, son of the sun, kindled by Gandharvas and Asuras by Friction, come Ayus (in the animal), Adbhuta, down to Rukmavan (in gold, jewels, shinys). In the lesser fires, it looks like anyone can be a Havya Vahana, or carry sacrifice away. Vayu Purana makes these fourteen Vahnis (vehicles) of Suchi.

Third son Pavamana (Garhapatya) is fire from churning the Arani, or friction. Arani is sticks from the Bodhi Tree. His descendant fire is Kavya vahana, fire of the pitris--in this sense, "Vahana" is a vehicle, specifically for the pinda or riceball offering, i. e. bindu. Pavamana, itself, means "purified"; also a name of Soma. Its descent includes first son Samsya ("Problem"), identified as Havya Vahana in the Vayu, and Pavamana's second son is Sukra--Venus. Samsati--Samsya had two sons Sabhya and Avasathya, and then the Samsya Havya Vahana was happy about sixteen rivers. Then the Ahavaniya (Havya vahana) fire "loved sixteen rivers", from Sita in the Tarim to south India.

From the Vayu:

Three Fires:

Pavaka--Subterranean (Form): Electric, or Magnetic (Vaidyuta) when mixed with Water (Varuni), Watery Flame, Amrita; Dakshina ritual fire; parent of Saharaksa Asura fire

Pavamana--Terrestrial, from Friction: fire of Humans, Laukika (Mundane), Taijasa; Garhapatya ritual fire; parent of Kavya-vahana Pitri fire

Suchi--Solar, Saura (Celestial), Formless: Prajna Akasha, Aerial Flame, Ahavaniya ritual fire; parent of Havya Vahana Deva fire, Sarva Vasu, and Mahish Asura

Those are Fixed Fires (Sthavara). Cardinal Cross or Fixed Cross plus Fixed Fire.

Fire by Friction in the Secret Doctrine is the occult Marriage.

Agni Vaisvanara dies while carrying Havya offerings to the gods. So there is also a path of a dead and risen fire god taking place.

Consequently, Bhrigu has a son named Atharvan, and his son named Angirasa (or just Atharvan himself, as Terrestrial Fire) Churns the Cloud to produce the fire Puskarodadhi--Atharva Alaukika Agni or Dakshina Agni--by non-rubbing or without friction. Called Dadhyan in the Brahmanda Purana. With those names, Churning the Cloud makes Right-Hand Paranormal Fire of Watery Curds. The second name Dadhyan makes it an actor.

Sometimes considered the father of Agni, Atharvan is the terrestrial fire (in the ocean), Bhrgu (father of Surya), and churned amrita in puskara (the waters); from him come Dadhyan (earth or matter, worldly fire) and Angiras. Bhrgu also fathered Sukra-Venus (also attributed to Pavamana). Atharvan a Great Bear (married Shanti and spread Yajna) is the father of Venus and Surya and Angiras.

The Guru rivalry at First War in Heaven was Sukra studying under Angirasa, who favored his own son Brihaspati (Angiras; Indra also favored him). Sukra, who has better skills, then went to Sage Gautama and obtained Mrita Sanjivani mantra (can raise the dead). Bhrigu is the husband of Kavya Mata and curses Vishnu and uses the mantra on her. This is the most important crux of the whole thing, so, naming conventions must reflect this. Then Tara left Jupiter for the Moon, i. e. descent into form.

War in Heaven, Vishnu's Curse, and Ashwins' Mead are probably the most intriguing Puranic mysteries we need to arrange the names for. The Puranas are almost useless to identify the various Agni names and roles. The Three Sons of Agni are the same in each, but the rest of it is all over the place.

The lineages are:

Angirasa--> Angiras Brihaspati and Pratyangira --> Atharvana Bhadrakali Narasimhi

Bhrigu close to Varuna--> Sukra who studies Gautama and gains Mrita-Sanjivani

Atharvan--> Fiery Curds (Dakshina)+ Aswins, and Watery Fire which appears to be the juncture and gate: Vadava Samvartaka, Mare's Mouth Cloud, Marut Gana of Durga's Retinue (stomach gate in the person). Atharvan + Varuni = Agni Yoga.

Havya Bhaga brings Saharaksa to the Fire by Friction rituals, which are followed by the bath of Varuni (union with Agni).

In the bath, Heavenly Quintessence meets the offered Antimony, and the voids dissolve. Antimony, Fire of Watery Earth on our plane, meets the Aswins who are Ocean Born. Passage by Mare's Mouth releases the earthiness and resolves to a sort of Cloud Fire or Sikhin Vaidyuta. Summoning Marut Gana still sounds like Wind Horse. Protected by Dakshina Agni and sounds internal. Apas Vajra.

Nectar of Tvastr is available from the Aswins. Tvastr is Purusha, the Celestial Formless Visvakarman. Also named Garhba Pati, Lord of the Womb. The Nectar of the Aswins, Madhu is Mead--Honey and Wine. The Bees of Kashi and Varuni--Brandy, Watery Fire. Tvastr does not get along well with Indra either.

Aswins (https://www.ancient.eu/Ashvins/) as sons of Samjna and solar charioteers. Devi (https://books.google.com/books?id=erENsMcblGAC&lpg=PA44&ots=BYtbhYj3RC&dq=dadhyanc&pg=PA44#v=onepage&q=dadhyanc&f=false) gains their role as explainer of Madhi Vidya.

Dadhyan is a hermit. Once Indra taught this hermit Madhuvidyā (the art of mead) Indra told the hermit that his head would be cut off if he taught anybody this art. The Aśvinīdevas approached Dadhyaṅ to learn this art. Fearing Indra the hermit refused to teach them the art. Aśvinīdevas cut off his head and buried it in a place. Then they cut off the head of a horse and fixed it on the neck of Dadhyaṅ. Having the head of the horse he taught the art to the Aśvinīdevas. When Dadhyaṅ had finished teaching, they took away the head of the horse and fixed his own head in place. (Ṛgveda, Maṇḍala 1, Anuvāka, 17, Sūkta 166).

Dadhyanc is the teacher of Madhu-vidya, the mystical doctrine that brahman is present every where (SB 4.1.5.18). the name of this Vidya comes from the essence of sweetness in all flowers, transformed by bees into honey, which is not apparent to anyone.

The Asvins give a horse's head to Atharvan's son Dadhyanc (Curds Ward), who then proclaims the location of the mead (madhu) of Tvastr. The Ashwins are Ushana's brothers, or else, Tvastr--> Saranyu --> Ashwins, or Tvastr--> Samjna Perception --> Aswins, or Tvastr's sons when he took the form of a woman (Vadava) and married Savitri. Importantly, they obtain Madhu Vidya from Fire of Watery Curds. Further along, they are called Ocean-born (abdhi-jau), Sons-of-the-submarine-fire (vadabeyau), Wreathed-with lotuses (pusbara-srajau). Both, Wondrous Dasra and Without Untruth Nasatya, are consorts of the sun's daughter. Tvastr makes Soma and Indra's Vajra. Indra did not like the low-born Aswins.

So the basis of Horse Head rite is with immortality--Aswins, and it involves the Curds which one might literally make, or visualize, which become Vasudhara.

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

The full Agni Homa has many stages and includes a few esoteric sacrifices. The beginning may be somewhat predictable or conform to what we have learned; but the important part is that the climax is about going through the Purnagiri Pitha into the Voids and the Great Void, and afterwards you re-emerge and rain fullness through your aura and across the world, which is Annapurna. When you go Formless or enter the highest Joy that you can, Dissolution is done by:

Filling the Fireplace with Offerings

Purnahuti.

pūrṇam adaḥ pūrṇam idaṁ
pūrṇāt pūrṇam udacyate|
pūrṇasya pūrṇam ādāya
pūrṇam evāvaśiṣyate||

The priest of the ceremony recites the particular mantra and says "Svaha", which means, "we offer". "I offer worship to Bhagwan Swaminarayan, also known as Nilkanth Varni. As Shrihari, together with Aksharbrahma, He is glorious. He is the God of all gods, the son of Bhakti and Dharma and has the supreme divine form".

Third esoteric sacrifice is nectar of Tvastr rains on Talu (palate).

This is called the Deity Agni entering the body.

That means you have enough Kurukulla saturation and enough Nairatma non-psychology to make enough heat melt the white bindu, i. e. the First Joy. Maybe you can get Four, maybe Eight. You are Complete in Suksma Yoga when you can do the Eight and dissolve up into the voids beyond the head; that is the intention here.

We achieve Maha-sunya in the Tri-svabhava because the first fixed fire has No Essence. The second has Suchness, the third Paramartha (Ultimate Meaning). To dissolve the voids, our Paramartha flies through Suchness into No Essence of Parikalpita (which sounds backwards). This is what we have to hold steadily and expand until it culminates and hold that steady. The sun is no longer the radiant sun, but its soft luminousness of dawn.

Tvastr's nectar comes from the secret Water Vajra Sikhin Vaidyuta, who turns out to be Garuda Thunderbird Senya:

https://4.bp.blogspot.com/-C2bWgHb5-2M/WcR694hvknI/AAAAAAABJmo/lBUrQMYwI-cMWvcrJZEPHhq_sGgMtb5sgCLcBGAs/s320/bogaz.jpg

Can be gold, female, charioteer of dawn; it is the brother of our charioteer. It is any vajra up to the extent of Vishnu's Chakra. This is heavily archaeologically examined, and presented with some of our same information in an Homage (http://bharatkalyan97.blogspot.com/2017/09/homa-bird-syena-sena-brings-down-soma.html) to Hindu civilization, its role is to transfer Soma. Is Homa (https://en.wikipedia.org/wiki/Huma_bird) bird in Avestan.

Purified Mother Elements Protect his Wheel of Time. Thus one may pass to non-time.

Guhyeshvari is Agniyogini, whose form is usually Kakini: Kākinī has the head of a crow (kāka) according to the Śrīmatottara-tantra, or the head of a horse (haya) according to the Kulārṇava-tantra. She has eight arms and is greedy for flesh and liquor (piśitāsavalampaṭā). Her colour is black (kṛṣṇa).

If she knows what Garuda really is, and she is Mamaki who deals with Vajrapani who emits Garudas, everything is still fairly consistent.

shaberon

20th August 2020, 20:36

I have been struggling with the Marici mandala. We know it includes word twists on Vetali and Varahi, so, I figured the first goddess, Arkamasi, was perhaps a play on Arcismati.

But all the unique goddesses are a "masi", and so I think it is a form of "month", because there are twelve of them.

Masi is probably “month”, because in Purnamasa, “full moon” is really saying “full month”.

Masi is also an individual name from the Puranas, related to a male Sura, but difficult to pin down:

7) Māṣī (माषी):—[from māṣa] b f. Name of the wife of Śūra, [Viṣṇu-purāṇa]

Sura either is Devamidhusa (Liberal) or is his father:

1a) Devamīḍhuṣa (देवमीढुष).—Śūra; a son of Mādrī and Vṛṣṇi;1 a Rājaṛṣi.2

1) Brahmāṇḍa-purāṇa III. 71. 145; Matsya-purāṇa 45. 2.
2) Vāyu-purāṇa 1. 147.

1b) Devamidhusa, son of Sura and Masi, Vayu Purana 96.143.

Is also called Devagarbha:

1h) A son of Aśmaki? (Devagarbha, Viṣṇu-purāṇa): wife Mahiṣā or Bhojā (Mārīṣā, Viṣṇu-purāṇa); Father of ten sons, the eldest being Vasudeva: also of 5 daughters; had a friend Kuntī who was childless; to him he gave his daughter Pṛthā in adoption; Pāṇḍu married her.

Also called Citraratha.

Sura or Surasena is generally accepted as the grandfather of the Pandavas. Masi or Marisa are the names of his first wife.

Masi is apparently Marisa (Milk), wife of Sura, mother of Vasudeva:

3) Māriṣā (मारिषा).—A daughter of a Bhoja king; wife of Devamīḍha and mother of Vasudeva and others.

4b) The wife of Śūra and mother of Vasudeva and others.*

* Viṣṇu-purāṇa IV. 14. 26-7.

Vishnu Purana:

Śúra, the son of Devamíd́husha, was married to Márishá, and had by her ten sons. On the birth of Vasudeva, who was one of these sons, the gods, to whom the future is manifest, foresaw that the divine being would take a human form in his family, and thereupon they sounded with joy the drums of heaven: from this circumstance Vasudeva was also called Ánakadundubhi.

Vasudeva is the father of Krsna who again is named Vasudeva. Ugrasena’s daughter was Devakī who married Vasudeva and from them Viṣṇu by the curse of Bhṛgu was born as Kṛṣṇa. From Vasudeva’s other wife Rohiṇī was born Saṃkarṣaṇa.

This is the Lunar Dynasty of Yadu.

Soma, Marisa, and trees (https://www.wisdomlib.org/hinduism/book/the-vishnu-purana/d/doc57592.html).

So there is the Marici-esque name, Marisa, and the units with which Marici is involved, Masi, and these two are perhaps identical, mother of Vasudeva. I am not quite sure this is what Marici is getting at with her retinue.

Masi is Pali for Magha, the month in which on Viraj's birthday she is worshipped as Savitri and Paramavaisnavi (https://sg.inflibnet.ac.in/bitstream/10603/189320/12/12_part%20ii%20chapter%201.pdf), or Savitri and Brahmani (https://sg.inflibnet.ac.in/bitstream/10603/227800/15/15_summary%20and%20conclusions.pdf).

The Gyantse (http://pahar.in/?wpfb_dl=12936) explanation refers to the first group of Masis as:

the four stages preceding sunrise: the sun is invisible (arka), it is concealed (marka), it becomes dimly visible (antardhana 'invisibility')

then Tejo would be visible light. But we cannot see what they are talking about.

The mandala is drawn from the dharani, which, however, seems to use seven Masis. Santideva (https://books.google.com/books?id=wZrSDAAAQBAJ&lpg=PT269&dq=arkamasi&pg=PT269#v=onepage&q=arkamasi&f=false) has Marici Dharani after Janguli. Gretil (http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/4_rellit/buddh/maricdhu.htm) version. Janguli and Marici (http://www.dsbcproject.org/canon-text/content/269/1122) in a Sanskrit document. Miranda Shaw (https://books.google.com/books?id=IOs9DwAAQBAJ&lpg=PA204&dq=arkamasi&pg=PA204#v=onepage&q=arkamasi&f=false) with translation.

In Sadhanamala, there is not a corresponding appearance of "masi", but there is a "candramasi", part of the spawn structure for Manjuvajra housing his syllable, however Candramasi is a name of Tara. the name meaning she lived with the moon for a period of time. In Bhagavad Gita, candramasi (https://asitis.com/15/12.html) simply means "in the moon", like Manjuvajra's syllable.

In the Puranas, the monad is not the visible moon Candra, but is Purnamasa, Full Moon Sacrifice. This has one instance in Vajrasarasvati 167 from Krsna Yamari Tantra, right after Prajna Vardhani mantra. Her form is:

tasyāḥ prathamaṃ mukhaṃ raktaṃ
dakṣiṇaṃ śuklaṃ vāmaṃ kṛṣṇaṃ prathamadakṣiṇabhuje kamalaṃ prajñāpāramitā-
pustakāṅkitaṃ dvitīye asiṃ tṛtīye kartīṃ prathama-
vāmabhuje sitacakram aṣṭāraṃ dvitīye navāṃśaratnaṃ tṛtīye
brahmakapālam /

Asi is a different kind of sword as in Janguli's mantra, Asijihve, "sword-tongued". She interestingly does not have Brahma's head, but his skull.

After the mantra, she also has the only instance of Sukla Paksa (Waxing Fortnight) in the relevant phrase:

śuklapakṣapratipadam ārabhya candramsamālokayan
saṃskṛtaṃ kuryād yāvad astameti candramāḥ
yāvat pūrṇamāsīm /

So that is a development of Prajnaparamita using her mantra, but not her name or form--red, but cloesly allied to the moon.

Sadhanamala uses the charioteer Rahu twice, and, also, a Two-arm Devi who in other sources is legless, but un-named. This one has Tarjanikapasa, threatening gesture with a noose, and pallava, which is not the dynasty but an obscure term for a branch, so the charioteer seems intended as an Akosakanta Marici.

The relation of the chariot to four Hindu gods is "Rathacarana", chariot-wheel, ratha "car" and carana "foot"--so when Ghasmari's relation to a corpse is "carana", she may not be eating it, just standing on it.

Ekajati 125 is Agnitratharudham: mounted in a chariot which implies Agni is the "horse" since Marici's is Sukararatha, hitched to pigs.

According to HPB, the Agnishvattas are Pranidhana Natha; and for some reason, Sarvadurgati conveys Seven Paramitas including Pranidhana--which is never seventh in any of the full lists. If we look at the whole thing, it has to add Acala and Four Dakinis. But if we consider Sarvadurgati as a major guide for the Yoga stage, then the seven would be arranged like this.

Dhyanis are defined as the Bhumis or Grounds, Wrathful Prajnas are the Seven Jewels of Enlightenment. Both are Armor which is the Rays.

Discipline.......Ground....................Paramit a...........Dharani

Citta.............Pramudita (Vajrasattva)...Dana........Ratnolka
Pariskara........Vimala (Vairocana)......Sila...........Usnisavijaya
Karma...........Prabhakari (Ratna)..........Ksanti.........Marici
Upapatthi.......Arcismati (Amitabha).......Virya.........Parnasabari
Rddhi............Sudurjaya (Akshobya).....Dhyana........Janguli
Adimukti..........Abhi-mukhi (Amoghasiddhi)..Prajna...Ananta-mukhi
Pranidhana......Durangama................Upaya.... .........Cunda

In Kriya Tantra, the Mother of Tathagata Family is equivalently Marici, Pratisara, or Grahamatrika. That is like calling them Prajnas or female Buddhas.

The main Tibetan Marici is in Taranatha's cluster of a quite weird set attributed to Devasambhava, guru of Droding, Pandita Purnavajra, and Sakya Raksita. The first ones, Pandara, Usnisa, and Cunda, are not that strange, but then comes Aparajita with Aparajita. Then there is White Hayagriva with Blue Ekajata, and they emanate Green Hayagriva and Vajra Nakhi (Claws, or Dorje Dermo), who has a pig face, drum, and skullcup, apparently a type of Varahi. Next is Red Acala with Vajra Candi, who has a drum and flower garland. Then come Orange Marici in her chariot, Dhvaja, Black Vetali, Orange Hariti who emanates Yamantaka, fat Yellow Radish Ganapati looking at a bowl of sweets, Orange Akshobya Manjushri who emanates Yamantaka, Avalokiteshvara who emanates Hayagriva, then green or blue Vajrapani with green or blue Amrita Kundali, who carries an axe.

Horse Marici is part of Maya Jala. Harita Asva (https://www.tbrc.org/#!rid=T739) explains some of the confusion around this color, as well as saying she casts a wall of pigs, and an Ashoka Grove.

There is a good paper by Gerd Mavissen which takes a detailed look at deities related in Vajravali that also use astrological entities, and we have already looked at this and it is mostly White or Yellow Vairocana deities such as Marici, Pratisara, Usnisa, and Grahamatrika. Vasudhara is related, more as a preliminary. There are a lot of good observations here so we will quote a bunch of it:

"Aparajita [white destroys grahas] belongs to the Enlightenment complex of the Buddha and is closely related to MarÏcÏ and Vairocana. Her images predate those of her successor MarÏcÏ in the sites of Bodh Gaya and Nalanda.

The navagrahas appear collectively as adorants of the yellow MahamayurÏ (SM 206) and of the white MarÏcÏ. The sun and the moon figure as personifications of two of the eight dangers in the description of the white Mrtyuvancana-Tara (SM 103, 112). The grahas are also invoked in SM 206 (Pancaraksa) and SM 223 (Mahamaya).

Aditya and the other nine [!] grahas, who symbolize disease, death, famine and distress, are noted to be overcome by MarÏcÏ’s chariot drawn by seven pigs.

The caitya/stupa that is mentioned in the sadhanas [of Marici with Rahu, Sun, and Moon] as the place where she resides, often represented in the images, links the goddess to the topic of death, viz. the death and final end of the pre-enlightenment life of the Bodhisattva followed by the victory of the Buddha over the powers of darkness."

Actually, in Sadhanamala 206, Panca Raksa, the planets are with Pramardani, and the lunar mansions are with Mayuri.

The aspect of Marici's tree may have suffered from my spelling errors.

The Golden Deer that tempts Sita is really Maricha, who is in a position of needing to be killed by Rama anyway (from the story of Jaya and Vijaya). At the last moment, Lakshman places Sita in Lakshman Rekhe, i. e., boundary, or Fence, but she steps out of it, and Ravan takes her (or takes Maya or Chhaya Sita), to an Ashoka Grove. Vaisnava apparently follows the Maya Sita version.

The Golden Deer that tempts Sita is really Maricha, who is in a position of needing to be killed by Rama anyway (from the story of Jaya and Vijaya). At the last moment, Lakshman places Sita in Lakshman Rekhe, i. e., boundary, or Fence, but she steps out of it, and Ravan takes her (or takes Maya or Chhaya Sita), to an Ashoka Grove. Vaisnava apparently follows the Maya Sita version.

If I randomly look up Ashoka Grove, the whole first page is nothing but versions of Sita's captivity in Lanka, which suggests that if Buddhist Marici casts Ashoka Grove, it would be understood as this. Tibetan Buddhist Symbols says its name means "without sorrow", is the Bodhi Tree of Vispasi, is sacred to Kama, has red flowers, blooms when a pure hearted woman is touching it.

Densatil also has a main stupa having Marici with Janguli and Parnasabari over sixteen Offering Goddesses. A very detailed view of a tashi gomang (Many Doors of Auspiciousness) stupa at Densatil on pp. 12-13 does show us how this works under Akshobya at the top and the Four Kings at the bottom. Above the Kings are Dharma Protectors such as Dhumavati with two swords, Rahu, Ananta, and Prithvi. And above these is the tier of all Sixteen Offering Goddesses--but in the very middle of these is the trio Parnasabari, Marici, Janguli. This is Pamo Dru lineage.

In Dharma Samgraha, Marici is in the Pancha Raksha replacing Mayuri, for some reason having the rare interpretation that a light ray may be of the moon:

Pañca rakṣāḥ, tad-yathā:
There are five protectors, they are:

{1} Pratisarā,
{1} Assailer,

{2} Sāhasra-pramardanī,
{2} Thousands-crusher,

{3} Mārīcī,
{3} Moonlight,

{4} Mantrānusāriṇī,
{4} Mantra-follower,

{5} Śītavanī ceti.
{5} and Cool Wood.

Old Student

20th August 2020, 23:21

Perhaps what you are experiencing is non-dualization in all of the 72,000 or 84,000 branch nerves.

I wonder about these sometimes, whether this is what happens when the shaking goes to extreme detail (everything down to fingertips shaking somewhat independently). Also when it seems like the "strength" being exercised is so obviously to extend nervous control to something.

Before the meditating person arrives at the mandala gates, she must, however, pass the four outer circles: the purifying fire of wisdom, the vajra circle, the circle with the eight tombs, the lotus circle. These are the circular borders of mandalas:

fire of wisdom: the outermost circle consists of the purifying fire
vajra circle: the diamond circle expresses strength and fearlessness
tombs: there are eight tombs, which symbolises the eight states of consciousness, which the person must go beyond
lotus circle: expresses the open state of devotion, that is necessary to enter the palace

This seems very shaman like -- the journey that must pass and surmount barriers.

Brahma's region or Brahmasthana is a "cleared-out center" of a house, navel, heart, etc.

Brahma Jyoti is accompanied by inner heat, can produce Bliss, but not Increasing Bliss. It has effulgent light and primordial sound. So this aspect of Agni has everything to do with regulating inner heat for the purposes of yoga, along with a forest aspect, which usually indicates cooling.

In my shaking, the inner heat becomes one of the kinds of bliss (the one which is hot and creates heat, not surprisingly), and the forest is a constant motif for two things -- one is the constant interplay of decay and birth (usually but not always close to my navel), and one is the pair at my solar plexus which is a branch and a stream.

Old Student

20th August 2020, 23:38

But what happens to those who have reached culminating point of their practice and transcended its levels to where no other being has gone , what happens to those who love everybody too much for the beauty of it ,
what happens to the wise man who after many years of struggle , finally, looses the last chains of his mind to become divine fool ?

Almost by definition he is not listened to. That is what we do with fools, we evince pride that we "do not suffer them gladly." Which is why the fool is an embodiment of wisdom from Shakespeare to Zhuangzi.

At the end of a chapter on transmutation of things, after an extended explanation of how someone could be like "dry wood and dead ashes" based on who it is that plays the pipes that make sounds whent he wind blows, and after previously an explanation of time that includes that a butterfly does not know about years and a human does not know about the centuries that an old tree knows, Zhuangzi becomes a butterfly and then becomes Zhuangzi, and we are told there must be some difference "!?" emphasis and question in the original.

When Zhuangzi is a butterfly he flits and flights and does not know Zhuangzi. The question coming from earlier in the chapter is, "How could he?" After all, a butterfly can not know winter and Zhuangzi does. Zhuangzi is confused when he gets back, not knowing if he dreamt he was a butterfly or whether he is a butterfly dreaming this now. "There must be some difference !?" If a being that can not know winter can dream being a being that can, then one can know things in one's dreams that one cannot know when awake.

My true dream is that we touch the greater Dream of greater Reality of Space and Time with our dreams, purified and magnified and then, I’ve seen it happened ,
the Mother of Reality dawns on us and minds of all are healed and awakened to see clearly what we see in rainy mornings,
crystal clear drops and rainbows in the mist

Rainbows are the pure colors from which all that is visible is created, and yet a shift of the light or a breeze on the mist and they are gone.

Old Student

20th August 2020, 23:59

So the basis of Horse Head rite is with immortality--Aswins, and it involves the Curds which one might literally make, or visualize, which become Vasudhara.

This is interesting. There is a Honey ceremony done in modern Indian Buddhism (Bengal area) that has a lot of these symbols.

The full Agni Homa has many stages and includes a few esoteric sacrifices. The beginning may be somewhat predictable or conform to what we have learned; but the important part is that the climax is about going through the Purnagiri Pitha into the Voids and the Great Void, and afterwards you re-emerge and rain fullness through your aura and across the world, which is Annapurna. When you go Formless or enter the highest Joy that you can, Dissolution is done by:

Dissolution came last night by working on an uncommon kind of bliss that I had been taught very recently until it was impossible to move and impossible not to move (there was no motion to make, and there was no motion I was not making). What is interesting is what you have next:

Third esoteric sacrifice is nectar of Tvastr rains on Talu (palate).

The accessibility of the plane above my palate to the bliss and shaking below it always comes by a particular press of my tongue on my palate and a throat/tongue/head movement that makes saliva jet backwards onto the soft palate from the lower front of my mouth and then the plane opens.

This is called the Deity Agni entering the body.

That means you have enough Kurukulla saturation and enough Nairatma non-psychology to make enough heat melt the white bindu, i. e. the First Joy. Maybe you can get Four, maybe Eight. You are Complete in Suksma Yoga when you can do the Eight and dissolve up into the voids beyond the head; that is the intention here.

We achieve Maha-sunya in the Tri-svabhava because the first fixed fire has No Essence. The second has Suchness, the third Paramartha (Ultimate Meaning). To dissolve the voids, our Paramartha flies through Suchness into No Essence of Parikalpita (which sounds backwards). This is what we have to hold steadily and expand until it culminates and hold that steady. The sun is no longer the radiant sun, but its soft luminousness of dawn.

When the shaking reached the stage I described above, the plane over my palate had thickened to like a 5 inch thick plate of plexiglas extending to the walls of the room, and then its usual infinitely thin beyond that. It was the same color as my neck when it turns clear. I dissolved into this and was this plane for a full ten minutes before realizing that I had become the breeze in the room -- some delicate wispiness, right? A thick slab of plexiglas, obviously a coarseness I have to work on -- I did spend the last 5 minutes of that being-ness in the knowledge that I was the breeze.

Very clunky but I did do it a first time.

Old Student

21st August 2020, 00:38

Ekajati 125 is Agnitratharudham: mounted in a chariot which implies Agni is the "horse" since Marici's is Sukararatha, hitched to pigs.

According to HPB, the Agnishvattas are Pranidhana Natha; and for some reason, Sarvadurgati conveys Seven Paramitas including Pranidhana--which is never seventh in any of the full lists. If we look at the whole thing, it has to add Acala and Four Dakinis. But if we consider Sarvadurgati as a major guide for the Yoga stage, then the seven would be arranged like this.

Dhyanis are defined as the Bhumis or Grounds, Wrathful Prajnas are the Seven Jewels of Enlightenment. Both are Armor which is the Rays.

Discipline.......Ground....................Paramit a...........Dharani

Citta.............Pramudita (Vajrasattva)...Dana........Ratnolka
Pariskara........Vimala (Vairocana)......Sila...........Usnisavijaya
Karma...........Prabhakari (Ratna)..........Ksanti.........Marici
Upapatthi.......Arcismati (Amitabha).......Virya.........Parnasabari
Rddhi............Sudurjaya (Akshobya).....Dhyana........Janguli
Adimukti..........Abhi-mukhi (Amoghasiddhi)..Prajna...Ananta-mukhi
Pranidhana......Durangama................Upaya.... .........Cunda

Is this chart a combination of the several sources you mentioned?

Aditya and the other nine [!] grahas, who symbolize disease, death, famine and distress, are noted to be overcome by MarÏcÏ’s chariot drawn by seven pigs.

The caitya/stupa that is mentioned in the sadhanas [of Marici with Rahu, Sun, and Moon] as the place where she resides, often represented in the images, links the goddess to the topic of death, viz. the death and final end of the pre-enlightenment life of the Bodhisattva followed by the victory of the Buddha over the powers of darkness."

This makes sense, but it is also a kind of "victory over death" thing which is somewhat different. One thinks of victory over death as being some other thing, and Buddha having victory over suffering and over rebirth.

Pañca rakṣāḥ, tad-yathā:
There are five protectors, they are:

{1} Pratisarā,
{1} Assailer,

{2} Sāhasra-pramardanī,
{2} Thousands-crusher,

{3} Mārīcī,
{3} Moonlight,

{4} Mantrānusāriṇī,
{4} Mantra-follower,

{5} Śītavanī ceti.
{5} and Cool Wood.

Are the Pancha Raksa general purpose protectors or protectors from something specific? Earlier, you have Marici vanquishing famine, death, etc.

shaberon

21st August 2020, 06:56

Dhyanis are defined as the Bhumis or Grounds, Wrathful Prajnas are the Seven Jewels of Enlightenment. Both are Armor which is the Rays.

Discipline.......Ground....................Paramit a...........Dharani

Citta.............Pramudita (Vajrasattva)...Dana........Ratnolka
Pariskara........Vimala (Vairocana)......Sila...........Usnisavijaya
Karma...........Prabhakari (Ratna)..........Ksanti.........Marici
Upapatthi.......Arcismati (Amitabha).......Virya.........Parnasabari
Rddhi............Sudurjaya (Akshobya).....Dhyana........Janguli
Adimukti..........Abhi-mukhi (Amoghasiddhi)..Prajna...Ananta-mukhi
Pranidhana......Durangama................Upaya.... .........Cunda

Is this chart a combination of the several sources you mentioned?

Well, the general format is Namasangiti. Most of the standard books make a standard set of Discipline, Ground, and Paramita; Namasangiti attaches the Dharanis to them. It does the very unique thing of adding an "introductory" Paramita which we have skipped here. What has been added are the Dhyani Buddhas as if each representing a Bhumi, and the whole thing clipped so it matches what Sarvadurgati is saying by adding Pranidhana to the usual six. So far, I am not sure why it does it this way, but it says it does, and so if I can accept myself as one who just has a tiny little spark of Prajnaparamita, it is ok if the Path beyond her is truncated into Pranidhana, which indicates Agni, among other things. In our conception of a Seventh Buddha Family, it is about using the three transcendent Agni Shaktis or three-in-one fire, which again is like Lakshmi's Divine Gunas as well as the three voids and great void. So the Six will easily attach to Six Families of Dakini Jala or Om Manipadme Hum, and in giving a seventh, Sarvadurgati also states there are Seven Families. So the whole esoteric everything is pretty much on your fingertips just by this.

You would think Prajna Paramita would just use her own mantra, but no.

There are sub-systems whereby each Paramita was deified as Durgottarini and others, i. e. when we see Prajnaparamita retinues, these are not in her sadhanas, it is a correspondence. Without an actual scriptural source, I am always questioning conclusions that published authors make. In some cases we wind up repeating stuff that was not accurate, so, for example, I am still not sure what Paramita or Bhumi Durgottarini is supposed to be. I think we found something about the Third Bhumi recently. On the Second, we can easily see the concept of Vimala as something like Vairocana Family, but, as Usnisa Vijaya, "holding" Amitabha. And then, tantricly, well, you already know Vairocana or Rupa Skandha is the nexus in the palate, and it may indeed be linked to a Universe Lotus and a type of Web or Net.

If I take another step then on the third is something similar to Bhaskari and Secret Sun or Ratna--Vajrasurya which is assisted by mantras of Marici.

Arcismati is the "intense" form of that, Virya--Powerful, and only then do you get to Dhyana which is Janguli in Akshobya Family.

I can post the version with all Twelve Paramitas, which is something like the Peaceful equivalent of the Cemeteries. I would probably, personally, mainly focus on the Seven because at most, it is whatever Upaya or Skill in Action that I am able to squeak out of my feeble Prajna, which has Amoghasiddhi going into it, so I know there will be Smoke and occultism and the Hydra Hood as provided by Janguli. Until I was essentially a wizard at this, I would derive but little from dwelling on the Irreversible Bodhisattva Grounds beyond this.

Are the Pancha Raksa general purpose protectors or protectors from something specific? Earlier, you have Marici vanquishing famine, death, etc.

Pancha Raksha each may have individual roles. They may be general purpose. They appear to cover the spectrum according to how detailed a person is able to think. I am not that sure, since Protection is a relatively recent idea to me, and I still think of it more as Mantra and Tra syllable generally, and as Armor Deities. I am not really in favor at looking at talismans and seeing any of these deities as a thing you can "pick up and get it to work" like a luck charm. Inversely, if you look at the deity and bond it and force it to work, a talisman will amplify it. And so when I found White Lakshmi is a Peaceful Protector, who is close to the idea of subtle life wind protected from psychological levels through the karmas in the outer world, now that I take her, I am really unable to look around or question it, and the only thing that could actually change it, is if for instance one takes Vajrabhairava initiation, the practice's protector is Dharmaraja, and then you would work with this deity. I would not just pick up Dharmaraja and try it because it sounds interesting. The Pancha Raksa, however, you can, you can take Pratisara and then if you wish, you can make any of them the center, which is a straight trade. The amount of Pancha Raksa material would max out a post. But there is only one creeping hint of an idea out there about the right Mantramanusarini in SM 206, and that is really just about the indiscretion of artists. When really considering the change, I am a bit startled that no one has paid attention to Sitabani and how precise that is to certain things, like the origin of Vajramrita Tantra and the Buddhist use of Agni. This version also has them with Trees.

Marici is usually considered Outer Obstacles, with Acala for Inner Obstacles, in the Vajrasana series that includes Locana.

If anything, Marici is focused on Thieves, or, lost opportunities for enlightenment. But again, she may be against any evil-doers, to whom her chariot simply paves them into golden ground. Rather than defraying fears like the basic Taras, she is more like the state of Fearlessness, hence her appeal to samurai and the like. It is really Vajrapani who is the Protector of Shaolin Monastery.

Miranda Shaw (https://www.tsemrinpoche.com/tsem-tulku-rinpoche/buddhas-dharma/janguli.html) says the Pancha Raksa probably crowded out Janguli as popular protectors. She says Janguli is the Amrita--Visahara axis. Buddha met Janguli at Mount Gandhamadana "Intoxicating Fragrance", which in Buddhism is north of Kailasa (https://www.wisdomlib.org/definition/gandhamadana)--its exact location is disputed by all traditions. In current usage, it is off the coast of Lanka (https://en.wikipedia.org/wiki/Mount_Gandhamadana), where Parasu found Dattatreya.

Marici can make an Ashoka Grove, and, she also replicates her pigs into legions:

https://www.himalayanart.org/images/items/resized/2000px/5/8/1/58119.jpg

That almost looks like she has no human face, but, you can find the raised vajra and her needle.

Besides the Green Horses/Pig Rider/Stupa Marici, the largest assembly of her practices in Tibet is six pieces which I think are in Bari Gyatsa. Sadhanamala blows this away like a volcano. She is similar to Kalachakra Tantra where the central goddess, Viswamata, is a blend of Prajnaparamita and Vajradhatvishvari, or perhaps we could say samadhi and the life-winds. If we look at a slice of her power that is framed in the same jargon as the tantras, Oddiyana Marici 140 has in her mandala an unusual:

śrī odiyāna pīṭhaṃ trikoṇamāraktaṃ

She has the Oddiyana Pitha itself as a red triangle. In her mantras, she has, is, or incorporates:

vajrasattveśvari

vajravetāli

vajraḍākini samayas tvaṃ

mahāsukhavivṛddhaye mama sahāyakā bhavatha

And so her issuing source, or Pitha, so to speak, is mostly the same as Tara number One from Saraha:

Pitheshvari is defined as meaning the Four Pithas of Hevajra; her dharmodaya arises from E. Her personal syllables are white Bhrum crown, red Hrih throat, blue Hum heart, Yellow A navel, green Kham thighs. In this case, she means the real one, or we might say established Four Pithas or Joys, and added the fifth.

Marici's second Oddiyana form is for Svadisthana Krama, or sva "self" plus adhisthana "consecration", a term for the preliminary Yoga stage, Water Moon, of Guhyasamaja in five parts: Vajrajapa (Muttering), Cittavisudhi (Mind Isolation), Svadhisthana (Water Moon), Sukhabhisambodhi, Yuganadha. Laksminkara's Advaya Siddhi (http://www.downloads.prajnaquest.fr/BookofDzyan/Sanskrit%20Buddhist%20Texts/advaya_siddhi_1964.pdf) says it is written from the view of Svadisthana Krama.

Yogi Chen (http://www.yogichen.org/cw/cw32/bk076.html) Chen makes a point about getting this at a Yoga level before Completion. He makes a table (http://www.yogichen.org/cw/cw27/bk012.html) which is not a bad catalog once you see how it works, and where this terminology lies in the progression.

Vajra Rosary (http://www.surajamrita.com/yoga/hidden/disser/Interpreting_the_Vajra_Rosary.pdf) explains both the Guhyasamaja Five Stages and Six Limb Yoga. Vajra Rosary is one of the most important tantric explanations. And even in Kalachakra, after Mandala and Yidam, when it comes to Bindu and Suskma Yoga, it uses Namasangiti verse 158 to set the proper frame for purification of the Four Drops in the Four Chakras by emanating their inner deities.

Since the phrase "Anuttara Yoga" seems to have turned out to be a bad guess by translators, the trend now is for Highest Yoga to be written as Yoga Niruttara because this has original Sanskrit attestations. Niruttara is an entire Hindu tantra involving Cinnamasta. I am not sure how many instances it has, not many, but Marici 134 identifies herself as:

niruttarasukhāsaṅgaprajñāpāraṅgatān gurūn

Niruttara Sukha Sangha Prajnaparagate Guru

Guru of Highest Yoga Bliss Bodhisattva Community on the Other Shore of Prajnaparamita

Marici also has a Heruka form doing Humkara; in Sadhanamala, Ashoka Kanta is usually Asoka Pallava for the branch; but on her larger forms, it is Vrksa or a tree. Marici has numerous Eight Arm forms, and then, so to speak, "Above the Navagrahas" she turns white, gains ten arms, and even four legs. Finally, she has the twelve arm forms which seem to have condensed all the tantras or at least the Chakrasamvara line, up to Six Faces like Mars.

One of her statues in Orissa is set facing Durga.

shaberon

21st August 2020, 07:53

Bodhisattva Path or Paramitas with Dharanis

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

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

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

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

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

Ganapati Hrdaya is one that is not included by name, but we wind up with a few names we do not know.

Ganesh or Ganapati "Lord of Hosts" accomplishes that part of Vajrasattva mantra, "sarva siddhim me prayaccha", bestow all siddhis on me. Hrdaya is his heart-bride, which, at first, is Buddhi, Matangi, and eventually is Gauri or Siddhidhatri, essentially swiping the wives of all the worldly deities. Ganesh, himself, usually "goes first" before meditating on other deities, but also is an Ucchusma or "scraps" deity, like Matangi and Dhumavati. Here is a Ganesh (https://buddhaweekly.com/buddhist-ganesha-popular-ganapatis-many-forms-include-enlightened-emanation-avalokiteshvara-worldly-protector-bodhisattva-wrathful-tantric-deity-many/#ftoc-heading-11) article ending with the dharani, or, Ganapati Hrdaya Dharani (http://www.virtualvinodh.com/wp/arya-ganapati-hridaya/) itself.

The seven daily dharanis are actually in order in the middle of Dharani Samgraha (http://www.dsbcproject.org/canon-text/content/820/2949), which would probably be the main source for Grahamatrika Mahavidya, who occupies pages 350-362.

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

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

https://www.himalayanart.org/images/items/resized/2000px/5/8/1/58144.jpg

According to Kazumi Yoshizaki, "The first reference to the Buddha Aksobhya of the Lhasa Newars is, as far as I know, found in the colophon of Saptavara-dharani (Grahamatrka-nama-dharani), which was copied in the Newar year (N.S.) 773 by Srimantadeva Vajracary." The manuscript was commissioned after paying homage to a statue of Akshobya, ruler of the Himalaya, Sri Sakyamuni.

As far as I know, Dharmadhatu Vagisvara is the only place where Dharanis are intended to correspond to Paramitas. Usually, Dharanis just mean whatever it says in their Sutras. The seventh, Anantamukhi, depends on the first Paramita, according to Tsonkhapa.

The "bonus" first Dharani is Vasumati Mahalakshmi.

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

parA vasumatI devI

and:

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

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

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

What is ordinarily called Mahalakshmi or Mahasri Dharani is really from Golden Light Sutra. If we look at what we would probably use in this roster or does it have an available dharani, we have gotten:

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

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

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

Shurangama
Golden Light
Mayuri and Pancha Raksha
Dhumavati

Here is what happens. This only exists in Namasangiti. It is a special way of learning Paramitas. It just says they are there, it isn't anything about what they are, so we have to supply that. Although there are interpretations that would place these out of order, we will simply note that.

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

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

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

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

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

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

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

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

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

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

According to Bhattacharya, this Mahasri conforms entirely to Sadhanamala:

https://www.wisdomlib.org/uploads/files/fig169-Mahashri.jpg

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

She is almost mantricly identical to Dhanada; presumably green, arises from Harita Tam and is Syamam, or, apparently darker than the syllable. This has got to be the same image as in 341 (http://projectavalon.net/forum4/showthread.php?90144-The-Serpent-the-Black-Sun-HPB-St.-Germain&p=1260297&viewfull=1#post1260297), and, even so, we have to rely on him for the details. I cannot really say her retinue appears to be holding any items. Although she is supposed to have two lotuses like Tara and Prajnaparamita, she is also supposed to be amidst a variety of other flowers.

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

Lotus Family has the Messenger Mahasri, which is right from Mahasri Sutra (http://www.chinabuddhismencyclopedia.com/en/index.php/The_Maha-Lakshmi_Sutra), which is her dharani, distinguished from Golden Light and Kolhapur Mahalakshmi.

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

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

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

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

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

Traditional Paramitas:

Vajrasattva--Pramudita, Joy

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

1. Freedom from conceptual elaborations is known as generosity.

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

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

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

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

https://www.himalayanart.org/images/items/resized/2000px/9/9/6/99604.jpg

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

In 269 (http://projectavalon.net/forum4/showthread.php?90144-The-Serpent-the-Black-Sun-HPB-St.-Germain&p=1212325&viewfull=1#post1212325), Mipham recommends Dhavajagrakeyura to increase Wind Horse, and her dharani is there. 346 (http://projectavalon.net/forum4/showthread.php?90144-The-Serpent-the-Black-Sun-HPB-St.-Germain&p=1260462&viewfull=1#post1260462) has her personal forms after comparing Grahamatrika to Parasol.

Vairocana:

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

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

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

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

Śīla is of three kinds:

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

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

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

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

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

https://www.himalayanart.org/images/items/resized/1800px/4/1/2/41202.jpg

Ed9plaTh3oU

Usnisa Vijaya Dharani Sutra (http://www.chinabuddhismencyclopedia.com/en/index.php?title=Usnisa_Vijaya_Dharani_Sutra)

Ratna:

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

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

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

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

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

What are these five?

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

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

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

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

Marici Dharani (https://theyoginiproject.org/female-deities/marichi)

Golden Light Sutra (https://fpmt.org/education/teachings/sutras/golden-light-sutra/) mainly uses Sarasvati as Memory, and she gives her dual dharani with Marici. Lokesh Chandra (https://books.google.com/books?id=4lsYKIXBOK0C&lpg=PA188&ots=rycHNy_2D-&dq=marici%20dharani&pg=PA188#v=onepage&q=marici%20dharani&f=false) has a translation of it, and also interprets Marici as the ray of light at a Buddha's Final Enlightenment.

Padma:

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

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

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

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

Viryaparamita is of the colour of emerald and holds in her left hand the blue lotus. Upapattivasita is of variegated colour and holds in her left hand various kinds of creepers of variegated colour. Arcismati is of the colour of an emerald and holds in her left hand the blue lotus. Parnasabari is green in colour and holds in her left hand the peacock's feathers. In this case, two standard iconographical versions of Green Parnasabari (https://www.himalayanart.org/search/set.cfm?setID=1928) also carry plumage as their primary item, one of which works as a mirror or scene of a house.

Parnasabari in Sadhanamala 150:

namo ratnatrayāya, namo 'mitābhāya tathāgatāyārhate
samyaksaṃbuddhāya, nama āryāvalokiteśvarāya bodhisattvāya
mahāsattvāya mahākāruṇikāya, namo mahāsthāmaprāptāya
bodhisattvāya mahāsattvāya mahākāruṇikāya /
vāmane tvāṃ namasyāmi vāmane tvāṃ bhagavati /
piśāci parṇaśavari pāśaparaśudhāriṇi //
yāni kānicit bhayāny utpadyate yāḥ kāścit māryo
yāḥ kāścit mahāmāryo yāḥ kāścid ītayo ye kecid
upadravā ye kecid apāyā ye kecid ādhyātmikā bhayā ye
kecid upasargā upasargasambaddhā vā utpadyante sarvāṇi tāni
sarvāstāḥ sarve te bālata evotpadyante na paṇḍitataḥ /
tad anena satyena satyavacanena satyavākyena jjaḥ jjaḥ jjaḥ jjaḥ
ebhiḥ paṇḍitādhiṣṭhitair mantrapadair mama sarvasattvānāṃ ca rakṣāṃ
kuru, paritrāṇaṃ kuru, parigrahaṃ kuru, paripālanaṃ kuru, śāntiṃ
kuru, svasstyayanaṃ kuru, daṇḍaparihāraṃ kuru, śastraparihāraṃ
kuru, yāvad viṣadūṣaṇaṃkuru, agniparihāraṃ kuru, udakaparihāraṃ
kuru, kākhorddacchedanaṃ kuru, sīmābandhaṃ kuru, dharaṇībandhaṃ
kuru / tad yathā, amṛte amṛte amṛtodbhave amṛtasambhave
āśvaste āśvastāṅge mā mara mā mara mā sara mā sara śama
praśama upaśama sarvavyādhīnupaśama sarvākālamṛtyūnupaśama
sarvanakṣatragrahadoṣānupaśama sarvadaṃṣṭrināṃ copaśama bhavati
parṇaśavari tunna tunna vitunna vitunna tuṇa tuṇa tumule
svāhā / oṃ gauri gāndhāri caṇḍāli mātāṅgi pūkvasi
svāhā / oṃ aṅkure maṅkure kurukure parṇaśavari svāhā /
oṃ namaḥ sarvaśavarāṇāṃ mahāśavarāṇāṃ bhavati piśāci
parṇaśavari piśāci parṇaśavari piśāci pāśaparaśudhāriṇi
yāni kānicid bhayāni(yau) svāhā / oṃ
piśāci parṇaśavari hrīḥ huṃ phaṭ piśāci svāhā /
// āryaparṇaśavarītārādhāraṇī samāptā //

Medicine Buddha uses Vajradhara with Varahi in one's crown. In Vajradhara's chest is Amitayus, inside him is Drubpai Gyalmo and the lineage. In Varahi's chest is Parnasabari, and inside her is Vijaya, Nampa Gyalma (Usnisa).

Vajra--Akshobya:

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

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

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

oṃ ṛddhyai namaḥ

The full Dharani for this is that of Janguli.

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

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

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

oṃ ilimitte tilimitte ilitilimitte dumbe
dumbālīe dumme dummālīe tarkke tarkkaraṇe marmme marmmaraṇe
kaśmīre kaśmīramukte aghe aghane aghanāghane ili ilīe
milīe ilimilīe akyāie apyāie śvete śvetatuṇḍe
ananurakte svāhā

Visva Daka:

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

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

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

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

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

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

The dharani used in Namasangiti loops back to the beginning:

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

(Arya ananta mukha sadhaka nama dharani)

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

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

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

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

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

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

Acala

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

Lama

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

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

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

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

Cundi Dharani Sutra (https://en.wikisource.org/wiki/Cund%C4%AB_Dh%C4%81ra%E1%B9%87%C4%AB_S%C5%ABtra) against karmic seeds

Khandaroha

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

8. Prayer is bringing oneself and others to fulfillment.

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

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

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

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

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

https://www.himalayanart.org/images/items/resized/1800px/5/0/1/50132.jpg

Prajnaparamita (http://projectavalon.net/forum4/showthread.php?90144-The-Serpent-the-Black-Sun-HPB-St.-Germain&p=1260834&viewfull=1#post1260834) with Vardhani mantra and muttering

Dharmamegha [or Dakini]

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

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

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

What are these twelve?

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

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

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

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

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

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

Mahamaya Vijayavahini (http://www.dsbcproject.org/canon-text/content/18/220) with dharani in part seven

Rupini

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

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

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

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

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

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

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

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

Parasol Dharani is commonly used on Prayer Flags.

Om Sitatapatra Hum Phat

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

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

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

BuAWHtO2-NA

Shurangama:

Z3tEEgf_Ruc

Considering that Nepal gives Sitatapatra --> Aparajita --> Pratyangira as one of the supreme aspects of Prajna, it comes straight from there.

This can be edited/cleaned/tightened/expanded, there are always tweaks, I just realized that for "Seven Paramitas" I used Pranidhana Bhumi instead of Pranidhana Paramita.

Old Student

22nd August 2020, 00:55

Pancha Raksha each may have individual roles. They may be general purpose. They appear to cover the spectrum according to how detailed a person is able to think. I am not that sure, since Protection is a relatively recent idea to me, and I still think of it more as Mantra and Tra syllable generally, and as Armor Deities. I am not really in favor at looking at talismans and seeing any of these deities as a thing you can "pick up and get it to work" like a luck charm. Inversely, if you look at the deity and bond it and force it to work, a talisman will amplify it. And so when I found White Lakshmi is a Peaceful Protector, who is close to the idea of subtle life wind protected from psychological levels through the karmas in the outer world, now that I take her, I am really unable to look around or question it, and the only thing that could actually change it, is if for instance one takes Vajrabhairava initiation, the practice's protector is Dharmaraja, and then you would work with this deity. I would not just pick up Dharmaraja and try it because it sounds interesting. The Pancha Raksa, however, you can, you can take Pratisara and then if you wish, you can make any of them the center, which is a straight trade. The amount of Pancha Raksa material would max out a post. But there is only one creeping hint of an idea out there about the right Mantramanusarini in SM 206, and that is really just about the indiscretion of artists. When really considering the change, I am a bit startled that no one has paid attention to Sitabani and how precise that is to certain things, like the origin of Vajramrita Tantra and the Buddhist use of Agni. This version also has them with Trees.

I guess I look at it from the point of view of a journey, with potentially mentally or physically deadly obstacles, against which one needs to protect oneself. I see some of the tasks, exercises, obstacles to overcome as potentially either drowningly consuming or, for instance that passage I posted my notes about, deadly.

If we look at a slice of her power that is framed in the same jargon as the tantras, Oddiyana Marici 140 has in her mandala an unusual:

śrī odiyāna pīṭhaṃ trikoṇamāraktaṃ

She has the Oddiyana Pitha itself as a red triangle. In her mantras, she has, is, or incorporates:

vajrasattveśvari

vajravetāli

vajraḍākini samayas tvaṃ

mahāsukhavivṛddhaye mama sahāyakā bhavatha

And so her issuing source, or Pitha, so to speak, is mostly the same as Tara number One from Saraha:

Pitheshvari is defined as meaning the Four Pithas of Hevajra; her dharmodaya arises from E. Her personal syllables are white Bhrum crown, red Hrih throat, blue Hum heart, Yellow A navel, green Kham thighs. In this case, she means the real one, or we might say established Four Pithas or Joys, and added the fifth.

Interesting. Are the locations of each color related to that she arises from the East? I am, as a result of what happens in my shaking, aware of different kinds of bliss and that they are different colors. Last night, for instance the colors were purple arising from the base of my pelvis (which was yellow rimmed in red) blue in my mid-lower abdomen. There is one which is not colored but distinguished by being "of movement".

niruttarasukhāsaṅgaprajñāpāraṅgatān gurūn

Niruttara Sukha Sangha Prajnaparagate Guru

Guru of Highest Yoga Bliss Bodhisattva Community on the Other Shore of Prajnaparamita

The Sangha in tantra is the lineage of gurus or the assembly of guru deities, is it not?

shaberon

22nd August 2020, 05:37

I guess I look at it from the point of view of a journey, with potentially mentally or physically deadly obstacles, against which one needs to protect oneself. I see some of the tasks, exercises, obstacles to overcome as potentially either drowningly consuming or, for instance that passage I posted my notes about, deadly.

It is true that becoming a Buddhist does not change one's karma much.

Currently, all I have are obstacles. I cannot operate a shrine because Guru is too powerful and the last time I made an attempt, it was like the tiny green light on a keyboard was an infinite spear shredding my consciousness. I have to clear a lot of outer things; it is sad and difficult. In general, I consider it mostly Thieves, so, outer Marici might be appropriate for me. It is strange, I have mostly disposed of the inner obstacles, at least the blatant and obvious ones, but it does me little good in the face of adversity.

Pitheshvari is defined as meaning the Four Pithas of Hevajra; her dharmodaya arises from E. Her personal syllables are white Bhrum crown, red Hrih throat, blue Hum heart, Yellow A navel, green Kham thighs. In this case, she means the real one, or we might say established Four Pithas or Joys, and added the fifth.

Interesting. Are the locations of each color related to that she arises from the East? I am, as a result of what happens in my shaking, aware of different kinds of bliss and that they are different colors. Last night, for instance the colors were purple arising from the base of my pelvis (which was yellow rimmed in red) blue in my mid-lower abdomen. There is one which is not colored but distinguished by being "of movement".

Pitha Ishvari is one of the few wildly wrathful Taras, and probably the only one to emerge from a Dharmodaya. She arises from Hum and is crowned with five Buddhas; she is said to manifest in Oddiyana, but to govern all the Pithas. So she is not specifically Marici--she seems more like one's first glimpse of Oddiyana Pitha. She only has one brief sadhana, and so it is the other Oddiyana deities such as Marici and Kurukulla who elaborate the details.

The syllables, I believe, are the same as for Jnana Dakini. The coloration is just basic for the Five Families, so, Green--Amoghasiddhi--Kham is the base of the spine which is not used in any preliminary Yoga. It is in Vajrakilaya and others of the Extremely Wrathful stage which are conditioned by Amoghasiddhi. Now we are confused because we just put Sky Syllable in the Nadir, but, this is like Vajradakini of the crown being Samsara Skandha, whose nature is the Nadir. This looks contradictory, but I take it to have a lot to do with Touch Object. Touch goes to the middle of the mandala, and later, "splits" into the upper and lower poles.

It makes sense that Bliss may be a bit different per chakra, or per zone, the colors perhaps being various life-winds.

Pitheshvari is from the yogini Vajravati (https://books.google.com/books?id=KwKrCQAAQBAJ&lpg=PA147&ots=y2JAIZ2jrz&dq=vajravati%20tara&pg=PA147#v=onepage&q=vajravati%20tara&f=false) (trained by a weaver, Anandavajra (https://books.google.com/books?id=dahS9CHLfXoC&lpg=PA102&ots=Qo0wteC6Vf&dq=vajravati%20tara&pg=PA103#v=onepage&q=vajravati%20tara&f=false)), 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. 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, which are one's body.

Vimala (https://www.psychosocial.com/article/PR260975/21922/) is also called Pitheshvari.

Saraha with Arrow Dakini:

https://www.zacke.at/sites/default/files/styles/artobject_huge/public/artobjects/AK514-001.jpg?itok=XcHJSKCN

Pitheshvari between Day/Night Tara and Cintamani Vasudhara:

https://www.himalayanart.org/images/items/resized/1070px/4/0/0/40046.jpg

Chinese 1400s:

https://www.himalayanart.org/images/items/resized/2000px/5/5/5/55532.jpg

She is a bit basic, in terms of tantra, but very relevant due to the syllables, it is probably best to learn them from her. This is why I think of her as "Tara One", instead of Pravira which is a similar eight arm red Tara, with two of her hands raised straight up. According to Taranatha, Cunda is the basic samaya Red Tara; Pitheshvari can hardly be said to be Lotus Family.

The Sangha in tantra is the lineage of gurus or the assembly of guru deities, is it not?

HPB called it, in Puranic terms, the Vairajas, those who are already liberated and established in higher planes. In Nepal, it is the Bodhisattvas. Sometimes it is seen as the twenty-five or so close disciples who followed Buddha, reincarnated again around Padmasambhava, and perhaps came again at other times.

Although it might sound mean to discard the exoteric Sangha, I would not be able to find Refuge, i. e. a safe and reliable guide, in just anyone who may have taken Refuge Vow.

Part of the idea is that Buddha teaches the Bodhisattvas, who in turn teach us.

We do not think the personal incarnation of Buddha exists any more, and so taking refuge in a "yellow oriental man" is not necessary. In tantra, it is generally seen that whatever there is of Buddha is part of what we call Vajradhara. And then Vajradhara usually does little but serve as a background for other deities and Bodhisattvas. So they are on a scale of more transcendent, more subtle, harder for us to reach. If we met a real Tulku or Jangchub, would we see their transcendent aspect? Probably not. We would see an ordinary person, perhaps more dignified, more experienced and educated, but unless we actually entered a samadhi together, then it could only make a very minor impression.

It may mean the Buddhist community, it may mean all life forms, but the essence I get is that it comes to the most subtle things we are able to perceive. In the rites, Bodhisattva perception is assisted peacefully by Offering Goddesses, whereas the Wrathfuls are Tramen and Gauris.

So when we get to Amoghasiddhi, we have found that Wrathful Tara is Smoky Chandika. This has a few aspects: Brihadaranyaka Upanishad told us it is a veil for Prana; smoke may be the first "sign" of dissolution; and when in some way mixed with Mahavidya Dhumavati, then you get the Kamadhatvishvari of Vajra Panjara Tantra.

Dakini Jala fixes the order of Dissolutions with Dhumavati first, Marici second.

Smoke is usually the theme of Candi or Wrathful Amoghasiddhi Tara, and so in the order of things, this is an absorption of prana into samadhi.

A careful look at Dhumavati will convey something about why we have Marici, like a wrathful equivalent of Viraj becoming Savitri.

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

"Smoke" may just mean formless. However, in Upanishadic tradition, the rays of the sun may be called smoke, Smoke Wisdom, specifically from Brihadaranyaka Upanishad. When it speaks of mind and voice dissolving into prana (smoke), this is very nearly exactly the same thing we mean by Muttering, mixing mantra and wind (prana) in the central channel.

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

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

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

That means all of the sacrifices plus the Five Dissolutions from Smoke into Sky.

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

Dhumatala (https://www.lotsawahouse.org/tibetan-masters/jigme-lingpa/yumka-fire-offering) in Longchen Nyintik Fire Offering.

Dhumatala (https://www.nalandatranslation.org/offerings/translations-and-commentaries/the-wisdom-of-the-feminine/) referred to as luminous in Yeshe Tsogyal song.

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

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

Dhumavati is also:

nArIprIti narArAdhyA

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

Her first name is Mahamaya.

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

Her tantra is supposed to be on Muktabodha (https://muktabodha.org/digital-library/), although it is hard to find. They do however mention that in a related group of Kashmiri Siva tantras, all twelve were taken from Nepali manuscripts.

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

Nepalese Dhumavati yantra:

https://d2l0wy9lsui5uy.cloudfront.net/c/u/f67894297b6134a6b759b3a9ec15b6cb/2019/04/11070204/Dhumavati-Mandala.jpeg

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

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

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

Dhumavati is usually considered the producer of Matsya or Vishnu's Fish avatar. Varahi, rarely, is depicted with fish. In a description of twenty-eight of her forms (murtis) along with the source and tradition, we are able to find there is such a thing as a Dhumavati Varahi (https://animeshnagarblog.wordpress.com/2015/06/27/upasanamurtis-of-goddesses-dhumavati/) hybrid. The hybrid is from the aptly-named dhumravArAhi kalpa.

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

https://upload.wikimedia.org/wikipedia/commons/7/76/Dhumavati_Nepal.JPG

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

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

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

Fat Varahi in Orissa with Fish and Bowl (https://medium.com/monuments-of-odisha/varahi-temple-chaurasi-c9b93f5490f9)

https://upload.wikimedia.org/wikipedia/commons/0/03/Chaurasi_Varahi.jpg

It definitely would be a riddle if distracted by the forms and not understanding the relationships. Well, this is not much of a secret in Buddhism. The most common form of Lakshmi as Dudsolma is Alakshmi, or, something fairly close to that, Dhumavati. Once we see fish, know about the solar and lunar nerves, and how desire or Kamadhatvishvari is sort of the "make it or break it" with dakinis, then it is a continuum of the same thing. Tramen as "objects of desire" will control and devour you; tamed or pacified, they produce wisdom.

At the Varahi temple, you find a hellish night goddess somehow related to the sun, which is quite close to Vajrapani's explanation that Varahi mounts a Garuda to approach the sun--and Marici evidently absorbs her and runs it to infinity.

Here is how Mahacina and Ekajati appear to come in.

The way of worship (Bali puja bidhi) of Kamakhya Devi's temple in Assam is considered Kirata bidhi.

Kirat is Naga culture which is Mahacina; its calendar claims to be over 5,000 years old.

According to Bhattacharya, a Prajnaparamita manuscript bearing the date A.D. 1071, is there in the holding of the Asiatic Society, Calcutta. Interestingly, this manuscript contains the illustration of a male divinity with the accompanying inscribed label reading: Mahacine Manjughosah.

In the famous iconographic set in a Nepalese Astasahasrika (Cambridge 1643)
Mahācīne occurs three times once for *Mañjughoṣaḥ *[folio 202v], once for
*Samantabhadraḥ* [folio 127r], and once for* Buddharūpaka Lokanāthaḥ*
[folio 123v].

In the Swayambhu Purana, a monk named Dharmasri Mitra met Manjushri in Kathmandu Valley while he was on his way to Mahacina to learn the meaning of twelve vowels of Namasangiti Manjushri. So he received the teaching without making a trip.

Dharmasri Mitra is translator of Sarva Tathagata Matani Tara Vishwa-Karma Bhava-Tantra; it is spoken by Buddha to Manjushri about Tara as Mother of all Tathagatas.

At Sankhu, this place is also known as the Eighty Siddhas as there are four of five caves where the siddhas of India are said to have stayed. One of the caves is also said to have been the practice cave of Nagarjuna, and an image of the great master which was originally in the cave has been taken outside and placed some distance away.The present temple was built by Raja Prakas Malla in 1655. It enshrines the main sacred representations of this site, Ugra-tara manifesting as Ekazati, which are said to give very powerful blessings, particularly the image in the upper temple. The image in the lower temple is red in colour with one face and four arms, two of which hold a skull-cup (kapala) and knife at her heart, and the remaining two hold a sword and an utpala lotus [Guhya Jnana Dakini]. In the upper temple is an identical image of Ugra-tara in bell metal, in which her left leg is outstretched. In the upper temple is the loom of the Nepali Princess Brhikuti, spouse of the Tibetan king Songtsen Gampo. In both the upper and lower temples, Vajrayogini is flanked Baghini and Singhini, the Tiger and Lion-headed Yoginis.

The primordial Indian Buddhists in Orissa are weavers, and, Assamese tantrists "joined" weaver caste. And there goes Bhrikuti's loom.

In Assam, Sarasvati is cotton. The cotton is white, and she teaches weaving; the name tantra has warp and woof as its roots, and the weaver caste is the Buddhist tribal minority in northern Orissa. The Limbu women are expert in making carpet, and knitting colourful local cloth (dhaka) with intricate design for clothing. They are also expert in bamboo work.

The timelessly ancient place in Assam is vagina pitha or Kamakhya herself, Kubjika, Mahamaya. In the shrine there is no goddess, only a vagina. It however is the center of the Mahavidya temple complex, and Ugra Tara is the navel pitha. For Ugra Tara, Vasistha was specifically sent by the goddess herself, in order to import her proper practice. But at least in Brahmayamala, it is actually Cina and also that "Vashishtha then went to Vishnu in the country Mahacina, which is by the side of the Himalaya (Himavatparshve), a country inhabited by great Sadhakas and thousands of beautiful and youthful women whose hearts were gladdened with wine, and whose minds were blissful with enjoyment (Vilasa). They were adorned with clothes which inspired love (Shringaravesha) and the movement of their hips made tinkle their girdles of little bells. Free of both fear and prudish shame they enchanted the world. They surround Ishvara and are devoted to the worship of Devi."

Kamakhya is considered a major pitha in Hevajra of 4th century: Kamarupa was renowned to both Buddhists and Hindus as a powerful pilgrimage center, and in fact one of the earliest surviving references to Kamarupa as a shakti pith is in the Hevajra Tantra, a fourth century Buddhist text.

In its own local view:

"The first temple on the site of Yonipīțha was built by the divine architect Viśvakarmā. When Kāmadeva was reduced to ashes by the flame of Lord Śiva’s third eye, his wife Ratī came here and propitiated Devī Siddha Kubjikā for resurrection of her husband. When brought back to life, Kāma duly worshiped Pīțhaśakti of Yonipīțha, who then became renowned by the name “Kāmākhyā” while the region came to be known as “Kāmarūpa” country. The current temple was constructed by King Viśva Sińģha of Koch Behar (West Bengal).

The most renowned festival celebrated in Kamakhya Temple is Ambuvācī, when a big fair is also organised and many Avadhūtas, Sādhus, Aghorīs and Sanyāsīs (who otherwise lead reclusive life) also come out in public. Astrologically in the month of Āşāďa (June-July) when Sūrya (Sun) enters Mithun Rāşī (Gemini) under 1/4th part or first quarter of Ārdrā Nakşatra, at that time Devī Vasundharā (Earth) undergoes menstrual cycle which is known as “Ambuvācī”."

"Tara of Kamakhya, as pictured on the interior of the Bhairavi temple, is dark blue or black and pot-bellied, holding kartarī (a pair of scissors), khaḍga (a sword), muṇḍa (a severed head) or kapālā (a cup or bowl made from a skull cap), and a lotus blossom. When worshipped as Tārā, her face is beautiful and benevolent. When worshipped as Ekajaṭā (related closely to the Tantric Buddhist schools), her face becomes grotesque and terrifying. Each reveals different but related truths about the nature of practice and liberation."

Here, her scissors are mixed up with the term kartri, or chopper. Scissors interpretation is thought to show influence from Rajasthan or Punjab. But as we see, the Kamakhya Tara is almost the same thing as Sankhu Vajrayogini.

Scissors makes sense in relation to cotton. And this is a mystical name Cotton Mouth or Picuva. Kubjika Tantra itself is pretty amazing; in most Shiva Tantra such as Pasupati, it is said his fifth face, Ishana, points upward, and not even the highest seer can see it. Kubjika goes on to a sixth, downwards face, Cotton Mouth (Picu Vaktra). Mouth of the Yogini (https://books.google.com/books?id=u-3eB-O62mIC&lpg=PA64&ots=-8-U5DDa3C&dq=picuvaktra%20kubjika&pg=PA64#v=onepage&q=picuvaktra%20kubjika&f=false). Matsyendra Nath (http://www.kamakotimandali.com/blog/index.php?p=1525&more=1&c=1&tb=1&pb=1) in Kamarupa. So Picu is part of Prajnavardhani mantra (Prajnaparamita and Sarasvati). And you get Picuva Marici. Actually:

Picuvaktra "cotton mouth" in Satsahasra Samhita is the Seventh or downwards mouth of Shiva. Here Devi resides as Guhyashakti, here the worlds originate from Jagadyoni. They took the normal five mouths representing five pranas and nadis, added a sixth avyakta unmanifest (Vyomaka, "sky"), and the last, Patala, "serves the purpose of emanation". Picuyoni, Muladhara chakra. They sneak it in and not until chapter 47 is this made clear. So Kubjika or Malini tries to esoterically give seven principles to Shiva, in a way maintaining the first five are the primordial bundle of almost any organism, and the sixth and seventh are subtle additions. Because this source is all about mantra, here we see pretty much the same sevenfold idea related to mantra born yoginis.

The Seventh Mouth is Nadir because it cannot be reached by light.

Pasupatas and Tantras gives it as anandacakra or circle of bliss from which flows visarga sakti, energy of emission, kundalini, as Kubjika.

Matangi is in Kubjika tantra; in the mantra, Medha is a form of Sarasvati, and is also "dh" which becomes Dhih that she shares with Manjushri.

There are a few kinds of Eight Arm Marici, such as Three Moods Marici. Picuva however is the intensification of this because she is all Nine Moods:

śṛṅgāravīrasaddharṣairjāmbūnadasamaprabhām //
madhyendranīlavarṇasyāṃ bhayabībhatsaraudrakaiḥ /
karuṇādbhutaśāntaiś ca sphaṭikendvitarānanām //

First, Picuva Marici displays the sentiments of Sritgara, Vira and Harsa in one of her faces which is of the colour of Jambunada (gold, or sama prabham, luminous); in the middle face which is of the colour of Indranila gem, the sentiments of Bhaya, Bhibhatsa, and Raudra are displayed; and in the third face of crystal colour, the sentiments of Karuna, Adbhuta and Santa appear. She has three eyes in all the three faces, which give freedom from the three great evils. Her essence is made up of the Dharmakaya and Sambhogakaya. She is clad in garments of yellow colour and resides happily in the mass of rays. She sews up the eyes and the mouths of the wicked by the needle and secures them with a string. She strikes their heart
with the Ankusa, draws them by the neck with the noose, pierces them by
the bow and the arrow, and by rending their heart to pieces with the
Vajra, sprinkles water with the leaves of Asoka....she tramples under
her feet Prajna and Upaya.”

She have given us all Nine Rasas or moods here. The phrase about the kayas is "dharmasambhoganirmitam": Nirmita (निर्मित) refers to “apparitional creations” according to the 2nd century Mahāprajñāpāramitāśāstra (chapter XIV), “There cannot be two minds (citta) at the same time: when the apparitional (nirmita) Buddhas speak, the master who creates them (nirmātṛ) must be silent; when the creating master speaks, the apparitional creations must be silent”.

"Sphatika" crystal is a quality quartz, but is rather highly rated:

Ratna (रत्न) refers to jewels, into which the universe was transformed by the Buddha’s miraculous power (ṛddhibala) according to the 2nd century Mahāprajñāpāramitāśāstra (chapter XV).

There are four types of jewels:

Kin (suvarṇa), gold;
Yin (rajata, rūpya), silver;
P’i lieou li (vaiḍūrya), lapis-lazuli;
P’o li (sphaṭika), crystal.
Tch’ö k’iu (musāragalva) cat’s-eye;
Ma nao (aśmagarbha) emerald;
Tch’e tchen tchou (lohitamukti), red pearl.

There are yet other jewels:

Mo lo k’ie t’o (marakata), emerald;
Yin t’o ni lo (indranīla), sapphire;
Mo ho ni lo (mahānīla) ‘great blue’ pearl;
Po mo lo k’ie (padmarāga), ruby;
Yue chö (vajra) diamond;
Long tchou (nāgamaṇi), nāga pearl;
Jou yi tchou (cintāmaṇi), precious stone that grants all the wishes of its owner;
Yu, jade;
Pei (śaṅkha) conch;
Chan hou (pravāḍa, vidruma), coral;
Hou p’e (tṛṇamaṇi) amber, etc.

All these are called jewel (ratna). These jewels are of three types, Human jewels (manuṣya-ratna), Divine jewels (divya-ratna) and Bodhisattva jewels (bodhisattva-ratna). These various jewels remove the poverty (dāridrya) and the suffering (duḥkha) of beings.

I do not know much Chinese, but here is one that is the same as the Sanskrit for a dharani that is important in Nepal, but not directly indicated for use in Namasangiti--which would be Mahasri Sutra.

Mahasri Dharani as in the Chinese basket is really from Sutra of Golden Light; regarding this,

"Reciting with the auspicious clarity of Sri Devi Deity and the compassion of Maha Cunda Bodhisattva the Dharani represents luminosity and brings good fortune to sentient beings". If one recites this mantra before mantra recitation or repentance, one will not be distracted outside conditions. One can also attain the Golden Light samadhi.

Golden Light is gigantic, something like twenty-nine chapters. And basically it is aimed at rulers with respect to the Four Kings. So this is using only the lowest class of Kama Loka being. Whereas with Mayuri Sutra (https://mahamayurividyarajni.wordpress.com/2012/06/10/mahamayuri/), which is large but could probably be done in an hour or so, it brings Golden Peacock and has the Kings, Naga Kings, Rivers, Mountains, many classes of beings and several dharanis.

According to Iconography of the Hindus, Buddhists, and Jains,

Mahamayuri very frequently appears in a triad
with Sitatara and Marici. In another triad she
appears with Janguli and Ekajata. As Queen of
the Magic Art, she is shown three-faced and six-
handed or eight-handed. In Nepal she is looked
upon as chief of the Five Protectresses (Pancha-
rakshas).

And so if China uses a Golden Light Mahalakshmi daily, they came up with this dharani song, and we can learn some Chinese:

QZItjW-XUl8

nā mó fó tuó。nā mó dá mó，nā mó sēng qié。 nā mó shì lì。mó hē tí bí yě。dá nǐ yě tuō。 bō lì fù lóu nuó。zhē lì sān màn tuó。dá shě ní。 mó hē pí hē luó qié dì。sān màn tuó。pí ní qié dì。 mó hē jiā lì yě。bō nǐ。bō là。bō nǐ。 sà lì wā lì tuō。sān màn tuó。 xiū bō lí dì。fù lì nuó。ē lì nuó。dá mó dì。 mó hē pí gǔ bì dì。mó hē mí lè dì。 lóu bǒ sēng qí dì。xī dì xǐ。sēng qí xī dì。 sān màn tuó。ē tuō ē nóu。pó luó ní

namo fotuo = namo buddha
namo damo = namo dharma
namo sengqie = namo sangha
namo shili = namo sri
mohe tibiye = maha devi
daniyetuo = tadhyata

And we can get it because there is a sort of, not quite calypso, but maybe a lounge lizard version in Sanskrit with English (many more repetitions):

qGP_FvA3PiY

The Dharani of Sri Devi Lyrics (Samskrt):

Namo Buddhaya.
Namo Dharmaya.
Namo Sanghaya.
Namo Sri Maha-Deviye.
Tadyatha, Om, Pari-purana Care Samanta Darsane.
Maha Vihara-gate Samata Vi-dam Mane.
Maha-karya Prati-sthapane.
Sarvartha Sadhane Su Prati-puri A-yatna Dharmata.
Maha Vi-kurvite Maha-maitri Upa-samhite.
Maha-klese Su Sam-grhite.
Samantartha Anu-palane Svaha.

The Mantra of the Virtuous Goddess:

Adoration to the Buddha,
adoration to the Buddhist teaching,
adoration to the Buddhist community,
adoration to the great auspicious goddess!
Like this: Oṃ (She) completes (pūrṇa) the deed (ka're, kama) successively (pari), all good to be seen, abides in great position, understands (mana) all good kowledge
tays peaceably in great practice (caryā), in procuring (sādhane) all truths perfectly, and approaching great indestructible nature
benefits (all) with great compassion, manages the great defilements, supports the welfare (of all), All Hail!

Rawhide68

22nd August 2020, 15:04

For what it's worth

I have had a spontaneous out of body experience once many years ago.
Just getting out of my bed in the middle of the night from my room into the kitchen because I felt hungry and couldn't sleep. Reaching the door handle of the fridge I watched my hand go thru it!, and immediately I woke up in my bed, couldnt go back to sleep after, not even go to school the day after, it was lifechanging.

Another much stranger event:

Lot's of years later I was staying at a friends summer cottage, half woke up at 5 am in the morning, experienced how I was strolling around on another planet, having conversations with people non-humans, (I was non human as well) but I was one of them so It felt natural.
The point here is that I was absolutely aware of me being in bed and at the same time I was there!, at 2 places at once!

I'd like to hear if anyone have had an experience being at 2 places simultaneously?

PS:No drugs involved.
DS

Old Student

22nd August 2020, 17:56

Wow, thank you!

For reference, one can extract,

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

This makes it easier for me to commit to memory. but it also crystalizes all the rest of it, because it gives a set of flows (I think you usually call them 'winds') within the body.

Why is jñāna here as "Primordial wisdom", instead of prajñā? I thought jnana was knowledge and prajna was pre-knowledge or primordial wisdom.

shaberon

23rd August 2020, 06:50

Why is jñāna here as "Primordial wisdom", instead of prajñā? I thought jnana was knowledge and prajna was pre-knowledge or primordial wisdom.

Pra-Jna, forward or straight knowledge, Param Ita, is on the other side. It is the root of what we think Tara carries us across. But both words "step down" in the main sense, to mean learning in general.

2) Prajñā (ध्यान, “wisdom”) also refers to the “three kinds of wisdom” as defined in the Dharma-saṃgraha (section 110):
śruta-mayī (by way of learning),
cintā-mayī (by way of thinking),
bhāvanā-mayī (by way of meditation).

Prajnaparamita is an exoteric Sutra; Jnanadakini is a secret deity. Jnana tends to have a spiritual implication with most yogic literature:

The very syncretically-occult Dnyaneshvari was written by a sixteen-year-old; it was the "unofficial" occult program around Maharasthra--Bombay for five hundred years until published, anonymously, at the University of Dublin in 1854, or, that is, referred to by the "Dream of Ravan", which, itself, is a twist on "esoteric scenes" which are sometimes added to the Ramayana. The explanation of the title would be Jnana Ishvari, which is not a far miss from the Buddhist Jnana Dakini. If I remember rightly, it actually means the Kolhapur Maha Lakshmi. It has been speculated that Koothoomi wrote this, but no one really knows; nevertheless, it was the most accurate thing to the Secret Doctrine to have appeared in Europe at the time, considerably beyond anything they had.

And the actual Prajnas or Buddha Wisdoms are named such as Adarsana Jnana, Mirror Wisdom.

Jnana has a bit more leaning towards tantrism, and now is usually translated as Gnosis.

Prajnaparamita is classed as a Sherab deity, like Sarasvati, their outer forms are worldly, helping you learn subjects, perform music, and so forth. We will see in a moment it never really leaves, just changes names and forms.

If we make the repair to what I did to Sarvadurgati, we will find the correct Paramita, Pranidhana, uses the skill of Jnana:

Correction for Seven Paramitas

Discipline.......Ground....................Paramit a...........Dharani

Citta.............Pramudita (Vajrasattva)...Dana........Ratnolka
Pariskara........Vimala (Vairocana)......Sila...........Usnisavijaya
Karma...........Prabhakari (Ratna)..........Ksanti.........Marici
Upapatthi.......Arcismati (Amitabha).......Virya.........Parnasabari
Rddhi............Sudurjaya (Akshobya).....Dhyana........Janguli
Adimukti..........Abhi-mukhi (Amoghasiddhi)..Prajna...Ananta-mukhi

Jnana...........Acala..........................Pranidhana.......Prajnavardhani

With the normally highest Sixth Paramita, Prajna, in terms of Bhumis (http://www.heartspace.org/writings/traditional/TenBhumis.html), Abhimukhi is "appearance" or perhaps "emergence" of Sunyata.

I made an error because Pranidhana as well as Jnana are duplicated in the array of Paramita-related things. The list may also be seen as layers of a
Stupa (https://books.google.com/books?id=IQp_957RRtAC&lpg=PA23&ots=WJEci0lyu0&dq=acala%20bhumi&pg=PA23#v=onepage&q=acala%20bhumi&f=false).

The Sarvadurgati tantra text uses the term Monlam (https://www.rigpawiki.org/index.php?title=Ten_paramitas) which is commonly understood and translated as Pranidhana Paramita. So this is what they mean is conveyed as a seventh Paramita after Consecration of the Chakravartin with Seven Precious Items. This is the ordinary mandala population which we are tending to re-iterate as Seven Jewels of Enlightenment with tantric Vajradaka. This will be modified shortly.

The corresponging Namasangiti layer of goddesses have a lunar and Blue Lotus aspect:

Pranidhanaparamita is of the colour of the blue lotus, and she holds in her left hand the sword on a blue lotus.

Jnanavasita is whitish blue in colour and holds in her left hand the sword on a blue lotus.

Acala is of the colour of the moon in autumn, and holds with pride in her left hand the stalk of a lotus over which is placed the five- thonged Vajra on the disc of the moon.

Prajnavardhani is white in colour and holds in her left hand the sword on a blue lotus.

They have the same uniform except for Acala Bhumi.

In the collection Nightmare Tales, HPB shows Varuni inhabiting a lake where a very powerful incident involving the sound of Vina (Om) and the Voice in a relatively short story called Blue Lotus (https://www.theosociety.org/pasadena/nightmar/night-4.htm).

Pranidhana itself shows up in the discussion of lunar and solar pitris.

Commenting Stanza IV (https://www.sacred-texts.com/the/sd/sd2-1-05.htm), HPB says:

THE Progenitors of Man, called in India "Fathers," Pitara or Pitris, are the creators of our bodies and lower principles. They are ourselves, as the first personalities, and we are they. Primeval man would be "the bone of their bone and the flesh of their flesh," if they had body and flesh. As stated, they were "lunar Beings."

The Endowers of man with his conscious, immortal EGO, are the "Solar Angels" -- whether so regarded metaphorically or literally. The mysteries of the Conscious EGO or human Soul are great. The esoteric name of these "Solar Angels" is, literally, the "Lords" (Nath) of "persevering ceaseless devotion" (pranidhana). Therefore they of the fifth principle (Manas) seem to be connected with, or to have originated the system of the Yogis who make of pranidhana their fifth observance (see Yoga Shastra, II., 32.) It has already been explained why the trans-Himalayan Occultists regard them as evidently identical with those who in India are termed Kumaras, Agnishwattas, and the Barhishads.

From there proceeds her description of the three formless and four form kingdoms.

Taken on a Dharani basis, this would cause us to engage the seventh Paramita with Prajnavardhani mantra, which employs Picu, of the seventh Shiva face. On a Bhumi basis, it is Acala, who in tantra is the "divider" before attaining the higher Bhumis of the Four Dakinis. What that means is these Dakinis who may arise with Guhyajnana Dakini, and maintain their presence as the core of the tantras, are, themselves, the highest parts of the Path. It is telling us to train and master Jnana, which may loosely be described as "knowledge", but we could immediately say Gnosis and Jnana Chakra and Jnana Kaya, and that the chakra may be manifested by Charchika.

This system does not grapple with the aspects of the real Bodhisattva Bhumis, about the same way that Dakini Jala does not quite reach the Dissolutions of the voids themselves. And so this is more like using all Six Families and making the appearance of Sunyata. If we can do this, it would eventually evoke Vairocani, at which point one could perform the highest tantras.

It is a different perspective on Prajnaparamita. She is not addressed, personally, but uses Anantamukhi, which is like a revolving door going back to the first Dana Paramita. Then the seventh, or somewhat abstract part, is her shared mantra which is Increasing (Vardhani), is related to Vajrasarasvati and Kubjika Tantra and Kamakhya and Mahacina Tara, which, if part of Pranidhana, is related to Agni.

If Picuva Marici accumulates this mantric power, then we should become aware that nothing says she has a pig face, it says her main or middle face is Midnight Sapphire. Normally, a deity's main face is the same as its body. Hers is wrathful. But unlike most sadhanas, this one does not quite elucidate her form, but only implies it by her eight items. She has ratnamukutapattanga, a jewel crown of Red Sandalwood. She apparently gets this after using Four Activities to draw in All Buddhas with Bhrta Kumbha--Aquarius, a filled pitcher of Amrta and Budih. It says her clothes are yellow. In the beginning it just says Mam is the Tattva from which the famous Asoka arises. Nothing seems to indicate what her personal color is. She does mention four sandhya and three sandhya (time periods).

Sphatika is sometimes used as a coloration, but hers is the only face to do so. Indranila is rare and on this, her face matches Ekajati's background light when spawning.

Picuva is established for Three Vimoksha:

2) Vimokṣa (विमोक्ष, “liberation”) or Trivimokṣa refers to the “three liberations” as defined in the Dharma-saṃgraha (section 73):
śūnyata (empty),
animitta (signless),
apraṇihita (desireless).

And perhaps has Picu having to to with Kavya or Poet:

sphuradbuddhaughakhavyāpicaturasrādisaṃyute

It is correct that the similar Three Moods or Kalpokta Marici does have an Indranila Varaha face--not the main one--which has an abundance of representations. One could say on the "Asokastavaka (https://www.wisdomlib.org/definition/stavaka)" (praise, or a bouquet of flowers) Maricis, the simple Asoka Marici and then, eight armed, Samskipta has a "krsna" boar face, like a regular color; Kalpoktam is Indranila Prabhara (light); and Picuva would be center, Indranilavarna (color), and debatably not a boar. Nothing in her article mentions a pig or pig companion. The first two are Asokastavaka, and Picuva is Asokastavakodbhavam, i. e., born from the prior, like Tarodbhava Kurukulla is born from Tara.

Indian stonework with boar faces:

https://www.himalayanart.org/images/items/resized/2000px/6/4/6/64630.jpg

Indian miniature ca. 1000s with a whole Varahi on her head:

https://www.himalayanart.org/images/items/resized/2000px/5/7/1/57140.jpg

This one also has Bandhuka flowers and Sindura.

From Vairocana there is a Lotus Womb and Lion Throne:

oṃkāraṃ tatsarvvaṃ pariṇamya śrīmadvairocananāthaṃ padmagarbha-
siṃhāsanasthaṃ vajraparyyaṅkaniṣaṇṇaṃ suvarṇacandre bodhyaṅgī-
samādhisamāpannaṃ

Then you see samadhi on the Bodhyangi (https://www.wisdomlib.org/definition/bodhyanga) or Seven Jewels of Enlightenment. This is mentioned four times in the book, all on Marici. So now she is more or less a peaceful parallel to Vajradaka. They are really "on" Vairocana who is in the business of conjuring Marici. However, Arya Marici 147 is called Adi Marici, and has the puzzling form:

pītamārāśoka

The way it would appear to make sense would be as the linked words:

Pita Amara Asoka

making her yellow; she is cast by Vairocana, but after she appears, her role is the explainer of her dharani, which she relates to the Seven Jewels in this way:

kurvāṇāmasakṛnnaddhabodhyaṅgīdhāraṇīṃ

She has a Suci and Sutra (string) and this looks like Ashoka Grove:

aśokavṛkṣaśākhāgravilagnāṃ

That is what Sadhanamala may intend as her samaya form if one has the dharani and knows anything about Vairocana.

Kalpoktam is not quite Picuva Marici, who triples her. We may be a long time in finding anything that shows or explains how Marici's main face looks like Ekajati's aura, or, why Picu Vaktra would not be the most accurate understanding of a name that some scholars call "an acrostic".

Nothing says she has a retinue, either. I am not sure that Marici's usual attendants' names are plays on Vetali since they are plausibly all words:

Varali, the moon (Vara Ali)

Vadali (https://www.wisdomlib.org/definition/vadala) is possibly a dark day or storm.

Varttali (https://www.wisdomlib.org/definition/vartta) is possibly Day Rakshasha.

Mandala Marici has the Gatekeepers that Bhattacharya called "very strange and peculiar", Alo, Talo, Kalo, Matsaro, but if o was an i there might be something.

When Picuva expresses Nine Moods then she is compatible to the Durga system which appears melded to Nepalese Buddhism in the guise of Six plus Three Buddha Families.

I am not sure the three are new families, since the Trikaya is formed of merged families, such as Jewel into Tathagata makes the Kaya of Body and so forth. So it could perhaps be seen as Six Families and Tri-samadhi.

Nine Moods is a standard from classical theater just as Kavya is for literature. I am not aware of any other deity combining these. Not in a way that makes us ask if she has a main Ekajati face not Varahi.

The end of Pivuva says "Picuvalesasamlekha"--lekha being letters used in twenty-one Sandhyantara (https://www.wisdomlib.org/definition/sandhyantara), which are like nine moods, but are plot-changing elements. Her final section is after Three Syllables for kaya-vak-chitta sadhana, which appears to be standard for Om Ah Hum. This is Visarjana (https://www.wisdomlib.org/definition/upacara#purana), or the "mystical conclusion" after the other rites of cloth, incense, etc.:

sandhyāntare 'pi pūjādipuraḥsaramito japet /
prāgvidhinā puraḥ prātardevīsaṅgīticeditaḥ //
imāṃ vidyāṃ tathā cānyāṃ bhāvayet sa samājapan /
tantrāmnāyena sanmantrī rucitaḥ sādhayed bhṛśam //
picuvāleśasaṃlekhād yat puṇyaṃ samupārjitam /
tena loko 'stu sarvāśaḥ syāmahaṃ mañjurāṭ svayam //

Pra-vidhina is skill developed by training; Saramit is a measure of truth, or the Vedas; Devi Sangiti is chanting. Although there are a few other mentions of "tantra", this is about the only one where the Tantra Amnaya, its family or lineages, are sanmantri or associated with her mantras. She does not describe her mantras, so, probably relies on Kalpoktam and others.

There are not that many Mahavidyas in Sadhanamala: Sadasksari, Ekajati, and a few others. Janguli was given by Buddha, as was Vardhani or Picu mantra, for which it says:

This Mantra which has power to confer the cleverness of a poet was introduced
by the Sugata.

Compared to the Picu mantra, Picuva Marici is not really giving anything new or different; she is just more intense and detailed, the state of Kavya covers a wide range of emotions and acts.

Old Student

23rd August 2020, 21:56

From your reference on Matsyendranatha:

Several sources point to the origin of this school, at least in some kind of systematized form, in Kāmarūpa, where this knowledge was transmitted by the divine yōginīs to Matsyendranātha.

Dr. Suniti Bhushan Qanungo in his detailed history of the region -- History of Chittagong vol. I gives extensive evidence that Matsyndranath's school of yoga was actually derived/inherited from Buddhist viharas, and is an evolution mostly of the Six Yogas of Naropa.

I am fascinated at how many twists and turns there are trying to figure out the vague term Mahacina, how many different locations it is attributed to, how many uses it has, etc.

And we can get it because there is a sort of, not quite calypso, but maybe a lounge lizard version in Sanskrit with English (many more repetitions):

The two videos differ in one interesting aspect: The Chinese version has no "svaha" at the end. I wonder whether it has been shortened.[COLOR="red"]

In Assam, Sarasvati is cotton. The cotton is white, and she teaches weaving; the name tantra has warp and woof as its roots, and the weaver caste is the Buddhist tribal minority in northern Orissa. The Limbu women are expert in making carpet, and knitting colourful local cloth (dhaka) with intricate design for clothing. They are also expert in bamboo work.

Tantra and sutra = Warp and Woof. In modern Bengali, warp and woof are still tonto and shudho.

Old Student

23rd August 2020, 22:17

Rawhide68, thank you.

I'd like to hear if anyone have had an experience being at 2 places simultaneously?

I have never had the experience of being in two places simultaneously. I have had the experience of being across the room looking at myself in the bed, similar to yours, but I didn't feel myself from within the bed at the time, I was asleep. I have had the experience of being in two bodies at one time, but in the same place. And I have had the experience of not being in any place sometimes.

Old Student

23rd August 2020, 23:21

Thanks for the explanation on Prajna vs. Jnana. I now have another question because you bring up 'Pranidhana':

The Sarvadurgati tantra text uses the term Monlam which is commonly understood and translated as Pranidhana Paramita. So this is what they mean is conveyed as a seventh Paramita after Consecration of the Chakravartin with Seven Precious Items. This is the ordinary mandala population which we are tending to re-iterate as Seven Jewels of Enlightenment with tantric Vajradaka. This will be modified shortly.

The corresponging Namasangiti layer of goddesses have a lunar and Blue Lotus aspect:

Pranidhanaparamita is of the colour of the blue lotus, and she holds in her left hand the sword on a blue lotus.

Jnanavasita is whitish blue in colour and holds in her left hand the sword on a blue lotus.

Acala is of the colour of the moon in autumn, and holds with pride in her left hand the stalk of a lotus over which is placed the five- thonged Vajra on the disc of the moon.

Prajnavardhani is white in colour and holds in her left hand the sword on a blue lotus.

They have the same uniform except for Acala Bhumi.

In the collection Nightmare Tales, HPB shows Varuni inhabiting a lake where a very powerful incident involving the sound of Vina (Om) and the Voice in a relatively short story called Blue Lotus.

Pranidhana itself shows up in the discussion of lunar and solar pitris.

Pranidhana meaning what? Aspiration, surrender, annihilation, (these are the things I was able to come up with for a "translation")?

You break it as Pra Nidhana which sounds like it should be annihilation, but surrender seems to be a very common translation of it.

Indranila is apparently a gemstone, additionally? Which is a deep blue stone because it is Indra-nil, blue like the sky? Is this "Midnight Sapphire?"

Picuva Marici is "cotton" Marici?, but not the one with the needle and thread, in this form? Also, I found two versions of the needle and thread story:
1) She takes your defilements and sews them up in a bag to dispose of (doesn't sound right)
2) She sews your lids closed to force you to confront an attachment related to sight (sounds more plausible).

shaberon

24th August 2020, 05:48

Pranidhana meaning what? Aspiration, surrender, annihilation, (these are the things I was able to come up with for a "translation")?

You break it as Pra Nidhana which sounds like it should be annihilation, but surrender seems to be a very common translation of it.

In that sense, Nidhana is the same as Nidhi, hidden treasure (of Kubera, etc.).

Aspiration is its main meaning. The term is in Sadhanamala nineteen times. Early, there is something like Karuna powerfully promotes Pranidhana siddhi; a few times it seems to have the meaning "spawn sequence"; and it is generally near Puja (ritual) or Punya (merit), standard sadhana descriptions. Sometimes it is near Emptiness mantra, Nairatma uses it before spawning, there is:

svaparaṃ vibhāvya śūnyaṃ praṇidhānam anusmared yogī /

So there is aspiration/meditation/devotion to Sunya itself. Surrender is also perhaps fitting, as long as we keep in mind what is being surrendered to what. The Emptiness mantra is largely intended to sacrifice ego to void-gnosis.

It is in Samputa one time:

vajra•añjaliṃ tu baddhvā svahṛdaye dhārayet |
tataḥ sarvasattva•ādipraṇidhānāni kārayet || 9.2.36 ||

Praṇidhāna (प्रणिधान) refers to “buddhist vow” according to the 2nd century Mahāprajñāpāramitāśāstra chapter X. During innumerable kalpas of this kind (asaṃkhyeyakalpa), the Bodhisattva has formed the great vow to save all beings. This is what is called the vow of the Great Mind. In order to save all beings, the fetters (saṃyojana) must be cut through and supreme perfect enlightenment (anuttara-samyak-saṃbodhi) must be realized. This is what is called vow (praṇidhāna).

Similar to Samaya or Vrata (Gauri).

If I think in terms of Cunda mantra, then, from the human point of view, four or five words does not a spiritual career make. You would get shifty and restless and crave something. But in that Buddha Field, they never grow tired, they do not think about it, they do not question it, they simply enjoy it, unceasingly (Acala Bhumi).

And so most literally--if I was not too sure what Pranidhana was--since it is helped by a Dharani, the answer is really Prajnavardhani, which is not even "a" goddess, it is Prajnaparamita and Vajrasarasvati. This is the same thing we mean when we say that there are deities "mantricly identical" to Seven Syllable deity. In various practices, they may have different forms, other mantras, and so forth, but the entree', so to speak, is the same.

Indranila is apparently a gemstone, additionally? Which is a deep blue stone because it is Indra-nil, blue like the sky? Is this "Midnight Sapphire?"

Yes, sapphire generally, or blue-black sapphire particularly. The color shows up with Arapacana and Canda Maharoshana, although it does not look like a "part" of them, and Ekajati and Marici, where it does. Regular (dark) blue is just Nila or Krsna, in almost every sadhana of everything.

Day Sky Blue is a visual "code" for white. This is not Turquoise, which is not the light blue Turkish kind--ones from Tibet are greener. A Vishnu Linga is supposed to be made of Indranila. But in terms of a deity form, so far, we can only say it pertains to Marici and Ekajati.

Picuva Marici is "cotton" Marici?, but not the one with the needle and thread, in this form? Also, I found two versions of the needle and thread story:
1) She takes your defilements and sews them up in a bag to dispose of (doesn't sound right)
2) She sews your lids closed to force you to confront an attachment related to sight (sounds more plausible).

Picuva still has eight arms, viz., Needle and Thread, Archer, and the other standard Marici items. In fact, after her faces, the first part of her description is not "she has eight arms, holding a needle in her main hand", it says she is sewing faces shut.

She should resemble Kalpoktam, except whatever her blue face is, is in the middle. I still have not found any image of Marici with either a central pig face or a blue one, and, no matter how unclear the lack of description of the rest of her may be, the basic fact this blue face is her main one is certain. Also, her sadhana is sanitized of either Varaha or Sukara, either of which she uses to express "pig".

The emphasis is almost entirely about her faces, since each one shows Three Moods--two of them are practically unique colors, and even the golden one uses an uncommon or limited way of saying it; Kanaka is more frequently found.

My guess is if it meant cotton, it would just say "picu". It is only by digging to chapter forty-seven in Satsahasra Samhita that the suggestion it may be Picu Vaktra might be relevant. This book is like the commentary or operative details for Kubjika Tantra, which would talk about deity forms and rituals. I think the world knowledge base will deny Picuva means anything, and the few people who studied it guess it must be a word twist or something, and Picu Vaktra is my suggestion where they have none.

Well, I was already expecting Marici to absorb Prajnaparamita and Sarasvati, so this can only help.

If there was some issue about whether Kubjika is closely related, up to including the possibility that Nath is a Buddhist outcropping anyway, almost all the available information will say "yes". We are pushing the envelope. Even in modern Bengal and Assam they have some hazy recognition of once having shared tradition like this, and nothing to show for it. They all get their answers from Nepal, even Sri Lanka and Kashmir do. When we see how much is obscured behind Matsyendranath, Kamakhya, etc., everything suggests Kubjika, and if Picu Vaktra is like a secret of hers, then perhaps "Picuva" is playing along really well.

Mahacina and related cultural terms refer to kingdoms and peoples that were hugely historically significant, spanning the entire Indian trans-Himalaya out to at least Cambodia. They had territories in what became China all the way up to Wu Tai Shan and who knows how much of Mongolia or Siberia. The only Buddhist family I currently know are Shen which I believe is a Burmese name for Mahacina. But this is not to say it was like a Mahacina Tara Empire--we would run aground into shamanism such as Sanamahi (https://en.wikipedia.org/wiki/Sanamahism) of Manipur. Perhaps the most important rationale is really that at least in India, there was Tara taking human sacrifices, until there was like a revelation saying, hey, this is really symbolic. We don't have to kill actual people, just like the Vedic Horse sacrifice does not really mean we have to kill a horse. A few thousand years ago, that might have been a way to insult people and get yourself killed. We imported all the "left hand path" ingredients, but no one uses real horse meat, we just imagine it. This substitution idea may be "old news", but, the principle is about the same with everything. We were doing something unnecessary and destructive. Do something better. I think it is mostly the same throughout non-dualization of thousands of subtle nerves.

Outer Marici is said to use a "trash bag" and do a little voodoo surgery. This is correct. Many of the traditions simply adjust her more towards Outer Obstacles. But she can also clear Inner Obstacles like that. Same items work both ways.

Because there are a lot of other deities that can do things like this, I, personally take her Needle to be Suci--Solar Fire, and the thread to be used in weaving, I. e. tantra as "warp and woof". The position of historical Bhrkuti in relation to this, and, the underlying importance of weaver caste across northern Orissa towards East India should not be underestimated.

The most basic Marici is probably Asokakanta 133, no fancy moves from Vairocana, although this one seems to be a boar rider from the onset. So one could reason "Needle" is more like the sun, and "Tree Branch" uses the earth symbol or Bhu Devi vehicle, a mount is a deity's interface to the mundane world.

I had not noticed the lack of "Svaha" in the Chinese dharani. Neither one is technically correct, since the Dharani is only the part after "Tadhyata", and it should say Om the first time and then just repeat the rest of it. But hardly anyone follows this old rule, and will often include a whole paragraph from the Sutra like those do.

The Shurangama mantra was done in Malaysia; most countries are very avid about doing Sanskrit. But when I drop the rules and language barriers, and try to look at the Chinese in a common light, I think it would work. If I was actually casting Golden Light, it would work. I wish I was. There is something to Lakshmi which is not the same as Sarasvati.

Sarasvati is like a school goddess, small and portable. When I want to learn to read and write, to do some math, it is her, all the way up to the Vedas and Yoga and so forth, she teaches anything openly under a Hexagram.

Lakshmi is territorial. If you do not have a sacred space for her, either, nothing will happen, or, if you somehow get her attention, it will demolish you. She is the whole farm, the whole village, really big, requires a proper operating environment as for instance depicted by Golden Light Sutra. That is what that is all about. Keep the Vows and make the Four Kings Keep theirs. Make the "social structure" as beautiful as it can be. Therefor something like a household is the minimum size to participate.

Old Student

25th August 2020, 00:17

shaberon

25th August 2020, 01:46

So there is aspiration/meditation/devotion to Sunya itself. Surrender is also perhaps fitting, as long as we keep in mind what is being surrendered to what. The Emptiness mantra is largely intended to sacrifice ego to void-gnosis.

This is how I had interpreted "surrender" so this works. The list I extracted from your longer explanation before of the paramitas, contains in each of them a "formula" for personal yogic control within the body (withholding sperm, channels, directing bodhicitta from the jewel tip to the crown, etc. It doesn't make much sense in the order they're given to interpret pranidhana as many of the definitions but it does if it is final fulfillment of a Bodhisattva's vow, or surrender or annihilation. These all end up seeming like things that are stages, accomplishments in the shaking exercises given by the Dakinis if this is interpreted as the dissolve.

Yes, it is like a matter of degree. For instance, I would think it is possible for a normal person to apply a bit of devotion and get a "taste" of Acala Bhumi, although this is a far cry from saying one has or is on Acala Bhumi which means it is permanent and cannot be removed by any known means. The categories of teachings are meant to be somewhat simultaneous. If I am upholding Kshanti Paramita, I cannot be too far from Prasrabdhi Bodhyanga. So this is why the common Thirty-seven point enlightenment has redundancies and we are sort of taking the creme de la creme by focusing Seven Jewels and Four Brahmavihara.

However, specific to the Yoga Path are thirty seven what we might call yoga to tantra points, which more or less begins with the definition of divinity from Kriya--Charya and moves to the important sadhana components. I can scrape this together.

and it usually did not include either Mongolia or Manchuria.

If I recall correctly, Manchuria is a "retrofit" to Manjushri. There was a pilgrimage route from Tibet to Wu Tai Shan since before Padmasambhava's time. In a couple of cases we seem to have found China altering scriptures to make a lineage connection based in this, which does not seem to agree with the original sources. Anyway, the legend of Manjushri leaving Wu Tai Shan to create Nepal, not exactly Kathmandhu but Pattan, is held by the Kirats or Mahacina themselves. Even though they would have to be considered the recipients of Indian Buddhism, the Manjushri legend is as crucial to them as it is to Nepalese Chakrasamvara.

Yes, sapphire generally, or blue-black sapphire particularly.

I asked because my clear body has been very very dark the last few nights, but very transparent. I have not been focused on it, I had too many other things to try to juggle at one time, but I did notice it to the point of commenting on it in last night's notes, it corresponds to the recent feeling of being empty inside much of my torso with the whole being filled up with something like an electric charge.

Although I do not quite fully grasp all of your dakini visions--yes, this electrification sounds like part of what is expected to happen.

It sounds to me like you have a largely functional subtle body, minus a few degrees of what we call Vajra Ignorance. You have this motor mostly starting to crank, except for a few missing contacts or missing channels in the evidence of not being able to select "breeze" at will.

This probably has mostly to do with the non-dualization of many fine nerves. Duality is perhaps like the two ends of a ping pong table, the ball is constantly flying one way or another, and non-duality is like the players bring their paddles closer and closer together, until the ball is not flying to any side, but can only vibrate in a balanced manner over the center.

In terms of the Paramitas, it turns out there is such a thing as the dharani of the paramita herself.

Within Nepal there is a big thing relatively similar to Sadhanamala, using some of the same deities, except it is not visualizations, it is all Dharanis, therefor called Dharani Samgraha--similar to Dharma Samgraha, which is a "list of lists" used in defining most of the Prajnaparamita philosophy, such as the Six Armor Deities, Seven Jewels of Enlightenment, and so on.

Interestingly, this has the contents at the end. The roster is fairly massive, and it is written in an accent, like "vaja barahi", but it preserves Janguli, it has Vidarani and Ganapati Hrdaya, and Swayambhu Purana, it has Guhyeshvari and Vijaya Vahini, and Twenty-one Taras, and if we see where the "Cotton" mantra as Vajrasarasvati has threaded its way (she cycles), then it weaves Sadhanamala to the Nepalese basket:

(526)

? śrī vajrasatvakāya nāma ? śrī saptasatīkā prajñāpāramitānāma ? śrī paṁcaviṁśatikā prajñāpāramitānāma ? śrī svalpākṣara prajāpāramitānāma ? śrī advayaśatikā prajñāpāramitā ? śrī saptabuddha stutināma dhāraṇī ? śrī vajasatvakāyodbhava nāma dhāraṇī ? śrī varocara nāma dhāraṇī ? śrī musamantravidyānāṁ dhāraṇī ? śrī māyājālamantradhāraṇī ? śrī akṣobhyanāmadhāraṇī ? śrī ratnasambhavanāmadhāraṇī ? śrī amitābhanāmadhāraṇī ? śrī amoghasiddhīnāma dhāraṇī ? śrī nāmasaṁgītināma dhāraṇī ? śrī mañjuśrīpratijñānāma dhāraṇī mañjuśrī pratijñā nāma dhāraṇī ? śrī mañjuśrīnāma dhāraṇī ? śrī amṛtabhakṣonāma dhāraṇī ? śrī arapaṁcanamañjuśrīsādhananāma dhāraṇī ? śrī maitrīpratijñā nāma sutraṁ ? śrī maitrīya nāma dhāraṇī ? śrī amoghapāśanāmadhāraṇī

(527)

? śrī khasaryya nāma dhāraṇī ? śrī abhayaṁkarināmadhāraṇī ? śrī mahamrabhujalokeśva ? śrī siṁhanādanāma dhāraṇī ? śrī mokṣapradanāma dhāraṇī ? śrī āryyavalokiteśvara siddhinikā ? śrī ṣaḍakṣarī nāma dhāraṇī ? śrī nīlakaṇṭha lokeśvara nāmadhāraṇī ? śrī padmahasta nāma dhāraṇī ? śrī sahastracarkānāmadhāraṇī ? śrī ṣaḍakṣarastuti nāmadhāraṇī ? śrī jamarājastuti ? śrī umāmaheśvarakṛti stuti ? śrī lokeśvara śatanāma dhāraṇī ? śrī sarvalokeśvara nāma dhāraṇī ? śrī lokeśvara aṣṭottaranāma ? śrī hemāṁgānāma dhāraṇī ? śrī kṣatāśani dhāraṇī ? śrī kṣatāśani nāmadhāraṇī ? śrī sarvamaṅgala nāmadhāraṇī ? śrī jātismara nāmadhāraṇī

(528)

? aparimitānāmadhāraṇī ? bhadracarī nāmadutraṁ ? durggatipariśodhana nāmadhāraṇī ? gandhavyuha nāmadhāraṇī ? samādhirāja nāmadhāraṇī ? laṁkāvatāra nāma dhāraṇī nāmadhāraṇī ? śākyamunī nāmadhāraṇī ? karṇṇayopānāma dhāraṇī ? sarvapāpa haraṇanāmadhāraṇī ? vajasarasvatī nāmadhāraṇī ? puṇyavivardhūnī nāmadhāraṇī ? sadharmma puṇḍarīkā nāmadhāraṇī ? gāthādvayanāmadhāraṇī ? sugata vajanāmadhāraṇī ? bhaiṣa nāmadhāraṇī ? cuḍānāma dhāraṇī ? dhvajāgrakeyūranāmadhāraṇī ? mahāsaṁcara nāmahṛdaya ? candramahāroṣaṇasamārdhināhṛdaya ? herukaprasavaroganāmadhāraṇī

(529)

? vajavārāhīnāma dhāraṇī ? guhyeśvarī nāmadhāraṇī ? āryyatārānāmadhāraṇī ? āryyatārānāmadhāraṇī ? yogāṁbara nāmadhāraṇī ? ugratārānāmadhāraṇī ? jāṅgulīhṛdayanāmadhāraṇī ? daśakroṭanāmadhāraṇī ? uṣṇīṣavakravarttīnāmadhāraṇī ? lokāgītastavaiḥ ? vajayogiṇī nāmadhāraṇī ? trailokyavījayonāmadhāraṇī ? vajapāṇimahārakṣā ? tāroṣṭottaraśatanāmadhāraṇī ? tārāsragdharāstuti ? ekajaṭādhāraṇī ? svayaṁmbhupurāṇaḥ nāma ? vasaṁndhārāvratarāja nāma ? vasūndhārā nāmadhāraṇī ? vasundhārā aṣṭottaraśatanāma ? vajavidāriṇī nāmadhāraṇī ? gaṇapatīhṛdayanāmadhāraṇī

(530)

? uṣṇīṣaṇijayonāma dhāraṇī ? parṇṇaśabarī nāmadhāraṇī ? māricināmadhāraṇī ? grahamātṛkānāmadhāraṇī ? rāhuśāntināmadhāraṇī ? ketuśānti nāmadhāraṇī ? vinghātakanāmastotram ? sāhastrapramardvaṇīnāmadhāraṇī ? mahāmāyurīnāmadhāraṇī ? śītavatī nāmadhāraṇī ? pratisarā nāmadhāraṇī ? mantrānusāriṇī nāmadhāraṇī ? mahāpratyugiṁrā nāmadhāraṇī ? vijaya vāhinī nāmadhāraṇī ? mahāvaja sarasvatī nāmadhāraṇī ? mahāvaja bārāhī nāmadhāraṇī ? saddharmmapāṭha nāmadhāraṇī ? vajatārā nāmadhāraṇī samāptaḥ

(531)

dānapāramitādhāraṇī śīlapārāmitānāmadhāraṇī kṣāntipārāmitānāmadhāraṇī vīryyapāramitānāmadhāraṇī dhyānapāramitānāmadhāraṇī prajñāpāramitānāmadhāraṇī prajñāpāramitānāmadhāraṇī cūndānāmadhāraṇī jambharendrasyanāmadhāraṇī ugratārānāmadhāraṇī mahāmeghasūtra vaorocanīdhāraṇī ādaśākṣaradāraṇī cintāmaṇilokeśvaranāmadhāraṇī buddhabhaṭṭārakanāmadhāraṇī padmāttamanāmadhāraṇī sarvabuddhabodhi satvanāmadhāraṇī āryyatāro viṁśatistotraṁ

(532)

caturbhuja mahākāla sādhana nāma dhāraṇī

So it includes the three "highest Prajnas" Hodgson referred to, it has all this stuff, yet it does not bring up much of Hevajra, Chakrasamvara, Cinnamasta, etc., these are all mostly Yoga deities starting from Vajrasattva, Prajnaparamita, Seven Historical Buddhas (Sangha), that which is born from the body of Vajrasattva: Vairocana, Maya Jala and the other Buddhas, and Manjushri. Then it is Sadaksari and various Lokeshvaras until you get to a list of Sutras. Then several Taras and Paramitas and even what looks like Vairocani.

Miranda Shaw (https://books.google.com/books?id=MvDKOK1h3zMC&lpg=PA218&ots=Q4Hyfz6kaj&dq=asokakanta&pg=PA219#v=onepage&q=asokakanta&f=false) is practically convinced that Marici is Durga. She says the way the sadhana works is oneself is inside the Stupa.

Arya Marici means Needle Marici, and it is Asoka who is her companion form with other goddesses.

Asoka (https://en.wikipedia.org/wiki/Saraca_asoca) is the state flower of Orissa, the species name in western taxonomy, and the singlemost thing associated with Yakshis across all India.

Asokakanta is most commonly used as Marici's name when a companion of Tara, which will immediately solve a mystery.

Here is a shining example of something from Sadhanamala which, according to historical knowledge, is the major artifact from Ratnagiri, but otherwise without any evidence--forgotten. The following information was collected at a private house. This is based on a small paragraph which apparently is a major artery of mysticism.

There is an instance of Mahattari (http://echo-lab.ddo.jp/Libraries/%E5%8D%B0%E5%BA%A6%E5%AD%A6%E4%BB%8F%E6%95%99%E5%AD%A6%E7%A0%94%E7%A9%B6/%E5%8D%B0%E5%BA%A6%E5%AD%B8%E4%BD%9B%E6%95%99%E5%AD%B8%E7%A0%94%E7%A9%B6%E7%AC%AC55%E5%B7%BB%E7%AC%A C3%E5%8F%B7/Vol.55%20,%20No.3(2007)208%E3%83%90%E3%82%B8%E3%83%A5%E3%83%A9%E3%83%81%E3%83%A3%E3%83%BC%E3%83%AB%E 3%83%A4%20%E3%83%9E%E3%83%8B%E3%83%83%E3%82%AF%20%E3%80%8CSaptavidhanuttarauja%20%E3%81%AB%E3%81%8A% E3%81%91%E3%82%8B%E3%82%BF%E3%83%BC%E3%83%A9%E3%83%BC%E4%B8%89%E6%98%A7%E5%9C%B0%E3%80%8D.pdf) in current use, as the origin of a multi-Tara Sapta Vidha Anuttara Puja from Nepal.

They suggest the exercise starts with solo Mahattari, who becomes another Tara with companions, and proceeds until you hook Sambhogakaya Tara. This is what I have been floundering around with for years, I filed most of the Kubjika information under "Mahattari", and said all I can say is that she is related to Sambhogakaya and Mahasri, because there is not a text that asserts this. So this is exactly that.

Tara with companions would be called Varada if doing that gesture, but, if she does Dharmachakra, it is Mahasri. Without color, she might be confused for Prajnaparamita, so here is Mahasri (https://tibetmuseum.app/index.php?w=coll&cat=S&id=296) from the 1400s with original paint.

Mahasri (https://books.google.com/books?id=Zt9e6Ttr_IcC&lpg=PA94&ots=92ZONhZa_E&dq=asokakanta&pg=PA94#v=onepage&q=asokakanta&f=false) with unusual Asokakanta and Ekajati.

In Sadhanamala, the closest thing to Arya Tara is Dhanada (invoked that way), then Durgottarini, then Arya Tara Bhattarika, Mahacina; or Vasyadhikara or Vistara.

Mahattari however in Sadhanamala is defined as: this ritual, Saptavidhanuttarapuja. It has Sukla and Dhanada in relatively prominent placement.

The value is something like this. Anyone who ever meditated on Green Tara in some way, if you want to think of her in Lotus Family, I think there is only one option, Day-Night Tara, who happens to match the only one in Twenty-one Taras where a form is actually described--Amitabha and crescent moon in her hair. Just about any other kind of Green Tara is an Amoghasiddhi Tara. And so if we look at this thing and clip off the self-generation, then we have an elucidated basis to use it as a "Saptavidha Tara" framework in a similar manner to how Sarvadurgati is like a "Trisamadhi framework".

She is going to swipe the Vajradhatu mandala, which again, is like a power level, like Trailokyavijaya. It is the common exoteric one. If we had a similar Six Family Wheel but perhaps based in Dakini Jala, we would meditate that instead. We might use a few different individual Taras. You don't, for instance, change a deity's name mantra or something dumb like that, but, if you are following the teaching and have a parallel detail that fits, that is ok.

This is the whole Mahattari article, for which there is a Sanskrit original, and it is fairly close as if translating from Sadhanamala:

(116) Journal of Indian and Buddhist Studies Vol. 55, No. 3, March 2007

A Study of Tantric Rituals in Nepalese Buddhism

Samadhi of Tara in Saptavidhanuttarapuja

BAJRACHARYA Manik

1. Introduction

Most of the major rituals in Newar Buddhism consist of a stage where a
Vajracarya priest contemplates the nature of a certain deity as a, part of the main
rites. The rite is called 'samadhi danegu' and it consists mainly of contemplating his
own tutelary deity, which in most cases is the Samvara. The samadhi of Samvara,
called tri-samddhi, is so common among Newar Buddhists today that it is worshipped
in most of the rituals performed by Vajracaryas, regardless of the deity in
question. This is true also in the case of Saptavidhanuttarapuja (hereafter SP), which
is one of the most popular and fully developed exoteric Newar Buddhist rituals. The
ritual of SP employs the Sevenfold Supreme Worship') and the deity to be worshipped
in it are in most cases Tara, Lokesvara, or Sakyamuni Buddha.
Exceptionally, in the SP that I observed on August 28, 2004 in a private house at
Lalitpur city, a samadhi of Tara was performed instead. Depending on the ritual
performed and the manuscript of the ritual manual used on that day, I will describe
the samadhi below. The manuscript, which is a private collection of Dharmaraja
Vajracarya, has 43 folios with 14 lines per folio. It is dated as Nepal Era 1061 (1941
AD) and compiled by Siddhiraja Gubhaju of Bubaha, Patan.

2. The samadhi of Tara

The samadhi rite is the beginning of the main rites. It is performed after the preliminary
rites like suryargha (reception of the Sun), gurupddargha (reception of the
Vajrasattva and the priest), the purification, and the gurumandala. The Tarasamadhi
of SP can be described in the following stages:

[I] Salutations: In the beginning, salutations are made to the triple gems. Then the Bud-
dhas and Bodhisattvas are requested to be present in every direction.

[II] Contemplation of Mahattaritara: A syllable Tam is visualized at the middle of a moondisk
in one's own heart. Buddha and Bodhisattvas are arisen from the ray of light streamed
from the syllable. Then the text describes that one should first perform exterior and interior
worships (bahyadhyatmyapuja) and then the sevenfold supreme worships. Then sunyata
is conceived followed by the pronunciations that all the phenomena and the self are
pure in nature. Then from the Tam syllable, a white utpala flower is generated in which
another syllable Tam is present. From that syllable, Mahattaritara is generated who is fully
ornamented and seated cross-legged (paryanka) over a great-moon-disk (mahacandrasana)
on a lotus. She is green in color and has no companions. She is granting boon (varada)
with her right hand and holding a stalk of blue lotus (indivara) in the left. Then conceiving
the posture of samayamudra, one visualizes oneself as Mahattaritara. Pushpendra Kumar
discusses, by referring to several labelled images, that Mahattaritara was also known as
Mahattarayi, and Mahat-tara. He also gives iconographic variations of this form of Tara
as being flanked by two female companions and other one as being seated in lalitasana.

[III] Contemplation of Varadatara: The second samadhi is that of Varadatara. After contemplating
sunyata as in the former samadhi, one visualizes in oneself a all-sided lotus
(visvakamala) born from the syllable Pam. A green colored syllable Tam is then visualized
on a moon-disk which is born from the syllable A in the middle of the lotus. Then from
the syllable Tam, the green colored Varadatara is generated.
She is distinguishable by her four female companions. She is holding a water-lily (nilotpala)
in the left hand, granting wishes (varada) in the right and seated in the ardhaparyanka
posture. She is flanked by Asokakanta and Mahamayuri in the right side and by
Ekajata and Aryajamguli in the left side. Asokakanta is yellow in color, and holding a
branch of Asoka tree and a Vajra with her left and right hands. Mahamayuri, yellowish in
color, holds a peacock-tail-feather (mayurapicchika) and a yaktail-fan (camara) in her left
and right hands. Ekajata is dwarfish, dark colored, and holding a tiger skin (vyaghrajina).
She has three eyes and terrible tusks. She has. blazing hair and is also holding a chopper
(kartr) and a skull-cup (kapala). Similarly, Aryajamguli, green in color, is holding a black
snake (krsnoraga) and a fan (camara) with her left and right hands. Then one visualizes
these deities as oneself.

[IV] Adhisthana: After that, one performs the empowering (adhisthana) of the moon, the
sun, one's hands, conch-shell, flowers, the bali, the ritual ground, and one's body, speech
and mind, etc.

[VI Nyasa: This is followed by nyasa, a process where mantras of various deities are implemented
into different parts of the worshipper's body. A total of 26 mantras are implemented
using both right and left hands.

[VI] Akarsana: At this point, one meditates that Aryatara who is in the Akanistha heaven
is invoked into the mandala. The mantra Om Tare Tuttare Ture Svaha is muttered 108
times to her.

[VII] Worshipping: In the next stage, Aryatara is worshipped with five transcendental
Buddhas. It is followed by the worshipping of 40 Taras.

[VIII] Concluding rite: At the conclusion of the samadhi, one recites praises to the transcendental
Buddhas, Aryatara, Mahattaritara, and Prasannatara followed by the worshipping
of the crown (makuta).

3. Conclusion

-The samadhi of Mahattaritara described in the text is almost similar to the sadhana
no. 90 of the Sadhanamala. The text misses the parts where vikacotpalamudra
is performed and the mantra Om Tare Tuttare Ture Svaha is muttered. On the other
hand, in Sadhanamala, we do not find the line where Mahattaritara is identified
with the self.

-In the second samadhi
, the text does not mention the name of the central deity.
But the sadhana no. 91 of Sadhanamala is identical to the samadhi. As in the former
samadhi, the text misses the mantra Om Tare Tuttare Ture Svaha. Considering
the similarity, we may assume that the samadhis of both the Taras were extracted to
this SP text from the Sadhanamala.

-The process of nyasa in this samadhi is different than that of the trisamadhi. In
the trisamadhi, 24 seed syllables are implemented in 24 parts of the body (caturvimsaty-anga-nyasa)
using the middle finger of the right hand. In the case of present
samadhi, 26 mantras are implemented using both right and left hands.

The Text

1 taraya samadhi dane. jaki svam svapotane.
om namah sritriratnabuddhaya. samanvaharantu mam buddhah asesadiksu samsthitah.

2 hanam jaki jvane. om namah sriaryatarayai.
prathamam svahrdaye indumadhyasthatambijavinirgatarasmibhirnispannan gurubuddhabodhisattvan
dhyayat. tamsca bahyadhyatmya pujabhih sampujya tadagre
saptavidhanuttarapujam kuryyat. om sunyatam vibhavya om svabhavasuddhah
sarvadharmah svabhavasuddho'ham iti uccarayet. tat candre tamsambhuta-sitotpal
asthatamkarodbhutam taram syamam dvibhujam ekamukham daksine varadam
vame sanala [in] divan sarvabharanabhusitam mahacandrasane paryyankanisannam
cintayet. [samaya] mudram bandhayet. mahattaritaratmanam bhavayet.

3 om purvavat sunyataparyantam vibhavya pamkarajavisvabjadalamadhye akarenacandre
syamatamkarajam taram syamavarnam sarvalamkaradharam. vame nilotpalavatim
daksine varadam ardhaparyarnkanisaanm. daksinaparsve asokakantam
nanaratnamakutam vamadaksinahastayorasokapallavakulisadharam. tatha mahamayurim
vametarakarayoh mayurapicchikacamaradharinim. vamaparsve ekajatam
kharvam krsnam vyaghrajinadharam trinetram damstrakaralavadanam jvalatpingalordhvakesam
kartrkapaladharinim. tatha aryajamgulim syamam vamadaksinahastayoh
krsnoragacamaradharinim svabhavayet.

4 mandale tane. thana bhavana yaye. om akarena candramandalam. javam. om
akarena suryamandalam. khavam. om vajrapadmahastau hum. sahkha thiye. om
sarnkhadhisthana hum. pujabhah thiye. om puspadhisthana hum. bali. om tisthavajre
hum. mandale. om vajrabhume hum. sire thiye. om ah hum.

5 thana nyasa yaye. laha jvalapa. om ah hum aryatarayai hum. javagu laha puyeke.
om akarena candramandalam. khavagu puyeke. om akarena suryamandalam. javagu
ahgu raniya. om krum am jim kham hum. khavagu raniya. om lam mam
pam tam krum. javagu laha- cakamka kyane. om ah hum svasvaha. khavagu
cakamka kyane. om vajrayaksa hum. sire thiye. om aryatara hrim. kathusa thiye.
om jayayai hum. nugalay thiye. om vijayayai hum. tyapusa thiye. om jayavijayai
hum. pall thiye. om hum svavaladayai hum. pamcariga laha nipam cakamke. om
hum ha abhayapradayai hum.
khavam yayegu. sire thiye. om maitrye hum. kapale. om ksitigarbhe hum. mhutusa.
om tare hum. nugale. om manjughose hum. tyapusa. om sarvanivarnaviskambhi
hum.
javagubaha thiye. om ajitaya hum. khavagubaha thiye. om aparajitaya hum.
khvale thiye. om marasainyapramardanaya hum. nugale thiye. om hum kalamrtyuprasamanaya
hum. javagu pull thiye. om hum dhanadayai hum. khavagu puli thiye.
om vasudharayai hum. jadhu thiye. om amitabhaya hum svaha. laha nipam
kyane. om aryatarankusa jah hum vam hoh svaha.

6 thana jaki jvana laha jvalape. om hrdisthitapamkarajarasmim mudraya samharya
akanisthabhuvanasthittm sriaryataram mandale akarsanena bhavayet.
japayaye. dhah 108. om tare tuttare ture svaha.

7 svabhavasuddha padyadi taye. srimatsrisriaryataramandale padyacamanargham
praticcha svaha. om aryatarayai vajradhatumandale svaha. om dharmadhatave
namah svaha. aryavairocanaya svaha. om aksobhyaya svaha. om ratnasambhavaya
svaha.
om amitabhaya svaha. om amoghasiddhaye svaha. aryatarayai svaha. puspatarayai
svaha. dhupatarayai svaha. dipatarayai svaha. gandhatarayai svaha. rasatarayai
svaha.
prasannatarayai svaha. suklatarayai svaha. dhanadatarayai svaha. locanatarayai
svaha. mamakitarayai svaha. pandaratarayai svaha. tarayai svaha. bhrkutitarayai
svaha. saptalocanitarayai svaha. svetatarayai svaha. nilatarayai svaha. pitatarayai
svaha. raktatarayai svaha. syamatarayai svaha. siddhilocanitarayai svaha. vajratarayai
svaha. ekajatitarayai svaha. yogatarayai svaha. bhuvanatarayai svaha. candratarayai
svaha. suryatarayai svaha. mangalatarayai svaha. hasyatarayai svaha.
lasyatarayai svaha. rasarangatarayai svaha. mahamangalatarayai svaha. sumangalatarayai
svaha. sampurnaghatatarayai svaha. dviparajatarayai svaha. basantatarayai
svaha.
dharmatarayai svaha. punyatarayai svaha. sriaryatarayai svaha. vajratarayai svaha.
om vajrapuspam praticcha svaha.

8 puja. lasya. stuti. om namo sriaryatarayai namah.
om aksobhyam ca mahabodhim sriratnasambhavaya namo namah/
amitabham ca maharagam amoghasiddhaye namamy aham//
aryataramahadevimahattaritarayai namo namah/
prasannataradevim Sri to to tare namastu to//
om namaste taradevinam tare ture vire tuttare bhayanasanam/
ture sarvakaram svahakaram namamy aham//
om sarvavyapibhavagryagryam sugatadhipatijinam/
traidhatukam namaskaromi sarvabhayanasanam//

naivedya. mata. yedharma.
thana makutapuja yaye. iti sriaryatara samadhi samaptam.

So for example, if I want to do a different Nyasa, there is a Ten syllable Tara Nyasa, or just Armor Deities, you can modify that kind of detail. If I don't understand all those Taras but might want to use Mahasri Sutra's Twelve Names, it would be possible. This Akanistha Tara is not properly named, it says Sri Arya Tara, and then the Merit Field appears around Srimatisri Arya Tara. At most, "Arya" is not a name, but a form or role, and Sri is a name, and so the closest conclusion is that Akanistha or Sambhogakaya Tara is Mahasri. Her Samaya Mudra is Mahattari or Tara alone.

shaberon

25th August 2020, 08:25

I am glad to get a good Buddhist description of Mahattari because we have found one thing and lost another.

The reason I filed Kubjika under Mahattari is because Mahattari has a main role in Kubjika Tantra--unfortunately the source archive has been removed and I only have the note:

In Sat Sahasra Samhita is where we find Mahattari as the superior of a Pancha Jina--i. e., not the center of it, but beyond it.

In this text,the first component of the Astavimsatikrama (a process or initiation) is the series of Four. It consists of the four Mahapithas Odiyana, Jalandhara, Purnagiri, and Kamarupa--this is non-Buddhist, but same components there.

Next, Astavimsatikrama has a set of Five Syllables and Five Goddesses including Matangi and Sabari, who collectively make the continuous stream of Kulakula, which is Kula and Akula, or Shakti and Bhairava, unidentified place of Mahattari.

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. What they call Nathas of the Heart are not very different from Bodhisattvas.

The Mahattari is in the transcendent position above the Five Goddesses, and is the place or residence of the stream. This suggested addition to the standard group of five is barely hinted at, not mentioned until halfway through the book, so it is still semi-esoteric where it is mentioned at all.

Kubjika Tantra equates Matangi to Candali. Kubjika's technical relation to Seven Shaktis (https://www.kamakotimandali.com/srividya/kubjika.html) is given by Sri Kamakoti who also found that Tara is Arundhati--the seven are explained in Katyayani Tantra.

Kubjika Tantra (which lists 42 pithas) mentions Viraja as the goddess of Uddiyana.

Mahattari (http://www.kamakoti.org/kamakoti/books/ESSENCE%20OF%20SOUNDARYA%20LAHARI%20-ADI%20SHANKARA.pdf) in Soundarya Lahiri as Kundalini goddess.

Kubjika is a hunchback who is a secretive tradition in Nepal. In her tantra, you get Mahattari in an important central role, Matangi who is Janguli, and Picu Vaktra, which perhaps explains Picuva Marici.

Mahattari re-appears in a form with companions, and then summons Akanistha Tara, called Sri.

In Sadhanamala, Mahasri starts from a Harita colored Tam syllable, but is herself Syama. She resembles Prajnaparamita by having two hands that are both doing Dharmachakra, although it is called an older name, by definition (vyasthana) mudra. She is Lakshmi but quite possibly also Durga--she is on a Golden Lion and is verdant with bunches of flowers such as Asoka, Campaka, and Nagesvara:

suvarṇasiṃhāsanopari apāśrayādiśobhāṃ nānā-
puṣpāśokacampakanāgeśvarapārijātakādibhīrājitām amoghasiddhimakuṭinīm

In some artwork we are able to find verdant Taras that have been called Khadira, who is really Acacia Grove. If it is this replete of a flower garden, I am not sure anyone besides Mahasri has it.

In this garden, she is with a purely tantric Fat Ekajati having raised hair, red-crowned Asoka Marici whose main item is really a Vajra, Janguli who is the same color as Mahasri, Mayuri whose color is not specified, and this is not a mandala, but seems just to be cast left-right-left-right of her, more like a Yoga retinue or assembly based from the Sutras, which is her Samaya sealed by doing Utpala Mudra or Blue Lotus Mudra (I believe that was from Sita):

mahāśrītārāyāḥ pārśve ekajaṭām ardhaparyaṅkopaviṣṭāṃ
nīlavarṇāṃ kartrikapāladahrāṃ sakrodhāṃ lambodarāṃ piṅgalajaṭāvibhūṣitāṃ
vyāghracarmāmbaradharām, dakṣiṇe pārśve aśokakāntāṃ
pītavarṇāṃ raktamukuṭinīṃ vajrāśokadharām, punar vāme
āryajāṅgulīṃ śyāmavarṇāṃ sarpavaradahastām, dakṣiṇe mahāmāyūrīṃ
māyūrapicchavaradahastām / bhāvanāvasānasamaye
utpalamudrāṃ bandhayet / tato 'lātacakrākāraṃ paśyan mantraṃ
japet oṃ tāre tuttāre ture dhanaṃ dade svāhā /

jājalīlāsthitā devī mahāśrīḥ karuṇānvitā /

Jaja (https://www.wisdomlib.org/definition/jaja) (warrior) Lila (https://www.wisdomlib.org/definition/lila) (divine sport, transcendental effort) Asthita (Abode) Devi

(nothing else has a similar name)

Also:

Līlā (लीला, “sportive mimicry”) refers to one of the ten “natural graces” of women (svābhāvikā), according to the Nāṭyaśāstra chapter 24. These natural graces, also known as svabhāvaja or sahaja, represent one of the three aspects of graces (alaṃkāra) which forms which forms the support of sentiments (rasa) in drama. The natural graces (such as līlā) are defined according to the science of sāmānyābhinaya, or “harmonious representation”.

Mahasri Karunanvita (endowed with karuna, name of Shiva)

She is not a mandala, but she is almost mantricly identical to Dhanada, who is. The idea behind fulfilling Dhanada's mandala is that the crown opens Sambhogakaya. The two are very close to the same "power level" and it is something like Mahasri has more to do with Akanistha, i. e. her own Pure Land or Inner plane, and Dhanada is a fully manifested magic circle of it.

So this duo is similar to the tantras, which say you dissolve into void, and then emerge knowing all the Family rites and planes of manifestation.

For some reason, the Akanistha Sri Arya Tara from Nepal iterates the presence of Prasanna twice, the first time followed by the Amoghasiddhi Taras Sukla and Dhanada, in a very unusual way that separates the Buddhas from Prajnas.

And so from studying those and all we can cay are that they are definitive "cap" deities that mean the entire subject of the Cemeteries and the entire subject of Mandala, which the "real" Mahasri is above and beyond.

Lion-mounted Green Mahalakshmi, crowned by Yamantaka, surrounded by Yakshis, is 325 in Tibetan Deities. This has Nine Treasure vases, uses Srim syllable, and is not the same mantra as Mahasri, but it says she is Sri Devi for her Offerings. She is called a Prajnaparamita goddess who emerges from Gagana Ganja Samadhi:

https://www.himalayanart.org/images/items/resized/1800px/4/0/5/40515.jpg

This one comes between a large amount of Jambhala and the minor Vasudhara devis. Her syllable is common in Hinduism, but in Sadhanamala, Kurukulla is the only one to use it. Kurukulla also uses Prasanna, as does Vajra Vina Sarasvati. Prasanna appears to enter Vajramrita Tantra as Amrita Locana. Locana continues to appear as "Buddha Perception" of the Dharmadhatu, which arises in stages (Bodhisattva Bhumis). And so by saying Prasanna, it is something like seeing the world from the view of the Nectar suffusion process. This is one of the largest Taras having sixteen arms and among many, a "Gagana Syama" (Dark Sky) face, as well as an upwards smoky one, like Dhvajagrakeyura.

Exploring Sadhanamala Taras is suggested by the Jonang Foundation (https://jonangfoundation.org/blog/21-t%C4%81r%C4%81s-s%C5%ABrya-gupta).

Prasanna is big, but, she is kind of sneaky in the tantras. She stands out with Mahattari however.

Old Student

25th August 2020, 21:47

Yes, it is like a matter of degree. For instance, I would think it is possible for a normal person to apply a bit of devotion and get a "taste" of Acala Bhumi, although this is a far cry from saying one has or is on Acala Bhumi which means it is permanent and cannot be removed by any known means.

I was referring to the other descriptions, which are internal accomplishments -- retaining sperm, clearing away distractions, activating channels, moving bliss from one place to another. I don't have any experience of grounds (bhumi) except that bhumi devi was mentioned in one shaking, which isn't the same thing. The exercises do produce permanent results, but they have a purpose that seems a bit more mundane.

Or not, since the purpose seems to be to fill me from top to bottom with rainbows and then go through the very cold place which is already announced as death. Whether metaphorical or this is near the end game for me I have no idea and no way of knowing for sure, but I believe I am to survive it and return, because of the rainbows, and would not, otherwise. As far as I know, they are going to do this to show it to me, because according to them, I wanted it. I would assume that the place on the other side of that was someplace different, and perhaps one could call it a bhumi, although it doesn't fit the scheme of them, but more likely it is something else.

To give an example of how everything points that way, the breeze thing is apparently some kind of mastery of the plane over my palate (which I've sometimes refered to as the suprapalatine plane in my notes). It isn't an end in itself, it's towards filling that level with rainbow liquid and then moving onward (upward).

As for the internal descriptions, some of them are not hard, and that makes them seem like either they are being used in a multiple meaning (likely) or they are out of order from some original (possible). But there is another place where such an inversion occurs with the bhumi. The dharmokaya is an early entry even though it is the very most non-self of the trikaya.

(I do hope all of that wasn't too nonsensical).

There was a pilgrimage route from Tibet to Wu Tai Shan since before Padmasambhava's time. In a couple of cases we seem to have found China altering scriptures to make a lineage connection based in this, which does not seem to agree with the original sources. Anyway, the legend of Manjushri leaving Wu Tai Shan to create Nepal, not exactly Kathmandhu but Pattan, is held by the Kirats or Mahacina themselves.

A long time ago (3rd/4th c.) the area comprising some of Kanishka's empire and the kingdom of Khotan was thought of as "North India" by the inhabitants of Khotan at least, if not also by the inhabitants of Balkh (Bactra). They originally thought Manjushri was their guy, at some point they were convinced by probably pilgrims that he was at Wutai Shan, and began pilgrimages. I think those were probably the first. Some of the creation mythology of Khotan surfaces again in Nepal, all rewritten to be Nepali landmarks, after Khotan was gone so long that people (esp. Tibetans and Kashmiris) forgot where the place had been (Khotan was destroyed by genocide by the Qarakhitans in 1003).

Although I do not quite fully grasp all of your dakini visions--yes, this electrification sounds like part of what is expected to happen.

It sounds to me like you have a largely functional subtle body, minus a few degrees of what we call Vajra Ignorance. You have this motor mostly starting to crank, except for a few missing contacts or missing channels in the evidence of not being able to select "breeze" at will.

This is reassuring. I am getting better at the breeze thing, my main problem is that the dissolve is far from effortless. I also have times when I can't get it to happen when instead the breeze "steams" off of me, meaning that there are places (right side of torso in particular) that steam off "me" and I feel "in the breeze" just beyond them.

(531)

dānapāramitādhāraṇī śīlapārāmitānāmadhāraṇī kṣāntipārāmitānāmadhāraṇī vīryyapāramitānāmadhāraṇī dhyānapāramitānāmadhāraṇī prajñāpāramitānāmadhāraṇī prajñāpāramitānāmadhāraṇī cūndānāmadhāraṇī jambharendrasyanāmadhāraṇī ugratārānāmadhāraṇī mahāmeghasūtra vaorocanīdhāraṇī ādaśākṣaradāraṇī cintāmaṇilokeśvaranāmadhāraṇī buddhabhaṭṭārakanāmadhāraṇī padmāttamanāmadhāraṇī sarvabuddhabodhi satvanāmadhāraṇī āryyatāro viṁśatistotraṁ

At first I thought there had been a typo because prajñāpāramitānāmadhāraṇī is named twice, then I realized the first six are the classic six paramitas (the last one being prajna) and those after are names, Prajnaparamita, Cunda, Jambharendrasya, Ugra Tara, Mahamegha, Vairocana, Adasaksdara, Cintamani Lokesvara, etc.

Old Student

25th August 2020, 22:13

shaberon

26th August 2020, 05:32

Kubjika Tantra equates Matangi to Candali. Kubjika's technical relation to Seven Shaktis is given by Sri Kamakoti who also found that Tara is Arundhati--the seven are explained in Katyayani Tantra.

The list of seven Shaktis seems to have a lot in common with the ten Mahavidyas. Why?

Mahavidyas are from Sri Kula, which is Shakti, not Durga. Both are astrological, with different numbers of planets. The astrologers actually use the Moon as a reference point to determine whether someone should take the corresponding Durga from Nine Planets, or to use the corresponding Mahavidya which is the system of Ten by adding the ascendant.

Mahavidyas were prominent in Kamakhya, the Ugra Tara there is the Mahavidya Tara.

The Mahavidyas also tell us something about how the devis relate to the incarnations of Visnu. This is again like a fractal which represents the formation of a planet, or the development of a fetus. Also, of course, spiritual development by Mantra and Yoga.

Sadhanamala uses Mahavidya a few times, particularly with Sadaksari and Janguli, and defines Mahavidyeshvari as Jvala Mukhi (form of Varahi). Nepal will add Grahamatrika and probably several others classed the same way.

Cinnamasta is perhaps the major Mahavidya goddess who is non-Vedic, and since this is shared with Buddhism, which probably started it, again we are in a position of wondering if the Mahavidya system per se is a Buddhist idea incorporated into the popular realm.

Durga is almost un-named in Buddhism, aside from Durgottarini Tara, and Simha Durga as the last deity in Sarvadurgati Parishodana mandala. However the very beginning of Sadhanamala says:

śrīmātrisamayaṃ vande sarvasampatmukhodayam /
bhavadurgatikhinnānāṃ cintartnam ivādbhutam //

It is not a proper name; Durga is "fortress", but Durgati is "Evil Destiny", such as hell or bad rebirth, Khinna is "distress". So it is talking about samaya to Maitri or Love which challenges pain and a horrible future.

Mukha is often "face", or, can be specifically the mouth, and so also a door, gate, or entrance (and a synonym of Moksha). That is how Ananta Mukhi means Infinite Gate instead of the face of the serpent Ananta. So this Love Samaya is Vande "praising" All Sampat (wealth or process of attaining wealth) of the source (daya) of the gate or entrance, about misery, possible typo for Cintaratna, then "vad", to be spoken or told.

Maitri is basically absent as a deity name, but omnipresent as a divine attribute. So if I interperet the Four Brahmavihara, one easily gets Maitri--almost anything divine, Karuna--Avalokiteshvara, Mudita--Vajrasattva, Upeksa--Vajradakini.

What you said about the inner experiences being more germane than the Bhumis is sort of what I was getting at--we can learn and experience these even if we are not sure what the real Bhumi actually is. The first would be a permanent state of Vajrasattva, which I, sadly, lack. I can access it, but I cannot have it.

One aspect of Bhumi is the daughter of Bhumi Devi.

Sita Gayatri:

Om Janaknandiniye Vidmahe
Bhumi yaye Dhimahi
Tanno Sita Prachodayat

Bhumis may also be called Vihara, so again, is like a detailed Buddhist expansion of Four Brahma Vihara.

Tara operates during the Path of Seeing (first Bhumi): There are twenty-two knots between the central channel and the two lateral channels. As they become freed, pair by pair, the meditator attains the successive bhumis, from the first to the eleventh, up to buddhahood.

Namasangiti does us the favor of adding a special introductory Bhumi.

Discipline--Vasita...........Ground--Bhumi.....Paramita..........Dharani

Ayur............................Adimukticarya..... ...Ratna .............Vasumati Mahalakshmi

To make Twelve Bhumis, Namasangiti has "dropped down" the Disciplines to the beginning slot--Ayur is normally first, so this is not an addition, just a small twist.

The first Bhumi is Zeal (or mode of conduct determined by zeal), and it is hard to find a difference between its discipline and Ayurveda. According to Ayurveda, "The word “Ayu” is the root for the English words ever, never, aye, nay, eon, eternal, medieval, primeval, and utopia. All of these have a common thread, which is that the word “Ayu” means: “vital force, life, eternity.” When you say, “aye!” (yes!), you are asserting that something has life force and existence. When you say “nay” (no) you are negating that. The sound and letter “N” is a negation across multiple languages, including English and Sanskrit. The same for “ever” and “never”– one has eternity, or Ayu, behind it- the other doesn’t." Same as Ayus in its conventional meaning. Ayus is also the Aerial Flame form of Agni which is conveyed to living beings which we also learn restraint of.

So health-wise, they try to remove N's, things that prevent the life force freely flowing from Sat-Chit-Ananda forever.

Here is an unusual classification of Bodhisattva insights:

The ten bodhisattva insights from Bala Jnanagni Mahendra:

1. Sthanasthana Jnana Bala: knowledge of possible and impossible.
2. Karma Vipaka Jnana Bala: knowledge of consequence of actions
3. Dhyana Vimoksha Samadhi Samapatti Jnana Bala: knowledge of concentrations, samadhis, and attainments
4. Indriya Parapara Jnana Bala: knowledge of the relative qualities of beings
5. Nanadhimukti Jnana Bala: knowledge of the intentions of beings
6. Nanadhatu Jnana Bala: knowledge of the various states of beings
7. Sarvatragamini Pratipajjnana Bala: knowledge of the ways in which beings go everywhere
8. Purva Nivasa Jnana Bala: knowledge of former abodes
9. Cyutyu Papada Jnana Bala: knowledge of death and rebirth
10: Asrava Ksaya Jnana Bala: knowledge that the defilements have been extinguished

Vairocana provides a Maras Mantra: A Vira Hum Kham. Defeat of them is necessary for eighth Bodhisattva Bhumi or the Irreversible Path. Buddhaguhya interprets these as the Perfections of the Seventh Bhumi: Bala, perfection of strength and ability to manifest like a vajra without impediment; Parartha, "perfection of others' aim" or liberation from the realms of rebirth; Sarvajna Jnana or perfection of knowledge; perfection of eliminaton or Prahana is defeat of the Maras, and this is simply avoiding and overcoming the unwholesome, while fostering and cultivating the wholesome. Prahana starts in the Sixth Bhumi, is accomplished in the Seventh, and is powerful enough for nirvana. Bala may be seen as Eighth and Ninth Bhumis. Parartha Tenth, and Sarvajna Jnana the "eleventh" or Samyaksambuddha. Vira or "hero" often refers to Dharmakaya.

The fourth Bhumi is for the cultivation of all Thirty-seven points.

The Bhumis are, however, also characterized as the Three Subtle Minds, which is our interface to the Three Voids:

Penetration of the Dharmadhatu is with the three subtle minds: first of which (incomparable) opened by the first Five Bhumis, second (unfathomable) by the Seventh, and the third (inconceivable) is in the irreversible bhumis eight and up.

Incomparable mind: First, joyful through giving (Pramudhita from dana); Second, purity through morality (Vimala from sila), Third, luminous through forbearance (Prabhakari from ksanti), Fourth, radiant through striving (Arcismati from virya), Fifth is mediation through meditation (Sudurjaya from dhyana).

Unfathomable mind: Sxth is Facing through insight (Abhimukhi through prajna), Seventh is Far-going through great means (Durangama through upaya-kausalya).

Inconceivable mind: Eighth is Motionless through strength (Acala from bala), Ninth is good-minded through aspiration (Sudhamati from pranidhana), Tenth is cloud of doctrine through wisdom (Dharma-megha from jnana).

The minor philosophical difference between Indian Buddhism and most of China is in relation to the Alaya. As far as I know, the matching southern Ti-lun school dissipated, was too abstract for anyone to understand, and was replaced by a slightly more exoteric style. From Indian philosophy, we know that Para Sunya (Shentong) is the "void beyond void" as in the Shiva Agamas, and there is an ultimate link to Nirguna Brahman in meditation called Nirakara Vijnana Vada.

Nirakara is an advaya or non-dual view of "emptiness only" (Prasangika), and "mind only" (Cittamatra), much like centering that Catuskoti.

The Chinese attribute Ratna Gotra Vibhaga or RGV to Sthiramati, which is our core doctrine of Seven Mysteries and Refuge of One (Ekayana).

Encyclopedia of Chinese Philosophy: "In India after Dharmakirti this position was called sakaravada, or the view (vada) that consciousness is always endowed with (sa) an image (akara). Conversely, Indian Yogacarins such as Vasubandhu and Sthiramati state that for enlightened beings of the eighth bhumi and above, this bifurcation between "grasper" and "grasped" is seen to be pure fabrication or imagination...in the final stages, consciousness, pure and radiant, is fundamentally without an image; this position was also called nirakaravada, or the view that consciousness is fundamentally devoid of (nir) an image."

Sthiramati contends the paratantra-svabhava is the source of "grasper and grasped" because of false discrimination, so it is empty; paranispanna is not empty, or it is "empty of other natures".

If we turn to HPB, she has an iron grasp on the Three Natures, i. e., the three voids, very good for an English version.

These are scriptural standards in Trisvabhāvanirdeśa. According to Vasubandhu, all phenomena possess three distinct, yet interrelated natures (svabhāva). These are: (1) the imagined nature (parikalpita-svabhāva), (2) the other-dependent nature (paratantra-svabhāva), and (3) the consummate nature (paranispanna-svabhāva).

So one is imagined/false/unrealistic, and two is mired in the web of dependent arising. Basically all we are doing is fixing how they work. The Parikaplita does not cease to exist--it ceases to be distinguished from Paranispanna, Infinite Completion obtained by Paramartha, Ultimate Meaning.

1. parikalpita-svabhava (realistic)

The imagined nature in which the individual and phenomena are

seen as distinct, self-existent objects or as the subject of

experience

2. paratantra-svabhva (causal interdependence)

This view encompasses causality and dependent arising of all

phenomena but still recognizes a subject-object distinction.

3. parinispanna-svabhava (totality)

The "absolutely accomplished nature", the ultimate reality, in which all subject-object duality has been eliminated.

The simple terms for overcoming these are No Ego, Suchness, and Ultimate Meaning.

No Ego prevents you from imagining artificial garbage that is not part of nature, Suchness cleanses you of attachment to dependent arisings.

So to dissolve the voids, you cannot have any individual thought out of tune with reality. You cannot have a seed of karmic wind. You will at most hover in Sky or Space. If it was just Space, it would be meaningless, but we say the meaning is imputed not by ourselves but by the Paramitas, or the Dharma, or Bodhi. Here again is where the system of Seven is like the main basic spectrum and scale, since there are Seven Vajra Mysteries, and no Mental Object can exist without seven cetasika or skins--it can have more, but at least seven, and it is seven which is said to penetrate the dharma realm.

"Sthiramati, in his commentary on Triṃśikākārikā (Triṃśikābhāṣya) argues that the three natures and the three naturelessnesses are equivalent. His understanding of the three natures as equivalent to the three naturelessnesses of the Saṁdhinirmocana-sūtra is adopted uncritically by such Tibetan doxographers as Tsong khapa and mKhas grubje." (Jay Garfield) In this case, finding uncritical continuity accepted by these two sages, carries a lot of weight. The three natures, afflicted, produce samsara and suffering, but are rendered inert by three voids or natureless-nesses.

Gunamati and Sthiramati were active at Valabhi University in modern Gujarat. In China, this is only "Old Yogachara" of Ti-lun and She-lun. There is a limited continuity through the Himalayas, considering Sthiramati to be largely ignored or de-activated.

All of those systems shuffle together simultaneously.

As it becomes more intricate, we find that poetry and acting are tied in, and I still think the Dakini Jala Gauris sound like actresses. The little-understood Picuva Marici is the exemplar of Nine Moods, which previously were individualized on single deities:

https://www.asianpaints.com/pro/images/artical/navrasa_img1.jpg

Shringar or Rati, pale green, Vishnu; Hasya, white, Harata or Ganesh; Bhaya, black, Kala; Bibhasta, blue, Shiva; Santa, white, Vishnu; Adbhuta or Vismaya, yellow, Brahma; Karuna (tragedy), grey or dove, Yama; Raudra or Krodha, red, Rudra; Vira, pale orange, Indra.

Originally there were eight, and the ninth, Santa, was added by Abhinavagupta after considerable struggle for three hundred years. This and later additions do not have a concrete color and deity scheme.

If that is the case, it refers to ca. 1,000s, whereas the moods including peace were already in Buddhism:

"Vajrarudra appears already in the Sarvabuddhasamayoga in a passage
that associates the nine dramatic sentiments (rasah) with Vajrasattva, Tathagata,
Vajradhara, Lokesvara, Vajrasurya, Vajrarudra, Sakyamuni, Arali (or perhaps
Aralli), and Sasvata (Vairocana) respectively. Vajrarudra's is the sentiment of ter-
ror (bhaydnakarasah) and it is probable therefore that we should understand Vajra-
rudra to be Heruka."

They are in the Nepalese system:

Nine Moods was oddly found by Brian Hodgson in a Newari parallel of Dharmasamgraha, and does eventually coalesce on Nine Moods Marici.

We cannot yet say the moods "are" the Durga-esque Nine Families; and, occultly, Vajra Rosary speaks of experiencing six life-winds, the Families, nine ways, which perhaps are the moods, for a total of fifty-four combinations. Doubling it is the Rosary, 108.

Nepal's Nine Dharma Families compared to regular six families use Vajradhatvishvari--Vairocana, Locana--Vajra, Mamaki--Ratna, Pandara--Lotus, Tara--Amoghasiddhi, Vajrasattvatmika--Vajrasattva.

The female Dharmas it adds to the Six Family version are Vasudhara, Pratyangira, Guhyeshvari. The Buddhas of these families are Vajraraja, Vajradharma, and Vajrakarma (aspects of Vajradhara). That naming convention is used in Thirty-seven deity Sarvavid Vairochana in Sarvadurgati, and Vajra Karma is a multi-colored deity in Sarvadurgati and in Vajradhatu mandala. Vajrakarma Paramita is also the multi-colored highest Paramita of Namasangiti, which would be "extra" or eleventh compared to the Sutra list of ten. Even though there are systems which describe ever more-refined Bhumis, I am not aware they have any more Paramitas.

Vira Vajradharma is Red Vajradhara as a Celestial Bodhisattva with a drum, as the Buddha of Mother tantra, also used in Khandaroha sadhana; and at the end of Sakya's Three Great Reds. He is perhaps what inspired Drum Dakinis. Amoghasiddhi is Dhundub Isvara, Drum Buddha who inspired Tara as Jnana Chandra in the prior cosmos; wrathful Amoghasiddhi may be called Paramasva, and his peaceful forms in the early days were Kusuma or similar names related to flower and blossoming. Drumming and/or Thunder is the most liberating sound, especially in terms of layers of Primordial Sound beginning with Vina.

The red and green view on drums are at the least different colors, and then different moods, before even considering how they might be different in the subtle body.

Bhattacharya explains Moods:

"...the deities themselves have no real or independent existence, they are merely manifestations in a variety of forms of the One, Undifferentiated Sunya. But it cannot be denied that these images were very useful, since the forms they presented, in accordance with the Dhyanas, to the gaze of the worshippers undoubtedly helped the latter to visualise the deities with whom they were asked to identify themselves. As they had no real existence, these deities had to be attracted to the mind-sky from unknown regions in the firmament by the luminous rays of light issuing from the BIja mantras uttered by the worshipper. The Sunya takes the form of a divinity in accordance with the germ-syllable uttered, and exists only as a positive idea in the mind of the worshipper who identifies himself with that transformation of Sunya.

The question may be raised as to the necessity of a variety of gods and goddesses when one Sunya would have been sufficient. In answer to this a number of things have to be considered. It may be remembered that Sunya, which was
identified with Compassion by the Vajrayanists was conceived as manifesting itself in different forms in accordance with the different functions it had to discharge. For instance, if any disease is to be cured, Sunya takes the form of Simhanada ; when it is a question of snake-bite, Sunya becomes Janguli ; when destruction of the wicked is needed, Sunya takes the form of Mahakala ; when again, diseases and pestilences are to be prevented, Sunya is conceived as Parnasabari ; for success in love-affairs, Sunya is invoked in the form of Kurukulla ; and when forcible submission is required in love-affairs, Sunya becomes Vajrananga, and when finally, Buddhahood is wanted by the worshipper, he should conceive himself as Heruka. From the above it appears that the conception of the multitude of Buddhist deities emerges from the one grand conception of sunya in accordance with the various functions it is supposed to discharge, as a mark of compassion towards the Buddhists.

Secondly, the number of gods and goddesses increases when Sunya manifests in different forms the nine "Rasas" or dramatic sentiments. For instance, Sunya will be Khadiravam or Lokanatha when benign (Karuna), Marici when Heroic (Vira), Vighnantaka, Heruka or Mahakala when awe-inpiring (Bhaya), Aparajita when wrathful (Raudra), Vajracarcika in its moments of disgust and loathsomeness (Blbhatsa), Prajnaparamita when peaceful (Santa), and so on.

Thirdly, the number of deities increases as objects such as the Three Jewels ; philosophical conceptions such as the Paramitas, Bhumis or Pratisamvits ; literature such the Prajnaparamita, the Dasabhumika Sastra, the Dharinis and the like ; desires such as for eating, drinking, sleeping and the rest ; the directions such as the north, south, east and west ; the musical instruments such as the flute, the violin, and the drum ; and other innumberable ideas and objects, are required to be worshipped in the forms of gods and goddesses, By these and various other ways the number of deities in the Buddhist pantheon increased phenomenally.

As all these deities centre round the one grand conception of Sunya so also the host of weapons revolve round the one grand conception of Bodhicitta or the Will to Enlightenment. As these weapons are required to discharge different
functions, the Bodhicitta resolves itself into so many different forms of weapons. For instance, when the darkness of ignorance is to be dispelled Bodhicitta becomes a sword by which the veil of ignorance is cut asunder. The sword is also to be used to destroy the Mara hordes who disturb the worshippers. Bodhicitta becomes the Ahkusa (goad) when the hearts of the wicked are to be pierced. It is conceived as a noose when the Mara hordes are to be securely bound. It becomes a needle and a thread when the eyes of the wicked have to be sewn up. Bodhicitta becomes a Kartri (knife) when the wicked have to be chopped. It is a Bhindipala (javelin) when Maras have to be attacked from a distance, and a bow and an arrow if the distance be greater."

So this term Rasa is teaching your feelings in unity with life winds, and is the Taste goddess which is a high position related to Nectar, usually occupied by Vetali or Ghasmari. It is said to be "one taste" in acquiring the gnosis of all the different sadhanas, and also Mercury, important to alchemy and tantra.

Rasa is an essence, but particularly taste, and emotion. There are sometimes longer mood lists with mercy, fraternity, etc., but Marici has nine, Navarasa. So these can be experienced many ways on any deities, and concatenate in her. Vajradhatvishvari, or, i. e. the life-winds, can also be learned other ways, but arise consciously in her.

All that is beyond Nine Moods is her White Ten Arm form, and Oddiyana and Vajradhatvishvari.

This is why Nagarjuna's Khadira Tara is favorable; she comes with Marici and Ekajati. Mahasri Tara will add Mayuri and Janguli, but, these are fairly accessible mantra deities. Marici and Ekajati are both cosmic and highly tantric. They perhaps are more difficult to get ahold of. And so, like an evolution, instead of attempting the whole Sapta Vidha Anuttara Yoga, you could just do Mahattari and clear her and get Khadira. This style of erasing a deity to just bring it right back is actually typical. And so I would just be taking the kind of general Green Tara that I already know and acknowledging she is Amoghasiddhi Tara and asking her to introduce me a couple friends.

Mahattari just takes Ten syllable mantra and does Varada and holds:

sanālendīvaradharāṃ

Sa Anala (with fire) Indivara (unusual name for Blue Lotus)

She also has Vajra Feet, and virtually no image of Green Tara is like this.

She does Samayamudra (cf. Lokeshvara, Dharmadhatu Vagisvara, Tarodbhava Kurukulla) which appears to involve Vikata Utpala, Blossoming Blue Lotus Mudra. She is pretty close to the 1941 Nepal manuscript, the moon and a White Utpala are in her spawn sequence. That one tells you to self-generate, whereas Sadhanamala only says of her:

samayamudrāṃ bandhayet / hastadvayena
sampuṭāñjaliṃ kṛtvā tarjanīdvayena madhyame pidhāyāṅguṣṭhāgralagne
vikacotpalamudrā /

and Mutter Tara mantra.

That is about as Blue Lotus Tara as can be. Nothing else to it.

Samaya Mudra may be defined a couple different ways, as a woman, or a tantric seal, and it also fits a commentary (https://www.lotsawahouse.org/tibetan-masters/dola-jigme-kalzang/elucidating-hidden-meaning-four-mudras) related to the Three Natures:

It is like this:

What we call the bhaga of the Vajra Queen of the Vast Expanse has the nature of the gateways to liberation—emptiness, signlessness and wishlessness. This essence of the sugatas (sugatagarbha), the ground continuum, which is the inconceivable dharmatā nature, the natural state of pure awareness, is the karma mudrā, the basis of practice.

So it is the Tri Vimoksa as mentioned previously with Marici, which is not far off from the Three Voids and Ekayana.

The article goes on to the other ones; and so the Four Mudras may also equate to the Four Activities; or, Samaya may be the the "Mind" of Body/Speech/Mind/Secret.

It is hard to tell color on a figurine, but Bhattacharya identified this as a Nepalese Mahattari:

https://www.wisdomlib.org/uploads/files/fig201-mahattari(1).jpg

Similar ones are almost always White Tara, who should have two lotuses.

Here is an impressive similar one with one lotus:

https://www.himalayanart.org/images/items/resized/2000px/6/0/1/60161.jpg

Mahattari is supposed to be alone, but, this is not a normal mandala retinue, they are pouring pitchers on her. It is from a larger set thought to have been made by Choying Dorje (https://www.himalayanart.org/search/set.cfm?setID=4924), which has "this" Tara alone, and then a few versions of these other people approaching her.

Old Student

27th August 2020, 05:11

Sorry for falling behind, I had too many meetings in one day, will catch up tomorrow. I'm up to here:

The minor philosophical difference between Indian Buddhism and most of China is in relation to the Alaya. As far as I know, the matching southern Ti-lun school dissipated, was too abstract for anyone to understand, and was replaced by a slightly more exoteric style.

Ti-lun or Di-lun, is short for shidi jinglun (十地經論), quite literally, the Ten Grounds Classic Treatise -- Di (地) means "place" (地方) or "ground" (地土) is a direct translation of "bhumi".

shaberon

27th August 2020, 13:36

Sorry for falling behind, I had too many meetings in one day, will catch up tomorrow. I'm up to here:

Here's the thing.

Well in a way we are just kind of looking at some ancient languages.

The difference between these and for example the Rosetta Stone or something else is that by looking at fragments of Egyptian or Eleusinian Mysteries and so forth, at best you get a missing system.

That is a pretty decent knowledge of Chinese. I am only familiar with a tiny amount. Because I cannot remember the names, I would have to fish around for the story in how this was presented to the Emperor, no one could understand the Buddhist emissary at first, until they wound up building a Hall of Mirrors to represent what he was trying to say.

Due to the erosion of time, the Chinese are also unable to explain the presence of an entire Dharmadhatu Vagisvara Manjughosha statuette set found in Forbidden City. Because this includes its system of Twelve Bhumis with Dharanis, then learning this is the same as a part of Ming era Buddhism they no longer have.

Similarly, Adi Shankara refuted every kind of Buddhism, except he never knew the Shentong or Para Sunya view. And under scrutiny, we conclude they are the same or that Shentong agrees to the basic definition of Parabrahm in Shankara's Adwaita, which he promoted through Sri Yantra and the Sakta sect. So these should be very similar.

Most of the splintering of Buddhist sects is due to disagreements about the meaning or nature of Alaya. And so what I have been working with could be called a "minority view", but the point is, it all validly exists in Buddhist Abhidharma, and so this is a complete and continuous system, unlike western Mysteries.

Then by looking at Sadhanamala, we are just seeing the original Tara system, which is related to Vajravali, which means it also uses Agni.

When we do that, we get a totally different White Tara than known through common practices, and we can say that both Sita and Mahattari do a Lotus or Blue Lotus Mudra. The second is a samaya Green Tara who has a direct role to enter the Akanistha; and this is a main path Tara should be doing. The first matches the point that eventually it is a self-arisen White Heruka which produces purified white forms of deities and so forth.

Some day I will probably pass away through the Eight Dissolutions exactly how Tara says. That is Citta Mani (https://dentisty.org/the-extended-sadhana-of-arya-cittamani-tara.html) except with perhaps Smoke as the first vision, especially since that is Wrathful Amoghasiddhi Tara, something like the apex of the preparatory rite and "switch" to the dissolving process.

And so going on hunches about Sadhanamala, then, yes, although Mahattari only has a small paragraph, it does in fact mean she begins the whole Tara Pure Land. The same name is also used by Hindus for the place of Kula and Akula, which is Samarasa or perfect assimilation, the cause of the flow of nectar. If you look at it in general terms, it is discussed in all the schools; if you call it Mahattari, that is only in Kubjika Tantra, as far as I know.

Mahattari has maybe two relics at Ratnagiri. At Acutrajpur, she has vajra feet, flaming halo, varada mudra, holds one lotus. Flowing clothing, richly adorned. She changes but not much, for example, sattvaparanyaka. So this definitely is an individual name that was prominent in her Sanskrit system and now is pretty well submerged.

Her major broken Ratnagiri image is hard to distinguish from Varada Tara or Mahasri because of the companions. It is an Amoghasiddhi All Buddhas Tara with Janguli, Marici, Ekajata, Mayuri. Also with Avalokiteshvara and Manjugosha. It is still a vajra feet, varada mudra, one lotus, and with lavish clothing. There are lion supports (Simhanada) and people reading a book, The halo is plain. She is not Black but Syama on a moon and lotus cushion.

Here is an old Archeological Survey assessment of a Mahattari statue from stupa 189 at Ratnagiri: "Dressed in a sati and chest-cloth, Mahattari Tara (pi. XCVI A) is seated in the vajra-paryahkasana attitude on a visva-padma with her right palm, in the vara-mudra, resting against the knee and raised left hand holding the stalk of an utpala. She is adorned with valayas, beaded armlets with a triangular piece, a beaded necklace of the chhannavira type, ear-rings and a mukuta with three ornate triangular pieces. Tied by a string, the major part of the hair is arranged on the crown in the form of a bun, while a few coiled locks fall on the shoulders. Behind the head is the elongated halo, pointed at the crown, on either side of which is a garland-bearing vidyadhari flying through clouds towards the goddess."

There she has "not exactly" a retinue like the group with the pitchers. In Kubjika Tantra, she is over Matangi, Sabari, Kubjika, Campaka and Pulindi. In the version (https://kupdf.net/download/schloterman-j-a-satsahasra-samhita-chapters-1-5-244p_58e48176dc0d60e13ada97f6_pdf) available, note on p. 79 however spells it "Mahantari". The full Sadhanamala name is "Mahattari Tara". I cannot tell a difference if the prefix is spelled Mahan or Mahant, it is like "Maha", although the Nepalese spelling Mahat (https://www.wisdomlib.org/definition/mahat) Tara is the same but also expressed as a Tattva.

In the Indian spelling, a Satsahasra (https://manasataramgini.wordpress.com/2006/07/10/some-notes-of-the-shatsahasra-tradition/) note starting with Pratyangira--Siddhalakshmi tells us:

"The mighty kubjikA, the mistress of the paschimAmnAya, is worshipped with the glorious 32 syllabled samayavidyA. She is mediated as seated on the lap of her spouse, mahAdeva as navAtman. She is indescrible as one can only experience her upon ‘seeing’ the flash of the mantra.

-The most peculiar vidyA of mahAntArI of 15 syllables is used with fire oblations in the Ajyahoma. The manifest form of mahAntArI for all those who know the vidyA emerges directly out of the aNgas of kArttikeya. She has 6 heads and twelve arms as result."

This has used Ananda Shakti or Ananda Bhairavi to generate a Six Face deity related to Mars.

Bhattacharya described Utpala Mudra in the one sadhana he treated more fully, 98, which is Vistara, composed by Sthavira Anupama Raksita who was a well-known Tantric author and who flourished before 1165 and whose works, five in number, are preserved in translation in the Tibetan Tangyur. The whole Sadhanamala cannot be from the 5th century, and so for instance this form which has never really come to our attention lacks the stature and antiquity of Mahattari.

Here is the Chinese extension which was based on Seven consciousnesses from Paramartha's Evolution of Consciousness. This particular piece focuses literally on what we have been trying to knock the dust off of: a doctrine of three svabhavas or three subtle minds/subtle voids, combined with seven states of consciousness:

"Fa-shang (495-580). From the extant literary fragments of Fa-
shang's Shih-ti lun i-shu , we can speculate about Southern Ti-
lun's notions of Dharma Body, Dharma Nature, and the seven
states of ordinary cognition. Material in the Shih-ti lun i-shu has
not been thoroughly analyzed by contemporary Buddhologists
in their reconstructions of the Southern Ti-lun branch of Bud¬
dhist doctrine. It has been established, however, that the school
of Southern Ti-lun asserts that the support for all experiences of
phenomena is reality as it is (tathata), termed Suchness, and is
based in part upon Gunabhadra's translation of the Lahkavatara.
Fa-shang described seven kinds of "evolutions of conscious¬
ness" (shih chuan) suggesting a theory of seven consciousnesses
in his commentary, Shih-ti lun i-shu :

The Dharma Body is the body of the Dharma Nature (fa-hsing). Mind
( hsin ) is [the name for] the seventh state or mind. Ideation (i) is the
sixth state or ideation. Consciousness (shih) is [the name for] the five
states of consciousness. Therefore, the Lankavatara-sutra states: "Mind
is the chief collator. Ideation broadly collates. The phenomenal, acting
states of consciousness ( hsien-shih ; khydti ?) discriminate in five ways.
Separate from these seven kinds, consciousness evolves into wisdom."
Therefore, it is said: "Only wisdom is the ground ( i-chih)."

Fa-shang explains what he means by wisdom in terms of the
three-natures theory ( trisvabhava ):

There are three kinds of shared aspects to wisdom. First, it is condi¬
tioned ( yuan-ch'i ). Second, it is false conceptualization. Third, it is Such¬
ness. The "conditioned" ( paratantra ) refers to the seventh state, the
alaya-vijnana, which is the foundation (pen) for samsara. "False concep¬
tualization" ( parikalpita ) refers to the six states of consciousness (shih)
and mind (hsin), falsely generating discriminations that become at¬
tached to six sorts of sense data (ch'en). "Suchness" refers to the abso¬
lute truth of the Buddha Nature, supreme Emptiness. These three are
understood as having different names but the same aspect .

From the above passages we see a clearer picture of Fa-shang's
epistemological schema. Mind, the seventh state, is the alaya-
vijnana , and corresponds to the "conditioned" aspect of wisdom,
paratantra-svabhava or the nature of dependence in Yogacara
Buddhism. Ideation, the sixth state, and the consciousnesses of
sensation and perception are the "false conceptualization" as an
aspect of wisdom, parikalpita-svabhava or the nature of false dis¬
crimination. One other feature or aspect of wisdom remains,
namely, reality as it is. Suchness, the absolute truth of the Bud¬
dha Nature identified with Emptiness, and parinispanna-svabhava.
This feature of wisdom is not explicitly enumerated as an eighth
state of consciousness. "

Fa-tsang (https://www.iep.utm.edu/fazang/) is fairly interesting.

He placed China's only Empress, and, since no-one could understand him, he built a big hall of mirrors.

In Pali are found seven universal types of consciousness (sabbacittasādhāraṇa cetasikas). These seven factors are: Phassa - contact (Sparsha); Vedanā - feeling; Saññā - perception; Cetanā - volition (Samskara); Ekaggata - one-pointedness; Jīvitindriya - life faculty; Manasikāra - attention.

From Vishuddhimagga, the Tamraparniyas state that Hrdaya-vastu (Heart seed) is the seat of Mano-vynana-dhatu (Manas or soul); it exists in Formless arupa loka, that there is Formless "arupa matter". Northern Abhidharma knows of hrdaya-vastu as mana indriya or mano-dhatu. "Dhatu" or "element" may also be called gotra (seed--lineage) or akara (source; not a-kara, "handless" or inactive). Hṛdaya-vastu [hadaya-vatthu] means heart-basis. The heart is considered as the physical support of all cittas other than the two sets of fivefold sense consciousness which take their respective sensitivities as their bases. The hṛdaya-vastu is described as the seat of thought and feeling -- the basis of mind. It is the seat of the divine intuition and of the Buddha-nature.

It has been said that all the dharmas of the constituted world are included in one skandha i.e. Rupaskandha, one ayatana i.e. Mana-ayatana, and in one dhatu i.e. Dharmadhatu only. Tathagata garbha is 'suchness with defilement', which is the emptiness of the minds of sentient beings. Dharmakaya is 'suchness without defilement', which is the emptiness of the omniscient mind of a buddha. Defilements or klisto manas constrain the Alaya to being Alaya Vijnana, known to the Sinhalese as Bhavanga Vijnana. Alaya is automatic; quit defiling it, and it shines.

The vijnana-skandha is the mana-ayatana consisting of seven dhatus: Six vijnanas (Intellect plus five senses) and the mano-dhatu or the Mind.

Samskaraskandha is so called because it conditions (abhisamskaroti) the conditioned dharmas (samskrtas); that is to say, it creates and determines the five skandhas of the future existence...The Samskaraskandha is regarded as one of the seven things (dravyas) which are called Dharmayatana and Dharmadhatu, the other six things being the Vedana-skandha, the Samjna-skandha, Avijnapti, Akasa, Pratisamkhyanirodha and Apratisamkhyanirodha.

Avijnapti (https://encyclopediaofbuddhism.org/wiki/Seventy-five_dharmas_of_the_Abhidharma-kosha) is "no information" or un-manifest, imperceptible form or action, in a group which ends with:

1) Asaṃskṛta (असंस्कृत, “unconditioned”) refers to a set of “three unconditioned things” as defined in the Dharma-saṃgraha (section 32):
ākāśa (space),
pratisaṃkhyā-nirodha (observed cessation),
apratisaṃkhyā-nirodha (unobserved cessation).

That is like a view of seven skins or mental components without respect to Rupa Skandha or the senses--so it is a body-less or mental-only dharmadhatu, whereas usually it is obscured by its own action:

Pravritti vijnana is further divided into seven vijñānas, namely, cakṣu, ghrāṇa, śrotra, jihvā and kāya-vijñānas representing the five sense-cognitions, and mano-vijñāna or normal consciousness, and a seventh, kliṣṭa-manovijñāna, representing continuous consciousness, is added to them. There is a sort of intermediary between the sixth manovijñāna and the Ālaya. By the first five vijñānas, an object is imagined or rather sensed; by vijñāna (manovijñāna) it is ‘thought’; by manas (kliṣṭa-manovijñāna) it is perceived; and at the background of these all is the synthetic unity of ‘apperception’ called citta or Ālaya.

So there is an argument for a system of Seven, which "is" man, which kicks away the Alaya itself (it is automatic and all we are doing is changing the way we handle it, rather than claiming it as Eighth Consciousness). Seven is clearly exemplified by the Seven Mysteries of RGV, and, while this bundles them as the operating environment for Refuge of One, Ratna Gotra Vibhaga 1.52 is a straight copy of Bhagavad Gita 13.32, replacing atman with dhatu:

Bhagavad-gītā 13.32:

yathā sarva-gataṃ saukṣmyād ākāśaṃ nôpalipyate |
sarvatrâvasthito dehe tathâtmā nôpalipyate || 13.32 ||

Just as all-pervading space, due to its subtlety, is not tainted, so the ātman, everywhere established in the body, is not tainted.

Ratna-gotra-vibhāga 1.52:

yathā sarva-gataṃ saukṣmyād ākāśaṃ nôpalipyate |
sarvatrâvasthitaḥ sattve tathâyaṃ nôpalipyate || 1.52 ||

Just as all-pervading space, due to its subtlety, is not tainted, so this [the dhātu], everywhere established in the living being, is not tainted. ("Ayam", meaning "this", refers to the dhatu of verse 1.49)

And the Seven Mysteries are just an expanded Refuge Vow. If we look, these or their synonyms are found as Lha Sku or Divine Body of Five, like the basic version of Families, and so these are probably a complete version which would work with Seven Skandhas and Seven Kayas, which are the practical elements derived from the philosophies of seven:

Buddha, Dharma, Sangha, Dhatu, Bodhi, Guna, Karma