Does Anybody Else Have Clear Body Experiences?

[shaberon]

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, this concerns sex and retention of semen (same as Heruka); 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 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.

Dharmakirti's Chakrasamvara commentary 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:

Source: https://youtube.com/watch?v=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 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:

Source: https://youtube.com/watch?v=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]

...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:



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]

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]

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]

Posted by Old Student (here)

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:









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 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:









They call this from around the 1500s Buddha Samayoga with Ishvari, which would be one of those small interior courts in wrathful form:







In the actual Six Court version, it is to be visualized that the sixth is above the others:











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):






Vajravali mandala:











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:










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:








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]

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]

Posted by Old Student (here)


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:










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:










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:







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:







This is a Kagyu presentation of him amongst Eight Bodhisattvas, with White Tara at the top, and Two Arm Usnisa Vijaya from the dharani:









Interestingly, in figure 50.6, Gerd Mavissen 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:

[Old Student]

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]

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.

Source: https://youtube.com/watch?v=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.

Source: https://youtube.com/watch?v=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, 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 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:








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:








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:







This is her Indian temple, sunyavahini mandapa:

[shaberon]

Posted by Old Student (here)
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,

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:









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]

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]

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]

Posted by Old Student (here)

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 (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, 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 text or 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 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 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]

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]

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]

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 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:














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 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 (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, 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]

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.












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






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






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






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






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






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





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






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






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]

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, multi-colored deities include Amoghasiddhi and Namkha Dzo, which apparently is a mantra 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 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 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.














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:











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 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 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), 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]

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]

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.