Does Anybody Else Have Clear Body Experiences?

[Old Student]

Sun--Surya as described in Sarvadurgati Parishodana is certainly some kind of secret sun which appears to have an encoded Ganesh as the male seed, and, Vajramrita as shakti. In Karmamudra, Vajrasurya has much to do with the male member, and, in Vilasini Tantra, it uses a Jewel Family Dharmadhatu Ishvari.

However, Vajramrita does not come up as a yogini in Dakarnava or anywhere.

Nevertheless, the probability that that Vajramrita is female when acting as shakti is probably higher than the probability of a male shakti.

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

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

But obviously not here. It is possible the description of the shakti as Vajramrita is similar to what Davidson said about Vajravala and Manjusri. He said that calling Manjushri Vajravala was probably not an equivalence to a god by that name, but rather using the words as a description.

Garuda has some, and, he may have been related to various birds historically; but in astrology, he is Aquila the Eagle. Firstly, Aquarius the Water (Nectar) Bearer is usually a veil for this sign as it is reckoned among the Four Living Creatures which I take as the symbol of the Fixed Cross. And then I would put our Garuda against whatever the disciples of "Aquila" have come up with and I think he would be more reliable. I do not personally have the affinity to it but I am confident in its ability.

I do have such an affinity, but more for the eagle. What I was able to find is that when groups who revered eagles were brought into the Indic world, their symbolic eagles became garudas.

[Old Student]

This basic Pranashakti is so...basic...based almost entirely in soft breathing, I am not sure what to call it. It is not even what we call Pranayama, in fact, it is more like Pratyahara or the very first stage of Yoga. So although it is a shakti it is just about beginner's level of taking a Dharani seriously, in other words, if you were to just use Ganapati Hrdaya Dharani and associate the main meanings and concentrate on soft breathing, you would have this. Not quite as big a milestone as calling something a "wife", especially given the definition that only by augmenting the Winds do we even get to the place where Buddha's Wisdom may begun to be heard.

I'm currently not dismissing gentle breathing, it has come up a lot recently, because of several things that have required extreme listening, my breath begins to bate when that happens so it is easier to quiet it and make it small ahead of time so it doesn't stop.

That is like saying his second wife Siddhi is Siddhidhatri, meaning an assembly of all shaktis. It never really says he has fourteen wives or anything like that. It usually says he has "a shakti" while at most, loosely defining her as a female equivalent. But there is a blue one at Ladakh apparently corresponding to either the trial or accomplishment of Trailokyavijaya.

Or it means bestower of siddhis. But there's no reason it can't mean both. I keep hearing about Trailokyavijaya and I've seen descriptions of the three worlds, but still have no idea why it's attached to deities.

I've been having a lot of shakings lately which include my "shaman" form, which has been the subject matter of the shakings then after that happens. It is already a very divided form, since it is a particular pressing of my clear body against the inside of the skin of my physical body, generating a feeling from the physical body that the clear body is bursting at the seams and a feeling from the clear body that the physical body is a garment made of human skin. There was a further change last night and the development of another shaman form with the two shaman forms trading words at one point -- which was necessarily me as the multiple settings, me as the multiple physical forms, and me as the multiple clear bodies. It worked, but it was a lot of that bated breath, since it is hard to have a conversation from more than one point of view at once. One of the few constants was the eagle. So I was a bit surprised when you began speaking of Garuda today.

[shaberon]

It is a true text twist. I was not meaning that Vajramrita is a male shakti. It is a male in the tantra of that name, whose shakti is not named. Vajramrita is female in Sarvadurgati Parishodana, is the sun, and appears to be coupled with a clandestine Ganesh, who is from or is in Vajramrita Tantra as well, being Amritakundalin, or, alternately, Vajrakundalin.

Whosoever holds a shakti bestows a shakti, and so also with Siddhis, both are "power". As in, I do not have the power of Vasikaran that I currently need, and so if I am able to do it, I must have that kind of shakti, or must have gained it by recent awareness.

Deities have already accomplished whatever we try to practice. Ganesh himself already has all those siddhis and shaktis, I can only live some part of his journey. The deity already has the perfection and we are trying to tap into it. I am trying to kick most of my psychological apparatus out, and replace it with something or more from Ganesh. If I intend to crush every temptation and illusion in the worlds, I really can not, only a truly transcendent divine consciousness can, and so even if I am able to enter that state of mind, it is not even mine, it belongs to the deity.

When mundane mind is replaced by Divine Qualities, the original Name or Nama or thoughtform that was in the individual no longer exists, which is the principle behind Name Initiation, and the habit of changing one's name one or more times.

So I am doing some of Ganapati's business and by thinking of it in conjunction with Sumukhi, the unstruck sound of me thinking their mantras and so forth has been able to produce light.

It could be objected that it is Kurukulla's business.

It could be intended that Red Power Deities in the Gyatsas all mainly mean this.

I have to ask them why, if this is Magnetization, they throw away Krishna's Klim syllable, and yet they lack a Chain and eventually point to Vajrashrnkala who is not even in their Family.

I ignored Ganesh for most of my life because he came across as too much of a "luck charm" and seemed irrelevant. However, we do not have a Vayu rite, and he seems to be handling this. Plus, he is in all the tantras. So I was perhaps a bit naive to his distorted publicity.

The female Ganesani appears twice in a piece from Rudrayamala Tantra for 1008 Names of Parvati Parameswari; as one example:

gajAkArA gaNeshAnI gandharvagaNasevitA |

Gandharva Gana Sevita is just about like saying Gandharva Ganachakra or ceremonial gathering.

I cannot imagine why the wife or shakti of such a popular deity is so heavily sanitized. All of the Nepalese Ganapati Hrdaya images use regular Ganesh. Her names are easily recognizable and no one is disputing her, there just...isn't much to go on. The example at Ladakh is mounted on a mouse, whereas her Ganesh is on a Ram, which is highly odd.

[Old Student]

It is a true text twist. I was not meaning that Vajramrita is a male shakti. It is a male in the tantra of that name, whose shakti is not named. Vajramrita is female in Sarvadurgati Parishodana, is the sun, and appears to be coupled with a clandestine Ganesh, who is from or is in Vajramrita Tantra as well, being Amritakundalin, or, alternately, Vajrakundalin.

This makes plenty of sense. It also accounts for the use of names that may also refer to irrelevant deities when writing songs of praise about a Manjushri or a Vasudhara.

Whosoever holds a shakti bestows a shakti, and so also with Siddhis, both are "power". As in, I do not have the power of Vasikaran that I currently need, and so if I am able to do it, I must have that kind of shakti, or must have gained it by recent awareness.

So in my shaking, this would be an "external" view. The internal view is that the shakti accumulates and then acts by means of what feel like switches or tweaks, at specific points that get 'pressed' or 'flicked' and the power flows in a particular way, becoming the (this is how it feels) proper color and texture and viscosity or becoming sparks or whatever it has to to flow. The external view is more like different powers or maybe shaktis. I breeze to ring the wind chimes, I can't do something else to do that.

When mundane mind is replaced by Divine Qualities, the original Name or Nama or thoughtform that was in the individual no longer exists, which is the principle behind Name Initiation, and the habit of changing one's name one or more times.

This sounds like name as in Laozi -- The name that can be named is not the real name. (名可名非常名
-- ugh, MickeySoft changed the language interface again).

I cannot imagine why the wife or shakti of such a popular deity is so heavily sanitized. All of the Nepalese Ganapati Hrdaya images use regular Ganesh. Her names are easily recognizable and no one is disputing her, there just...isn't much to go on. The example at Ladakh is mounted on a mouse, whereas her Ganesh is on a Ram, which is highly odd.

Popular deities are frequently sanitized. I'm never sure whether this is done by the populace or by the clerics. But it ends up very deeply rooted. I am sometimes dismayed/amused at how people who have, as far as any indication whatsoever, given up their birth heritage religions for something else evince things about their new beliefs that don't belong there and do belong in their heritage religions. A most obvious example is depiction of wisdom Dakinis or wisdom shakti's. They are supposed to be naked because primordial truth is naked. Look one up on Google under "Images" and see how often people carefully pose them out of modesty or even just take artistic license and put them in halter tops and leggings.

[shaberon]

Being in new territory I was skeptical for instance on the "Parayoga Invocation" since I did not recognize the name. The mantra claims to be an entry to Sri Chakra and Sri Vidya, from a source called Nitya Sodashikarnava, which is about Ganesh and Para Shakti. We have also found Ganapati Muni was responsible for a renewed Cinnamasta and Vairocani--as--Indrani practice in Hinduism, carried forward by David Frawley.

Off the bat, I would normally ignore that, since I started with the Sri Chakra or Sri Yantra decades ago, just not all its technicalities. The invocation does link Ganesh to the Planets, but other astrological entities are there, which makes it similar to Dharmadhatu Vagisvara Manjughosha mandala. In other words, if I figure out what "this" Ganesh is talking about, it is the same thing as half the background in DDV, while the Planets at least are also part of Sarvadurgati Parishodana.

gaṇeśa graha nakṣatra
yoginī rāśi rūpiṇīm
devīṁ mantra mayīṁ naumi
mātṛkāṁ pīṭha rūpiṇīm

Another, denser practice says the Parayoga is Sixty-four Yoginis, prior to a Shiva meditation.

Himalayan Masters describes the Vedas and Upanishads only "fleetingly" mentioning spiritual practice, which is expanded in the Tantras (Agamas). It gives a list of ancient texts thought to be vanished, but, from them, derives major works for Parasurama and Tripura, as well as the Nitya Sodashikarnava, the Rudrayamala, and Soundarya Lahiri. It then explains the Puranas as a newer type of "mine" which is very diluted, and must be heavily combed and extrapolated.

The basic view on Parayoga Mantra just says to use it three times before a class or practice.

The translations say "Mother is identical to Ganesha".

I see a male Ganesh followed by three kinds of females, much like the "three levels" i. e. a yogini is "on the ground", a devi is perhaps subterranean and a matrika aerial, or they are the Tri-kaya, or the Three Vajras. That is the spin that Buddhism would give it. But the invocation does not seem to have any verbs, and if it was not "dressed up" by the translators' interpretations, it would just be:

Ganesh Planets Lunar Mansions
Yogini Twelve Signs Form
Devi Mantra Mare or Illusion Naumi
Matrika Pitha Form

Naumi is tricky: a boat in the ocean, the earth on the waters, or, the ark of Vaivasvata Manu. It is also related to "nine" and has a similar use in Sadhanamala where a related word appears to equate youthful Kumari energy with Nine Durgas: Navayauvana; or, perhaps, nine years old. Naumi generally is "offer my obeisances". Naumi is also recognized as a reference to Durga, or Ninth Day like Navaratri.

Naumi cidbhanum ekam is "I bow to the one sun which is consciousness". Similarly in Tantrasara:

naumi citpratibhāṃ devīṃ parāṃ bhairavayoginīm /

It looks like when used as a verb, some object follows it. Most of the nouns in Parayoga Mantra end in "m"; Rasi is plural. Therefor it seems to me that Mayim = Mayi = Mare, which agrees as the "power source" for the sun and mantra, whereas Naumi is more likely an epithet of Durga as a Mantra Devi. Is Durga really any different from Parashakti Parvati? Not really, just different stories, traditions, and practices.

Even Lama Yeshe has a difficult time trying to sort out wrathful deities stemming from Ganesh.

I think it would be ok to use this mantra, along with the Pranashakti or opening parts of Ganapati Homa.

Neither is too specific, it would be focusing on Breath in conjunction with Three Wheels of cosmic elements. Just in a simple Dharani practice, the planetary aspect would soon be blown away by Grahamatrika Mahavidya. So Buddhism certainly has specific progressions from this gate or foundation. You should be doing it so that in some way, Vajrasattva devours inner impurities and returns cleanliness; Ganesh is similar, except it is closer to the force of mantric projection to clean the environment and remove interferences.

That is how I will try to work it up. It may be worth using a Ganapati sadhana based around the one that goes by meditation transmission, but, for general purposes, a quick, lightweight version is desirable, as the seed for Mahabala Krama or wrathful sphere of protection.

Since nothing like this is available for Vinayaki--Ganesani, i. e. an Elephant-faced deity, then Matangi is the correspondence, which may induce Elephant to reveal/manifest herself.

[shaberon]

Posted by Old Student (here)
This makes plenty of sense. It also accounts for the use of names that may also refer to irrelevant deities when writing songs of praise about a Manjushri or a Vasudhara.

It does until we face the question: who is Vajramrita that is the sun shakti?

Then I am not sure what would make something irrelevant?

It seems to me that if Mipham wrote something like a national anthem which tributes Ganapati and then Havagriva, that structure tells me...something...about Ganapati who is not "only" confined to the Sakya practice.

In the case of something like the bulky 1008 Names recitals, a great deal of it is perhaps generic or shared with many others, who fold their names into the mix as well, but, each one seems to have a certain emphasis or character not found in others. In several cases it seems to be the only example of such names ever mentioned.

Even with the similarly large Dakarnava, it would be nearly impossible to grant 900 deities that much distinction, and the sense of it is more in its definitions of Wheels along with the characters of several of the deities.

Manjushri Namasangiti seems to be vividly structured as evolution of the Voice in tandem with stages of tantric precepts. What caught my attention is that it even has an Advaya Paramartha, nothing else has this. It is filed in the Adi Buddha category which only has two other entities, out of over four hundred articles. One of them is very recent and does not seem to match well, the other, appears to be Manjushri's Twelve Verses in praise of Adi Buddha, which is small and semi-familiar enough to be worth looking at:

ādibuddhadvādaśakastotram

om nama ādibuddhāya

namaste buddharūpāya dharmarūpāya te namaḥ|

namaste saṃgharūpāya pañcabuddhātmane namaḥ|| 1||



pṛthvīrūpāyābrūpāya tejorūpāya te namaḥ|

namaste vāyurūpāyākāśarūpāya te namaḥ|| 2||



brahmaṇe sattvarūpāya rajorūpāya viṣṇave|

tamorūpamaheśāya jñānarūpāya te namaḥ|| 3||



prajñopāyātmarūpāya guhyarūpāya te namaḥ|

digrūpalokapālāya viśvarūpāya te namaḥ|| 4||



cakṣūrūpāya karṇāya ghrāṇarūpāya jihvake|

kāyarūpāya śrīdharmarūpāya manase namaḥ|| 5||



namaste rūparūpāya rasarūpāya te namaḥ|

gandharūpa-śabdarūpa-sparśarūpāya te namaḥ|| 6||



dharmarūpadhārakāya ṣaḍindriyātmane namaḥ|

māṃsāsthimedamajjānāṃ saṃghātarūpiṇe namaḥ|| 7||



rūpāya jaṅgamānāṃ te sthāvarāṇāṃ ca murtaye|

tiraścāṃ moharūpāya rūpāyāścaryamūrtaye|| 8||



sṛṣṭikartre janmarūpa kālarūpāya mṛtyave|

bhavyāya vṛddharūpāya bālāya te namo namaḥ|| 9||



prāṇāpānasamānodānavyānamūrtaye namaḥ|

varṇāpavarṇarūpāya bhoktre tanmūrtaye namaḥ|| 10||



dinarūpāya sūryāya candrāya rātrirūpiṇe|

tithirūpāya nakṣatrayogavārādimurtaye|| 11||



bāhyābhyantararūpāya laukikāya namonamaḥ|

nairvāṇāya namastubhyaṃ bahurūpāya te namaḥ|| 12||



ādibuddhadvādaśakaṃ puṇyaṃ prātaḥ paṭhiṣyati|

yadicchati labhennūnaṃ manujo nityaniścayaḥ|| 13||



śrīmañjuśrīkṛtamādibuddhadvādaśakastotraṃ samāptam|


Manjushri mixes with Vajrasattva into Manjuvajra, so, he is not hard to obtain.

The Adi Buddha, per se, was visited by the Historical Buddhas, Dipankara, Vispasi, and others, until Manjushri found it, and, it seems to me, attained such a high realization that me trying to come up with factors on how he is different or is not Adi Buddha might be difficult. Maybe he was not, at birth, but, his current state or condition must be beyond my fathoming.

When we find at least one source saying Agni Tattva and Mars is the highest element, and, Manjushri is Mars, then there is a great deal behind this.

Vasudhara is similar, and, in Namasangiti, being chief of Dharani goddesses means she is more or less the underlying impulse behind that entire practice.

I think they have a lot of reason to have many things attached to them; they are particularly the gates of the Nepalese system as a whole.

[Merkaba360]

I just read the first page of this thread, but just wanted to mention something i saw a long time ago while I may have eaten some mushrooms

I was laying down and relaxing. I looked up at my friend standing nearby and smiling at me. His face looked more translucent or something and i could see more depth to it. I saw a lighter green translucent layer on his face. I immediately thought of the movie "The Mask" and wondered if thats what they were referring to. I guess if thats part of this impure clear body or astral body, then I can see how it can change its appearance like in the movie.

A few years later i was in a bookstore. During my time in the bookstore I only picked up 2 or 3 books and flipped through a bit. One I looked through was a book written by and about wiccan/pagan/witchcraft stuff. The first page I opened to was talking about this green mask, but i cant remember what it said, but i dont think it explained much about it. I was pretty surprised at that 'coincidence'. lol

Early on I realized that I was good at finding the right books for me when i was in bookstores. This belief in myself having this skill sure seemed to work. I often found great finds or exactly what I needed. Yay.

[Old Student]

Naumi cidbhanum ekam is "I bow to the one sun which is consciousness". Similarly in Tantrasara:

naumi citpratibhāṃ devīṃ parāṃ bhairavayoginīm /

It looks like when used as a verb, some object follows it. Most of the nouns in Parayoga Mantra end in "m"; Rasi is plural. Therefor it seems to me that Mayim = Mayi = Mare, which agrees as the "power source" for the sun and mantra, whereas Naumi is more likely an epithet of Durga as a Mantra Devi. Is Durga really any different from Parashakti Parvati? Not really, just different stories, traditions, and practices.

At the end of everything, if it is from the Eastern part of India or anywhere that is a spiritual descendant of it, everything is eventually Durga.

So Buddhism certainly has specific progressions from this gate or foundation.

I get the feeling that these specific progressions are only there as a best version of how to get from one place to another, which, as is said, once there one sees that there was no method.

Last night, I was taught about emotions, something I did not know about them, that they can be ignored -- that doesn't seem like much but it is a huge revelation when one cannot get out of a specific emotional state. But once ignored, there doesn't seem to be a place where the emotion had come from.

[Old Student]

The Adi Buddha, per se, was visited by the Historical Buddhas, Dipankara, Vispasi, and others, until Manjushri found it, and, it seems to me, attained such a high realization that me trying to come up with factors on how he is different or is not Adi Buddha might be difficult. Maybe he was not, at birth, but, his current state or condition must be beyond my fathoming.

Manjushri is the "narrator" of the Avatamsaka Sutra. There is a progression that all of the deities in especially the Vajrayana pantheon went through from whatever they had been to bodhisattva to mahasattva and to the centers of their own systems. Manjushri starts as a person with five curls, Heruka starts as a demon, etc. One can actually follow this historically in texts. But Manjushri is Wisdom and because he is wisdom, he is in some sense beyond others.

Vasudhara is similar, and, in Namasangiti, being chief of Dharani goddesses means she is more or less the underlying impulse behind that entire practice.

This works.

[Old Student]

Most of the time, my clear body is green. But I don't see such things in others. I do understand that others do, but it is something I have never experienced.

[shaberon]

Posted by Old Student (here)
I get the feeling that these specific progressions are only there as a best version of how to get from one place to another, which, as is said, once there one sees that there was no method.

Last night, I was taught about emotions, something I did not know about them, that they can be ignored -- that doesn't seem like much but it is a huge revelation when one cannot get out of a specific emotional state. But once ignored, there doesn't seem to be a place where the emotion had come from.

Yes, that is about right, if one is in the state of Vajradhara, there is no Path to get there. The "progressions", I think, are like energy levels and qualities--there are a considerable amount of Sadhanamala Manjushris and Avalokiteshvaras that seem redundant to each other, they are pretty close to the same thing, both deities have a Simhanada form for example.

And so yes, it may be superfluous to attempt to define Vairocani to someone who "bypassed her stage" already, but there are far more who will have trouble with the concept, let alone the practice or realization.

Some of the other things may open us up a little bit, and largely we also want to have something to pass along to others. We have a type of structure, which, compared to say the 140 categories in Dharma Samgraha--well, I am not really here to dissertate on all 140. There are redundancies and so forth. The actual practices are bent towards certain groupings that are found here, and in that case, those particular categories are helpful/useful.

We also found in Hindusim, the refutation of a school which taught Nirguna Brahman *only*. I would say it is real, but, only half of the fact it should be conjoined to Sadguna. From my experience, the Nirguna is...completely real, in the sense of without image, without ego, without any evident changes. So for me, it stems from the awareness that I was able to sever emotions, or ego, or the entire personality from a fairly early age. It is similar to the martial arts tenet that I am as good as dead/am already dead/have nothing to lose. I have never flinched from giving any training partner the full "I kill you now without blinking" glare. With none of that having been taught as a tantric deity, it was all still psychologically transformative. Some people are very afraid of that.

The most vivid emotions were called "baseless" and "without root".

And so it may seem a little peculiar to turn around and say there are Moods and so forth.

There are Pure ones. All the ones we know are from the activities of Skandhas. And in Yogacara, we are trying to stop projecting false imagination onto the other-dependent pattern. That does not mean we cannot project the Tri-kaya or the Three Vajras onto it. If something is Ksara, we can use it. If that has an emotional content, it is Pure.

When projecting something that depends on nothing into the other-dependent, what happens? The other-dependent can no longer function, and the Twelve Chains or Niddanas go away.

I understand how it works, but, that does not make me very good at it, and it does not improve my karma. And sometimes I really need something like White Vajra Tara which has the ability to rapidly annihilate my current state of being and cash it in for something else. It will take me a long time to really "seal" her mantra, at which point it can be ported into another Tara. If someone were to ask, well, what is White Tara, I would say this, which is similar to Mrtyuvacana and Amaravajra. Most of the other White Taras are considered Longevity deities of Lotus Family--again, except for the ones that actually have the names, Sita and Sukla.

With Red Ganapati, it says you can meditate him, and he mostly is Subjugation or Vasikaran. So the White is for something else. What was it?

There indeed appears to be a transition or progression. Tibetan Deities 339 is "the Servant Kundhali" or Khol-po Kundha-li.

You draw a White Elephant and self-generate as a Wrathful. Then you generate White Ganapati which means Atisha Ganapati 335. In front of him is the White Yaksha Kundhali who holds a Hook and leads an Elephant by the trunk. Each evening he can encircle the three-thousand-fold world system, i. e. Chiliocosm. His mantra calls him a Pisaci, you offer him torma, and he offers gems and grain to Ganapati, and then he does the encircling. You Mutter him. He is called "one who propitiates the deities as sacrificer" and he "procures for one a living without difficulty". This is Kadam, and any kind of transmission is good for it.

Now if we look at this, the interpretation of Kundali as "circle" making Amritakundalin "Circle of Nectar" is quite clear. The intended circle is the entire massive thing of interpenetrating world-systems. This would correspond to being the male Method or Upaya of the Sun in Sarvadurgati Parishodana. I guess this is how you "trample Ganesh".

I just happened to notice the name because it is split from Ganapati by an Atisha Naga King and the Three Pisaci Sisters.

The main Wrathful self-generation that seems to be there is Vajrapani. The Red Ganapati calls for...I think it says Sambara or Vajrapani,,,and the Naga is just by Vajrapani.

Authority-averting, Atisha, and Red Ganapatis:





Naga King Apalala, Pisacis, and Servant Kundhali:






I am not sure if anyone needs Vasikaran, I do, and so I am stuck with this Red thing willingly or otherwise. The Servant, on the other hand, seems to put together everything I was asking. I can't use it, I can't do that, it is just a segue' of Jewel Family Sun and Vajramrita Tantra using a clandestine Ganesh. It happens to have an extremely powerful meaning, if one was to take this in terms of Atma Vidya or personal experience, it might take a long time to get there.

Manjushri is Tathagata Family, which is an Ignorance to Realization axis, and yet he personally is the Voice.

Avalokiteshvara is part of Universe Lotus and is Karuna and Concentration on Unstruck Sound and Ganapati; and their co-equal Bodhisattva is Vajrapani, who, I am not sure is ever given the common and shared traits of the other two. He is a freak! I think he has a White Heruka probably in the Citta Chakra only. Almost everything about him is Wrathful since the wrathful deities are the brain's reflex to the citta. The more falsely-imaginary they are, then, they become terrifying out of control, and one's future rebirth goes off in some disastrous way. We would want the stable or Ksara kind that Vajrapani is talking about. Then they repose into flames of primordial wisdom. Extremely Wrathful Vajrapani Chanda Maha Roshana Tantra is usually considered the most explicitly sexual writing in the corpus. He is also able to consort with Mamaki, and, I believe, Locana, which should be illegitimate, since they outrank Bodhisattvas. Probably has a Yakshi, and others. Completely related to Kama Loka.

Anyway there we have the one instance of an Ancus or Elephant Goad being used as an...Elephant Goad and...that cannot be too far off from Indra Tattva, the Yaksha in the first Cemetery, and the other Elephant things such as the Ears and Trunk and so forth. I am pretty satisfied by seeing this. It makes the Amritakundalin--Vajrakundalin settle into place. It makes sense to me at least and is probably the only available explanation which in its own terms expresses the related subjects and nothing else. There is nothing else in it besides the brief description.

Atisha's White form is Radish Ganapati with a Mongoose. Red has for its abode the summit of Mt. Meru. The first or one with a consort is stated by the editors to be drawn incorrectly because the text does not say she is a monkey, it says she has a monkey's face; she is white with a reddish tint. Her attendants are monkeys. This Ganesh has a Radish and Liquor and also Cat and Monkey Faces. The Red one has a Radish, and, I think, it is the word for Sweets. He has a Heart Wheel with Gam and eight self-emanations.

The Red and White are suggested to use the same praise verse, except where they are perfectly-colored, one is like a snowy mountain, the other, coral.

As to whether that makes the consort a female Hanuman, well, that would only make more sense, if Hanuman is defined as the properly-composed pranic body, and there is not a Hanuman or Vayu practice but there is Ganesh and the Marutgana.

The purpose of the Dharani is that Ganapati Hridaya seems more to be Vinayaki as at Ladakh.

He can have Monkey and Elephant consorts and Matangi and Siddhi.

Our Vasudhara is Vasumati Mahalakshmi and then Ila with corn and so on. It "is" Lakshmi except it is Buddhist Lakshmi which may have as much to do with the public Lakshmi as this Ganapati does to the Temple Ganesh. It does have to do with a famous song, in the same way that Namasangiti is ordinary and public, but my best guess is most benefit from the purifying atmosphere and may not pursue doctrine or practice in the Yoga sense that much.

[shaberon]

With Merkaba's Mask comment, yes, that is what I thought when I saw the movie. The greenish-ness was an astral color and its power opens the Kama Loka in its fifth plane. "Anything you can think of, happens"--which is what it did.

I am not that perceptive or powerful and I move in very slow phases where something like an Elephant deity is like a cartoon episode of a sledgehammer to the head, which makes a dent nine feet deep and a circle of tweety birds.

Ganesh is not a Yidam, he is a Lokapala bound by Avalokiteshvara.

If he is "worked up" by the Circle of Nectar or Amritakundalin, then I think we could say deities of Vajramrita Tantra are Yidams. I suppose that is the significance of the name change, or why I keep calling them clandestine Ganesh. It is a bit like when we call the Vajra Family, Hatred. That is their skandha or worldly sin, whereas they, themselves, are really the transmutation of it. Or, the transcendent deities are, and it would be found to have worldly beings as well; and similarly, since there is a thing as Raga Ganapati, then he is quite close to calling the Lotus Family, Lust, or Attachment. Pandara is full of it.

Red Ganapati is said to be from Go Lotsawa, the author of the Blue Annals of Tibetan history, and who is still being published, for example Mahamudra Interpretation of RGV. Oddly, the recorded lineage is Vajradhara, Varahi, Saraha, Nagarjuna, Sabari, up through Mal Lotsawa. The Vajravarman mentioned previously in Go's lineage is in Tibet, Siddha Dorje Tsoncha or Pandita Dorje Tsoncha or Dorje Kocha.

Ganapati is part of Mipham's Wind Horse; the actual mantra of the Lungta itself is:

oṃ sarva graha nākṣatra dhyami karaṇi svāhā

Dhyamiikarana is "making dark/eclipsing" as also found near the end of Sadhanamala.

And as soon as you look, practices are really replete with worldly beings, so this is not unusual at all. Mipham's fuller Wind Horse Invocation uses a style with "optional" verses, so for instance since I have no connection to King Gesar whatsoever, I take it out, since I have no equivalent; and elsewhere, it is possible to make personal substitutions.

The Red Ganapati image appears correct, because, although he is mounted on a blue rat, his feet are on a treasure vase. This is slightly unusual, and, in his mantra, he is Ratna Ganapati. There is nothing in his sadhana other than a visualization and mantra recitation.

He is in Wind Horse which is somewhat "flexible", he is a bit flexible, so are the Hindu Ganesh and Matangi especially as Ucchistas. And so I think he is a bit like a "trigger" to get Matangi started. That is how it seems to me. Handled properly, Ganapati--Marutgana is the Method which operates a power or experience which, itself, can transcend the worldly class, and bolster Janguli, or, other Hrih Deities and Lotus Family as a whole. Although they are ministers of the power of mantra overall, there is nothing that says that is the final destination, and so we see a parallel opportunity to run it through Vajra Family Janguli, or Vajramrita, just based in Ganapati. Or, he just becomes Amritakundali and remains only the beginning of most sadhanas.


The sadhana from Go Lotsawa is as follows:

You should start something with a wrathful deity, and then use Purity mantra and return to Emptiness.

From Bhrum, there is a Palace and an Eight-spoked Wheel seat, at its hub the syllable Gam. From the syllable arises Red Ganapati with Radish, Axe, Sweets (or a single one), and Rosary. At his heart is Gam. On the eight spokes are replicas of himself (which perhaps means the spokes of the seat, since this does not actually say he has a heart wheel).

The Palace abides at the peak of Mt. Meru. But it says nothing about the mandala objects or anything like that. So this perhaps can be started from scratch. It is definitely other things such as Dhanada Krama that deal with building mandala components.

Recite:

Om Ratna Ratna Ratno Ratno Ganapati Gaga-Gaga Gaga-Gaga Ganapati Curu Curu Manu Patra Ruru Ruru Gagataya Ganapatiye Svaha

Praise is:

King of gods, subduing asuras, ruling over all hindering demons, perfectly red, the color of coral, Ganesha splendidly shining, I praise you.

Make the strong request: Act as a Yajamana and achieve good conditions for me.

That's all it says. If I take it esoterically, it would say I want a cohesive Marutgana to sacrifice my skandhas, in a way that is a fire offering to Agni. That is why it is like Vasikaran on myself, in the same move as affecting the world. I had a hard time understanding why asking for things like Longevity or Enchantment were not selfish, which is because it is supposed to be for the purposes of Bodhi, which currently is the case.

Even though it is "for others" and one sacrifices "self", there is still supposed to be love within one's "organism". It is supposed to be there so we have something to share, and so part of Ganapati's role is in making the sharing happen, by removing obstacles and emplacing the spontaneity of a Poet, being clever enough to come up with something that makes the purpose work. He is able to deal with Insults to achieve this, which is extremely unusual for anyone to say.

[Old Student]

The most vivid emotions were called "baseless" and "without root".

And so it may seem a little peculiar to turn around and say there are Moods and so forth.

There are Pure ones. All the ones we know are from the activities of Skandhas. And in Yogacara, we are trying to stop projecting false imagination onto the other-dependent pattern. That does not mean we cannot project the Tri-kaya or the Three Vajras onto it. If something is Ksara, we can use it. If that has an emotional content, it is Pure.

When projecting something that depends on nothing into the other-dependent, what happens? The other-dependent can no longer function, and the Twelve Chains or Niddanas go away.

Where I am right now in reading the Avatamsaka Sutra is the chapter on the ten abodes. Not "the" chapter on the ten abodes or grounds, the one which is separately copied as a sutra, that one is chapter 26, this is earlier. But same subject different take.

Anyway, it says at one point that the entire enterprise of bringing sentient beings to the Dharma is moving them from turning the wheel of samsara to turning the wheel of dharma. Just that. Going from wheel turning in one way to wheel turning in another way.

This was (the other night) a most vivid emotion, it was hatred. I would have thought it would need to be expunged, but instead it just needed to be "ignored" in the same sense that one ignores one's self when, say, dissolving.

Now if we look at this, the interpretation of Kundali as "circle" making Amritakundalin "Circle of Nectar" is quite clear. The intended circle is the entire massive thing of interpenetrating world-systems. This would correspond to being the male Method or Upaya of the Sun in Sarvadurgati Parishodana. I guess this is how you "trample Ganesh".

Doesn't Kundalin mean "coil" as opposed to Mandala which is "circle"?

Our Vasudhara is Vasumati Mahalakshmi and then Ila with corn and so on. It "is" Lakshmi except it is Buddhist Lakshmi which may have as much to do with the public Lakshmi as this Ganapati does to the Temple Ganesh. It does have to do with a famous song, in the same way that Namasangiti is ordinary and public, but my best guess is most benefit from the purifying atmosphere and may not pursue doctrine or practice in the Yoga sense that much.

This sounds very much like Davidson finding that all the monks had memorized Majushri's Namasangiti but none had ever studied it. I would guess this happens a lot, especially for those who are monks to pursue future employment as minor priests.

[Old Student]

With Merkaba's Mask comment, yes, that is what I thought when I saw the movie. The greenish-ness was an astral color and its power opens the Kama Loka in its fifth plane. "Anything you can think of, happens"--which is what it did.

During the night and the mask is on the pillow in the morning. It takes him so long to realize the things are really happening, hard to change minds about what reality is.

Ganapati is part of Mipham's Wind Horse; the actual mantra of the Lungta itself is:

oṃ sarva graha nākṣatra dhyami karaṇi svāhā

Dhyamiikarana is "making dark/eclipsing" as also found near the end of Sadhanamala.

Doesn't this mean darkening all the planets in the cosmos?

That's all it says. If I take it esoterically, it would say I want a cohesive Marutgana to sacrifice my skandhas, in a way that is a fire offering to Agni. That is why it is like Vasikaran on myself, in the same move as affecting the world. I had a hard time understanding why asking for things like Longevity or Enchantment were not selfish, which is because it is supposed to be for the purposes of Bodhi, which currently is the case.

Even though it is "for others" and one sacrifices "self", there is still supposed to be love within one's "organism". It is supposed to be there so we have something to share, and so part of Ganapati's role is in making the sharing happen, by removing obstacles and emplacing the spontaneity of a Poet, being clever enough to come up with something that makes the purpose work. He is able to deal with Insults to achieve this, which is extremely unusual for anyone to say.

I flitted into a hospital room last night. I said, "I honor your life," and was gone. The person was dying.

[shaberon]

Posted by Old Student (here)
Doesn't Kundalin mean "coil" as opposed to Mandala which is "circle"?

Usually so. It also means "having earrings", since the earrings are usually circular. Round or circle is usually Varttula.

Servant Kundhali sadhana of course does not provide the original language, but, upon seeing his task is to Encircle the Chiliocosm, then, the relatively rare or minor meaning of kundali as "circle" makes sense, or, explains to me satisfactorily why Amritakundalin means "Circle of Nectar".

kuṇḍalī (कुंडली).—f (S) pop. kuṇḍaḷī f A figure divided into square, triangular, or circular spaces, drawn to exhibit the position of the sun, planets, and constellations. The twelve graha of kuṇḍalī are tanu, dhana, sahaja, suhṛta, suta, ripu, jāyā, mṛtyu, dharma, karma, āya, vyaya. 2 Semicircular or other lines drawn to include parentheses &c., brackets. 3 m S A snake; a circle or ring; a coil; and numerous things of like form.

Kuṇḍalin (कुण्डलिन्).—(-nī f.)

1) Decorated with ear-rings.

2) Circular, spiral.

3) Winding, coiling (as a serpent). -m.

As Speech, Ganapati is said to arise in the base of the spine, so the association with traditional Kundalini is evident. Nothing about the Servant refers to this---he is like the Big Circle. It sounds inverted, right? The servant of a non-wisdom deity arises to gain his abilities and go on to penetrate the Dharma.

Yes, I thought it was odd that Wind Horse says it darkens/eclipses planets, but, in the normal concept of Grahas, they are always evil influences to be averted. However, it is still like "one wheel, changing the way it works".

After all, the first Buddhist wheel of Dharma said you have to be born male and become a monk to get Buddha's wisdom.

The counter-point to this and to "literary evolution" is that "there was no one to understand it". Even if Kalachakra Mandala could be seen in 500 B. C., it took over a millenium for it to be worth writing down and teaching. And so now, there just aren't any worries about...offending my Hindu traditions, being illiterate and fairly dumb, being too quick for easy answers and so forth. In Buddhism, we generally hold that the Close Disciples were given more advanced teachings that were only orally transmitted, which slowly migrated to public consciousness or the Nalanda system.


I spend a good deal of time in Sanskrit immersion because it gets me to that place described as "the mind before language" and having an observation of the formation of letters into ideas.

I am trying not to impose my "foreigner's" views into it, I am trying to dig it really hard in order for it to give me what it says.

As HPB told the Theosophists, you should "stick to the original". And for me it was the Lightning Deity that was a funeral for my attempts at stitching Buddhism into Hinduism into Taoism into Aasatru into Enoch into Egypt and so forth, and the whole prospect of "making my own craft", it suddenly seemed like a horrible idea, and the fact that original Theosophy looped me back into Kagyu Buddhism as being the only thing overall I practiced in a community enough to take a minor vow and be serious about it, was what I was left with.

One of the major points, frequently refuted, is the application of System of Seven in Buddhism, and I personally think it is much more useful than other presentations. If I have to get technical, it will directly call up Dakarnava Tantra, the biggest thing in the Chakrasamvara style of literature. I believe if you have this little gem, it works a lot better than calling Kalachakra the most sublime form or giving public initiations to it. The public can't do that. You can however take a tiny piece of crystal such as ice and touch it to the right medium and grow an instant array of crystals. I can take seven elements and say, well, it takes the whole Dakarnava to really explain it, but the lowest hem of this garment is what we would call Kama Loka. It is like a Celestial version of what was taught to the individual on earth. It would directly draw from all of the other things we are covering, is a progression of Chakrasamvara, whereas Kalachakra is not. The inner meaning is pretty much the same, but the Chakrasamvara will ground me for example in what a Vach mandala is, which gets expanded in a related way in Dakarnava.

Kalachakra is epic for the commentary.

Dakarnava is more or less the ultimate yogini tantra, although its title means an ocean of male dakas, the entire retinue is written with dakini first and her consort is just a male copy of her name. Vajramrita is considered one of the first and most important yogini tantras. It is, of course, possible, that his consort is named Vajramrita, but in our version, no name is given.

Sarvadurgati Parishodana refers to Vajramrita in the male sense of Daka as if he were the same male in Vajramrita Tantra.

NSP says the mandala splits the sun into the couple Vajrakundali and Vajramrita. And we can find a section where Vajrakundali's form is given as a red wrathful deity related to or even holding a whole Mena mandala. Before an obvious form of the next Krodha, Vajraprabha, was given, there was the nebulous statement:

vajrāmṛtā
vajrakuṇḍalikrodhavad eva|

This is the only possible reference to the solar shakti, no form is given, and it appears she is using a combined form like when we name a philosophy or school:

Vijnana Vada

It looks like a combined form of Vad, like in Bhagavad, which means to speak of, to cause to sound, or to play a musical instrument.

And so although it is almost negligible in terms of text, it is like saying she is the School of the Secret Sun. That is what I get from it. What is even more telling is that this seems to be from the section explaining Sarvadurgati Parishodana Mandala. For whatever reason, I can often get a faster comprehension by going backwards. And so if I look at the "destination" or purpose or output of this mandala, we get something about Four Hums and a Sevenfold Vairocana related to Ghanta:

caturhuṃkāram udāharan vajravairocanasaptapradakṣiṇaṃ ca śaṃkhavajraghaṇṭāṃ
vādayan kurvāt|

The mandala itself seems to be composed of Mothers of Rudra and Varuna natures, who are something like the worldly powers of Vairocana:

mātṛṇāṃ rudrādīnāṃ ca varuṇaparyantānāṃ yad dakṣiṇakareṣu vajram uktaṃ tat
trisūcikaṃ jñeyam iti| sarvalaukikaīokottarāś ca devatā vairocanasaṃmukhaīekhyā
iti|

Considering that the Sun Deities were dropped in the middle of what looks to be the retinue assembly, see who the final member is:

durgā
śyāmavarṇā siṃhārūḍhā dakṣiṇabhujābhyāṃ vajracakradharā vāmābhyāṃ paṭṭiśāśaṃkhadharā|

and if we keep going backwards, we go through several described as vajradhara, or, holding a vajra:

sarasvatī
vīṇāhastā vāmena dakṣiṇena vajradharā|

She used the "hasta" phrase like Ganapati, and, this would be significant in Matangi symbolism whereby if she holds the lute in one hand, it is because she is drunk. The next ones are:

śrī
gauravarṇā dakṣiṇena vajradharā vāmena padmadharā|

bhīmā [Ekajati]
śyāmavarṇā dakṣiṇena vajradhāriṇī vāmena khaḍgapheṭakadhāriṇi|

vajramakarā
ceṭī makarārūḍhā sitavarṇā| aṣṭaphaṇā|
dakṣiṇena vajradharā vāmena vajrāṃkitamakaradharā|

a Serpent Noose appears:

nāgavajraceṭako
makarārūḍho'ṣṭaphaṇaḥ sitavarṇo dakṣiṇena vajradharo vāmena nāgapāśadharaḥ|

vajravināyakaceṭaka
undurārūḍhaḥ sitavarṇo gajamukho

vajrakalī
ceṭī vetālavāhanā [corpse vehicle]

The description of Vajravarahi on a human vehicle by her first Conversion Name:

vajramukhī
ceṭī puruṣavāhanā nīlā varāhamukhī

there is a section of others, and then:

vijayavajro
gaṇapatir maṇḍukārūḍhaḥ sitavarṇo dakṣiṇakareṇa vajradharo vāmena khaḍgadharaḥ|




vajraśauṇḍo
gaṇapatir gajavāhano dakṣiṇakareṇa vajraṃ dhārayed vāmena lāṃgalaṃ dhārayed
avasthitaḥ| sitavarṇaḥ|

vajraviṇayā
vajraśauṇḍavad ayan tu viśeṣo yad uta vāmakareṇa khaṭvāṃgadhāriṇīti|

vajramālo
gaṇapatiḥ śyāmavarṇaḥ kaukilarathārūḍho [Cuckoo Chariot] dakṣiṇakareṇa

vajradharo
vāmena kusumamāīādharaḥ|

vajrāsanā
vajramālāvad ayan tu viśeṣo yad uta vāmakareṇa śaktidhāriṇīti|

vajravaśī
śukarathārūḍho [Boar Chariot] gauravarṇo dakṣiṇakareṇa vajradharo vāmena makaradhvajadhārī|

vajravaśā
vajravaśīvad ayan tu tasyā viśeṣo yad uta raktavarṇeti|



Before this was the section with Vajramrita. What appears to be the beginning of this liturgy is:

oṃ
paśupati nīlakaṇṭha umāpriya svāhā|

athāsya
mudrā bhavati| dakṣiṇahastena vāmasmuṣṭiṃ kṛtvā kanīyasīm aṃguṣṭheṇākramya śeṣāṃgulavajralakṣaṇāḥ
kṛtvānāmikāṃ

tarjanīṃ
ca vajrākareṇa kañcin nāmayet| iyaṃ paśupater mudrā|

viṣnur
garuḍārūḍhaḥkṛṣṇ avarṇaś caturbhujaḥ| dakṣiṇabhujābhyāṃ

gadāvajradharaḥ|
vāmābhyāṃ śaṃkhacakradharaḥ|

vajrahemā
kanakavarṇā āsanabhujāyudhaviṣṇuvat|

vajraghaṇṭāmayūrārūḍho
raktavarṇaḥ ṣaḍmukho dakṣiṇabhujābhyāṃ

śaktivajradharaḥ|
vāmābhyāṃ kukkuṭaghaṇṭāvajradharaś ca|

vajrakaumārī
vajraghantāvad eva jñeyā|

Similarly, Kumari appears to be the "Vada" of Vajraghanta, who is a Six Face Red Goddess on a Peacock and the Shakti of Vajradhara. This is right after...about the most direct invocation of Shiva and Visnu one could ask for. The whole section begins with Shiva and ends with Durga. This perhaps makes the appearance of "Mena" what it seems to be.

The activity of Ghanta or Bell is Avesa, which looks to be in the section referring to Ganapati, who also seems to be re-doubled as Vinayaka.

I am not sure if this is what the translator said. Haven't checked. I am pretty sure he used a Tibetan version and in any case it was sketchy in the sense that he translated most of the mantras, except for ones that were basically seed syllables like with the Nagas. Bhattacharya's mandala roster in the NSP is from India. I would not be surprised if Pasupati as used here is local to Nepal, although we did find Pukkasi distributed multiple times in NSP.

The NSP is a bit like Vajravali, it means Nispanna Yoga Vali, which means Completion Stage Yoga, and simply catalogs twenty-six mandalas, including Kalachakra. Vajravali is a bit more elegant in displaying relationships between deities and in explaining that it all pertains to Agni Homa.

Sarvadurgati Parishodana almost seems like a Shiva text until we catch hold of Durga and go back to her ancient Suktam which expresses Vairocani as used in the Samvarodaya Tantra. This Durga is noteworthy because it is probably the only dark green Lion Durga in the world. Comparatively, there is Durgottarini Tara, and Green Lion Lakshmi. We have nothing that directly deals with Durga, unless taken as a few specific forms like Vairocani or Katyayani.

When taken as Shiva and his wife, the parallel is Amoghasiddhi and Tara.

In Buddhism, I cannot get a Durga or Lakshmi or anything that is not Tara. It is because she is Noumenal. There could be any number of so-called inherent goddesses of birth in any number of worlds, but, Tara has to be invoked, has to be asked for. When she comes, then all those previously-independent goddesses belong to her.

I was perhaps a bit rash with Lakshmi Ganesh, his two wives are usually called Rddhi and Siddhi, both of which are close to identical and refer to a group of eight powers. I probably should not have called the second one, Siddhidhatri, which is the ninth Durga, which is not a consort of Ganesh. Obviously she belongs to Shiva, but, in the way that she is really the female half of Ardhanarishvar.

It is Rddhi that is related to Buddhi and Matangi.

If you are getting an awareness of what is going on during flitting, this is pretty amazing, I do not think I have ever done anything like this. The experience I have is in or through the physical body at all times, which, at a power peak, causes a change to the nature of Light whereby I see it in a non-physical way, the whole environment or world can be discarded or changed. It totally depends on Mind and Voice as described in the teachings. Very integrated.

[Old Student]

kuṇḍalī (कुंडली).—f (S) pop. kuṇḍaḷī f A figure divided into square, triangular, or circular spaces, drawn to exhibit the position of the sun, planets, and constellations. The twelve graha of kuṇḍalī are tanu, dhana, sahaja, suhṛta, suta, ripu, jāyā, mṛtyu, dharma, karma, āya, vyaya. 2 Semicircular or other lines drawn to include parentheses &c., brackets. 3 m S A snake; a circle or ring; a coil; and numerous things of like form.

Kuṇḍalin (कुण्डलिन्).—(-nī f.)

1) Decorated with ear-rings.

2) Circular, spiral.

3) Winding, coiling (as a serpent). -m.

Yes, I was aware of the meaning of "earrings" and that it came from the shape. IIRC it is specifically the round earrings that pull on the earlobes that are considered among the 32 signs. The reason for mentioning it was something I had seen with respect to the "yogurt" or thick cream in one of my shakings, that struck me as being something that could be called a "coil" of nectar.

The counter-point to this and to "literary evolution" is that "there was no one to understand it". Even if Kalachakra Mandala could be seen in 500 B. C., it took over a millenium for it to be worth writing down and teaching. And so now, there just aren't any worries about...offending my Hindu traditions, being illiterate and fairly dumb, being too quick for easy answers and so forth. In Buddhism, we generally hold that the Close Disciples were given more advanced teachings that were only orally transmitted, which slowly migrated to public consciousness or the Nalanda system.

The Kalachakra and the Vimalaprabha have a transmission path to Nalanda that appears to go from Khotan-Mahabahar-Purushpur to Srivijaya and then back up to Nalanda, and there are some twists and turns in that as well, there are temples to Kala in the Srivijayan orbit, and there is the very strange set of reforms that happened after the fall of Khotan and the destruction of Purushpur and Somnath. Empires sent envoys to get new monks and texts. In Tibet, they sent to Kashmir first and then for Atisha, and in Pagan, Anawratha sent for monks and texts to Sri Lanka. The twist is that while Pagan turned Theraveradan propagating that throughout Southeast Asia, they burned the old (Vajrayana) books and got rid of the Ari Buddhist priests. But they kept four texts and refused to destroy them, and Kalachakra was first among the four.

Dakarnava is more or less the ultimate yogini tantra, although its title means an ocean of male dakas, the entire retinue is written with dakini first and her consort is just a male copy of her name. Vajramrita is considered one of the first and most important yogini tantras. It is, of course, possible, that his consort is named Vajramrita, but in our version, no name is given.

I tried a cursory search for this tantra and got very little. Does it have a translation?

In Buddhism, I cannot get a Durga or Lakshmi or anything that is not Tara. It is because she is Noumenal. There could be any number of so-called inherent goddesses of birth in any number of worlds, but, Tara has to be invoked, has to be asked for. When she comes, then all those previously-independent goddesses belong to her.

I have noticed this. I had thought it was a regional thing, but maybe not, as Tara seemed to almost start in the same places where Durga is most prominent. I am told nobody calls her Durga, except in intellectual discussions as a reference name, she's always Devi Maa. Anybody could be Devi Maa and that's what I had meant, that it seems like devotees of a particular goddess, if they are shakti, are really always worshiping Devi Maa.

If you are getting an awareness of what is going on during flitting, this is pretty amazing, I do not think I have ever done anything like this. The experience I have is in or through the physical body at all times, which, at a power peak, causes a change to the nature of Light whereby I see it in a non-physical way, the whole environment or world can be discarded or changed. It totally depends on Mind and Voice as described in the teachings. Very integrated.

I agree, but I'm not sure what kind of awareness, or why I knew the person was dying, or why what I did was what the person needed.

[shaberon]

To my knowledge, there is only a Sanskrit Dakarnava, and the bits on Wisdom Library. That site is excellent because most of its definitions related to Buddhism draw from Vajradaka Tantra, Vajramrita Tantra, and Dakarnava Tantra. At most I have patched in reconstructional posts by opening all the links to put together all the information about a chapter and stuff like that. They just aren't assembled as complete texts like Prajnaparamita Sutra, but, after the work, you can get the basic idea such as the magnitude of the chakras the Big Heruka in Dakarnava is made of.

Since the Dakarnava has a commentarial line which advocates Seven Kayas, then, any Buddhist would know this means there must be seven Skandhas, and Seven Buddhas and Prajnas and Families.

HPB blatantly said it was this way by adding Vajrasattva and Vajradhara, which is the way I have always understood Guru Yoga. So it has never been the slightest lump for me, personally, but to actually validate it within a Buddhist scriptural basis is difficult.

Shurungama or Sarvadurgati adds Kumari and Naga Families in one edition; and it is possible to take Namasangiti Manjushri as Seven, and a seventh family is also described as permissible by the eminent Bu-ston.

It is most tantricly focused by Seven Syllable deity and especially in its explanatory Vajradaka form with the Seven Jewels of Enlightenment.

Then, if we see how Wisdom Library is coming together, it is like placing Vajradaka as the explanatory tantra to the overall Chakrasamvara pantheon, and the preparation for Dakarnava.

What the heck is it, well, Bodhisattva Nagaraja. He has the seven serpents and the dharmodaya of Completion Stage. Almost literally like a dividing line. That is how he is in IWS or Rinjung Lhantab as well.


Before doing that, I have had a Ganapati placed in my life as a physical idol and a living definition at the same time. I have probably been thinking about it for three weeks, and so all that meaning now needs to get compressed into a bit of practice.

I probably will not go the the extent of the Red Ganapati sadhana yet, or, the Para Yoga. I would focus on the Bija Ga or Gam, perhaps the formulaic Om Ah [Name or syllable] Hum Svaha, and then likely this suggestion from the Homa:

Om Sri Mahaganapati Pranasaktyai Namah

We want to see him in large part as commander of the Marutgana, and I have no confusion in understanding Prana, so this seems straightforward. Also it would smoothly attach to Ganapati Hridaya Dharani.

We already have one mantra for Ucchista Ganapati which cleans up to:

Om Hrim Gam Hasti Pisaci Likhe Svaha

I am not sure how "likhe" is meant, it conveys the sense of letters or writing. But this appears to be the correct term from any source.

And it is possible we want to "grow" the syllables, if we look at how his Japa goes, Ganesh has a Four Arm Red Ucchista form with the following mantras:

1. Om hasthi pishachi Likhe swaha

2. Om gam hasthi pishachi Likhe swaha

3. Om namo bhagavate ekadhamstraya hasthimukhaya lambodharaya ucchista mahathmane aam krom hreem gam ghe ghe swaha

" Om namo hastimukhaya lambodaraya uchhisth mahatmane krang kring hiring ve ve uchhisthaya thha thha "


Because I am already familiar with Hrim, I would really just be adding the Gam, so I would do the Pisaci mantra with both of those; it is just the idea of progression is evident above.


Another Ucchista mantra is:

OM NAMO BHAGWATE KDANSHTRAAYA SAPTATRINSHADA-KSHARAATMAKAM

It also has one for Lakshmi Ganesh, as simply Om Shrim Gam Saumyay. And so there, we would say yes, Shrim is a further composition of Hrim. I have not done it so obviously I would employ more Vasudharas to get it going before I approached that particular Ganapati.

Here are some with a bit of commentary:

~ GUM GUM GUM – invokes the 1st Avatar of Ganesha, Vakratunda

~ OM GUM GANAPATIYE NAMAHA – invokes Ganesha as a Leader of the Ganas

~ To remove very stubborn obstacles, Dr. Pillai recommends chanting:

OM GHE GHE GHE, KROM KROM KROM, UCCHISTA GANAPATAYE, HASTI PISACHI LIKHE SWAHA

~ Also, Dr. Pillai has mentioned that Ganesha wishes to be worshiped in his primordial Human- faced form for the Golden Age. The Mantra for this form:

OM GUM ADHI GANESHAYA NAMAHA

~ Dr. Pillai advises to visualize Ganesha ascending into your Thalamus to remove Negative Karma stored in your brain.

This is one of Bhairavi’s favorite mantras for Ganesha: Avatar of Ganesha, Vakratunda

VAKRATUNDA MAHAKAYE Oh Lord of Curved Trunk & Large Body
SURYA KOTE SAMA-PRABHA with the Brilliance of 10 Million Suns,
NIRVIGNUM KURUME DEVA Make my works free of all Obstacles
SARVA KARESHU, SARVADA Always

Dr. Pillai described Ganesha as the Luminous Still Breath, bright as a million suns. He resides at the Muladhara, as well as in the Thalamus, which is the relay station and director for all incoming and outgoing sensory outputs.

So the "Leader of Ganas" and Ucchista would be most relevant from there.

The invocative order I see would be Leader of Ganas, Pranashakti, Hasti Pisaci.

Gam

Om Gam Ganapatiye Namaha

Om Sri Mahaganapatiye Pranashaktyai Svaha

Om Hrim Gam Hasti Pisaci Likhe Svaha [or alternate Ucchista mantra]




With this in mind, the Ganapati Hrdaya Dharani is a compound of several Ganapatis. Very rarely is accepted as also being a Vinayaki goddess who dances empty-handed with Abhaya and Varada mudras. So this is suitable for any Tuesday, or the Fourth of any lunar month. It obviously is bolstering the presence of Ganapati in order to thrill her.

The thing is written in dharani slang but does appear to be titled to a female:

|| 84 || om namo bhagavatyai āryyagavaṇāti hṛdayāyai ||


Although it is not directly "to" Sumukhi, the suggestion of her name is right there:

sumukhaścai vadantaśya kapirogaja karṇukaṁ likhādaṁsalaścaṇikato ghna rājovināyakaḥ || dhamake karṇaṇādhikṣā bhāracandro gajānana śrī vakratuṇḍaḥ kla varṇṇā helambaskaṁndapūrvvakaṁ || ṣoḍaśitā nimomāniḥ yaḥ pacchūnayādapi vidyārant vivohaca praveśanigame tathā | saṁgrāme sakkaṭe cai vighnatasyana vidyate ||

It butchers the regular Sutra beginning:

evammayā śrū tameka sminsamaye bhagavāna rājagṛhe viharatisma || gṛddhakuṭe parvvate mahatābhikṣū saṁgha namādharphamamardha trayodaśayi śatauḥ || saṁvalalaiśva bodhitvairma hāsattvaiḥ || tenakhalū pūnaḥ samayena bhagavānāyuṣmānanda māmanuyatesma || yaḥ kaściddānanda imānigaṇapati hṛdayā nāmadhāraṇi dhārayiṣyāṁ tivāca yiṣyanti paryyavāsyānti || tasyaca sarvve kāryyā nisiddhā nibhaviṣyati || tadyathañā ||

The Dharani to recite:

om namostute mahāgaṇapataye || om gaḥ gaḥ gaḥ gaḥ gaḥ gaḥ gaḥ || om gagaṇapataye svāhā || om gaṇādhipataye svāhā || om gaṇeśaya svāhā || om gaṇapati pūjitāya svāhā || om kaṭa 2 maṭa 2 dara 2 vidara 2 hana 2 gandha 2 dhāva 2 jambha 2 stambha 2 moha 2 dehi 2 dāpaya 2 dhanādi siddhiṁma prayacchaḥ | om namo stutemahārudravacanāya svāhā || om amṛtavindū bhikṣū cittam hāsamāgachati mahā bhayaparākramaḥ mahāha smidakṣiṇīyava bhodadāpaye svāhā || om namo mune mahāgaṇapataye || om gaḥ gaḥ gaḥ gaḥ gaḥ gaḥ gaḥ gaḥ || : || om gaṁgaṇapataye svāhā || om gaṇādhipataye svahā || om gaṇeśvarāya svāhā || om gaṇapati pūjināya svāhā || om āmodāya svāhā || om pramodāyetvāya svāhā || om he lambāya svāhā || om ṛdidāya svāhā || om siddhīdāya svāhā || om piṅgarākṣāya svāhā || om dhrumokṣāya svāhā om ekadantāya svāhā || om kuru 2 svāhā || om suru 2 svāhā || om turuṭasvāhā || om muū 2 svāhā || om na monamaḥ svāhā || om namostute mahāgaṇapataye svāhā ||

One might contend there is not a Rddhi Ganesh and a Siddhi Ganesh, and it is perhaps a bit strange that we see the invocations such as "Rdidaya", which is using "-daya" or source like in Dharmodaya, Reality Source. And so that is like invoking Rddhi Source which then sounds like it means the shakti.

[shaberon]

Here again I find this process is "self-correcting", Noumenally. It is much like sets of switches in the subtle body, if you are being shown a type of concentration or vibration to clean/accumulate power to the switch in order to pass, it is the same thing.

It is very Bardic, like composing a songbook.

By using the Ganapati Hridaya, it is self-informative as to how it wants to go. For example, it said to move the Pisaci mantra to the inside. Keep the "Root" and the Prana at the beginning, then the Dharani, then the Pisaci.

I try to use some of the Western terms that sound to me related to what we call Wheels of Time, which are the crosses in astrology such as the Fixed Cross.

Mutable Cross is more like an outer wheel of time with "changing" directions, i. e. you can move to face north which is different from east, and so on, everything appears to change externally.

Fixed Cross is inner, since, in mandala terms, your personal East is the direction you are facing. You can't change it. You cannot move or change your location. You can only be in one place, which is at the center of the universe, because infinity extends equally in all directions. I may appear to travel by foot or by car, but, those are like illusory forces which push and pull the entire cosmos around my fixed location.

And so to describe any type of Pancha Jina mandala, the center or principal deity faces the eastern one, the direction of dawn, which is like his starting point, something he has already accomplished, and then the journey goes around the circle to the final destination in the North. Then there is a Bell Sound which seals the Wisdom gathered from the journey into a new condition of the central figure's aura.

The Eastern direction is very Elephantine. In the advanced tantras, Vairocana gets pushed into the East, which is usually the direction of Indra as its worldly power.

If the Elephant is related to Ganesh, the main journey of his forms is actually towards what is called Embrace in the tantras, in other words at first he is trying to attract a shakti and then he touches her, which is Sparsha or Contact.

It is just one big one, it is just Para Shakti, and this is what I sense as a whole or in total, but this is not the same as being aware of or holding all her full powers on her own plane. It is more like a physical feeling of One Life which is able to unveil its works slowly. A small one of these can transform what appears to me, world, or set of phenomena.

And so, at least for me, it chooses to exhibit the Red mode, although it appears correct that there is Blue Demon Subduing Bhutadamara Vinayaka--Vinayaki, as well as a white aspect, which goes to Circle of Nectar. That is Buddhism. It allows us to contemplate his other forms such as Lambodara, Dhumravarna, and Lakshmi, which are all indicated by the Dharani. Even if I never quite get to that many Ganapati personal forms, I can see the parallels, in other words the Smoky Buddhist deities are going to handle similar things as his smoky form, although in far greater depth and detail.


And so if we actually just proceed from the Homa, at first, you are going to establish Ganapati as the head of Marutganas and Gandharvas, to make them stronger and remove obstacles, and the mantras are joined with soft breathing:

Gam

Om Gam Ganapatiye Namaha

[then there could be Nyasa, Soham Hamsa, and other mantra prior to the next, the important part to visualize Ganapati of the heart entering idol, fire, etc.]

Om Sri Mahaganapatiye Pranashaktyai Namaha

Those do say to end in Namaha which is less formal, because Svaha is supposed to be along with a fire offering. So if we just got him there, the dharani is like piles of mental fire sacrifices. It really has two choruses of Mahaganapati and four pairs of Gah. In the first go round he is Rudra Vacana and Amrtia Bindu, and in the second he calls up Rddhi and Siddhi in some way. The Dharani mainly would latch onto Mahaganapati as just described from the Homa:


om namostute mahāgaṇapataye || om gaḥ gaḥ gaḥ gaḥ gaḥ gaḥ gaḥ gah||

om gagaṇapataye svāhā || om gaṇādhipataye svāhā || om gaṇeśaya svāhā || om gaṇapati pūjitāya svāhā || om kaṭa 2 maṭa 2 dara 2 vidara 2 hana 2 gandha 2 dhāva 2 jambha 2 stambha 2 moha 2 dehi 2 dāpaya 2 dhanādi siddhiṁma prayacchaḥ | om namo stutemahārudravacanāya svāhā || om amṛtavindū bhikṣū cittam hāsamāgachati mahā bhayaparākramaḥ mahāha smidakṣiṇīyava bhodadāpaye svāhā ||

om namo mune mahāgaṇapataye || om gaḥ gaḥ gaḥ gaḥ gaḥ gaḥ gaḥ gaḥ ||

om gaṁgaṇapataye svāhā || om gaṇādhipataye svahā || om gaṇeśvarāya svāhā || om gaṇapati pūjināya svāhā || om āmodāya svāhā || om pramodāyetvāya svāhā || om he lambāya svāhā || om ṛdidāya svāhā || om siddhīdāya svāhā || om piṅgarākṣāya svāhā || om dhrumokṣāya svāhā om ekadantāya svāhā || om kuru 2 svāhā || om suru 2 svāhā || om turuṭasvāhā || om muū 2 svāhā || om na monamaḥ svāhā ||

om namostute mahāgaṇapataye svāhā ||


And the whole thing can be repeated, usually an odd number of times, three, seven, nine, or something like that.

If I was trying to argue as hard as possible the Dharani "is" a goddess, her powers would not be like others in countering poison or removing disease, they would be in summoning Ganapati. And since this is what is being done anyway, then, one could develop any of his forms, but for Red, there are Ucchista mantras:

Om Hrim Gam Hasti Pisaci Likhe Svaha

OM GHE GHE GHE, KROM KROM KROM, UCCHISTA GANAPATAYE, HASTI PISACHI LIKHE SWAHA

The Dharani would easily "tune" to the goddess, by using its own title or first invocation, or anything towards Vinayaki or Sumukhi.

If you are me, you have a tendency to be so enamored by Devi that you forget you are supposed to be or do something, i. e. the male force or Upaya, and so to "lean" it towards Ganapati mostly means you need to enforce Method and Skill into your mind and behavior.

The thing becomes Buddhist when I start with Refuge Vow and Vajrasattva, and Dedicate the Merit at the end. As such it is a light 20-30 minutes and less complex than Guru Yoga.

It seems to me that the preliminary mantras and the dharani would work with any Murti or any aspect of Ganapati, and that it is probably important to accumulate this before attempting a wrathful retinue.

The Elephant is not his original head, and, he also has a form in human appearance. It is a tremendous power that one learns to handle as if it were nothing, as if an angry elephant really could ride on a mouse.

Ganapati is Primordial Sound which can be heard, but he is also that sound which has concentrated in the thalmus or seonsory bundle or Vairocana or Indra or Rupa Skandha which emits extraordinary light. Ganapati there clears karma from the brain, which is close to the basic definition of a wrathful deity.

Rddhi as discussed in Prajnaparamita Sutra is an abstruse subject with three levels: outer or bodily levitation, then Nirmana or the Sun, Moon, and Akanistha which is Rupa Loka and Kama Loka, and finally the Arya or Abhijna of the saints, which is Manojava or the divine eye or Buddha eye, visual consciousness or Caksur Vijnana specifically, into unlimited universes, starting from the summit of Form or Akanistha.

Abhijna is transcendent knowledge evolved from Vidya:

ṛddhividhi-jñāna or ṛddhiviṣaya-jñāna, the knowledge of magical processes.

divyaśrotra-jñāna, divine hearing.

cetaḥparyāya-jñāna, also called paracitta-jñāna, the knowledge of another’s mind.

pūrvanivāsānusmṛti-jñāna, the memory of one’s former abodes (or existences).

cyutupapāda-jñāna, the knowledge of the death and rebirth of beings, also called divyacakṣus, the divine eye.

āsravakṣaya-jñāna, the knowledge of the destruction of the impurities.

Abhijñā (superknowledges) and Vidyā (knowledges) differences are defined in Chapter IV:—1) The abhijñā knows the previous past existences, the vidyā knows the past actions that are the cause. 2) The abhijñā knows that such and such a being will die here and be reborn there, the vidyā recognizes in these deaths and rebirths the unfailing result of the actions (carita) that are its cause (hetupratyaya). 3) The abhijñā knows that such and such a being has destroyed the fetters (saṃyojana), but does not know if he will be reborn again or will never be reborn again; the vidyā knows that once the impurities (āsravakṣaya) have been destroyed, one is no longer reborn.

[Old Student]

To my knowledge, there is only a Sanskrit Dakarnava, and the bits on Wisdom Library. That site is excellent because most of its definitions related to Buddhism draw from Vajradaka Tantra, Vajramrita Tantra, and Dakarnava Tantra. At most I have patched in reconstructional posts by opening all the links to put together all the information about a chapter and stuff like that. They just aren't assembled as complete texts like Prajnaparamita Sutra, but, after the work, you can get the basic idea such as the magnitude of the chakras the Big Heruka in Dakarnava is made of.

Okay, but I'm still only 400 pages into the Avatamsaka Sutra right now so I will have to put it on the to do list.

I am not sure how "likhe" is meant, it conveys the sense of letters or writing. But this appears to be the correct term from any source.

In modern Hindi, likna is anything you can do with a pen -- both writing and drawing. Not sure that helps.

Dr. Pillai described Ganesha as the Luminous Still Breath, bright as a million suns. He resides at the Muladhara, as well as in the Thalamus, which is the relay station and director for all incoming and outgoing sensory outputs.

This is interesting. The thalamus is near the bottom center of the cranium cavity, and like you say, in humans is a waystation. In other species, it has some processing that in humans has moved to the cortex.

One might contend there is not a Rddhi Ganesh and a Siddhi Ganesh, and it is perhaps a bit strange that we see the invocations such as "Rdidaya", which is using "-daya" or source like in Dharmodaya, Reality Source. And so that is like invoking Rddhi Source which then sounds like it means the shakti.

And a Siddaya too?

[Old Student]

Here again I find this process is "self-correcting", Noumenally. It is much like sets of switches in the subtle body, if you are being shown a type of concentration or vibration to clean/accumulate power to the switch in order to pass, it is the same thing.

It isn't clear what is being shown yet, although I had my first test on it the night before last -- just to see whether I could get all the switches "activated". Last night was a completely vision-less thing that is related and had a bizarre thing or two going on with bringing up an extreme amount of bliss an then not doing anything. I don't know where it is leading, but last night had a flit that was the total opposite of the one I related -- I knew absolutely nothing about it, it was like just having a grey wall in front of my eyes.

It is just one big one, it is just Para Shakti, and this is what I sense as a whole or in total, but this is not the same as being aware of or holding all her full powers on her own plane. It is more like a physical feeling of One Life which is able to unveil its works slowly. A small one of these can transform what appears to me, world, or set of phenomena.

A One Life sense of whole or total, as in feeling that everything is whole? I can see why this would be a Shakti feeling.

Abhijñā (superknowledges) and Vidyā (knowledges) differences are defined in Chapter IV:—1) The abhijñā knows the previous past existences, the vidyā knows the past actions that are the cause. 2) The abhijñā knows that such and such a being will die here and be reborn there, the vidyā recognizes in these deaths and rebirths the unfailing result of the actions (carita) that are its cause (hetupratyaya). 3) The abhijñā knows that such and such a being has destroyed the fetters (saṃyojana), but does not know if he will be reborn again or will never be reborn again; the vidyā knows that once the impurities (āsravakṣaya) have been destroyed, one is no longer reborn.

This is the first time I've heard of Abhijna, it looks like "right now knowledge" but probably isn't. Vidya seems more like something which is taught.