Does Anybody Else Have Clear Body Experiences?

[Old Student]

She is so close to Khandaroha that these come up as the first two translations into Uighur and Mongolian.

Weird dictionary -- they relate the words to "Tocharian", which if one is looking at where these are located, is indistinct whether they really mean Tocharian as in Afghan, or Tocharian as in the (misnamed but allowed to continue) original inhabitants of the Taklamakan, or Tocharian as in possibly the later inhabitants of the Taklamakan who were probably those who gave words to the Uyghurs, who later became the literati of the Mongol empire. My guess is the last, who are more properly called Saka (or in Roman terms, Eastern Scythians).

So as a generic term, cakra vega is a right-angle, centrifugal, rotating, vibrating circle, compared to the male seed which is like a central axle or axis. Now for those of us with stretched-out minds, is it possible to see a kind of x-shaped, fourth dimensional tesseract version of this, yes, it is not just one's personal center, but like an expanding sponge or rising bread at every point, much as physics believes space itself expands at a rate determined by the Hubble constant.

That is not really a number but a ratio, and its speed for an area the size of one's body comes up to around a nanometer per lifetime. Slow, but unceasing.

Interesting set of metaphors. It isn't clear that the expansion forces are great enough to actually stretch the body itself in this model.

I would guess this is about the chakra at the sex organs? My own perception of it is that it is very complex, I suppose 4 dimensions might make it simpler. Have you heard of the Menger Sponge?

[shaberon]

Posted by Old Student (here)
Interesting set of metaphors. It isn't clear that the expansion forces are great enough to actually stretch the body itself in this model.

I would guess this is about the chakra at the sex organs? My own perception of it is that it is very complex, I suppose 4 dimensions might make it simpler. Have you heard of the Menger Sponge?

I have not.

No, if it is unclear that expansion does not stretch the body, this is why Mandala begins as a plane with just a Fence, and by the practitioner adding an axis with Nadir and Zenith, is like saying nadir has been pushed down to the base of spine.

This region is unidentified and ignored until through tantrism, its manifestation is forced as a Mental Object, which is Diptachakra in Vajrakilaya Tantra, which is equivalent to Cakravega in the Chakrasamvara system, either one being Cunda, expressed as uniting with Mahabala.

So in Yoga, if Cakra Vega is confined to the domain of Mental Object and a very qualified meaning of Samadhi, then, she is neither indicated nor found until the Noumenal Path has made its way to her. Virtually the opposite of most Yoga systems, in how most of them say, you have these chakras, here is the first one and now start it. In fact, after one had trained in the Three Places, then, it would really add the navel and reveal head as the crown or Mahasukha or Jnana Chakra. I am not sure it will deal with the root until it is established the heart is opened and softened somewhat.

The similar Chakravega in Trika is supposed to be in this article, but I am having a hard time finding her, where she is supposed to be triune with Manasa and Mohani.

Dipta or Vega has a high-energy connotation, related to Maha forms, which are usually six armed and fiery, and so she is like one lamp or flame destined for a chandelier.


Bhattacarya said that Paramasva was Hayagriva and that he was an Akshobya emanation, neither one of which is exemplified by the sadhana. What is perhaps more likely accurate is that Dharmadhatu Vagisvara Manjughosha says he is Mahabala. Bala means none of his Ayatanas have any weaknesses, not with respect to Akasha Dhatu, nor Vijnana Dhatu, nor to whatever would have to be expressed as Akimcanya Dhatu. He is not under/beneath Indra in any way and is more like his employer.

Paramasva is Viswa Daka in Hevajra's Five Families, and, he is the holder of a significant hypostasis in Dakini Jala. Besides a Crossed Vajra, also he has a couple unusual things, a staff with Double Lotus or Viswa Padma, and a Shakti or spear. He is red, and his main face shows Krodhasrngara, his second, Raudra, and his third is Brahma. His crown, if anything, is:

Haritasva Mukham

Which, to me at least, has more of a suggestion towards the main Vehicle of Jewel Family, and the original rays of Marici.

The sketch artist missed the point that he has Four Legs, which is certainly a rare or restricted attribute.

Amoghasiddhi is not too well-known from the Sutras; compared to the other Dhyani Buddhas in Dakini Jala, Paramasva is the only one to also emanate four additional mandalas, most likely as the Four Activities.

Amoghasiddhi is the end of the Maitreya or Jampa Gompa scheme, or, in the bizarre Tson kha pa manuscript related to Phurba, Amoghasiddhi is Watery Fire or the Seventh and Final Initiation, which says the purification of Five Skandhas is the Sambhoga kaya, and so on.

Now towards one's body, if seen that the male is like an axis and the female is more like a rotating egg, then that way in which she is a Bell should be somewhat evident as for instance a mental vibration passed from the axis causing vibration to the egg. That is how he is Shiva, it is like in that Tarika description. However he has been accessed by Bodhicitta, not any other means.




Yes, Svapna Tara = assists in dreams. Dream Yoga is also the basis of Illusory Body. The difference it seems to me between Illusory Body and Flitting is that, for example, in Illusory Body, you could easily go to someone else who was Lucid in Illusory Body, and debate Avatamsaka Sutra just as easily as if you were physically awake in the same room.

It makes sense to me that Cunda expands/collapses from Prajnaparamita, who is more of a "base model" and has no extensive forms and could be said to sequester herself in Vairocana's niche and lose her body, becoming mental-only.

She doesn't leave. There are just a whole lot of beneficial things to arise through her rather than the simple fact that "there is Voidness" of a blank, raw variety.




Pretādhivāsinī -- sex organ
Gṛhadevatā -- rectum.

That is how close Cakravega and Khandaroha are. That is why these are like the esoteric deities which assist the overall Dharani, Mahavidya, or Vidyadhara practices. Khandaroha we can show through the Varuni-based evolution of Vajravarahi. Of Chakravega and Paramasva, hardly anything could be said to be said about them, without showing how they are parsed out as the Sixth Yoga, Samadhi.

This pair of organs is the District governed by Patala Vasini, i. e., a Nadir Goddess.

However even for a male, Khaganana would be the Tip of the Jewel, Cakravega being the Root. Yes, the regions are a little different and could be said to be in communication with each other or not.

The Abhidhana link is a quick reference which shows at the beginning of the list, the head, is Cinnamasta. It doesn't say that, you have to know that about Candi. Cinnamasta is Tri-kaya Vajrayogini. Vajrayogini is explaining Dakini Jala which is therefor to be placed in the Tri-kaya system.

The closeness of these particular dakinis in the body and in the tantras is reflected in the progression:

Pranayama and Dharana = Upacara or Upasadhana = Varuni -- Khandaroha

Smrti and Samadhi = Sadhana and/or Mahasadhana = Cakravega--Paramasva

Vajrashrnkala being a Chain of such Successful Samadhis is thereby a consorting chain to Hevajra.


Paramasva should probably be looked at as "Vajrasattva having arisen to this encounter".

It is a Teevra Devata, Raudra, Extremely Wrathful.

He does not show other male emanations, but, largely on a Dharani basis, we have found there is such a thing as Raudra Krama and Mahabala Krama and it is on Ganapati and it is on Pancha Raksa.

Ganapati is at least guilty of having a considerable volume of collected lore to describe what he does, whereas the Pancha Raksha are only a series of Buddhist spells, except for Mayuri, who has quite an extensive background.


Now in having talked about Guru Yoga is the thing I skipped about Vajradhara is that you do him similarly with Three Places but you also ask him for Four Empowerments. And so one of the articles about it said "at least forty-five minutes to maybe two hours".

But instead of doing that I am doing Vajrasattva and Ganapati. This does not quite put him in a Buddhist Yidam position, and he works more like Dharani. And this goes to Japa or recitation and one time I used the most extreme Krom-based mantra, and I wound up eating it with an explosion of Mamos within a few days. So I reverted to the Pisaci mantra which more closely aligned with my intentions.

I had been doing it rather crisp and peppy, and I saw this was a kind of artificial structure since it made a continuous sound.

But then in slowing it down and trying to get a little more musical about it, he showed me the artificiality, in that the tiny pauses now coming between the words were not filled with Emptiness, but were all little bubbles for discursion or distraction trying to pop through, Hindrances.

Compared to the Six Yogas, it is a tiny little ripple of Pratyahara and Dhyana. But even that is powerful and authoritative.



In saying that Samadhi is "of a certain caliber" and that the first one is Heroic March or Shurangama, the second samadhi is Gaganaganja, which is a Jewel Family Bodhisattva, like Ratnaketu, and is used in Namasangiti.

Then Vimala Prabha, and finally Lion's "Sport":

(2) oftener, fig., something like easy mastery: °tam Mahāvyutpatti 6404 = Tibetan rnam par rol pa (and so often in [compound] n. pr. (proper name) in Mahāvyutpatti), which Jäschke (Tibetan-English Dictionary) renders to practise sorcery, to cause to appear by magic; lit., however, it would seem to be like the Sanskrit, variously (rnam par = vi) sporting (rol pa, or °ba, also used for Sanskrit lalita)

something like miracles, exhibitions of supernatural power;

tad buddha- vikrīḍitaṃ Divyāvadāna 401.15, refers to a mahā-prātihāryam, great miracle, just mentioned

mama (sc. Bodhisattvasya) siṃhavikrīḍitaṃ (in vanquishing Māra)

trivimokṣa-mukha-(Lefm. sukha-, misprint?)-vikrīḍito Lalitavistara 181.20, [bahuvrīhi], (the Bodhisattva) having perfect mastery of entrance to the three-fold salvation; similarly, (bodhisattvair…aneka-)-samādhivaśitā-balā- bhijñā-vikrīḍitair Laṅkāvatāra-sūtra 1.10, ‘perfect masters of…’


That is why Mahasri Tara on a Lion is Sambhogakaya, a Samadhi considerably beyond the initial.

Sadhanamala is almost the non-book of Cunda and Parasol. It just mentions them in the most basic ways. It is not meant to be exhaustive as a resource; although it is exquisite for Kurukulla, Vajra Tara, Marici, etc.

Neither one of them is extensively practiced in Tibet.

After reflecting about the Paramartha Parasol, well, the manuscript actually is many, many times larger than her original Dharani. It is possible the text itself could say it quotes Krishnayamari Tantra, and the compiler just linked what he could as a reference. I am not sure.

Paramasva was obscurely called a Horse-faced Kinnara Gana. Because that is from Vayu Purana, it gets extra attention.

As to the Kinnara sadhana with Manohara, Sumukhi, etc., that seems to be a previously-established thing, there is no reason it could not be mentioned by Parasol.

As to the Kinnara and Amoghasiddhi Family, that would be a correlation. In the most general Pancha Jina:

In the Yoga and Anuttarayoga classifications there are Five Buddha Families: Akshobhya (East, blue, vajra, elephant throne), Ratnasambhava (South, yellow, jewel, horse throne), Amitabha (West, red, lotus, peacock throne), Amoghasiddhi (North, green, sword, kinnara throne) and the center with Vairochana (white, wheel, lion throne). Any of these Five Buddhas can occupy the center of a mandala although the directions remain the same.

According to China Buddhism:

In particular, the word Kinnara (literally means "what human?" in Sanskrit) is related to the word Kimpurusha (meaning "what man?" i.e. hermaphrodite, half man-half woman). Legends have it that the original Kinnaras were the troops of Ila, the unfortunate King who was transformed into a woman by means of a curse. Later he/she became a wife of the divine hermit and god of the planet Mercury, Budha, while his former soldiers were turned into kinnara by the hermit Budha.

One of the eight types of celestial beings. Horse-headed celestial musicians having a human-like body. Their king is Lord Vaishravana [or: Kubera].

Budha--Mercury was also not sure about deciding to be male.

One of the regular synonyms for Kinnara is:

Aśvamukhas

And Paramasva's "crown" is...

Green Kinnara?

I am not sure. It does not exactly say that.

These are like ultra-Gandharvas. One could say that Gandharva women are mostly just beautiful, but Kinnara women stay in union for pleasure all the time.

That is somewhat close to the trail through Manohara and Bharati, which seems to pluck Bala from the Blue Wrathful Males in order to make its Red Path of Bliss.

And so if Amoghasiddhi lacks much of a peaceful Bodhisattva atmosphere to his eminence, by definition, whatever is stronger in the wrathful aspect here, means there must be a peaceful source stronger than expected.

In that one, we will definitely find Tara's Forest of Turquoise Leaves. If you can make a real Vajrashrnkala, that is, a Chain of Successful Samadhis of this quality, no matter how wrathful, if this is good then you would be able to go to that Akanistha. That is what the Delok legends are trying to tell us.

[shaberon]

As a consequence of not really having a human Guru, I wonder what would be the next closest thing. I unfortunately do not experience Nirmanakayas of Mandarava or anything like that. I am familiar with some life stories such as Milarepa, and the language and practices of many Mahasiddhas are very familiar to me, but none of that really puts any of them in the limelight.

In saying that Sadhanamala is a valuable resource for certain things, it is not like the Chinese Imperial collection, which has buckets of titles that mean nothing to me. That does not mean they are no good or don't work, It means they are not major statuary deities of the Ratnagiri system, such as Mahattari Tara and Durgottarini Tara from Sadhanamala.

It is true that some of its specimens are found in the Ngor tradition, and that probably the single-most explanatory thangka would be the big Ekajati with multiple Maricis done by the Drukpa Kagyu.

This is Bhutanese, and, whereas they are directly attached to the most powerful Regional Protector, Tseringma of Mt. Everest, they also have a unique Dharma Protector. What this means is, she protects the lineage itself. But if it also means she protects the truth and reality within the associated Dharma teachings, and they have the greatest exposition of Sadhanamala, and we are sort of exalting this after centuries in the dust, then this is a closely-related affair.

And so currently, the Drikung are promoting Achi Chokyi and Parnasabari--the latter described as the twentieth Tara and of the nature of the Wisdom of Amoghasiddhi. Parnasabari is being promoted by any lineage that has her I believe.


When shown against their Panel of Primary Yidams, Achi is called an emanation of Vajrayogini, and ranked with Mahakala.














The request is that we do not copy/distribute her formulae. There is something you can get at the first link with Parnasabari, or, for instance, there are a couple similar articles:

Achi sadhana composed by Achi Chokyi Drolma

A Collection of her practices



In looking at the Ten Wrathful Ones in general format, the main ones share the name Antaka, "The End", similar to Antara or "Interval", and to the Andhaka demons.

Since Death is usually the End, Antaka is strongly associated with Yama or is a name of him. When "reflected" at him as in the name Yamantaka, this should signify The End of Death, which sounds fair, but then would be oxymoronically followed by Prajnantaka. Hang on.

Allright, this Antaka format is in the general definition of Dasa Krodha. It shows Mahabala in the northwest, and Sumbha in the Nadir.

It is a very plain page, since, although we know the basic format may be changed in some cases, the comparative format given is that of Vajrakilaya.

Well, we have said he is a compound deity that is like an evolution of Vajrasattva to the peculiar intensity of Karma Family.

And indeed he seems to rely on having a relevant deity to launch his version of Ten Wrathful Ones:

Huṃkāra,
Vijaya (Tib. Namgyal; Wyl. rnam rgyal),
Nīladaṇḍa (Tib. Yuk Ngön; Wyl. dbyug pa sngon po),
Yamāntaka (Tib. Shinjé; Wyl. gshin rje gshed),
Ārya Acala (Tib. Miyowa; Wyl. mi g.yo ba),
Hayagrīva (Tib. Tamdrin; Wyl. rta mgrin),
Aparājita (Tib. Dö Gyal),
Amṛtakuṇḍalī (Tib. Düdtsi Khyilwa; Wyl. bdud rtsi 'khyil ba),
Trailokyavijaya (Tib. Kham Sum Namgyal),
Mahābala (Tib. Tob Chen)

By splicing in Humkara, something happened to the Antakas. Vighnantaka has become Amritakundali and thereby shoved Mahabala into the Nadir.

Dharmadhatu Vagisvara Manjughosha, however, could be attributed with keeping the Standard Six Directions--the four Antakas plus Usnisa and Sumbha. What he has changed, replaced, or re-named are the corner deities:

Isana: Trailokyavijaya (was: Acala)

Agni: Vajrajvalanalarka (was: Takkiraja)

Nrrta: Herukavajra (was: Niladanda)

Vayu: Paramasva (was: Mahabala)

His inner ring is actually a unique Usnisa group, starting with Mahosnisa, followed by Sitatapatra Usnisa, making it hard to tell which ones are meant, male or female. In Brahmanda or Vayu Puranas, Mahosnisa is a Rakshasha in the second or Sutala. However, in Namasangiti commentary, Mahosnisa is The Great Coronal Dome, Jewel Family, as also said in the Vilasavajra version.

I am not sure how it is meant in Japan, but, I would think Manjushri uses the one as in his commentary.

For his Wrathfuls, much as we have said Trailokyavijaya has a near-equivalency or similar effective role to Acala, the same appears to be the case between Paramasva and Mahabala. In the case of Kilaya, why Acala and Trailokyavijaya are separate, is perhaps because the latter has grasped the Zenith. The Trailokyavijaya "could" have been accomplished by someone other than Acala. In DDV it is like he personally takes care of it, I suppose, and Zenith is in the more common hands of Vijaya, presumably Usnisa Vijaya, usually meaning the male one, although the female also does it.

If we look at how Humkara changes all of the Wrathfuls, you have to be careful, because in that case, Isana is listed as the last corner. Acala is still in it, he just looks out of order.


In looking at the usually Twenty-four sacred sites or Pithas, they will be divided up a little differently if they are shown as Three Kayas versus Six Families.

We said that Cakravega was "close" to Khandaroha, as they remain in the same group. The Dakinis, in order, would go Khaganana, Cakravega, Khandaroha.

In either classification, Khaganana is split from those two. She is either the end of Voice and they are the beginning of Body, or, in Six Chakravartins which are really Six Dakas, Amitabha's court ends with Khaganana, whereas Akshobya has Cakravega, Khandaroha, Saundini, and Cakravarmini.

The last Ratna deity is Vajrahumkara.

This format is unusual; Amitabha is also in Vairocana's court, whereas Amoghasiddhi solely emanates other Dhyanis--Heruka, Padmanarttesvara, Vairocana, and Vajrasattva, in which case Vairocana has the shakti distinctly named Cakravartini, and Vajrasattva has Mahavirya.

The sum total of the six mandalas actually is a bit like Five Directions, supposed to be a Pancha Jina with Akshobya above center.

The overall gatekeepers include Uluka and Sukara.

Six Chakravartins or Six Dakas is like a mantricly-identical version of Dakini Jala, based mainly on the Pithas and the Four Dakinis. The retinue in Dakini Jala is different, larger, more related to that in Paramadya and Samputa.

A Six Family Wheel is supposed to be subjected to the Tri-kaya, and so the roster of Pithas ports to both, it stays basically the same and is just divided differently.

Akshobya is the most-hypostasized deity. Even to really identify Jewel and Karma Families, you need some Vajra Family-based Wrathful experience; Vajrasattva and Vajradhara are considered found through/extensions of Akshobya; and he emanates the principal male in almost all of the major tantras, whether Humkara, Kalachakra, Buddha Kapala, and so on, are all Akshobyas.

Khaganana's energy winds up being governed by either Speech or Amitabha. In the case of a human male, this would be very, very important if you were to realize Vajra Surya with a Karma Mudra. The root of it though physically close is noumenally a bit different.

If you become sensitized to Khaganana, she is the outer extension of Guhyeshvari.

Vajra Surya is like a lower equivalent of Mahosnisa, both being a noumenal appearance of Jewel Family, which can be physically felt. One of Puranic Mahosnisa's Nagas is Asvatara which translates also as "mule", i. e. a swift or better horse, with tara being used in a general lower-case meaning, and not among the Buddhist Taras; but it may also be a Gandharva or class of Gandharvas. Buddhist Sri rides a mule, slowly, I think, perhaps hers is the "better" kind. It is sometimes called a Donkey or klang. Mule is "dreu" in Tibetan. Himalayan Art says that Dudsolma should be on a donkey.

In Singapore, they say that Achi is the Activity aspect (similar to Karma Family) of Vajrayogini, that she is semi-wrathful, and that Dudsolma on a mule is her wrathful form. They say that Achi is behind the resurgence of interest in Dharma generally and of Drikung-themed Dharma in particular.

Achi lived in the 1100s and this is her from the 1300s:







1800s with Tara above and praise to two Situ Rinpoches on reverse:







Recent:

[Old Student]

"Have you heard of the Menger Sponge?"
I have not.

It is the 3-D version of a Sierpinski Triangle, made by taking a cube and removing the middle 1/9th from each side, and then from each of the sides of the smaller cubes that are left, and so on. It's a fractal.

This region is unidentified and ignored until through tantrism, its manifestation is forced as a Mental Object, which is Diptachakra in Vajrakilaya Tantra, which is equivalent to Cakravega in the Chakrasamvara system, either one being Cunda, expressed as uniting with Mahabala.

So in Yoga, if Cakra Vega is confined to the domain of Mental Object and a very qualified meaning of Samadhi, then, she is neither indicated nor found until the Noumenal Path has made its way to her. Virtually the opposite of most Yoga systems, in how most of them say, you have these chakras, here is the first one and now start it. In fact, after one had trained in the Three Places, then, it would really add the navel and reveal head as the crown or Mahasukha or Jnana Chakra. I am not sure it will deal with the root until it is established the heart is opened and softened somewhat.

The similar Chakravega in Trika is supposed to be in this article, but I am having a hard time finding her, where she is supposed to be triune with Manasa and Mohani.

I read through the whole article on the Trika practice, no it does not have anything about Chakravega by that name. It is interesting, because it talks about the trinity of Para, Parapara, and Apara as encompassing all that has to do with the mind. It's also interesting because in it, Bala/Mahabala is female. And because it sets up that there was major contention between the Para people and the Krama people in 11th-12th c. Tantra.

This pair of organs is the District governed by Patala Vasini, i. e., a Nadir Goddess.

However even for a male, Khaganana would be the Tip of the Jewel, Cakravega being the Root. Yes, the regions are a little different and could be said to be in communication with each other or not.

This is interesting. I have had to do some scrambling in the last few days about the 'secret chakra', which in males and females would be in matching correspondence during conjoining, according to Lama Yeshe, the tip chakra in male is at the tip of the penis, but in the female it is at the cervix, and the root in the male is at the base and in the female at the opening of the vagina. In a shaking from some nights ago, it was reversed, so I did some leg work to see what directions the elongations went in both, and they elongate in both cases away from the pubis area. So the Lama Yeshe is perhaps the way that would work. But in terms of redirecting orgasm, they would work in reverse, as the technique for males involves muscular control at the root, and using Lama Yeshe's taxonomy in female it would involve the tip.

Sorry for all the gory detail, but I thought I needed to figure that one out.

One more thing about the Trika article. It describes Apara as being red and black, and elsewhere as being ultra-wrathful as opposed to Parapara who is wrathful (that wasn't the exact term but I don't have it in front of me right now). After some weeks during which I have been kept from seeing my clear body because of the exercise, I did last night and the first glimpse had that coloring -- red and black. Not sure what to make of it yet.

[shaberon]

Posted by Old Student (here)
I have had to do some scrambling in the last few days about the 'secret chakra', which in males and females would be in matching correspondence during conjoining, according to Lama Yeshe, the tip chakra in male is at the tip of the penis, but in the female it is at the cervix, and the root in the male is at the base and in the female at the opening of the vagina. In a shaking from some nights ago, it was reversed, so I did some leg work to see what directions the elongations went in both, and they elongate in both cases away from the pubis area. So the Lama Yeshe is perhaps the way that would work. But in terms of redirecting orgasm, they would work in reverse, as the technique for males involves muscular control at the root, and using Lama Yeshe's taxonomy in female it would involve the tip.

In the aspect of the Tip being related to Orgasmic Bliss, then yes internally the cervix is the center whereas on the surface it is Bird Beak or clitoris. Her root opening is more of a Lotus which, i. e. is able to receive the Vajra, which usually has to have the root working in order for the tip to talk to it. The female internally is further different since her womb is connected to her heart. A male, lacking this, is probably relegated to saying that semen is related to Food.

After some weeks during which I have been kept from seeing my clear body because of the exercise, I did last night and the first glimpse had that coloring -- red and black. Not sure what to make of it yet.

Shiny? Or grisly?

Achi Chokyi has some more powerful forms in red and black. Her main white form is like Pandara, white with red, and her vehicle is really Blue Water Horse of Wisdom in the Clouds.


She is an Enlightened Activity, and the milieu of such activity is for instance as Vajrayogini at Teahouse:

The goddess has gained complete control over her emotional states and can handle them at will and manifest them in their diversity as part of her enlightened activity (Tib. trinle).


Or from the extensive Vajrayogini Commentary:

Also, there are many emanations of dakinis, virinis, yoginis and female enlightened beings who are emanations
of the enlightening activity (trinlay, ‘phrin-las) of Buddha and who come in many forms
to help us on the path. This is another distinguished factor.


Usually, Thab or thabs translates "upaya".

In Bhutan, Thinle is Karma and Karma Family. Also:

The next concept we like to relate to the above is that of
Tongnyi (Skt: Shunyata), emptiness, and Nyingje (Skt:
Karuna), literally ‘noble heart’ but normally referred to as
‘compassion’. Emptiness and compassion is the same couple
as wisdom and compassion, because in the latter ‘wisdom’
refers to seeing emptiness – the experiential realisation that
appearances in the relative world lack inherent existence.
These two are also known as Thab and Sherab (Skt: Upaya
and Prajna), skilful means and wisdom, because the
expression of compassion appears as appropriate methods. In
meditation practice they are furthermore called Kyerim and
Dzogrim (Skt: Utpatti and Sampannakrama), creation and
completion stage, because (after flashing emptiness), the
practitioner creates a pure vision and later dissolves that
back into emptiness.


In the last, it is like calling the pair Smrti and Samadhi, or Garbhadhatu and Vajradhatu. All that we train as Generation Stage more or less funnels into Smrti, or Sadhana, causing the result Luminous, or Prajna.

The Four Activities do not directly have the name upaya or karma:

According to Himalayan Art,

Four Activities or Rites (Skt. caturkriya; Tib. las-bzhi)
The 'four rites' are the functions of an enlightened being's activities, and in Buddhist tantra their application is usually expressed in the fire ritual of homa. These four activities are: (1) pacifying; (2) increasing; (3) subjugating; (4) wrathful activity. Pacifying means purifying and calming through removing hindrances and illnesses. Increasing means enriching or bringing prosperity and longevity. Subjugating means influencing or attracting power to give control over situations. Wrathful, destructive or forceful activity means annihilating confusion and obstacles. A fifth rite of spontaneous or all-purpose activity is sometimes added to this list when it corresponds to the Five Buddha Families.


Which is also near their explanation of the upper reaches of Kama Loka:

Four Absorptions (Skt. catursamapatti; Tib. snyoms-'jug bzhi)
The four most refined states of mental absorption, the attainment of which leads to rebirth in one of the four formless heavenly realms. These four absorptions are known as: (1) limitless space (akashanantya); (2) limitless consciousness (vijnananantya); (3) nothingness (akinchaya); (4) neither cognition nor non-cognition (naivashanjnanasamjna).

That sounds a little different as if not giving room for the other Pali terms for the higher Janas. Obviously it is also ananta "endless" rather than ayatana "sense faculty" appended there.


Achi says she became an Activity Consort [Karma Mudra] of Padmasambhava.

The chiefly-discussed iteration of Tibetan Shentong Yogacara says that H. H. Ranjnung Dorje provided the majority of its doctrine and then Dolpopa perhaps made a few refinements, and from him, to Taranatha, who made a career of pilgrimages to find everything about Tara that he could.

Ok, that is male-based, it is in writing, and to follow it is a bit like Upacara, and a bit more like the male seed and Father aspect.


Well, it seems to me I am unable to come up with any position to refute Achi.

She is Vajrayogini, and, at the same time, is Tara.

This concept has been raised for example in a Tara and Vajrayogini Saviour and Sarvabuddhadakini article.

If the running commentary which we have established places Guhyajnana Dakini in an extremely pivotal position, the main difference between these two is that Guhyajnana arises from a Red Hrih, and Achi from a White Hri.

Furthermore, her Ganacakra uses Inverted Stupa explicitly the same way as we have, with three skullcups in the triangle, and a fourth over them.

She follows the color theme of Vajrakumara with Dipta Chakra, or rather refers to Deep Blue Space and Turquoise Light, in much the same way we are thinking of Turquoise Lamp as highly beneficial to the corresponding stage if we were to undergo the Dissolutions. One of her primary names is Dharma Lamp, Palden Chokyi Dron. Dakinis are called the body of the Dharmadhatu who can manifest the Activities of Yeshe. Turquoise and Azure Light is apparently her domain in the Deep Blue, from where she is summoned to appear in a mandala or sadhana to manifest Yeshe. She and they make Emanated Bodies to empower the Commitments of Karma and Yeshe.

Yidam Vajrayogini is the leader of the dakinis, those of Activity, Le kyi, and wisdom, Yeshe, also Dam Tsig--Commitment, and power, which is Wang, i. e. Empowerment. They are loud with a sad and haunting melody.

Then seem to be the Three Pisaci Sisters over the Mamos. Around Bhutan, it may specifically be these three, but we have already seen much about how Pisaci works, and could use what is more local to us.

Her personal retinue of Four Dakinis is Flesh Eater, Yeshe, Wang, White Samaya.

The way she uses Inverted Stupa specifically says to use "local protectors" and that the end of it is Samaya to her. Now what the heck, Yeshe is second, as if you have to have Void Gnosis to plug into the initiation whose outcome is Samaya, which, in its higher aspect is Time, in the sense of time spent with manifestation of the actual or self-arisen form of the deity. That makes sense.

Chokyi Drolma is translated as both Dharma Tara and Dharma Saviouress.

In terms of the Tri-kaya, her Dharmakaya is Vajrayogini, Sambhogakaya is Achi Lady of Nanam or Nanamza, and her Nirmanakaya is the Four Dakinis. She also can start from the Four Dakinis and progress to Sarvabuddhadakini. Nanam is the Drikung region in Tibet, northwest of Lhasa.

Her Nirmanakaya, largely characterized by a mantric field, is the Four Dakinis, which is the same as Guhyajnana Dakini, and then almost all of the Highest Yoga tantras.

In her self-authored practices she does use Four Dakinis mantra for Vasikaran and calls Karma Dakini the Horse Woman. In a possibly less-trashed copy, Karma rite uses three destructive dakinis, who perhaps are supposed to be the Three Pisacis, however it turns out to be about the Three Times. It relies on Kshim and Khahi.

In a dissertation, we see that she must have an entire library and that Dharma Tara is Jnana Dakini. She was born with a third eye and could talk and was immediately recognized as Vajrayogini and at age three she spontaneously started reciting Tara mantra. It also seems to make her far earlier, not long after Padmasambhava. The dissertation is fairly good, although even here, the point is missed about the esoteric meaning of Wealth and how the Tseringma are a localization of related kingdoms internal to the human being, which returns us to the concept of air and/or life elementals as ganas, and so Rudra Krama meets it in the mystery arena here, on a turbulent wind storm to Bliss axis, I suppose. Similarly, when the lore speaks of destroyer rites and killing, and the ingredients of the magic pill, we had better take those metaphorically or symbolicly.

When she is called Dug kar, it is Vajrosnisa Sitatapatra, and she also has command of a red pisaci and/ or Tromo Wangchuk Krodhishvari as shown there related to Hayagriva and Kilaya. The very beginning of one of the practice books does not call her Achi Chokyi Drolma, it says A chi ku dog kar mo. So although Tibetan, we can find her extra strong connection with a red, western dakini, like a continuation of the Sanskrit Khandaroha, followed by a type of Kila-intense Samaya to Karma Family.

In a difficult run-on version, she mantricly assembles Vajradhara, Tilo, Nagarjuna, and Vajravarahi.

The nearness of her inner meaning to Kilaya is perhaps shown by the sequential contents of a printed book:

Inner Sadhana of the Yidam (Vajrakilaya), Secret Sadhana of the Dakini Dharmatara,

The main difference between Achi and most dakini iconography is that her skullcup contains a wish-fulfilling jewel.


Taranatha collected Tara's lineages but Achi comes a lot closer to "is Tara".

She effectively is almost the same thing as a White Guhyajnana or Siddhi Rajni, or Tinuma.

I cannot pry her off the subjects.

What is that, like a mystical female guru or something?

In her Inverted Stupa article, it comes out to be nearly the identical thing as me plotting it out with Guhyajnana and Ziro Bhusana. Achi is in a position to say these red deities are simply her in Vasikaran mode.

Her main item is sometimes a Drum and sometimes it is a Mirror, those being usually similar in shape. The more energetic or Buddhadakini-class dakinis seem to be associated with a Drum. A Mirror however is almost always Sarasvati or Lakshmi.

If we sort her images carefully, we can find she shows Orange and Turquoise, the latter as a lamp or light indicative of Akanistha. The first is the somewhat rare heated Amrita shown occasionally on Amitayus, or by Saffron Khaganana or Manjuvajra. And so these two colors seem to have much to do with inner heat and coolness and the right combinations and purifications for them to make effective Mercury.

So I think her imagery and vocabulary is speaking right at the Yoga Path at its upper extremes as we have extensively modelled on the sadhanas and commentaries.

Again the question of Inverted Stupa is right at the point where one "gets" Emptiness or Prajnaparamita and she enters the niche and sort of disappears. And so it is like saying, from Void, what?

Sadhanas answer that with various syllables and symbols, but the meaning of Inverted Stupa is that the symbols directly correspond to "moving Sense of Touch from Surface to Center", and, so, i. e. a calm a void as possible and the slow arising of Bindu-Nada and then the representation is the energy-winds reversing their outflow from the lower part of the body into the core. And so then it will enter the stage of heat. And so at that point you can truly begin the Third Yoga, Pranayama, with heat, wind, and mantra going into the channel.

From that point, it is less obvious how the symbol works, since the Circle or Citta Chakra is not simply "the next step up" but is further along in time or a noumenal process which should get a little taste of nectar to drip down and to get some of the heart petals softened. The final Earth Square of it is a lot like the hot nectar having worked its way all the way back down to Nirmana Chakra into the Bowl or Vessel or Bharati and Mercury is made. The square is loosely defined as "up" since if the Mercury goes up, then we are able to Touch the square base of the real, upright Stupa of the deity.

Achi seems fluent at this. The trouble is that the glyph is easy to find in very many sadhanas, but it is just described like a picture, whereas it is really the finesse mode of Suksma Yoga and Deity Yoga.

It is something where each piece of it represents something like six months' training. Once you are a natural at it, then, of course, for your own purposes, you would go to a condensed version which you could perform in a matter of minutes.

[Old Student]

In looking at the Ten Wrathful Ones in general format, the main ones share the name Antaka, "The End", similar to Antara or "Interval", and to the Andhaka demons.

Since Death is usually the End, Antaka is strongly associated with Yama or is a name of him. When "reflected" at him as in the name Yamantaka, this should signify The End of Death, which sounds fair, but then would be oxymoronically followed by Prajnantaka. Hang on.

Interesting. I wonder what the etymology of Yamantaka is, since it is YamAntaka so it can come apart as Yama antaka, and Yama can also mean to reign in as with a horse, which could yield Yamantaka he who reigns in The End.

With respect to Cakravega, and her dominion over Pretadhivasini, I had been going to say after my description that the description of the cakra vega as a rotating right angle and the male being a central seed, that it made sense from the thing I was trying to figure out when I was investigating those things, because I was investigating a 'vision' or experience where the root and tip were reversed.

Akshobya is the most-hypostasized deity. Even to really identify Jewel and Karma Families, you need some Vajra Family-based Wrathful experience; Vajrasattva and Vajradhara are considered found through/extensions of Akshobya; and he emanates the principal male in almost all of the major tantras, whether Humkara, Kalachakra, Buddha Kapala, and so on, are all Akshobyas.

I genuinely do not know what to do about Akshobya, I have spent some time trying to figure out what should be my relationship to a Buddha who is called "Unshakeable".

In Singapore, they say that Achi is the Activity aspect (similar to Karma Family) of Vajrayogini, that she is semi-wrathful, and that Dudsolma on a mule is her wrathful form. They say that Achi is behind the resurgence of interest in Dharma generally and of Drikung-themed in particular.

From this and your other post, the position of Vajrayogini in all of these things seems very similar to the position the author of the Trika text had ascribed to Para, sort of a transcendent shakti force which other deities embody in some characteristics.

[Old Student]

In the aspect of the Tip being related to Orgasmic Bliss, then yes internally the cervix is the center whereas on the surface it is Bird Beak or clitoris. Her root opening is more of a Lotus which, i. e. is able to receive the Vajra, which usually has to have the root working in order for the tip to talk to it. The female internally is further different since her womb is connected to her heart. A male, lacking this, is probably relegated to saying that semen is related to Food.

Okay, but when there is both a physical body and a clear body, and they are opposite genders, then the situation arises when one can be 'of both' at the same time. It is in that context when the discussion about root and tip comes up, because at that time, there is a coincidence of points.

The female is actually physically connected between womb and heart to the extent that the vagus nerve endings impinge on the uterus and on the heart. I know it may seem strange to go back and forth between anatomy and physiology and the spiritual, but a lot of clues can be found from these things. Also, the most likely mechanism for bringing an involuntary muscle under control, as happens with yoga, is to project new nerve endings into it, and that would have the correct feel in terms of the new body it created.

Achi says she became an Activity Consort [Karma Mudra] of Padmasambhava.

This is interesting. Then does she know Mandarava and Yeshe Tsogyal?

In a dissertation, we see that she must have an entire library and that Dharma Tara is Jnana Dakini.

Technically, it is a thesis.

From that point, it is less obvious how the symbol works, since the Circle or Citta Chakra is not simply "the next step up" but is further along in time or a noumenal process which should get a little taste of nectar to drip down and to get some of the heart petals softened. The final Earth Square of it is a lot like the hot nectar having worked its way all the way back down to Nirmana Chakra into the Bowl or Vessel or Bharati and Mercury is made. The square is loosely defined as "up" since if the Mercury goes up, then we are able to Touch the square base of the real, upright Stupa of the deity.

Are the three chakras in the circle of the body direct correspondents to the other chakras? Sometimes it seems like it and sometimes it doesn't, so I'm confused.

[shaberon]

Posted by Old Student (here)
With respect to Cakravega, and her dominion over Pretadhivasini, I had been going to say after my description that the description of the cakra vega as a rotating right angle and the male being a central seed, that it made sense from the thing I was trying to figure out when I was investigating those things, because I was investigating a 'vision' or experience where the root and tip were reversed.

I can get that...conceptually...kind of. Functionally, I cannot. With respect to the root I can say that age makes no difference towards the sensation that if I think about some kind of being in pain, I often get a shock in the root that then does something like a bear trap.

Akshobya would be the lack of reaction.

You had used "reaction" as the mental component which would collapse bliss or voidness.

I genuinely do not know what to do about Akshobya, I have spent some time trying to figure out what should be my relationship to a Buddha who is called "Unshakeable".

Master of Bhumi Sparsha.

He is Aversion and its emotional extremes Rage and Hatred.

There are plenty of tests the world can dish out to prove it is not really that hard to make us angry.

I often think of it in the Vajrapani at Shaolin context. Lack of anger behind a deadly strike. There was no way those guys were taught to not hit anybody. Why or when that is justified is the question.

It is not even Buddhist but defined exactly the same way in this verse of Vishnu's 86th name. Consequently, Akshobya is our Vishnu. When the Tibetans call Buddha "Sangyas", it means Vibuddha, which is Fully Expanded Buddha or Vishnu Buddha, which is still the same general Hindu sense as in Agni Vaisvanara.

There is really no reaction at all, not mentally, Buddha does not think as we know it. If we ask a question so profound it takes the whole Avatamsaka Sutra to answer it, he does not process anything, the answer is omnipresent and it just arises through him almost like a recording. As if were just an echo from the true part of our mind to the unsure part.

If we know how ruinous anger can be, then, there is an equally strong peaceful counterpart which is the Heart. That one is the real Mind or Citta, the dark blue with a brighter light, and I believe that is supposed to be the case artistically with all of these Akshobya males when they have a blue female partner, she should be lighter. This will be more vivid just momentarily.

From this and your other post, the position of Vajrayogini in all of these things seems very similar to the position the author of the Trika text had ascribed to Para, sort of a transcendent shakti force which other deities embody in some characteristics.

Yes, because the Vajrayogini is simultaneously Mistress over the Fivefold form unit, but, she is fully aware in her sixth principle which means she becomes just as adept in Void, is of a Guru nature towards the manifestation.

From continuing to scrutinize Achi:

Five Achi Sisters appear identical to Tseringma and sisters.

Because she is a Lokapala, I am not sure whether it is appropriate to consider Tseringma as a name in one's internal hierarchy, or if it is only a correspondence. The Tseringma are also seen as Long Life, so, they may at least have influence.

She does refer to:

Female Samantabhadri as the source of sensory enjoyments


a fairly complete title for her would come out to:

Ma Palden Akashadhatvishvari Dharma Tara


Part of her retinue is customary but she also has The Outer Activities or Twenty-eight yoginis, which are four groups of seven for each of the Four Activities. These are the wrathful solar plexus or navel center, and so they are like the "merest" or low-level tantric encounter, and the reason there are seven is because:

six dwell in dharmadhatu

one appears in

tab kyi ku ru sal "skillful form", similar to Upaya.

Very close to saying Six Ayatanas plus Upaya, close to the basis of Seven Syllable deity.


The source or abode of Achi is also:

Uddiyana the Western Charnel Ground


And another place which has a sort of dual existence between the physical plane and inner experience that she hails from:

Tidro in Zho

which I would have just overlooked, but I didn't, because it turns up to be the same thing in the legend of Yeshe Tsogyal:


...for the sake of the ministers, Guru Rinpoche and Yeshe Tsogyal appeared to comply with the decision. In reality, however, they went to the crag of Zhoto Tidro, to the Great Trysting Place of the Dakinis, the abode of the Green Lady of the Deadly Bell, a place invulnerable to every kind of obstacle. And there they engaged in secret practice...

Akanishta is my perfect home, the crag of Tidro...


Three times the Lady Tsogyal took this vow of eight austerities. The Guru was well pleased. He gave her advice and predictions and then returned to the king to act as his spiritual guide. First the Lady Tsogyal practiced the austerity of clothing, relying on the inner heat of tummo. On the heights of the mountain of Tidro, where the high screes give way to snow, she meditated for a year, wearing nothing but a single piece of cotton cloth. At first the warmth of the tummo did not arise and, as the new year gales began to blow, the frost and cold were hard to bear. Her Indian companion could stand it no longer and went off to find the Guru, saying that he would serve him. But because of her vow, the Lady Tsogyal persisted in her meditation. Blisters covered her entire body, and she was racked with anguish, her breath coming in sharp, painful gasps. She was on the point of death when, in invocation to the venerable Teacher, she prayed:


Five Lord of Orgyen, Lord of Dharma, Protecting all who wander in samsara. Sun of loving pity, look on me! Friendless, I am naked and alone. The wind howls through this dark and rocky den. When the blizzards rage, It is a girl of snow that I become. My bed is stone, and stone my roof and walls— They are an icy comfort. A clod of earth and rock I lie, inert and still. The Lady of the White Robe 53 is not here, And I am frozen through and through. But with the sunshine of your mercy Bless me! Kindle in me, please, the tummo fire! "As I said this," the Lady recalled, "the karmic wind-energy moved slightly, and this enabled the warmth of the tummo fire to spring up. I felt ever more strongly a deep and sincere faith towards the Guru, and I sang: The strong ambrosia of blessings Of the Secret Mantra, Diamond Vehicle, Is granted by a true authentic Teacher, And Vajrasattva, Primal Wisdom, Brings the Four Joys skipping in my heart. White Robe has arisen in her proper place; She offers now her blissful warmth to me. How great is now my joy. Yet still I beg your kindness! "The Master of Orgyen appeared to me in the form of a heruka. He gave me a skull cup filled with beer to drink, and then he disappeared. My experience became continuous and stable: the bliss was truly blissful, the warmth was truly warm, and I was filled with happiness. My body, which beforehand had been completely frozen, was transfigured through and through, like a snake sloughing off its skin. Whereupon I thought that the time had come for the austerity of the bone ornaments. And so, taking off the cotton cloth and donning the ornaments of bone, I practiced for one year the austerity called the Union of the Three Pith Instructions.

53 gos dkar mo (Skt. Pandaravasini, lit. Lady of the White Robe). This is the female Buddha, consort of Amitabha, representing the intrinsically pure nature of the element of fire. According to the explanation given by Zenkar Rinpoche, gos kar is still the current word in the dialect of the nomads for the hearth or fireplace.


So she has used Pandara literally as the presence of tummo, i. e. if we revert to our Sanskrit terms then she was doing Pranayama without result until something happened.

It has stopped short of calling Pandara "the kundalini goddess" or saying she is a lower center, she was nothing until the springing up of warmth. It does not say that Parasol was not there or that Yeshe Tsogyal did not have a crown center, it gives the higher or enlightenment-giving Prajna aspect of Parasol some actual substance, Purified Fire.


Tidro is thereby related to Akanistha of Turquoise Light.

The theme of the "lighter blue consort" is not hard to find. Sometimes it is not done. But if we think of it with the intent of Diptacakra or Cakravega in "high gear", that was the intent of the visionary, if not the artist.

Here is a 1700s Drukpa Vajradhara:








Chanda Maha Roshana:






Modern Nepalese Chanda Roshana:







Then he is going to reverse the color scheme and emit a retinue which is forms of Acala:







Acala is the Wrathful form of Akasha Garbha or the male equivalent to Queen of Space.

Vajradhara says that Pink can take the place of Light Blue:






Akshobya mostly speaks through Vajrapani, the Master of Secrets and general Lord of Tantra. And so in Sarvadurgati Parishodana, he has many more roles than Buddha or Amitayus. He is grinding most of the levels and classes of beings in Kama Loka, the Nagas and Bhairavas and so on. The highly important Vajramrita tantra is an enquiry of Mamaki to Vajrapani.

Vajra Family is in the Hum syllable and the Heart and the Dharmakaya.

It is correct they have hardly any rites or manifestations that are not wrathful. Some Jambhalas and Manjushris, for instance Namasangiti Manjushri. I do not believe they have a nicer, more presentable outer deity than Prajnaparamita. Namasangiti is kind of a nice form, although he will shove Vajrabhairava in your face rather quickly.

Vajrasattva and Vajradhara are synthetic or hypostatic families derived out of Vajra.

We generally equate Akshobya with Mirror Wisdom, i. e. with the calmness requisite but also a feeling of "on the other side". It is not the Mirror Item because it is one's entire body/being which does it.

Are they related, certainly, that is why it is often a Red Vairocana goddess on an Akshobya male, if such a goddess held the item and developed the power.

So that Mirror Item is what I used to collide Sarasvati with Prajnaparamita into their shared Picu mantra and the Dhih syllable which is shared with Manjushri. That is what I am intending as Bindu-Nada of the Inverted Stupa.

Consorts shift and so it becomes arguable who has the Mirror Wisdom, as if goes into modes or something

Here is a portion of the Book of the Dead where they over-wrote Akshobya with Vajrasattva:


When through intense aggression you wander in samsara,

on the luminous light-path of the mirror-like wisdom,

may Blessed Vajrasattva go before you,

his consort Buddha-Locana behind you;

Here is a more complete version, which specifies the name Vajrasattva Akshobya for the same verse and with a decently clear graphic of Pancha Jina and Pancha Skandha to perhaps help memorize the ideas, but they messed up mandala directions because south is not down.


Here is an old Vajra and Bell with Akshobya and Locana articles; and, here again, some of the symbolism is debatable or changes, however Akshobya is usually blue and in the east, and so they say to think of him as dark blue at dawn. It also emphasizes that the Bhumisparsha is mainly getting Vasudhara to witness the defeat of the Maras.

Because they are blue they are usually associated with water.

In most of the mandalas we use, the actual eastern quadrant is white and is earth. And from that perspective, then what it means is that Vairocana is pushed into earth and Locana which has the intended meaning of Nirmana Chakra, or, that is our first chakra, it is not even the first Pancha Jina, it is a change to it.

As you make this Nirmana Chakra, then, simultaneously, you have focused on a Family that has a lot of dreadful appearances.

Locana and Mamaki do most of the moving. I am not sure that is says anywhere for example that Pandara is given to Ratnasambhava as a consort, or Samaya Tara. If we go back to Achi's Fourth Activity then the significance of this name is plain.

Achi is pretty close to having harnessed Ekaggata as Kilaya in order to progress to Samadhi as represented by her Samaya Tara.

So when those articles say "Locana is Water" it has to be taken lightly.

In the mandala pattern, Earth stays where it is. So when Mamaki is given to Jewel Family, she does not bury it in earth element.

Those are sly. The simpler version from GST is that after Touch Object occupies the central space, then, Mind Object asks to be the consort. That tells us something like achieving a visualization along with the pranic reversal.

The Prajnas themselves are perhaps something only Vajrapani can explain since he does something with Mamaki.


Pandara is used a bit in, I think it was a Malini rite, similar or precursor to Vajravilasini, which I suppose is a Jewel Family centered rite, although I am not sure it is in the canon. It is considered transitional as a type of Karmamudra. It is a bit closer to Guhyajnana and Padmanarttesvara, or, one could say Pandara operates at a Karmamudra level as Guhyajnana.

Even if Yeshe Tsogyal refers to Purified Fire in her body, that is not the same as the Prajna on her own plane, which remains inconceivable at that time.

Part of the idea when you gain it physically is to propel further and further towards the higher plane, which is what she did.

It is perhaps unusual that instead of a name like Candali, that they say Pandara, synonymous with Vajrosnisa, for which the correspondingly-named male takes over the wrathful Lotus deity, and so that name doubly does not mean Vajra Family.

Dukkar Vajrosnisa has to do with heat, and yet her name Vajradakini has to do with the Fiery Crown Center, and so would be a further maturing.

Pratyangira is her Blue form which has no consort that I know of.

[shaberon]

Posted by Old Student (here)
The female is actually physically connected between womb and heart to the extent that the vagus nerve endings impinge on the uterus and on the heart. I know it may seem strange to go back and forth between anatomy and physiology and the spiritual, but a lot of clues can be found from these things. Also, the most likely mechanism for bringing an involuntary muscle under control, as happens with yoga, is to project new nerve endings into it, and that would have the correct feel in terms of the new body it created.

Vagus sounds like hunger. First sign of a new life! Craving the destruction of other forms.

I have no doubt that the physical nervous system is still quite important and highly conditioning. I just tend to shy away from biological disciplines, since there is an underlying current of "consciousness is random electro-chemical soup".

But yes, new endings, new connections, and I suppose altered functions of the nerves themselves, sound like likely outcomes from dedicated Yoga.

Achi says she became an Activity Consort [Karma Mudra] of Padmasambhava.

This is interesting. Then does she know Mandarava and Yeshe Tsogyal?

Does she know Padmasambhava?

I could imagine a conversation like:


A: I had sex with Padmasambhava.

Skeptic: In your dreams.

A: Yes, exactly.

Skeptic: You are an idiot.

A: Yes, the kind that has complete control of mind over matter, death is no obstacle.

Jigten Sumgon the founder of Drikung was a disciple of Pamo Dru and would have been active not long after 1150.

Achi was his grandmother and so I was a little surprised that the thesis said she may have lived around 800. Elsewhere she seems placed around the cusp of the 11th-12th centuries.

No one could literally say she "knows" Padmasambhava et al. But so far I have not noticed anyone saying she is a Mandarava or Yeshe reincarnation.

Even the Drikung Wiki page points out they have a significant focus on Phowa at the time of death.

Without further notice, we know this is part of Jnanadakini, who is Achi (among others).

I am not sure if it is possible to say she knows the older teachers in any way other than Akanistha. Almost all of the lore is sadhanas by her or to her. Jigten Sumgon also had a famous vision of Seven Faces of Tara.

Technically, it is a thesis.

Haha, well, it probably says so. I probably skipped that part.

Are the three chakras in the circle of the body direct correspondents to the other chakras? Sometimes it seems like it and sometimes it doesn't, so I'm confused.

Nirmana Chakra is a chakra of the navel having eventually sixty-four spokes, which we are describing in a more basic way as something like Earth and Gold which gets swept by Fire.

Kaya Vajra is like a sutra or mantric way of transforming the body.

Kaya Chakra as a body mandala is a whole pattern.

The Three Places are not even called chakras, they are usually called "centers", but all of the emphasis is on the syllables and colors.

The Inverted Stupa is not exactly chakras, either, but more like a timer of the process of using them.

The real resource I think is the Four Dakinis because they are both linked to the four classes in the lower, outer sense, but actually remain as an inner core or Sahaja layer in the most subtle and profound levels.

It is technical and slippery and depends on which system, kaya, or chakra one asks corresponding to what else.

Jnanadakini seems pre-eminent to me since she is the main Phowa instructress and appears to work with Parasol as Vajradakini and so forth as her Nyasa or Body Placements.

[Old Student]

I can get that...conceptually...kind of. Functionally, I cannot. With respect to the root I can say that age makes no difference towards the sensation that if I think about some kind of being in pain, I often get a shock in the root that then does something like a bear trap.

All the visualizations of creation (conjugation) are as in yab-yum the being and his consort or the being and her consort. So the versions of root and tip follow this. But they don't follow the muscular skill needed to redirect the downward flow of orgasm, and they don't follow the superposition of two bodies of opposite gender upon each other. I had the two parts of the secret chakra distinguish themselves while shaking recently (why I went to all that research work), and because they were not matched as in conjoining, they felt very different, because they were not matched root and tip as they would be for yab-yum (visualizing oneself to be both deity and consort) they were matched as they are for concurrence not conjunction.

There is really no reaction at all, not mentally, Buddha does not think as we know it. If we ask a question so profound it takes the whole Avatamsaka Sutra to answer it, he does not process anything, the answer is omnipresent and it just arises through him almost like a recording. As if were just an echo from the true part of our mind to the unsure part.

This kind of imperturbability is fully in keeping with shaking. To use your analogy of the Shaolin monks, this is like the stillness inside the motion of a strike. The spatiotemporal mandala at my heart, which I seldom see because I have not been doing a lot of forms recently, is this way. Within each motion is a stillness and within each stillness is a motion, so the motions inside the motions go on forever dividing time into smaller and smaller pieces (or going faster and faster if you want to use that point of view).

The source or abode of Achi is also:

Uddiyana the Western Charnel Ground


And another place which has a sort of dual existence between the physical plane and inner experience that she hails from:

Tidro in Zho

which I would have just overlooked, but I didn't, because it turns up to be the same thing in the legend of Yeshe Tsogyal:

So maybe the answer to the question, "Did she know Yeshe Tsogyal?" is "Yes".

So she has used Pandara literally as the presence of tummo, i. e. if we revert to our Sanskrit terms then she was doing Pranayama without result until something happened.

It has stopped short of calling Pandara "the kundalini goddess" or saying she is a lower center, she was nothing until the springing up of warmth. It does not say that Parasol was not there or that Yeshe Tsogyal did not have a crown center, it gives the higher or enlightenment-giving Prajna aspect of Parasol some actual substance, Purified Fire.

This is interesting. Pandaravasini as the Tummo fire. Especially since Mandarava is supposed to be and incarnate of Pandaravasini, and Yeshe Tsogyal and Mandarava have a working relationship.

Locana and Mamaki do most of the moving. I am not sure that is says anywhere for example that Pandara is given to Ratnasambhava as a consort, or Samaya Tara. If we go back to Achi's Fourth Activity then the significance of this name is plain.

I had a weird thing happen last night, I had multiple Dakini identifications at the same time. Since they 'inhabit' me when they identify, this meant feeling that I had fractured with legs and arms coming out at all angles. But one of the multiple identifications involved Locana, and I was told that she isn't as difficult since "she is mostly eyes."

Dukkar Vajrosnisa has to do with heat, and yet her name Vajradakini has to do with the Fiery Crown Center, and so would be a further maturing.

Pratyangira is her Blue form which has no consort that I know of.

Does 'Dukkar' here mean "of suffering"?

[Old Student]

Vagus sounds like hunger. First sign of a new life! Craving the destruction of other forms.

It actually means 'wandering' here, as in vagrant. Same meaning as 'planet' by the way.

I have no doubt that the physical nervous system is still quite important and highly conditioning. I just tend to shy away from biological disciplines, since there is an underlying current of "consciousness is random electro-chemical soup".

But yes, new endings, new connections, and I suppose altered functions of the nerves themselves, sound like likely outcomes from dedicated Yoga.

On both points, first the second: "consciousness is random electro-chemical soup".

I haven't actually heard the random part for a few years, it comes from those who are wishing for some innate "creativity circuit" in the brain and think that anything truly new would have to be produced by something that wasn't already there. Perhaps I haven't been traveling in those circles in a while, they are mostly centered elsewhere to where I live and I haven't been on the conference circuit in a while. I don't think that was ever a successful theory, it never sounded right to people, nor does "all creativity comes from sulcus 5a on the right side of the brain". My take is people project onto the brain what they think of their own consciousness, and if someone wants to be the product of a random soup, they can have fun with that, but the rest of us will be elsewhere.

Now to the first part: The Buddhists from quite early on were adept at and advertised themselves as good at medicine. In no small part this came from doing stints at the charnel grounds, where bodies were cut up and examined, or left out for the crows and vultures. When I say quite early, I mean that there was advertisement about Buddhist medicinal prowess carved on the pillars of Ashoka.

So almost always, if they say there is a channel here, a body there, a connection here or there, dissection of an actual body will find a physical one, regardless of whether its physical purpose matches its spiritual one. And just as almost always, if you need to create a connection between parts of the body because of the scriptures or because in my case of the Dakini instruction, there is actually a physical way to do that, almost always in the nervous or cardiovascular systems which are capable of being very plastic.

So that's why when there is something I don't understand about something in one of these texts about the body, I sometimes read the underlying anatomy and physiology.

Achi was his grandmother and so I was a little surprised that the thesis said she may have lived around 800. Elsewhere she seems placed around the cusp of the 11th-12th centuries.

No one could literally say she "knows" Padmasambhava et al. But so far I have not noticed anyone saying she is a Mandarava or Yeshe reincarnation.

So she perhaps knows him like you say in a dream, or maybe she knows him the way I know Mandarava -- in a meditation or shaking. I am wondering about the experience if she knows him in either of these two ways of being a karmamudra to him.

Kaya Vajra is like a sutra or mantric way of transforming the body.

Kaya Chakra as a body mandala is a whole pattern.

The Three Places are not even called chakras, they are usually called "centers", but all of the emphasis is on the syllables and colors.

Thanks. I will have to look into this, I hadn't heard of it before.

Jnanadakini seems pre-eminent to me since she is the main Phowa instructress and appears to work with Parasol as Vajradakini and so forth as her Nyasa or Body Placements.

The main Dakini deities for the Chikkai Bardo Phowa are the White One and Vajrayogini. The White One is somehow* instrumental in bringing together the two bindu, when the seed exits the crown it is into the vagina of Vajrayogini, to be reborn in the Land of the Dakinis.

(*somehow isn't clear, because after the takeover of Tibet, the guy who knew this stuff decided never to teach her again.)

[shaberon]

From the thesis, I was able to gander a few more things.

Achi means "grandmother" (cf. Ma chig "One Mother").

Her grandson or great-grandson, Jigten Sumgon, calls her an incarnation of Vajradakini, and Achi Chokyi Dron, or Achi Dharma Lamp.

It is the same "dron" as in the reincarnation of Yeshe Tsogyal, Machig Labdron:

Machig Labdrön (Tibetan: མ་གཅིག་ལབ་སྒྲོན་, Wylie: Ma-gcig Lab-sgron, English translation: Unique Mother Torch of Lab) (1055 - 1149).

"Butter lamp is dkar me which still carries the connotation of tummo,

The more common spelling gron covers all synonyms such as lamp or torch and with mental and tantric meanings.

Dharma Lamp contracts to Chodron.



Achi is described as being in Vajra Family.

Due to practice, she is Kama Dhatvishvari Remati who Dispels the Smoke.

She said her practice center was a furrow near the White Rock of Tidro.

Her father was trained in the Vajrakilaya of Glorious Lady Kharchen (Vajrayogini) and possessed the magic of the Action of Remati. He went to Swayambhunath to request a son.

It caused similar dreams to both parents, making light to flow from Akshobya's Pure Land called Abhirati. Then Vajravarahi was roused from Akanistha by the Great Mother. She caused a golden five-pronged vajra marked with a Hri to enter Achi's mother.

They thought she was evil when born, and threw her into water, but she was teaching Dharma to the neighbors by age four. It seems difficult to imagine that her parents named her "grandmother"; she earned the name Chokyi Drolma by her oath and teachings in infancy. I am not sure she has any recorded normal human birth name. It is actually said that none of these are birth names.

She magically produced her own wedding banquet when she was about eighteen, and said all her male descendants would cause Abhirati to arise.

She made a lotus from the dharmodaya of Varahi's mandala, which still exists, saying Four Dakinis mantra in the manner Vam Hi Ri Ni Sa. There is no other attestation of "Hi" instead of "Ha"; rooted in the syllable Vam relates it to Jnanadakini Vajravarahi Yeshe Tsogyal.

Jigten Sumgon calls the "essence of the goddess" hri ma.

Achi "is not" a Dharmapala, but can function as one, as well as Inmost Secret Guru, Yidam, and Dakini consort. Tseringma was subjugated by Milarepa, so, she definitely is not derived from Achi, but Achi can evidently use her. Tseringma is moreover part of Remati. Karma Kagyu adds the name Swayambhu Rajni Rangjung Gyalmo sort of over-arching her. Ramati is a better spelling which is basically Kama, made out of Ram, being the fire syllable, and Ati higher/highest such as in Ati Yoga. On this one they are keeping a Sanskrit name. So it is a coy way of saying Kama Dhatvishvari.

Smoke has a few interpretations from smoke offering, to prana, to bluish tendrils as a Sign of Dissolution. I am not yet sure how Remati "dispels" it, but she is through and through the whole thing.

When Tibetans say "Queen of Space", they seem to mean Ekajati or Nairatma, rather than just space itself as Akashadhatvishvari and fivefold form.


The general Tri-kaya description is that Vajrayogini is Dharmakaya, Vajravarahi is Sambhogakaya, and various humans and dakinis are Nirmanakaya.

Achi seems to be only drawn in Sambhogakaya aspect. She apparently has ferocious forms, but there does not really seem to be much call for them.

Now, you might not even name a baby you were attempting to drown. That part is unclear. It is more evident that from the time she could walk, she was Dharma Tara.

She understands enough Sanskrit to be invoked that way.

We have raked the books enough to say Parasol is a type of Pandara, how can she be in Vajra Family?

We found that Vajradakini is probably not usually in Vajra Family either.

It is not unusual, since the vajra could be an item or a subject similar to Vajrayana, such as Vajra Tara or Vajravarahi are not really in Vajra Family.


None of them are really in it in terms of base emanations, but we are supposed to find further meaning in something that is removed from familiarity and emanated by a different Dhyani.

This is like slicing up the Vishuddhimagga visualizations so you get Earth of Air and so on.

And so what we see here in the long run is "the rise of Abhirati". It is like Achi is just doing her best to make it so.

It is the Irreversible Stages of the Bodhisattva Path, I am sure of that.

Now if we were just talking about Akshobya, it would be different, but this has blown by the Sukhavati that would ordinarily be expected, and opened perhaps the most difficult one. It produced white rays in the east, much like dawn, which we would say is White Om and Buddha Family, not Akshobya.

Akshobya is still blue, this is Abhirati itself.

It certainly uses a blue realm as part of its practice.

Parasol can easily be found in Vajra Family as six arm blue Mahapratyangira, who is really Sword Devi. She also has ankus, two Jewel Family attributes--Varada Mudra and a Noose, a Red Lotus, and a Trident. She is a young, beautiful form. Her origin is Hum. In Nepal, this form is in conjunction with her 1,000 arm Vajrosnisa form. Achi's parents got a dream from the Swayambhunath which produced her. Remati is virtually called the queen of it.

There would also be Amaravajra Parasol in Vajra Family.



Achi's relation to kila and ekagatta is in the statement before her Muttering:

The experience of primordial awareness is ignited. I am nailed with the nail of undistracted concentration. As it circulates like a fire-brand...

and after it, asserting the instructions are to achieve one-pointedness.

She rains elixir through the Yidams Qualities and Activities, Chemchog and one other, i. e. Jewel and Karma Families.

She goes on to make Rainbow Body with you.

She is the vajra-consort of all Victors.

When I started putting it together...I must admit that finding Parasol expressed as Vajradakini of the Fiery Crown of Jnanadakini seemed rather strange, but, it looks as if Nanamza Achi puts together this same Parasol as found in Indian sources.

Unlike only the texts themselves, she is a living example that makes more living examples. Not physically living, but somewhere in the Akanistha similar to blue Samantabhadri and Mahapratyangira. She really is emphasizing Dharmakaya, and seems like she is tossing out Sambhogakaya as a form of play or perhaps Lion's Sport, very exuberant. Unlike other yoginis, she extends herself in all roles sought by meditators.

Unlike them, it is a bit difficult to give her a mantric identity. Dharma Tara seems quite common as her name, but she also uses a lot of "mama", and, fortunately, there is a description for her:

Explanation of the mantra meaning (by Venerable Khenchen Konchog Gyaltsen Rinpoche)

OM MAMA means "to me". CHAKRA is a Sanskrit word, it means a wheel that symbolizes all kinds of activities and excellent qualities. SOHA (SWAHA) means "may I get it." OM MAMA CHAKRA SVAHA is a very short version of the Achi mantra.

YAR DU is a peaceful activity. SARWA DU is increasing activity. RADZA RADZA DU is magnetizing activity. MAMA DU is wrathful activity. By those activities, Achi can destroy external and internal maras - all mental delusions and defilements with her great compassion and wisdom.

Chakra, there, I would almost take as Diptachakra or Chakravega; there are limited uses of "chakra" in any names, and it is in either one of those, referring to the same thing. Her basic mantra just means the Four Activities; again only a slight twist to Four Dakinis mantra, like a Kriya--Chara version of it.


They have even opened a center named for her in Stauffenberg DE.

Dharma Tara confers Mahamudra in another mantra.

Nicer picture:

[shaberon]

Posted by Old Student (here)
So she perhaps knows him like you say in a dream, or maybe she knows him the way I know Mandarava -- in a meditation or shaking. I am wondering about the experience if she knows him in either of these two ways of being a karmamudra to him.

In Akanistha or Rainbow Body.

This "level" says she could have used a real person, or a Daka consort, and she appears to have use a Daka for Karmamudra, at least in that example. But, further along, Achi is a consort to anyone and everyone. The only way it makes sense is if you do think they can make such a mental body as is invulnerable to death.

Kaya Vajra is like a sutra or mantric way of transforming the body.

Kaya Chakra as a body mandala is a whole pattern.

The Three Places are not even called chakras, they are usually called "centers", but all of the emphasis is on the syllables and colors.

Thanks. I will have to look into this, I hadn't heard of it before.

It is from the same stuff. The Three Vajras:

Kaya Vajra

Vach Vajra

Citta Vajra



or, Three Chakras:

Kaya Chakra

Vach Chakra

Citta Chakra

which means they are physical centers hooked to the Pitha system. where for instance the first part of Kaya Chakra is Pretadhivasini, governed by Diptachakra or Chakravega. "Head" is often the same as "Body" here:

...at the crown of the head is the lady of Vajra Body, at the throat is the lady of Vajra Speech, and at the heart is the lady of Vajra Mind.

Kayacakra has two possible meanings--as above, or, the whole Kama Loka as given by Heruka. "This" Heruka is not working until "that" explanatory tantra has had its effect, which is why the Heruks is cosmic or formless or through the mirror.

And the sacred girls (Ḍākinīs) residing on each of tricakra are called respectively:—1) ‘a woman going in the sky’ (khecarī--Mind), 2) ‘a woman going on the ground’ (bhūcarī--Word), 3) ‘a woman living underground’ (pātālavāsinī--Body).

The main Dakini deities for the Chikkai Bardo Phowa are the White One and Vajrayogini. The White One is somehow* instrumental in bringing together the two bindu, when the seed exits the crown it is into the vagina of Vajrayogini, to be reborn in the Land of the Dakinis.

(*somehow isn't clear, because after the takeover of Tibet, the guy who knew this stuff decided never to teach her again.)

Let Achi step in, her tradition is from Bhutan.

Vajrayogini as Dharmakaya makes sense here.

The instrument as far as I know is the Indestructible Blue Drop of the Heart, non-dual union of the red and white halves.

With Tson kha pa, the transit is to the Heart of Guru and Yidam.

I am not quite sure he knew all of Vajrayogini, which was mostly resident in Nepal and transmitted through Sakya and Kagyu. Nevertheless, Wayman says we should consult that C. A. Muses text on Transference. Now that is slick because the contents say Six Dharmas of Naro and then it gives the seventh of Transference in Chapter Nine. The key components seem to be Vase Breathing and Asta Vijnana, i. e. the cemeteries closing all the other escape routes for energy.

"Any" deity can do it, however a lot of the best tantric instructions originally seem to have been with Jnanadakini. When she is there we get Corpse. That is why I tend to think Corpse is the thing that enters the niche emptied by Prajnaparamita. It is not necessarily the only thing to happen, but, she is like the male-based Ten Wrathful Ones.


Jnanadakini is Hrih and Vetali. Samputa and Jnana Dakini both appear to define Jewel Family Vajradakini as the crown or only acceptable gate for prana and consciousness; Vajradakini changes Family at the time of Union; so far, she is found in Jewel and Tathagata.

In Armor Deities, Jewel or Ratna Family protects the crown.

They will tell us that Humkara originally refers to Sound:

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

or:

When the devas sing Aparajita's praise, Parvati appears, wondering who they are singing to, and, from her body (kosha) emerges a beautiful devi (Kaushiki -- Ambika). Ambika incinerates the first demon by a mere heave of her breath (humkara).


So for instance, there is a Tibetan Hum Svara Nadini Tara, and you do Om Ah Hum until evoking her from that Hum.

In Chakrasamvara, the wrathful names are aimed at specific levels of Kama Loka:

In the Paranirmitavasavartin [heaven] he disciplined crimi¬
nals as the Fierce One Trailokyavijaya; the obstacle demons
(vinayak) were disciplined in the Nirmanarati [heaven]
by the Fierce One Vajrajvalanalarka, in Tusita by Vajra-
garbha, in the Yama [heaven] by the Fierce One Vajra-
humkara, and on the peak of Sumeru by Vajrapani.



It turns out on the mandala in a prior post above with "reversed blues", the consort is Mamaki. That one is Chanda Maharoshana Vajrapani, which is Acala emitting more Acalas; Chanda Maha Roshana is the most wrathful form of Vajrapani, and considered the most sexualized tantra.

In Varamrita Tantra, there is Vajrapani and Vajramrita with Mamaki and:

dark Vajrahumkara who embraces Mamaki in an unusual way, from behind, lifting her breasts with his lower arms. He has Concentration Hero Hum, is crowned by a Vajramrita text, and her syllable is Ghi.

Mamaki is just about like a "vajra consort for everyone", especially since here she has fallen out of her rank to conjoin with Bodhisattvas.


In Vajravali, between Varahi's three family forms and the Six Chakravartins is Vajrasattva-crowned Humkara from Abhidhana, wearing Eight Nagas, who, mantricly, is Kha Vajra, and Vajra Kundalin.

Three Varahis followed by Humkara:









Paramasva is considered a form of Vajradhatu mandala in Namasangiti. In Dakini Jala, he gains the unusual companions Citra Padma and Citra Vajra. Citra generally means painting, or variegated color, but is also the top of the central channel at the brahmarandra or crown aperture, the pericarp, and is only another deity with Buddha Kapala, his consort Citrasena.

Here comes a strange Jewel Family Pancha Jina:

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

The closeness of this family to the main explanatory tantras is:

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

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

That is the description by Taranatha who correspondingly includes Gambhiravajra in his list of tantric authors starting with Saraha around 633. Jamgon Kongtrul refers to him similarly.

There is an extremely esoteric song by Tsonkhapa which talks about sound offered to Akshobya when the Nirmana chakra is ready to burn. Pratyangira is the caster of Hero's March or Surangama samadhi. Tson Khapa uses Hero's March and Spring Drop or Vasanta Tilaka to emphasize the teaching that one who aspires the Ultimate does not neglect the beginning or Generation Stage.

The little we can say about the Vajramrita Tantra itself is that Māmakī asks for insights on the means to achieve (sādhana) the supreme Nectar of the Vajra (vajrāmṛta), and Mahasukha Vajramrita explains.

It has a Homa, Vajrahumkara Sadhana, Heruka Utpatti; the ninth chapter is Amritakundalin Utpatti. Amrita is in chapter nine; Surupa; also, Varuna; it has the long mark over both letters a; seems to be feminine way of ending anything with a.
,
Tenth chapter (vetālasādhana-nirdeśa),
Eleventh chapter (pañcāmṛtasādhanopāya-nirdeśa)

Kha is sky and head even in some of the Phowa, and yet it is also Karma Family.



Saraha provided Buddha Kapala and a Pitha Ishvari Tara sadhana. It is good because it is relatively standard and because of Usnisa Vijaya and Bhrum at the Zenith, that is, overhead, in mandalas.

Pitheshvari's crown syllable is Bhrum, throat Hrih, and her heart is still Hum. Her navel is Ah and secret place is Kham. This is just Five Families where Yellow Jewel has the navel. But she has added Amoghasiddhi at the base, so she is not a preliminary of Four Chakras, it is an advanced practice similar to Vajrakila and Chakrasamvara and so forth. However she is a direct progression, since it is about building and raising an esoteric Bhrum syllable, has gotten a useful Hrih from Guhyajnana or Hayagriva or wherever, and is fine with a nice yellow Ah in her fat belly.

Well, that is like the original Throat syllable settled down there. That is a bit like fire starting to sweep the Nirmana Chakra especially after the main Lotus deity syllable has taken over the Throat. At the same time, Usnisa matches Usnisa Vijaya. Then Vajrasattva in One Syllable Ah at the Navel is possible.

I am not sure she ever does anything, is more like a Yoga deity, but very extravagant for a Tara.

Dukkar is a way of writing dug kar or gdugs dkar which is for colors, not the Sanskrit dukkha for suffering.

I know nothing of Abhirati other than the word sounds like Sex Initiation, which would be more than redundant, since that is more like the first Bhumi.

Dialectical Variation. — There are dial. variations in the use and meanings of abhi. Vedic abhi besides corresponding to abhi in P. is represented also by ati°, adhi° and anu°, since all are similar in meaning, and psychologically easily fused and confused (cp. meanings: abhi = on to, towards; ati = up to and beyond; adhi = up to, towards, over; anu = along towards).

The name of the goddess Rati comes from the Sanskrit root ram, meaning "enjoy" or "delight in." Although the verb root generally refers to any sort of enjoyment, it usually carries connotations of physical and sensual enjoyment. Etymologically, the word rati refers to anything that can be enjoyed; but, it is almost always used to refer to sexual love.

However, as just a love root emotion, when it is for a sexual lover, it is called Srngara, while that for others such as relatives and deities is Bhava.

In Shiva Purana, she is Sweat-born from Daksha. In Kalika Purana, she is Sweat-born from Daksha in a story of Five Arrows. Brahma was too excited about his own daughter Sandhya and has just sweated the Agnishvattas and Barhisads.

Rati is the wife of Kama who gets incinerated.

Kama re-incarnates as Pradyumna, the eldest son of Krishna, which is a meaningful principle in Lakshmi Tantra:

Pradyumna—with this Vyūha the duality of Spirit (Puruṣa) and Matter (Prakṛti) makes its appearance, by means of the aiśvarya (absolute independence) guṇa.

"...within ten days of his birth Śambara stole him and threw the babe into the sea; was swallowed by a fish; fishermen who caught the fish presented it to Śambara who asked the cooks to cook it; when cut open there was the child inside and Nārada asked Māyāvatī in charge of the kitchen to take care of the child after telling her the truth about it; that it was the re-incarnation of her husband Kāma; she brought up the child more as a lover; asked by Pradyumna why she was not behaving as a mother but as a wife she explained that she was Ratī and himself Kāma, and also as to how he came there by Śambara's act; taught Māyāvatī the vidyā of mahāmāyā he invited Śambara to battle and cut off his head; then Māyāvatī took him by air to Dvārakā the residence of Rukmiṇī and Kṛṣṇa; in Kṛṣṇa's palace, women found the likeness of Kṛṣṇa in him and Rukminī thought of her lost son; to their wonder and joy Nārada related the life story of Pradyumna; the couple were embraced by all of them and the whole Dvārakā was filled with satisfaction."

[Old Student]

Now, you might not even name a baby you were attempting to drown. That part is unclear. It is more evident that from the time she could walk, she was Dharma Tara.

I knew someone who's parents tried to kill her because they had wanted a boy, they left her out in the hills, and her grandparents found her and brought her up. It had a major influence on her, as you might guess.

Now if we were just talking about Akshobya, it would be different, but this has blown by the Sukhavati that would ordinarily be expected, and opened perhaps the most difficult one. It produced white rays in the east, much like dawn, which we would say is White Om and Buddha Family, not Akshobya.

Akshobya is still blue, this is Abhirati itself.

It certainly uses a blue realm as part of its practice.

Isn't Sukhavati the pure land of Amitabha? Different place. The Phowa in the Chikkai Bardo, because the seed goes to Vajrayogini, produces rebirth in the land of the Dakinis, Garsha Khandroling.

She goes on to make Rainbow Body with you.

I don't think I am understanding your use of the term Rainbow Body. Isn't it the body that people achieve on death if they qualify?

[Old Student]

Kayacakra has two possible meanings--as above, or, the whole Kama Loka as given by Heruka. "This" Heruka is not working until "that" explanatory tantra has had its effect, which is why the Heruks is cosmic or formless or through the mirror.

Wouldn't it have both these meanings instead of one or the other?

Quote The main Dakini deities for the Chikkai Bardo Phowa are the White One and Vajrayogini. The White One is somehow* instrumental in bringing together the two bindu, when the seed exits the crown it is into the vagina of Vajrayogini, to be reborn in the Land of the Dakinis.

(*somehow isn't clear, because after the takeover of Tibet, the guy who knew this stuff decided never to teach her again.)

Let Achi step in, her tradition is from Bhutan.

I don't really have a choice. When the Phowa sequence happens during my shaking, my head become the transmission talked about in the phowa, the Dakini's vagina ensheathing the crown of my head as it emits the seed through the crown. It's not something that has happened in the last couple of months but it does happen frequently and it is very explicit, but I don't think I get to choose who's who in the whole thing.

When the devas sing Aparajita's praise, Parvati appears, wondering who they are singing to, and, from her body (kosha) emerges a beautiful devi (Kaushiki -- Ambika). Ambika incinerates the first demon by a mere heave of her breath (humkara).

Interesting idea of beauty, that it incorporates fiery breath.

I know nothing of Abhirati other than the word sounds like Sex Initiation, which would be more than redundant, since that is more like the first Bhumi.

Dialectical Variation. — There are dial. variations in the use and meanings of abhi. Vedic abhi besides corresponding to abhi in P. is represented also by ati°, adhi° and anu°, since all are similar in meaning, and psychologically easily fused and confused (cp. meanings: abhi = on to, towards; ati = up to and beyond; adhi = up to, towards, over; anu = along towards).

The name of the goddess Rati comes from the Sanskrit root ram, meaning "enjoy" or "delight in." Although the verb root generally refers to any sort of enjoyment, it usually carries connotations of physical and sensual enjoyment. Etymologically, the word rati refers to anything that can be enjoyed; but, it is almost always used to refer to sexual love.

So it could conceivably mean 'beyond' Rati, beyond enjoyment?

[shaberon]

Posted by Old Student (here)
I knew someone who's parents tried to kill her because they had wanted a boy, they left her out in the hills, and her grandparents found her and brought her up. It had a major influence on her, as you might guess.

Yes, I did guess. That is a strange form of infanticide, abandonment. Doesn't everybody know you might wind up with your own little baby Moses that way?

About the only thing that is worse is when someone raises the baby in a closet and it has no chance to develop as other than an animal.

But if we are honest, infanticide is really a pan-cultural event, at least across Europe, Asia, and Africa, and in most cases seems to be like an act of pride or even devotion when the victim is deformed. There is less of such a "justification", I suppose, for the category "healthy but unwanted", probably a different kind of motive and I guess frequently anti-girl.

Buddhist monasteries are supposed to function as orphanages, and in the harsh land of Tibet we have found that some parents simply surrender children they can't feed, for which the one representative thangka is White Mahasri as the protector of those young ones on their travels.

Isn't Sukhavati the pure land of Amitabha? Different place. The Phowa in the Chikkai Bardo, because the seed goes to Vajrayogini, produces rebirth in the land of the Dakinis, Garsha Khandroling.

Yes, Sukhavati is Lotus Family, and considered relatively easy to attain. The easiest one is Tara's Forest of Turquoise Leaves.

All of them are divisions of Akanistha.

I don't think I am understanding your use of the term Rainbow Body. Isn't it the body that people achieve on death if they qualify?

True. I may be a bit jumpy, and, of course, the manuscript scan is a headache. Shortly after the nectar rain via Chemchog, and, I think it is supposed to be Zhitro, the Rainbow Body is on Achi:

imbued with blessings. powers. and lovely to look at is the dakini, who is burning with the experience of great bliss and emits abundant rays of light May you rain down the blessing that ripens the vivid. the secret dakini cave. and the thirty towns.In the land of Malaysia at the navel of this world. May the Mother Dakinis rain down blessings. the twenty-four abodes of Earthly Upapithas. vital rays by perfecting the four undefiled joys into a rainbow tent. from the spacious tent of rainbow. the heroine Achi [along with} a cloud of dakinis: May you rain down the blessing that increases abilities. In Ngayab Ling. you dispel obstacles and accomplish myriad of activities. are Achi and her four sisters. along with a crowd of a thousand re-manifestations.· which is the ripened result. the rainbow body. Within the expanse of the rainbow rays of the unceasing five-fold lights. perfect at the base. of the Atiyoga practice lineage. the virtuous sublime dharma flourish and spread. and may the six types of beings achieve the power of enjoying love and joy within the stale of undefiled clear light. May you rain down the blessing of the supreme and ordinary siddhis [as well asJ longevity and glories here. May you rain down the blessing of the vajra-dharmakaya.' [from] the profound expanse o[ Samantabhadri's bluzga. [?] in this ·secret Cave of Celestial Clear-light Dakinis.


It is a liturgy, but, if it matches the inner meaning, then you make your own nectar rain and her marvelous form appears. And so yes around the Achi sadhanas, there are several episodes of the appearance of Rainbow Light, it should present itself as a component of practice.

I have not challenged it, and there probably is a debate if you can establish Rainbow Body while living, or, if it specifically refers to passing away.

If those of us who do not perceive it are able to perceive the rainbow light itself, we would be encouraged, at the very least. Having a sample is never the same as the complete phenomenon.

It may be considered identical to Purified Illusory Body.


It also may be less over-mystified to see Achi and her ilk as a version of Avalokiteshvara because he is also Hri and does the same kinds of things in at least 108 forms with probably about half of them being well known.

However, if it so commonplace, if we were able to get some basic etymological idea about Hri and modesty--Lajja or blushing, what would the practices tell us? After all, most Tibetans make an erroneous Seven Syllable mantra by adding Avalokiteshvara's syllable into the mix:

Om manipadme Hum Hrih

Well, what the mantra is trying to show you is how the one sound manifests six sounds, and this has a reasonable explanation mentioned by Aro, who is a very modern, 20th century, terton, I think, someone similar to Achi, whose practice is associated with a splendid Owl Dakini.

According to Aro:

‘Hri is the unification of the three spheres of being: emptiness – the sphere of unconditioned potentiality; energy – the sphere of visionary appearances; and form – the sphere of realised manifestation. Hri is the divisionless experience of being. Hri is the point-instant in which the seamless nature of reality experiences itself through the eternal moment of our awareness. Hri is the smile of discovery as we meet our natural state of total presence face to face – and recognise it as indistinguishable from the Mind of the Lama.’

An instant point equal to infinite duration--I like that.

What's more is that she knows how to draw it:





Whereas Buddha Weekly says these are Hri, but they have written Hriih:






Here is an article which started to explain Hrih, but then just went on to describing Lotus Family:

“Bodies of discerning wisdom - union of bliss and emptiness” refers to the basic form of
the magnetizing deities. Regarding “union of bliss and emptiness”, from the perspective of the
perceiver, it is unchanging great bliss; and from the perspective of the perceivable, it is
profound emptiness. The magnetizing deities have completely realized the non-duality of the
perceiver and the perceivable, abiding in the perfect union of bliss and emptiness, and
irreversibly transform lust and desire into the wisdom of discernment [Pratyavekshana Jnana].


One of the standard Bija and Mantra resources we have been using attempted to study Hrih, and came up with some ideas from Lama Govinda which were not sourced and seemed to be his personal evaluation. In other words, it came up to a rather surprising "almost nothing" by a native speaker.


There is a fairly specific body of doctrine when you use Hrim, but the Lotus syllable Hrih is...not particularly forthcoming, which is odd in the light of it being used erroneously all the time.

And then, since it can launch Four Dakinis mantra, that also follows in a shround of obfuscation.

In looking at "Ha Ri" we might think it was going to spell Hrih, but then we get "Ha Ri Ni" which could be Golden Antelope, but it is still not finished.

Then, if you just looked at the mantra as a whole, you could find it assigned with Buddha Families, but, the problem there is that they have followed the standard casting order, whereas in Chakrasamvara, it is almost always reversed and Rupini in the South is last.

Either way, you would get "Ni" on the western dakini.

It can be found spliced into a White Khecari sadhana right at the start after Padmasambhava's Seven Line Prayer and personal mantra:

AH HRIH MA HA RI NI SA RA TSA HRI YA TSITTA HRIM HRIM

Ha Ri Ni Sa Raca Hriya

Tsitta is Citta like Tsunda is Cunda, so we get that exact portion of Guhyajnana mantra there as having the word, Raca, meaning "orderly pile".

It comes up again on p. 22 rooted on Vam and applied to Buddha Dakini and Sarva Siddhi.

"Hriya" is a specific term from Guhyajnana. Apparently in place of "Svaha".

In Nyingma, dakinis are considered inseparable from Yeshe Tsogyal.

Here is a revealed treasure of Guhyajnana where she is called Maha Guru Dakini. Alternate copy.

It uses a version of her Dhuma Ghaye mantra to manifest her.

Her samaya being is a typical two arm red Vajrayogini, although she has a bliss whorl instead of a third eye.

Her Hook Rays go especially to Dhumathala.

The sadhana is not that long, especially when seen in sections:

For the recitation, there are three parts: approach [upasadhana], accomplishment [sadhana], and activity [thinle].

A "part" is considered: "try it this way for six months".

In part two, there is Padmanarttesvara yab-yum, and in three is the title Vajradakini.

It is simultaneously identical to Yeshe Tsogyal and Parasol.


So this is close to a "standard" and since Achi was from a Nyingma background, it must be highly similar.

It may not be obvious, but when thought of as lineages, there is a fair amount of Nyingma practice incorporated into Kagyu. So it would be a mistake to think of Kagyu as "only Sarma". It is just picky, does not accept that all buried or revealed treasures are reliable. Achi's descendant founded a sub-system within Kagyu, keeping her secret for fifteen generations.

From Sukhasiddhi Guru Yoga which calls Dhumathala the land of dakinis and Buddhafield of Vajrayogini:

Supreme amongst wisdom Dakinis who opens up the sky like treasury,
Khandroma Guhyajnana, may I fulfill your sublime wishes.
Queen of the pure realms, master of karmas,
Dechen Gyalmo Great Bliss Queen , may I fulfill your sublime wishes.
Single Mother of us yogins, who bestows the secret bliss,
Khandroma Yeshe Tsogyel, may I fulfill your sublime wishes.


It was hidden in Bhutan.

Since Dhumathala is so recurrent, I am persuaded that Dhuma Ghaye is probably the right spelling in her mantra, which leaves little option for Ghaye to be a form of Ghaya which is Ghee. Butterlamp Smoke? Is that her name??

I thought the other books might have misunderstandings, but, in the Commentary, which seems fairly well-written, it is several times Ghaye, not Gaye or other variants.


The nature of Hell comes from utu, which is tejosadhatu, the Element of Fire, meant as Heat.

Heat is not exactly the same as light or combustion.

It is the same as Lotus Family.

Dhuamathala is in a Tibetan post which manages to use Shrnkala instead of Sphoti. Chokyi Lodro mentions it. Chogyam Trungpa Rinpoche calls it a luminous city in our hearts.

In a song to Ama Tsogyal:

In the luminous realm of Dhumathala, the source of all dharmas,
Is the ravishing woman free from habitual craving and grasping.
In a gathering of fair, fair ladies, at the undefiled ganachakra,
I’d take even the lowest seat there to enjoy the equality of the fourth moment.



It sounds to me that Dhumathala is the same as H. H. Rangjung Dorje's Sutra-based explanation Luminous Heart.

Uddiyana and/or Dhumatala is significant because that is where Rudra's heart fell.


Longsal anchors this all in:

the ancient siddha of Uddiyana, Arya Palo

evidently a male yogin involved with the practices of alternately Jnanadakini or Guhyajnana Dakini, depending on emphasis:

The quintessential eleven-syllable mantra of the Guru Jnanadakini is: OM BAM GUHYA JNANA DHAKKINI AH. HUM . .

It has Vajrayogini Gomadevi with Guhyajnana in her heart. She is a lineage:

disciple of Maharaja the scholar of Uddiyana; teacher of Aloke the Atsantra (a tsan tra a lo ke). Early master in the sems sde lineage.




It is actively practised by people who say she is Inner Guru Jnanadakini.

The exercise I linked uses Hrih Vam and Karmamudra. Very interesting and very botched with garbage, would take a while to fix it. The Guhyajnana of our basic sadhana does not use Vam. That is kind of what I am saying is that Vam is close to Vajravarahi and all the commitment lineages.

Thala is one of those very twisty words that could be cow dung, dry ground, a haunted place, or heat in the belly.

Someone has opened an Arya Palo center in New York. A large Sakya Avalokiteshvara practice spastically interjects it in Sanskrit where everything else is Tibetan.

In China, Jigten Sumgon was renowned as an emanation of Manjushri, and, in Hor, of Arya Palo, p. 7.

He is actually a singer after a very interesting table of attainments required for many abodes in Akanistha followed by a type of Secret Guru where Wu Tai Shan Manjushri is Vimala, which is the name of his Pure Land. That table is about Rainbow Guru, which, I don't know, exactly, about the Rainbow Body, but I would say this Guru is a power I believe in.

Lotsawa Vairocana stopped at an Arya Palo temple, for instance.

The name Palo has no meaning in Sanskrit unless an area settled around Buddha's time:

The Chinese monk, Fa-Hsien, who visited Ceylon from 411 to 413, has given a description of Anurādhapura as he saw it, and he says that “it was full of lay chiefs, dwellings of head-merchants grand, main streets and side streets level and well-kept, and between 50,000 and 60,000 monks in the City”: he mentions also the rich decoration of the temples, the beautiful works of art and the great procession of the Tooth-Relic. The walled Citadel or Inner City, within which was the Royal Palace, had an area of about 200 acres. No traces exist of an outerring of walls enclosing both Citadel and City, whose area in the 10th century extended to nearly 20 square miles.

If the spelling were a bit different, it would be similar to Phala or Fruit, and there are things such as:

Phalodaka (फलोदक).—A Yakṣa of the court of Kubera.

phaloni vagina

It could be Gujarat or some other language.

[shaberon]

Posted by Old Student (here)
Kayacakra has two possible meanings--as above, or, the whole Kama Loka as given by Heruka. "This" Heruka is not working until "that" explanatory tantra has had its effect, which is why the Heruks is cosmic or formless or through the mirror.

Wouldn't it have both these meanings instead of one or the other?

It does; they are only separated as degrees of practice or perception. A lot of the tantric path is based on achieving first, a visualized, later, a self-arisen deity form. These forms are used, primarily, to defeat and transcend Kama Loka. It is really only when Kama Loka has greatly subsided as an obstacle, and has become a perceived object, that Dakarnava could be said to begin.

I don't really have a choice. When the Phowa sequence happens during my shaking, my head become the transmission talked about in the phowa, the Dakini's vagina ensheathing the crown of my head as it emits the seed through the crown. It's not something that has happened in the last couple of months but it does happen frequently and it is very explicit, but I don't think I get to choose who's who in the whole thing.

I know; it just isn't that similar to most experiences. Hardly anyone has self-arisen dakinis, or inner vision of the subtle body. I just meant Achi by way of explanation. She is connected, as in she is another projection of Samantabhadri or Jnanadakini as the more famous ladies.

Most of us have to do this "with effort", taking a long time to ever see or be able to work with dakinis or yidams, etc. There is very little record even among Mahasiddhas of them rushing forth in a rapid deployment of unveiling so many chakras and so forth. Unless specifically following Vajrayogini, most practitioners would have a simpler working model of some deity such as Vajrabhairava to make their attempts with. It is hard to find a corollary of such a "capture" as you describe.

So it could conceivably mean 'beyond' Rati, beyond enjoyment?

It might.

One thing I like about Achi is how she is mostly portrayed as a peaceful white sambhogakaya, unlike most other presentations of the same goddess, which are usually sexualized or violent. She has these capacities, but she is mostly showing something else, which is related to the dawn of Abhirati. I am not sure offhand of anyone else who portrays this.

A quick search finds Drukpa Kagyu takes Akshobya as one of the four main practices, and that success with Abhirati means one does not fall to lower states of consciousness, which is much like saying Irreversible Bodhisattva Path.

According to Iconography of Nepalese Buddhism:

In other words, Akshobhya attained Buddhahood under
the tree of seven jewels in the land of Abhirati i.e. wonderful
joy in the east.

[Old Student]

Buddhist monasteries are supposed to function as orphanages, and in the harsh land of Tibet we have found that some parents simply surrender children they can't feed, for which the one representative thangka is White Mahasri as the protector of those young ones on their travels.

Mandarava and Yeshe Tsogyal recruited abandoned girls as proteges, but for some reason they are always described as being found in charnel grounds. But given that a lot of charnel grounds were Buddhist holy places, maybe this is the same as orphanages, they usually are found being raised by animals or among corpses, though.

It is a liturgy, but, if it matches the inner meaning, then you make your own nectar rain and her marvelous form appears. And so yes around the Achi sadhanas, there are several episodes of the appearance of Rainbow Light, it should present itself as a component of practice.

I have not challenged it, and there probably is a debate if you can establish Rainbow Body while living, or, if it specifically refers to passing away.

I don't know. Mandarava achieved rainbow body while she was being burned alive, and took to the sky in that body and defeated those who had burned them, but they do not say whether she is supposed to have passed through death to get to that point, only that she leaps into the air as her rainbow body and defeats them.

Om manipadme Hum Hrih

I wonder if this is the form from which the version in the song by Haya Band comes from (if so, Hrih ended up as Shi in Mongolian).

In Nyingma, dakinis are considered inseparable from Yeshe Tsogyal.

Here is a revealed treasure of Guhyajnana where she is called Maha Guru Dakini. Alternate copy.

It uses a version of her Dhuma Ghaye mantra to manifest her.

Her samaya being is a typical two arm red Vajrayogini, although she has a bliss whorl instead of a third eye.

Her Hook Rays go especially to Dhumathala.

The sadhana is not that long, especially when seen in sections:

For the recitation, there are three parts: approach [upasadhana], accomplishment [sadhana], and activity [thinle].

A "part" is considered: "try it this way for six months".

In part two, there is Padmanarttesvara yab-yum, and in three is the title Vajradakini.

It is simultaneously identical to Yeshe Tsogyal and Parasol.

I have a lot of things that are Yeshe Tsogyal, mostly in retrospect -- during the time they are happening, I recognize the person but cannot formulate the name, afterward I know they are related to her.

Not surprised that Dakinis flow from her, she and Mandarava pretty much founded female tantric Buddhism in Tibet, and were supposed to have trained thousands of acolytes.

Since Dhumathala is so recurrent, I am persuaded that Dhuma Ghaye is probably the right spelling in her mantra, which leaves little option for Ghaye to be a form of Ghaya which is Ghee. Butterlamp Smoke? Is that her name??

Interesting.

[Old Student]

Most of us have to do this "with effort", taking a long time to ever see or be able to work with dakinis or yidams, etc. There is very little record even among Mahasiddhas of them rushing forth in a rapid deployment of unveiling so many chakras and so forth.

The way it happens with me is not without effort, its just that the teachers are excellent, even if (as happened last night) the yell, "Act!" at me for hours while I feel like I'm coming apart at the seams trying to comply.

One thing I like about Achi is how she is mostly portrayed as a peaceful white sambhogakaya, unlike most other presentations of the same goddess, which are usually sexualized or violent. She has these capacities, but she is mostly showing something else, which is related to the dawn of Abhirati. I am not sure offhand of anyone else who portrays this.

Sometimes things we discuss end up being in my responses during shaking. We were talking about the Phowa, and about Achi being the universal consort. I had a brief question last night about how these could be related -- which did not really get answered but did get vividly portrayed.

[shaberon]

Posted by Old Student (here)
The way it happens with me is not without effort, its just that the teachers are excellent, even if (as happened last night) the yell, "Act!" at me for hours while I feel like I'm coming apart at the seams trying to comply.

In the teaching of Samadhi, it is a specific meaning, it means "with Effort" in terms of the visualization. Yes, the general sense of effort is apparent from what you write, but you seem to have no difficulty seeing things.

Most of us are like me; I still cannot make a Vajrasattva that is much of anything other than a fuzzy ball.

On the other hand, due to tantric yoga, I have induced states that caused some kind of power flow of what were definitely visualizations but never exactly stable.

I saw the Blue and Orange Dragons, which was stable as in consistent, but they kept moving fast.

So I can understand an uncontrolled aspect of being able to see strange things, but, the closest thing that has really worked for me as an ability was Auric Sight.

Therefor, I have experience in things that resemble a Buddhist Samadhi, but, there were certain failures and things missing, and, ultimately, I have never beheld any basic Vajrasattva or Green Tara or anything like that. Samadhi with Effort means you can at least get that to work.

In terms of Buddhism, I can do Pranayama, and if for example Vajrasattva really appeared, I would take it as Smrti--Samadhi, which would be the real Sadhana, or Spiritual Practice.

It is like saying I have an interest in spirituality, but am not, in fact, spiritual. Which is Yoga Tantra. Gaining the Samadhi as described would be the real Generation Stage.


Bhrkuti carried an Akshobya statue into Tibet before Yeshe Tsogyal was alive, which is still considered very important, this and her loom in Nepal. They say, simply enough, she was an emanation of Bhrkuti, and so she is another type of Pandara.

Sometimes things we discuss end up being in my responses during shaking. We were talking about the Phowa, and about Achi being the universal consort. I had a brief question last night about how these could be related -- which did not really get answered but did get vividly portrayed.

To me it is very simple, it is called Vajradhatvishvari.

Now in saying that Prajnas never do much, according to scholars it mainly boils down to Guhyasamaya and to Maitri, also called Advayavajra, who is remembered for Akasha Dhatvishvari--the flyer with both feet lifted up called Maitri Dakini--and a rosary of 108 sadhanas. This is used as the exposition at Tibet House in India. It was an interesting decision by H. H. D. L. in selecting something that isn't so specifically pinned to his own sect.

And so the "roles" of Prajnas were what I took from Iconography of Nepalese Buddhism by a fellow who is recently deceased but did a lot of the work in setting up the Digital Sanskrit Buddhist Canon.

Bhattacharya published Maitri's Samgraha and said a lot of stuff in it and left the actual text in Hindi characters.

Thanks to the Canon we have a Sanskrit Advayavajra Samgraha in Roman script.

According to Min Bahadur Sakya,

In Buddhist tantras these deities symbolize the essence or prajnarupa or
svabhava of five Buddhas. It is strange to note that not a single
sadhana is devoted to these live Prajnas. They appear only in
Yab-yum position and they are not given any active function.
The images of these deities are very rare. However a fine
specimen of these five Prajnas can be found in the Swayambhu Caitya with the exception of Vajradhatveshvary.

She is said to be the consort of Buddha Ratna Sambhava. She
is the same in essence as Buddha Ratna Sambhava. She is the
embodiment of emptiness or the space element. She is yellow
in colour. She is surrounded by the four Prajnas i.e. Locana,
Mamaki, Pandara and Tara.

Vajradhatveshvari as described in the Pancakara of
Advayavajra Samgraha resembles Tathagata Vajrasattva. She
has various forms: two armed, six armed and eight armed...

...Because of her role as the embodiment of
Tathata or Prajnaparamita she is also called Nairatma,
Vajravarahi and Jnanadakini. In Sadhanamala she is
identified with six headed and twelve armed Marici
whose lord is Vairocana.

He says she is Space. We found she turns Grey in the Ratna-centered Vilasini rite.

Prajnas do have some, limited, sadhanas, starting with Locana in the Vajrasana lineage who is the only instance of a deity curing physical pain, rather than disease and the like.

He says Ratnasambhava and Amoghasiddhi have no Sutra background.

He says the second or third Buddha activated an image of Nairatma in the Root of Swayambhu Lotus.


If we go to the Samgraha and pull out the Pancakara, it will give us the Dhyani Buddhas centered on Vajra Family which uses:

ākāśaśabdacavargo akṣobhyaviśuddho

Purity of Akshobya in Space and Sound

To make a form janma or born of humkara--syllable, gesture, sound, probably all three:


vajrasattvastu hūmkārajanmā śuklo dvibhūja ekavakto vajravajraghaṇṭādharo manaḥsvabhāvaḥ kāṣāyarasaśarīraḥ śaradṛtuviśuddho yaralavādyātmakaḥ arddharātrataḥ prabhātakālaparyyanto dharmmadhātuparanāmā |

So Vajrasattva is the center of Pancha Jina, as an Akshobya hypostasis.

After they are cast, there are a couple of breaks, starting around:

śūnyatākaruṇābhinnaṃ yatra cittaṃ prabhāvyate |

which is non-dual Vajrasattva in Luminous Mind.

It then casts the Prajnas in the corners. And so Mamaki is placed beside Ratnasambhava which would usually be his consort area and it says:

māmakī kṛṣṇavarṇā kṛṣṇavajracihnā abdhātusvabhāvā vajrkulā dveṣaraktā |

she is still in Vajra Family related to Rage.

After the Four Prajnas are cast, it says:

etāḥ catasraḥ ṣoḍaśābdikā asādhāraṇarūpayauvanaśālinyo yathāśobhasaṃsthitā pūrvvavat kāyacatuṣṭayātmikā manohlādinyaḥ sakalajinaguṇādhārabhūtāḥ pañcatathāgatasvarūpāḥ | āsāṃ(asyāṃ)madhye ālisvabhāvā vajrasattvasvarūpiṇī vajradhātvīśvarī nāyikā | iyameva bhagavatī tathatā śūnyatā prajñāpāramitā bhūtakoṭinairātmyeti vyapadiśyate |

Purvavat--first, fourfold body self-nature gladdens the heart, and:

Sakala is a devi who is the root of Atma in Kubjika Tantra; or, it is Samadhi; or, it means the material universe as a reflection of the transcendental. The conquerors, Jina, hold this quality, Guna, via the Elements, Bhuta, which are the Prajnas just cast.

Pancha Tathagata Svarupa is Fivefold Form, i. e., Rupa Skandha, a particular bundle familiar to some, re-iterated in most of these manuscripts as a necessity.

In the middle is Ali Svabhava--the nature of vowels--Vajrasattva Svarupini means she has Vajrasattva's body which is really Prajna--Karuna in Luminous Mind--is Vajradhatvishvari

Nāyikā (नायिका) is the name of Dūtī (i.e., messengers of Lord Vajrapāṇi)

Iyam is Idam, so, Idam Eva, female transcendent Suchness Sky Prajnaparamita is:

Bhūtakoṭi (भूतकोटि) refers to the “limit of truth” and is mentioned as one of the synonyms of Dharmatā (the ‘dharma-nature’ or ‘true nature’ of dharmas), according to Mahāprajñāpāramitāśāstra chapter XLIX. Accordingly, “because the dharmadhātu is actually proven (bhūtena sākṣātkṛta), it is the culmination (koṭi) of reality. Thus ‘the saint (Arhat) is established in the culmination of reality’’.”.

While not seeing permanent dharmas, seeing impermanence (anityatā) is a wrong view (mithyādṛṣṭi). And it is the same for the views of suffering, emptiness, non-self and impurity. That is what is called tathatā. [...] Having acquired this tathatā of dharmas, one penetrates into the dharmadhātu, one eliminates all opinions (vipaśyanā) and does not conceive any further beliefs, for “such is its essence. [...] Finally, to completely penetrate (supravidh-) the dharmadhātu is bhūtakoṭi.

When one takes possession of the realization of the fruit (phalasākṣātkāra), there is bhūtakoṭi. [...] Just as there is an empty aspect (śūnyabhāga) in every material dharma (rūpin), so there is a nature of nirvāṇa called dharmadhātu in dharmas. The nature of nirvāṇa is also in the many skillful means (upāya) used to attain nirvāṇa. At the time when nirvāṇa is realized, tathatā and dharmadhātu are bhūtakoṭi. Finally, the immense (apramāna), limitless (ananta) dharmadhātu, unable to be measured by the mind and mental events (cittacaitta), is called dharmadhātu. It is so wondrous that it is called bhūtakoṭi.

of Nairatma.



Nairatma takes over the Sixth Principle, same as Vajrasattva.

Vajradhatvishvari is the central, non-dual, non-conceptual energy-wind, like the main operative power as discussed in Vajra Rosary.

Here it does not quite say how she has anything to do with Ratnasambhava, except Mamaki appears to, although she is still in Vajra Family. Vajradhatvishvari is considered yellow, although it does not say that here. Her common form is formless, Empty Niche. Maybe that is how she is here if designated as a "nature" or "stage" of Vajrasattva. I would think that is so, since Marici is Vajrasattva Ishvari, i. e. much further down the road from here.



Mamaki has the role of the Three Flasks and so whereas this is properly visualized in Achi Sadhana, it is not explained there, it is relatively common knowledge in Nepal, and that may be about it.

Hevajra is Akshobya in union with Nairatma, which, in the Sakya Vajrapanjara has:

In the square below is Vairochana-Hevajra, white in colour, embracing pink Vajradhatvishvari. In the square to the left is Ratnasambhava-Hevajra, yellow in colour, embracing orange Buddha Locani.

Suryagupta is the mandala where Tara Reverses Amoghasiddhi and so Akshobya gets kicked out of the middle and it shuffles to:

At the right is Buddha Akshobhya, blue, similar in appearance; holding to the heart a gold vajra and bell. Below is the consort Mamaki, blue, similar in appearance; holding to the heart a vajra handled curved knife and a skullcup, seated in a relaxed posture. Below is Buddha Vairochana, white, holding a wheel to the heart and a bell at the side. At the left is the consort Vajradhatvishvari, white, similar in appearance, holding to the heart a wheel handled curved knife and a skullcup, seated in a relaxed posture. At the left is Buddha Ratnasambhava, yellow, holding to the heart a jewel and bell. Above is the consort Buddha-Locani, yellow, holding to the heart a jewel handled curved knife and a white skullcup, seated in a relaxed posture.

We can definitely say Tara has done something active here; Tara is Activity. Pandara still has not been affected.


So we can find two poignant places where Vajradhatvishvari is not centered and is hooked to Vairocana, which means Ratnasambhava gets what would appear to be Amrta Locana (Prasanna). Well, Locana's nature is Suvishuddha Dharmadhatu which means the purificatory stages of the Dharmadhatu, the sixth element, which arises and grows by stages, the Bodhisattva Path. The motion of Locana seems relatively obvious since it follows a Sutra-to-Tantra flow.

That is why Marici Vajradhatvishvari is like the queen of these and Laughing Ekajati is like the corresponding Nairatma aspect.

Exactly how basic Vajradhatvishvari sounds like she is super-posed on Vajrasattva and the fact she is listed last sounds a lot like bundling five-fold form pinned on Vajrasattva and when he "increases" to Luminosity, she transforms or over-writes him, something like Smrti and Samadhi.






Guhyasamaja Vajradhatvishvari is different and more related to Sparsha Vajra.

I believe there are cases where Vajradhatvishvari is simply the consort of Vajradhara.

That is not really a personal name, often it is just said to mean Queen of Vajradhatu.

And so if we are unsure, there is a Jewel Family Vajravarahi, Vajra Tara, Vasudhara, Ila, Cintamani, and so on. Bhattacharya said Ratnasambhava seemed relatively unimportant, and in his "Sadhanamala" actually paraphrased Maitri for his description of Ratnasambhava and Vajradhatvishvari, as if there were nothing else to go by.

His closest personal expression is probably Gaganaganja, Ksitigarbha, and possibly Jnanaketu or Ratnaketu.

According to Manjushri, Jewel is the Family of the Paramitas.




If we turn to Guhyasamaja, it will look weird since Akshobya gives away something called "Vajra", and the normal Amoghasiddhi goddess Irsya is with Ratnasambhava:

Thus, the Lord in the first Samadhi became resonant with the sound DVESARATI which transformed itself into the form of his own queen and was placed on his own seat.

Next, he became resonant with the sound MOHARATI which took the shape of a goddess and was placed in the eastern direction as the queen of Vairocana.

Thereafter he became vibrant with the sound fRSYARATI which took the shape of a goddess and was placed in the southern direction as the queen of Ratnasambhava.

Next in another Samadhi the Lord became vibrant with the sound RAGARATI which soon took the concrete shape of a goddess and was placed in the western direction as the queen of Amitabha.

Then in a further meditation the Lord became resonant with the sound VAJRARATI which took the concrete shape of a goddess and was placed in the northern direction as the queen of Amoghasiddhi.


Here, it would seem that Moharati = Vajradhatvishvari, who is not the consort of Ratnasambhava.

Jewel is Guna which is Enlightened Use of All Families Equally. It is not a Sutra. It requires tantric manipulation of the energy-winds. Its more customary sin is Greed which is the sin of Mamaki, and her very name is a dual interpretation on an axis of "all mine" or "equal to everything".

Some Hindu tantras give greed the specific designation Lobha, but:

lobha can also be called be denoted as the following: Raga (greed), abhijja (covetousness) and tanha (craving).

And so it simply replaces Raga in Dharma Samgraha.

My understanding is that Greed intends materialistic wealth, whereas Raga is passion. When Jealousy is called "coveteousness", it is really stemming from the opposite direction, where one's self is lower than others. In other words, the Jewel and Karma Families are a bit like feeling above others, or under them. The Three Families are much more raw and direct; it is due to Ignorance that we suffer Aversion and Attachment. The second two families are a bit more complex, socially-interacted, and constructed.

So you will, of course, get to know her if you think about prana in your body at all, but the thing about being in the Most Subtle Mind and using her as the Sole Support is a completely different condition.

It could perhaps be that Ratnasambhava is smeared with Mamaki--Greed until gaining the Wisdom Locana--Nectar Eye which appears to represent Hevajra practice. I am not sure if he ever has his "own" consort, as in the mandala where he failed to emanate one.

Vajradhatvishvari is called the consort of Vairocana for a small figurine.


According to Marpa, Guhyasamaja is crowned by White Vajradhara in Union with White Vajradhatvishvari.

In a description of a vajra, she is iterated in the order that would mate her with Ratnasambhava.

According to a medieval Ratnasambhava statue, his consort can be either Mamaki, or Vajradhatvishvari--which when she does, she has the function of Extinguishing Pride.

According to Manjuvajra, in the mandala with the major Cunda, Ratnolka, Bhrkuti, and Vajrashrnkala, when Mamaki is with Ratnasambhava, Manjuvajra is "tied" to Vajradhatvishvari, who does not appear in the list of deities. Those weird goddesses correspond to Sattvavajri, Ratnavajri, Dharmavajri, and Karmavari.

Sattvavajri is under Locana who is with Akshobya. Akshobya and Locana have eight arms, and the other Dhyanis and Prajnas have six. This is according to the mandala's housing in Torino, IT.

Again, it is only that, specific mandala which has these features, the regular Guhyasamaja Manjuvajra is not the same thing.

It has not made Cunda into Vajravajri although she appears to be in Vajra Family, Sattva is the nature of Vajrasattva.

Vajradhatvishvari is weird, but, she really only comes from a certain attainment, considerably above Vairocani.

Bhattacarya defaults Vairocani and Cinnamasta into Jewel Family, but, again, there is still Yellow Janguli, or Yellow Bhrkuti, etc., so the color is not a guarantee.




Gomadevi is the singer of Amrita Kundalin, and, from the table, we can find a certain duplication. In Akanistha:

Palace: self-existing wisdom, deity or siddha: Faultless Light-Ray, attainment requested: rainbow body.

Following Yoga of the Early Dawn--Om Ah Hum each with a rainbow light--the following are invited:


From 5-fold mountain-peak in China, Flawless Kinsman Vimala

From mansion Waterlily Light, Uddi-yana master & his consort

From mansion glowing mass of brilliance, Flawless Light-Ray

From "the throne of sun and moon above my head’, fundamental guru, swirling in rainbows

They may have in mind Vimalamitra, since the first two are almost certainly Manjushri and Padmasambhava. They were not mentioned in Akanistha however. The Yoga as described is practically Muttering Marici, she has an Abode and she can probably make rainbow guru, even if it was on Vajradhara or incorporeal Achi.

It would not work without Vajradhatvishvari, and if it worked, it must be almost the same as Marici Vajradhatvishvari.

Jewel Family is made of Nectar, extinguishing pride, in the sense of a sin of arrogance. Nectar is made of Heat, so, this Jewel Family would be pretty difficult without the Lotus stage governed by Pranayama.