Does Anybody Else Have Clear Body Experiences?

[shaberon]

Posted by Old Student (here)
You sure? "sarvaduṣṭahṛdayam" which occurs in the quote I asked about is unequivocally "completely evil heart" sarva = all, dusta = evil hrdaya = heart.
"mā vilamba" is unequivocally "without delay".
Not saying other things aren't part of this ritual, but it really does plead for relief from defilements and evils and 'right away'.

“The mantra of Caṇḍālī is:

“Oṁ, the best among vajra spears! Split, split! Tug at the hearts of all the evil ones, tug! Kill, kill! Burn, burn! Grind, grind! Murder, murder! Do not tarry, do not tarry! Remember your pledge! Hūṁ hūṁ, phaṭ! {8.4.14}


I consider them less pleas and more commands.

“Please strike, kill, haul them over, and make them dance!”

This is what I'm asking about.

After the retinue is cast, there is an Oblation to Vajradakini, an Oblation to all spirits, a Consecration, then:

“The mantra for the purification of the ground is:

“Oṁ āḥ hūṁ! Purify, purify! Protect, protect! Hūṁ phaṭ! {8.4.37}

8.­154
“And further:

“Oṁ, Vajraḍākinī! Hūṁ phaṭ svāhā!
Oṁ, Ghorī! Hūṁ svāhā!
Oṁ, Caṇḍālī! Hūṁ svāhā!
Oṁ, Vetālī! Hūṁ svāhā! {8.4.38}
“Please strike, kill, haul them over, and make them dance!”962

962 ghātaya māraya ākarṣaya.

You are told to recite this "according to the rule" but:

The Tib. (150a.4) joins the last two sentences, attributing the action to the practitioner: “The mantra practitioner should strike, kill, summon, and dance, according to procedure / rule”.

Among the Gauris, Pukkasi receives a similar "make them dance" command, which matches her Dancer form in Dakini Jala.

The original is:

oṁ kiṭi kiṭi vajra hūṁ | adhiṣṭhānamantraḥ || 8.4.36 || {C82v}

ap8.­155
oṁ āḥ hūṁ śodhaya śodhaya rakṣa rakṣa hūṁ phaṭ | bhūmiśodhanamantraḥ || 8.4.37 ||

ap8.­156
oṁ vajraḍākini hūṁ phaṭ svāhā |
oṁ ghori hūṁ svāhā |
oṁ caṇḍāli hūṁ svāhā |
oṁ vetāli hūṁ svāhā || 8.4.38 ||
ap8.­157
ghātaya māraya • ākarṣaya nartāpayeti vidhinā mantrī || 8.4.39 ||


All this stuff under the hood of Marici is rather violent.


What I have been calling Inverted Stupa is Section 6.3 here. Its self-description is:

sarvanāḍīsamāyogo ḍākinījālasaṃvaraḥ ṣaṣṭhasya tṛtīyaṃ prakaraṇam ||

Dakini Jala of the Nadis.


There are a few extra details in other sources; this one is unusual in making Water Circle in the Abdomen and Earth Square in the Heart. We have been saying Water Circle = Citta Chakra = Heart and that Square is "undefined".


[The goddess said,] “I would like to hear, O lord, how to perform the worship, and so forth, of the inner maṇḍala. I do not know the procedure for the burnt offering rite. Please explain it, O Great Bliss.” {6.3.1}

The Blessed One said:

6.­95
“Deities such as the herukas, and so forth,
Exquisitely manifest in the form of the subtle channels.
The body is a delightful maṇḍala,
Which has four gates, as has been described. {6.3.2}

6.­96
“Its eight pillars being the eight limbs of one’s body,
The maṇḍala is always encircled by them.
Because of the equality among all things,
It is known to be symmetrical, with four sides. {6.3.3}

6.­97
“Being in essence body, speech, and mind, respectively,
The three cakras are said to be a single one.
On the stamens of the lotus on top of one’s head, which is Mount Meru,
There is Vairambhaka and the other three winds, in their right order. {6.3.4}

6.­98
“This maṇḍala is present, having manifested
Through the two stages, as handed down by the succession of gurus.
On the soles of the feet there is the Vairambha wind
In the shape of a bow. {6.3.5}

6.­99
“Located in the triangular area of the abdomen
Is the blazing triangle.
The element of water, in the form of a circle,
Is located in the abdomen. {6.3.6}

6.­100
“In the heart area there is the earth element,
Symmetrically quadrangular in form.
The spinal column, with the form of a staff,
Is just like Sumeru, the king of mountains. {6.3.7}

6.­101
“On a lotus with thirty-two petals,
Located in the area of the head,
The vowels and consonants are exquisitely present—
They are claimed to be the thirty-two-fold bodhicitta. {6.3.8}

6.­102
“That which is in the center of the lotus
Is, for its part, described as a moon disk.
The brain inside the head
Is what is said to be present there. {6.3.9}

6.­103
“In its center is the syllable hūṁ, [F.114.a]
Indestructible, in the form of a drop of ambrosia.
All beings have their foundation in this,
As it is the mainstay of animate and inanimate entities. {6.3.10}

6.­104
“Their existence is in the form of this seed syllable,
Whether it takes manifest or unmanifest forms.
The forms of all embodied beings
Are therefore complete from the beginning. {6.3.11}

6.­105
“It is present day and night,
Dripping in the form of ambrosia.
By this ambrosia alone is the ‘sound’ unleashed
And the flame satisfied.355 {6.3.12}

Comm1 (486) has, “Then, ‘that alone,’ meaning the dripping letter haṁ, ‘opens,’ or exalts ‘the sound,’ meaning the gtum mo, which is in the image of blood.” Comm2 (932) has instead, “ ‘That alone opens the door,’ meaning that the door of the treasury of the wind of space, which belongs to the heat of gtum mo, is opened, and through that the bodhicitta in the head is melted, based on which the ambrosia drips during one’s inhalations and exhalations night and day, thereby filling the maṇḍala.”


6.­106
“The maṇḍala will become filled with it,
There is no doubt about it.
Only this can be called maṇḍala,
Which is the ultimate essence of all things. {6.3.13}

6.­107
“Since it gathers this essence,
The maṇḍala is thought to be the body.
The maṇḍala is thus thought to be
The network of thirty-two primary subtle channels. {6.3.14}

6.­108
“This very maṇḍala is the essence—
The great jewel of bodhicitta.
In its outer and inner aspects,
It is present pervading everything. {6.3.15}

6.­109
“The outer aspect constitutes the range of engagement
Of all the sense faculties in forms, sounds, and the rest,
While the inner one is present as
The ‘fulfilled’ substances, such as semen, and so forth. {6.3.16}

6.­110
“By means of these outer and inner aspects
In their coarse and subtle forms, respectively—
Their essence being the bodhicitta of the followers
Of the vajra path in their roles of the world’s kinsmen, {6.3.17}

6.­111
“The bodhicitta taught in support of the pledge
To become a buddha or a bodhisattva—
Awakening can be attained in this very life,
Thanks to this very maṇḍala. {6.3.18}

6.­112
“Through this maṇḍala will also come
The final attainments of the hearers,
Solitary buddhas, and gods,
Such as Brahmā, and so forth. {6.3.19}

6.­113
“One should perform a burnt offering with appropriate substances—
The inner ones, such as semen, and so forth,
And the outer ones, like the aggregate of form and the rest—
Offering them in a blazing fire of insight. {6.3.20}

6.­114
“Based on the specificities of the six sense-fields,
The elements, the aggregates, and so forth,
They have the nature of deities,
And likewise, ḍākinīs. {6.3.21} [F.114.b]

6.­115
“The inner worship (yogapūjā) is said to consist of these,
For they are offered by the practitioner in worship.
The skull of one’s own head
Is said to be the vessel for burnt offerings. {6.3.22}

6.­116
“Rasanā (the right channel) is said to be the sacrificial sruva ladle;
Lalanā (the left channel), at the heart cakra, has the nature of the sruk ladle;
The mouth is averred to be the sacrificial plate,
While the sacrificial fire pit is located in the hollow of the navel. {6.3.23}

6.­117
“The brahmanical fire, fanned by activating winds,
Is located at the triangle of the abdomen.
The sound of the winds is said to be the mantra,
While their cycling is the repetition. {6.3.24}

6.­118
“The appearances in such meditation
Reflect the practice of the nondual maṇḍala.
Mounted upon the innate nature, this is, accordingly,
The maṇḍala, and so forth, of the victorious ones. {6.3.25}

6.­119
“The teacher is the sovereign mind,
According to his nature of being the lord of the maṇḍala.
He should therefore understand everything in this tantra
Just as explained, starting from ‘Thus.’ ” {6.3.26}

6.­120
[The goddess said:]

“I am still unclear how the lord sports in the forms
Of dharmakāya, sambhogakāya, nirmāṇakāya, and great bliss.
I do not know the categories.
Please tell me, O Great Bliss.” {6.3.27}

6.­121
The Blessed One said:

“The two cakras located at the head and at the navel
Each contain the shape of the letter e.
Those, on the other hand, that are in the heart and the throat
Bear a semblance to the syllable vaṁ. {6.3.28}

6.­122
“The cakra located at the navel
Is a lotus with sixty-four petals.
The one inside the head
Is a lotus with thirty-two petals. {6.3.29}

6.­123
“The one inside the neck
Is a lotus with sixteen petals,
And the one in the heart
Is known to be a lotus with eight petals. {6.3.30}

6.­124
“The nirmāṇakāya is said to be
In the one with sixty-four petals,
Whereas the dharmakāya abides
In the lotus with eight great petals. {6.3.31}

6.­125
“The sambhogakāya abides in the lotus with sixteen petals,
Whereas in the one with thirty-two petals,
Great bliss, as great gnosis,
Is situated throughout. {6.3.32}

6.­126
“In the center of the nirmāṇa cakra there is,
Surrounded by the eight classes of letters,
That supreme syllable—the letter a—
Which occupies the foremost position among all letters. {6.3.33} [F.115.a]

6.­127
“In the cakra of the dharmakāya
There is the celebrated syllable hūṁ, thought to be indestructible.
It appears in combination with five vowels,
And is adorned with ya, ra, la, and va. {6.3.34}

6.­128
“In the center of the sambhoga cakra
There is the syllable oṁ, which illuminates all letters.
It is surrounded on all sides
By sixteen letters in sets of four. {6.3.35}

6.­129
“In the exalted cakra of great bliss
Is the syllable haṁ in the form of a drop.
The sun and the moon are said to be
On its left and right sides respectively. {6.3.36}

6.­130
“In its section starting from the throat
And ending at the center of the navel,
The left channel (lalanā), associated with the sambhogakāya,
Flows downward and carries semen. {6.3.37}

6.­131
“The subtle channel that flows upward (rasanā),
In its section starting from the navel
And ending at the center of the neck,
Is said to carry blood. {6.3.38}

6.­132
“Semen is called moon;
Blood is known as sun.
Mounted upon the two openings,
They are situated below and above respectively. {6.3.39}

6.­133
“For these two, the moon and the sun,
Are known as the duo of subtle channels
That cause the going and the coming
Of the virile ones and the ḍākinīs. {6.3.40}

6.­134
“Their meaning is that of setting and rising,
Similar to falling asleep and waking again.
On the left and the right sides
There are a dozen vowels. {6.3.41}

6.­135
“They are said to be facing upward
And are surrounded by the syllables ka, kā, and so forth.
The vowels are joined with these downward-facing consonants,
Which have been moved from the sides to the center. {6.3.42}

6.­136
“The syllable kṣa, which is called rākṣasa,
Is situated in the lower region of the body.
When the moon (bodhicitta) is present in the throat cakra
In its mode of intense passion, {6.3.43}

6.­137
“It is then called sambhogakāya,
The supreme body of buddhas.
It is so called also when it is at the tip of the [lotus] protuberance,
Having reached the tip of the vajra. {6.3.44}

6.­138
“When the sambhogakāya
Has reached the end of its path
And fallen into the bhaga,
It is known as mustard seed. {6.3.45}

6.­139
“It is then said to have the nature of the sun
And is called nirmāṇakāya. [F.115.b]
It is by way of this nirmāṇakāya
That the manifestation of buddhas and bodhisattvas are born. {6.3.46}

6.­140
“In that setting sun,
In the form of nirmāṇakāya,
Resides the king Padmanarteśvara,
In union with the lotus which was caused to open its petals. {6.3.47}

6.­141
“When that, which is then called perfect bodhicitta,
Becomes the pure embryonic lump,
It is cut off from the paths of cyclic existence
And is the auspicious state of the cessation of conceptual thinking. {6.3.48}

6.­142
“Nondual and ultimately pure,
It is the nature of glorious Vajrasattva
Called glorious Heruka,
Present in the tantras as a worm. {6.3.49}

6.­143
“He is established in the three tantras
As a burst of laughter, a glance, or a handshake, respectively.

6.­144
He abides as a worm,
Consuming both passion and dispassion.” {6.3.50}

6.­145
This concludes the third part of the sixth chapter on the subtle channel conjunctions which constitute the concealed essence of the ḍākinīs’ net.


In other words, it says almost nothing as to the "glyph" referred to in the beginning, but shows how it falls into place. That is why I put together as much as I can as to how to do it.

[Old Student]

I will reply further, I have some things to do, but I wanted to point to one thing before doing them:

6.­99
“Located in the triangular area of the abdomen
Is the blazing triangle.
The element of water, in the form of a circle,
Is located in the abdomen. {6.3.6}

If you write "e vam" vertically in Brahmi script, you have a triangle with a circle under it, and a line between them with a dot midway up. If you equate the male and female constituents of birth with semen and (menstrual) blood, instead of with sperm and egg for which you need a microscope, you get the rest of it. If you remember that Shiva is a lingam and associated with the moon, you get the moon and sun references.

“It is present day and night,
Dripping in the form of ambrosia.
By this ambrosia alone is the ‘sound’ unleashed
And the flame satisfied.355 {6.3.12}

Comm1 (486) has, “Then, ‘that alone,’ meaning the dripping letter haṁ, ‘opens,’ or exalts ‘the sound,’ meaning the gtum mo, which is in the image of blood.” Comm2 (932) has instead, “ ‘That alone opens the door,’ meaning that the door of the treasury of the wind of space, which belongs to the heat of gtum mo, is opened, and through that the bodhicitta in the head is melted, based on which the ambrosia drips during one’s inhalations and exhalations night and day, thereby filling the maṇḍala.”

It is interesting, this is a description of the blazing and dripping in that it explicitly mentions tummo. The later verses then talk about the semen flowing down and blood flowing up, and the generation of the bodhicitta. But notice the bliss at the throat, and its association with the moon.

6.­100
“In the heart area there is the earth element,
Symmetrically quadrangular in form.
The spinal column, with the form of a staff,
Is just like Sumeru, the king of mountains. {6.3.7}

During the end of last night's shaking, I was 'digging' at the area of my chest where my heart is. My hands were literally there and trying to dig, and the area went through a large number of 'appearances', among which was one where my hands, as at that point 'paws' were digging in dirt at my heart. I still haven't processed the whole sequence yet, as it seemed that I hadn't finished and would be resuming that search at some point but there was a digging and at one point a peeling and splitting and a definite attempt to find something there, something similar to the point between my shoulder blades which is somewhere from which things emanate.

This is translated from Sanskrit or from Tibetan? The comment mentions tummo as if it were implied by the words of the text.

[shaberon]

Posted by Old Student (here)
If you write "e vam" vertically in Brahmi script, you have a triangle with a circle under it, and a line between them with a dot midway up. If you equate the male and female constituents of birth with semen and (menstrual) blood, instead of with sperm and egg for which you need a microscope, you get the rest of it. If you remember that Shiva is a lingam and associated with the moon, you get the moon and sun references.

We should get some good graphics for this. It can be hard unless you want Tibetan. I can remember what Om looks like, but, as soon as it goes to Hrim or something, I have great difficulty. I suppose it would be much easier if one is raised reading such a script. But we are supposed to get a lot of mileage out of this word, "therefor".

The note for E says:

According to the commentary on the same passage in the Vasantatilakā, this is a reference to the triangular shape of the dharmodaya present in the lower of these two cakras, and the shape of the uṣṇīṣa in the upper.


Almost sounds like it means the pineal gland, i. e. an upright triangle, just as in Jvala Mudra.

The lower triangle is supposed to be horizontal, though perhaps emanating vertically from a point, and I guess that would make a three-dimensional pryramid, so the two triangles are probably inversions of each other, much as if we say Cunda's Bowl appears to be Sitatapatra's Parasol, inverted.

It is interesting, this is a description of the blazing and dripping in that it explicitly mentions tummo. The later verses then talk about the semen flowing down and blood flowing up, and the generation of the bodhicitta. But notice the bliss at the throat, and its association with the moon.

The throat is said to have sixteen petals:

The sambhogakāya abides in the lotus with sixteen petals,
Whereas in the one with thirty-two petals,
Great bliss, as great gnosis,
Is situated throughout.

So, yes; Moon or White Bodhicitta in the throat = intense passion and Sambhogakaya. It is going to take this Bliss to engage the Great Bliss of the crown.

Sambhogakaya goes on a sexualized path to the Tip of the Jewel, and then when it enters Bhaga, it gains the nature of Sun and Nirmanakaya.

Bhaga, however, is equivalently the triangular fiery abdominal region--and so here I think it is talking about what we call The Vessel or Bharati. Otherwise it would mean physical semen into a woman. This may have its moments but is less likely the intention. Since the text already defines Bhaga or Agni Kunda tantricly, as the nice hot lotus around the navel triangle, this seems to mean White Bodhicitta has dripped into the navel region and mixed with the Red. The Fiery Woman rises one time to melt the guy, but, she is still hot, there waiting for him below.

There is Bliss, Great Bliss, Vajramrita Bliss, and Increasing Bliss. Just when you think you have found some, you can always get more! That is the terrific thing. Not more quantity but more quality as the subtle body is developed. It is difficult to have more quantity than unlimited/unceasing.

"Sixteen" is profound and no doubt related, having much to do with the Moon, and Sodashi = Tripura Sundari or Kurukulla, sixteen syllables being a representative group with Nairatma. A "mantric knot" lurks here.

During the end of last night's shaking, I was 'digging' at the area of my chest where my heart is.

Is that like the Sow rooting for her acorns?

I was pretty surprised to see the Earth Square allocated to the Heart.

I was surprised to see Vam moved into the heart and throat. But it is saying these chakras naturally have a similar shape to it.

I am finding something like the initial Vase Breathing is to make a "handshake" of the lower and upper winds, from their nearest positions, navel and heart. But as you go along, you begin pulling/merging them from more distant areas. That is much further than me. I am very basic.

This is translated from Sanskrit or from Tibetan? The comment mentions tummo as if it were implied by the words of the text.

Probably mostly Tibetan which had some Sanskrit such as the mantras:

This translation was produced by the Dharmachakra Translation Committee under the supervision of Chökyi Nyima Rinpoche. Wiesiek Mical prepared the Sanskrit edition, translated the text into English, and wrote the introduction. James Gentry then compared the translation against the Tibetan root text, the Sampuṭodbhava Tantra commentaries found in the Tengyur, and Wiesiek’s Sanskrit edition, and edited the translation. Dharmachakra is indebted to Dr. Péter Szántó for his help in obtaining facsimiles of some manuscripts and other helpful materials.

Correction:

The accompanying Sanskrit edition has been prepared based on several Sanskrit manuscripts, two of which, from the Royal Asiatic Society and the Wellcome Library, date to the eleventh century, and another one, from the Asiatic Society of Bengal, probably to the early twelfth century (see Szántó 2013). For the first two chapters of the text, the edition of the Sanskrit text of the Sampuṭa in Skorupski (1996 and 2001) was also used.


However the partial Japanese version which had "female lord" where the 84,000 text reads "Paramesvara" is from:

Tokyo. Tokyo University Library. Sanskrit Mss. Nos.
427-28. Samputodbhavasarvatantranidanamah kalpa­ raja. (Microfilm)

Maybe someone is reading the A wrong! Isn't that what this is about? Which witch is which?

What is going on between A and E Vam??



Samvarodaya is not thought to be the first written form of Chakrasamvara, which is Dakini Jala. However, its meaning and technique is "Source of Chakrasamvara", which does have definitive meaning according to an on-the-ground post about it:

Disi Puja

Newar Buddhists recently celebrated Disi puja. Disi Puja is a abbreviated form of Sambharodaya disi which is connected with Bodhisattva Manjusri and Ista devata Nairatma devi.

According to Svayambhu Purana, Lord Vagisvara Manjusri, who drained the Kalihrada Lake, was the founder of the Nepal Valley. He had a vision revelation (darsana) of the consort of the Adibuddha, the goddess of Perfected Wisdom, Nairatma (Guhyesvari), in her characteristic universal forms – both peaceful and wrathful - on the ninth day of the waning half of Marga. In order to commemorate this event, a large statue of her universal form was installed in Mrgasthali forest in Guhyesvari, Pasupati area. The day after having a vision of the goddess Guhyesvari's universal form,
Manjusri visualized Mahasamvara. On the occasion of receiving blessings from Mahasamvara, he performed an elaborate offering ceremony and received an empowerment of Vajra water from the sacred pool (Kunda) of Dharmodaya Guhyesvari.

Manjusri built this sacred pool (kunda) magnificently and according to the rules. To
commemorate this day, Newar Buddhists celebrate the Creation of Samvara with formal worship (Samvarodaya disi puja). Newar Buddhists revere Guhyesvari with great respect and devotion, and venerate her with distinctive rituals and ceremonies. Hem Raj Shakya, Sri Svayambhu Mahacaitya, p. In this festival, a sacramental food called Wisdom Food is partaken of, visualizing one may accomplish the wisdom and skillful means to perfect Buddhahood for the benefit of all sentient beings. This food is called Prajna bwon or Wisdom Food in Nepal Bhasa which contain two rice pancakes and the samay baji. The symbolic meaning of Samaybaji I have already described in my previous posting. But the practical and visualization aspect both are lost, the majority celebrate this festival merely for the merry making activity.


Chakrasamvara Practice in Nepal from Circle of Bliss says that the most important texts are Samvarodaya Puja, Tri-samadhi Puja, Vermillion Worship, and of course Vajravarahi. Only the senior-most Vajracharyas lead Disi Puja.



I looked in Swayambhu Purana for Annapurna and she is not there. So if anything, she is understood as Vasudhara. So I looked for her and she does not come in until Chapter Seven and then is in the rest of the chapters.

This area of the text appears to be an initiatory lineage from Vajracharya Santa Sri, who is, or who is being mentioned concurrently with Disciple Mahamati.

The subject deals with Dharmadhatu and Caitya--Stupa.

It mentions Vajradhrg which would mean Akshobhya Family.


The Swayambhu is often called Jyoti Rupa which comes up before Jagganath here:

jyotīrūpaṃ samācchādya caityaṃ karttumihotsahe|

tad bhavān trijagannātha kṛpayā me prasīdatu||150||


It perhaps means to get Manjushri into a stupa, and then it moves to the familiar Five Devas topic.

Now if we recall the Samputa passage about Fire opening the Space of Wind, that is why Vahni is a regular synonym for Fire:


vāyupure pratiṣṭhāpya vahnipuro'gnidevatā|

nāgapure ca nāgendro vasupure vasundharāṃ||157||



śāntipure mahāśrīmatsambaraṃ sugaṇaṃ tathā|

etān sarvān samārādhya sa ācārya yathāvidhi||158||


I do not know if Sambara here is Vrata--Vow as per the preceding text, or, if it is Chakrasamvara.

There are at least sixteen verses for Vayu, including Bhakti and Bhajan to Nandi.

It appears to reflex to Agni:

nīrogyaṃ śrīsamāpannaṃ kāmabhojyaṃ sadā bhave|

ye cāpyevaṃ samārādhya sagaṇāṃ vahnidevatāṃ||168||


And to Naga:

paripuṣṭendriyārogya mahāsaukhyaṃ sadā bhave|

ye cāpyevaṃ samārādhya sagaṇāṃ nāgadevatāṃ||170||


And to Vasudhara in their accent, connected with Bhava of Sampatti:

bhadraśrīratnasaṃpattikāmabhojyaṃ sadā bhave|

ye cāpyevaṃ samārādhya sagaṇāṃ śrībasundharāṃ||172||


And then speaks of Six Gunas and Six Dharma Samapattis of Caitya Manjushri.

Then there is a Vimala Atma of Bhadra Sri Sad Guna.

Vimala Atma of Parishuddha Indriya.

Four Brahma Vihara, Ten Bhumis.

Bhaskara or Radiance of Six Dharmas as the Pada of Sambuddha.


I am not sure how close this is to Durgottarini Dhruvam Arya Tara:

durggatiṃ naiva yāyāta kadācin kutracid dhruvaṃ||193||


At the end of the chapter, it tells us Sri Swayammbhu Dharmadhatu Vaigisvara Guptikrta or "Manjushri said this".



Chapter Eight is aimed at Bhupalas, such as Pisaci, Dakini, etc., and Vimala Atma of Tri-Ratna.

It has Gosringa Parvati's place.

It seems to give Jagganatha = Dharmadhatu and starts Pancha Deva again.

At 107 you find Maheshvari Khaganana.

Going through a process, it gives Vasudhara in a similar way to the last chapter:


tathā vāyupure vāyudevatāṃśca yathāvidhi|

agnipure'gnidevaṃ ca nāgapure phaṇeśvarān||134||



vasupure vasundhārāṃ saddharmmaśrīguṇapradāṃ|

śāntapure maheśānaṃ sambaraṃ sagaṇaṃ kramāt||135||


Perhaps Nagas = Water and Vasudhara = Earth; and it turns out the key component of this book is Fivefold Form pinned to Six Gunas, which I take to be Dhruvam.


And Khaganana appears again.

Nagas get a long workout with Karkotaka as the important one and mayavic speech:

vaksyate maya

The nagas then appear to be called Varuna's retinue.


Chapter Nine Vasudhara is the same formula with Wind, Fire, and Serpent.

Chapter Ten is the same formula and then you get Dharmodaya Devi Maheshvari Khaganana. It mentions Santikar Acharya, Samantabhadra, Sakya Simha, Nairatma, Nirvikalpa, Nisprapanca, Vinayaka, Caitya Manjushri, Swayambhu Jyotirupa, Sridatri Pranava Rupini.

Nandi seems to liberate from birth in the three worlds.

This Samaya has to do with Prasanna Dhrk, which is as if like making a Prasanna Family in Guhyasamaja Tantra.

The Vasudhara formula cycles again, and Khagana and Caitya Manjushri come in the same verse.

Utpatti shows up, so, this has achieved Completion Stage.

Then it looks like there is Refuge in Durga.

It may be that Bhadra Tara is generated from the merit of cultivating Swayambhu:

evaṃ bhadrataraṃ puṇyaṃ svayabhūṃbhavanodbhavaṃ|

natvā taṃ trijagannāthaṃ bhajadhvaṃ sarvadā mudā||153||


The chapter calls itself Dharmadhatu Swayambhu Utpatti.


So the whole thing is a tantra, but, it is not that much about Vasudhara. It is about Guhyeshvari. That is because Khaganana is her murti, and she is also Agni Yogini. In the Pithas, Khaganana is Tip of the Jewel.

In looking back over it I did not find any more "Basundhara".

Chapter One looks like it may be saying something about Bhiksuni Cunda:

vihāre vāsinī cūḍābhidhānī brahmacāriṇī|

arhantī bhikṣuṇī bhadrā saddharmmaguṇavāñchinī||112||


and Six Dharmas--Gunas is already right there.

The other keyword highlights besides Khaganana would seem to be Dhruvam (which sounds like Pentagram co-axial to Hexagram) and Prasanna. This may sometimes be an adjective but can also be a name.

suprasannāśrayā śuddhā kāṣāya cīvarāvṛtā|

divyapūjopacārāṇi samādāya pramoditā||113||


Su-prasanna or i. e., Bliss Prasanna is fairly standard.


Chapter Two has a Khagesvara which is unusual; it has Prasanna in relation to Sapta Ratna and to Great Fruit.

In Chapter Three, Mahadevi Khaganana Dharmodaya comes up right after Heruka Mandala; she comes up four more times, so, this is largely about her. It also looks like there is Manjushri with Samvari which makes Prasanna Atma. Prasanna is a somewhat frequent adjective here. In tantric terms, Guhyeshvari initiated Manjushri into the tantra--mandala--reality of Heruka Chakrasamvara, which is plain here.

Samvari is Vimala, and Vimala Atma also recurs in Swayambhu Purana.


In Chapter Four, Khaganana appears after Krakuchanda, and three more times related to Manjushri. There is a Prasanna Atma in the form of a song, and again in relation to Divine or Divya Amrita.

Chapter Six has a Prasanna Atma in what looks to be a "Root Door", Dvaramule, and eight pranas which follow mentally--manasa. Then, arguably, the name Dvaraka appears. Devi Kesini, a Manjushri attendant, stems from whatever this is.

The initiation or Abhiseka of Prasanna in the Vajradhrk terms follows. It deals with Twelve Syllables and Twelve Bhumis. Dharmasri Mitra and his Namasangiti explanation are referred to.

In Chapter Seven, Khaganana is Mahadevi Yoni Rupa. This is another Prasanna Atma, Their is a Jyotir one, and a Sraddha Bhakta, Prasanna Dhih.

Chapter Eight begins with Khaganana Bhajan.


So that is just glancing through it to see what it is actually about: Namasangiti, Khaganana, and Vimala and Prasanna Atma. This is not a Homa. It is more like a Tri-samadhi associated with one. Samputa did not seem to mention the Yellow Agni Samaya Sattva, which might roughly correspond to Agni Yogini. It did say you summon the normal Red Agni but, he may change color, or take on multiple colors, and may or may not have the presence of smoke.

Deities are capable of changing, such as Charchika changes "according to purpose", and we see there is a point in re-casting them with different numbers of arms, but this Agni has a considerably greater feel of you bring him, and "something happens". The same can be true of a Completion Stage mandala. As the Vajracharya said, samadhis may be of greater or lesser duration, depending on application or phase of the ritual. Overall, it appears you are trying to use "this" Agni to make "that" Annapurna, somewhere in which you may find the appearance of the 1,000 Arm Ista Devata; Varuni-->Khaganana-->Mamaki would make Guhyeshvari, or Parasol would make herself.


It is very weird that what looks like Prasanna in Samputa Tantra is called Heruki. But here we see a lot of Vajradhrk going in to Prasanna Atma and Prasannadhrk. Namasangiti and many of the explanatory Manjushris are in Vajra Family along with Prajnaparamita. Again it looks like there is a big interface between Vajra and Jewel Families, and another big interface between Lotus and Karma Families, but then the major Guhyeshvari is mainly made of Vajra and Karma. Prasanna Tara is perhaps the biggest Jewel Family Goddess. Guhyeshvari--Mamaki migrates from Vajra to Jewel Family.

Bereft of names the goddess is:

Dharmodaya

and the male deity is:

Dharmadhatu Vagisvara

an axis which makes--or, rather, activates due to potency and law--six powers in the cosmic egg.

This Purana strenuously calls them Gunas, and, Lakshmi uses Dual Divine Gunas. It is difficult and strange but has to do with Mirror.

The indication of Tara to cram "more" Prana into the praxis as per the Inverted Crescent combined with any notion that consciousness is intended to ride it out of the crown, if this rises, that is like saying "more" Vajradhatvishvari, which is Marici. She is highly akin to Vajravarahi and Cinnamasta. Power of Kumari; Vermillion Worship.

That class is weird since when they are Red they are Vairocana deities. But, they have a Jewel Family hypostasis, which is very significant in the Wrathful sense, and this has everything to do with Flame Tuft, whether as Shiva in Vinasikha which is in the Avadhut, or, the Buddhist Ratna Ketu or Flaming Crown. This latter is the portion which is the actual Equality Wisdom of Jewel Family which means Use of All Six Families--Gunas Equally; self-inclusive. Vasudhara is normally Jewel Family, and we see she has this capacity here. It is a process which is tantric Nectar in origin and "that" as consequence.

You melt enough Vajrasattva down through yourself, some day out comes this weird magical Agni which we had better hope is pretty stable.

[shaberon]

This Samputa Tantra has just been published last year. Besides finding its mantras and so forth, it turns out the Introduction is rather good, and here is the part that nips at what Samputa means, and that it is intentionally derived from Dakini Jala.

It is chiefly a compilation of eleven or so tantras and explains how Vajrasattva is a "bookworm" of it.

Manjushri is perhaps closer to the Source of it. It is as if he has been holding this practice until there were enough knowledgeable disciples for something like Dakini Jala to be writeable, whereas the specific Samvarodaya Tantra cannot be shown to be quite as old as that. And so we see in Swayambhu Purana that the whole national epic is based from Heruka Yoga and is an interaction with Guhyeshvari, mostly as Khaganana, i. e. her worshippable form, whereas Manjushri directly beheld her Universal or 1,000 Arm forms in Peaceful and Wrathful aspects. Khaganana was called Maheshvari, who is Ghasmari here in Samputa Tantra.

Although Swayambhu Purana writes the name various ways, Keith Dowman says they all have to do with Santikar Acharya and the Santipur (Akasapur) area around Swayambhu. He has to do with Amsuwarman and his daughter Bhrkuti, whose loom remains at the Sankhu Mahacina Vajrayogini temple.


The Acarya of Santipur is the lineage holder of the Sadangayoga (sbyor drug) of the Guhyasamaja, the six rDzogs-rim practices which lead, not to the Rainbow Body of the rNying-ma-pas, but immortality in a state of suspended animation, all outflows extinct.

As for the explanatory Introduction to Samputa Tantra:



Although a revealed scripture, the Sampuṭa does not fit the model of linear intertextuality particular to revealed literature, where a text is usually claimed to be a recap of its own (“now lost”) longer version—which, in turn, might have been only a summary of a still older and longer version. Instead, the Sampuṭa is a digest of earlier texts. The parts incorporated into the Sampuṭa, even when modified, always tend to preserve the meter, language (whether classical Sanskrit, Buddhist Hybrid Sanskrit, BHS influenced, or Apabhraṃśa), and style of the original sources, thus ruling out the possibility that it might have been the Sampuṭa that served as the single source for all these individual works. Moreover, some of these sources, having authors’ names given in colophons, are not revealed literature themselves. The Prajñopāya­viniścaya­siddhi, for example, was composed by the celebrated scholar Anaṅgavajra; the Vasantatilakā, by Kṛṣṇācārya; and the Vajrāmṛta­ṭīkā, according to its colophon in the Tengyur, by Bhago. As Szántó (2013) shows, the parts based on the last of these sources, the Vajrāmṛta­ṭīkā, have been adapted from being a commentary to being a dialogue between the Blessed One and his interlocutor, specifically to fit the conventions of a revealed scripture, with the Blessed One prompted to teach by his interlocutor. Apart from the Vajrāmṛta­ṭīkā, a few of the Sampuṭa’s other sources might have originally been composed as commentaries, and in places still preserve the typical commentarial style of what seem to be lemmata followed by glosses. This incorporated material constitutes more than half of the Sampuṭa’s content.

i.­5
Tradition does seem to allow for a compilation of extracts, or other such collated or composite forms, to be classed as revealed literature. We find an example of this in The Practice Manual of Noble Tārā Kurukullā (Tārā­kurukullā­kalpa, Toh 437),1 where we read:

For the sake of many beings, having extracted
Practices and methods from [previous] extensive tantras,
The Lord of the World taught this manual. (1.2 a–c)

In this verse, the act of forming a scripture based on earlier sources is attributed to the awakened activity of the Buddha’s sambhogakāya, presumably with the human compiler being merely the medium of transmission.

i.­6
In the case of the Sampuṭa, however, no such act of divinely inspired compilation is mentioned. Instead, the tantra is introduced as having been delivered by a sambhogakāya deity residing in the realm of nonduality—more precisely, in the bhagas of the goddesses of the vajra realm. The Sampuṭa starts with the usual words of an anonymous narrator, “Thus have I heard at one time,” followed by the description of the circumstances of this tantra’s original delivery. Such an opening, since it sets the narrative frame by stating the occasion and the reason for the delivery of the tantra—in this instance that it was requested by one of the assembled bodhisattvas for the Blessed One to teach, is termed the nidāna (foundation).

i.­7
In the specific case of the Sampuṭa, this conventional nidāna has a deeper layer, referred to as the “secret” nidāna, whose significance extends not just to the nature of the Sampuṭa’s contents, but also to its special position in relation to all Father and Mother tantras. This more fundamental nidāna is explained in the text soon after the “conventional” nidāna just mentioned. The secret nidāna seems to wave off any possible contradictions between philological and historical facts on the one hand, and its attribution as scriptural revelation on the other. Because of the special significance of the secret nidāna in the context of this tantra, the technical terms referring to it—sampuṭodbhava (emergence from sampuṭa) or simply sampuṭa—also function as the tantra’s titles.

i.­8
The conventional nidāna describes the circumstances particular to the Sampuṭa alone, namely the Blessed One’s entering a particular samādhi and delivering the Sampuṭa discourse in response to Vajragarbha’s request. The secret nidāna, however, is shared by all the tantras in the same group as the Sampuṭa. The Sampuṭa itself defines this class as “the Guhyasamāja, and so forth,” clearly referring to all Father and Mother tantras, since the Guhyasamāja is traditionally regarded as the original tantra in this combined group. And indeed, the teachings on sampuṭa and “emergence from sampuṭa” are central to this group. Since the statement of the secret nidāna follows in the Sampuṭa shortly after the conventional nidāna, that statement seems to be an explanatory gloss, as it were, for the conventional nidāna, implying that the two are one and the same. The conventional nidāna, with its esoteric scenario of the Blessed One residing in nonduality in a place of bliss, seems to be no more than a literary expression of the secret nidāna, which is the real and only one.

i.­9
This secret, shared “foundation of all the tantras” is defined in the Sampuṭa as being, alternatively, “sampuṭa whose nature is gnosis and skillful means,” or the fact of these tantras’ “emergence from [such] sampuṭa.” The Sampuṭa, since it shares the same nidāna with most of its source texts, in a sense also subsumes all these texts under its own conventional nidāna, thus dismissing the relative facts of their individual philological histories.

i.­10
What is sampuṭa then? This important term, central to the Sampuṭa and other tantras in its class, can be understood on different levels. The word itself denotes any spherical hollow space, and especially the space enclosed between two bowls or round vessels. The notion it thus evokes is the union of two elements, with a protected or special space created by their union. This notion is perhaps the basis for the esoteric interpretation of sampuṭa—a nondual, awakened state of mind produced by sexual union. The Sampuṭa sums up this state in this way (10.­46 et seq.):

i.­11
When the vital powers of the coupling pair combine,
Their bodies, speech, and minds likewise coalesce. {10.4.10cd}
By this means they attain identity with the deity,
Thus becoming reflections of the Victorious One, devoid of all forms. {10.4.11ab}

i.­12
As the “coupling pair” conceive of themselves as deities, sampuṭa can be regarded as a nondual, blissful awareness as expressed by the sexual union of Heruka (whether Saṃvara or Hevajra) and his consort. All these esoteric connotations, however, boil down to the union (sampuṭa) of emptiness (female) and compassion (male), or gnosis and skillful means. The cultivation of this nondual state (sampuṭa) is the central theme of the Father and Mother tantras, with the former laying the theoretical foundation for the processes that occur in the body by explaining the subtle body with its channels, winds, and drops, and the latter shifting the emphasis to consort practice with its powerful dynamic. Whatever the exact method, the result of this practice is the recognition of the ever-present (but mostly unrecognized), blissful, nondual wakefulness, in which emptiness and compassion are an indivisible unity.

i.­13
Lastly, as the Sampuṭa tells us, sampuṭa—or its realization—may be seen as the deity Vajrasattva. This realization is the aim of the profound practices taught in this tantra, a teaching that has itself emerged from sampuṭa. The “sampuṭa” nature of Vajrasattva has been poignantly expressed (without, however, mentioning sampuṭa explicitly) in the opening verse of the first known tantra of the Saṃvara cycle, the Sarvabuddhasamāyoga:

rahasye parame ramye sarvātmani sadā sthitaḥ |
sarvabuddhamayaḥ sattvo vajrasattvaḥ paraṃ sukham || SBS 1.1 ||

i.­14
The gist of this famous verse, repeated in the subsequent (uttara) and analyzed in the explanatory (vyākhyā) tantras of the Saṃvara cycle, can be regarded as the cornerstone for the doctrine of supreme bliss, most salient in this cycle and also in all the Mother tantras represented in the Sampuṭa. The above verse defines Vajrasattva, who “comprises all buddhas” (sarvabuddhamayaḥ), as “supreme bliss” (paraṃ sukham). As such, he is “ever-present” (sadā sthitaḥ) as the “secret and supremely blissful nature of all beings/things” (rahasye parame ramye sarvātmani). The prevailing exegesis interprets “secret” as referring to Vajrasattva/Saṃvara’s indivisibility from the ḍākinīs (because of which he is called Ḍākinī­jāla­saṃvara, “Saṃvara of the Host of Ḍākinīs”). The varied interpretations, linguistic and otherwise, of Vajrasattva/Saṃvara’s connection with the ḍākinīs are too many to present here. The ḍākinīs, however, are usually interpreted as the movement of vital energies in the subtle channels, which brings us to the secret and profound practices that also include sexual yoga.

i.­15
Since the union called sampuṭa is imbued with every potentiality and is infinitely creative, it is only natural that the teaching on sampuṭa must also include that which arises from it, in other words, the “emergence from sampuṭa” (sampuṭodbhava), which is both the title and also the central idea of the present tantra. But just as sampuṭa can be defined in more than one way, so too can sampuṭodbhava. In the most general sense, this “emergence” may comprise all animate and inanimate things. Inversely, as these entities arise from sampuṭa, sampuṭa is their intrinsic characteristic (lakṣaṇa). This perspective naturally applies to all the Father and Mother tantras, themselves an emergence from sampuṭa, an expression of sampuṭa, and a teaching on sampuṭa. In a more specific sense, “emergence from sampuṭa” could also be seen as the arising of the meditative absorption of sampuṭa, wherein its two defining elements of emptiness and compassion arise as gnosis and skillful means respectively.

[Old Student]

Sorry for the late reply, we are trying to move mountains -- cleaning up clutter of many years and it is slow and a lot of lifting.

We should get some good graphics for this. It can be hard unless you want Tibetan. I can remember what Om looks like, but, as soon as it goes to Hrim or something, I have great difficulty. I suppose it would be much easier if one is raised reading such a script. But we are supposed to get a lot of mileage out of this word, "therefor".

The symbol for "va" in Brahmi is universally a circle with a vertical line coming up from the top of it, like an upside down lollypop. The anusvara for Brahmi is a single dot, usually next to the character, in the case of "vam" it is next to the vertical line.

The "e" is more complicated to figure out. All compilations of Brahmi script show "e" as a triangle. Depending on which compilation (because they are made by looking at the characters in particular documents, a favorite is carvings at the bottom of pillars of Ashoka), the triangle has its base on the right or left and its peak facing left or right, or it is base on the bottom pointing up, and in at least one document it is pointing down, but that author thinks that is an "e-a". But all others put a tick mark on the upper left of the triangle to do 'e-a' so probably this downward pointing one is again an 'e' and the 'a' is a tick mark the author didn't notice or was worn away.

My guess is that it's a triangle, and it points however is desired in the circumstances, so that's why I said 'e-vam' written vertically can be a triangle (pointed however is needed) with a line down to a circle with a bindu dot next to the line.

The throat is said to have sixteen petals:

The sambhogakāya abides in the lotus with sixteen petals,
Whereas in the one with thirty-two petals,
Great bliss, as great gnosis,
Is situated throughout.

So, yes; Moon or White Bodhicitta in the throat = intense passion and Sambhogakaya. It is going to take this Bliss to engage the Great Bliss of the crown.

Sambhogakaya goes on a sexualized path to the Tip of the Jewel, and then when it enters Bhaga, it gains the nature of Sun and Nirmanakaya.

Bhaga, however, is equivalently the triangular fiery abdominal region--and so here I think it is talking about what we call The Vessel or Bharati. Otherwise it would mean physical semen into a woman. This may have its moments but is less likely the intention. Since the text already defines Bhaga or Agni Kunda tantricly, as the nice hot lotus around the navel triangle, this seems to mean White Bodhicitta has dripped into the navel region and mixed with the Red. The Fiery Woman rises one time to melt the guy, but, she is still hot, there waiting for him below.

There is Bliss, Great Bliss, Vajramrita Bliss, and Increasing Bliss. Just when you think you have found some, you can always get more! That is the terrific thing. Not more quantity but more quality as the subtle body is developed. It is difficult to have more quantity than unlimited/unceasing.

"Sixteen" is profound and no doubt related, having much to do with the Moon, and Sodashi = Tripura Sundari or Kurukulla, sixteen syllables being a representative group with Nairatma. A "mantric knot" lurks here.

So I do think this works with what I had said before, and it certainly is close to some of my shaking, except that the bliss at my throat is sometimes tinged with nausea, or is just pure nausea. I know that doesn't sound 'close' but it is.

However the partial Japanese version which had "female lord" where the 84,000 text reads "Paramesvara" is from:

Tokyo. Tokyo University Library. Sanskrit Mss. Nos.
427-28. Samputodbhavasarvatantranidanamah kalpa­ raja. (Microfilm)

Maybe someone is reading the A wrong! Isn't that what this is about? Which witch is which?

What is going on between A and E Vam??

So if that one source was actually correct, A would take the triangle in E Vam and point it downward. Not sure if that is what is supposed to happen.

Is that like the Sow rooting for her acorns?

I was pretty surprised to see the Earth Square allocated to the Heart.

No, it's more like a badger or some other animal with very long claws, wolverine, badger, bear or something, pawing and clawing at the dirt. That at least once became sharp flaying knives cutting and peeling back, which looked vaginal like the way a Georgia O'Keefe painting of a flower does, but the association was of charnel.

[Old Student]

The Acarya of Santipur is the lineage holder of the Sadangayoga (sbyor drug) of the Guhyasamaja, the six rDzogs-rim practices which lead, not to the Rainbow Body of the rNying-ma-pas, but immortality in a state of suspended animation, all outflows extinct.

This is something I'm not sure I understand, why someone would prefer this to the Rainbow Body. It seems more like a peculiar kind of attachment.

As the “coupling pair” conceive of themselves as deities, sampuṭa can be regarded as a nondual, blissful awareness as expressed by the sexual union of Heruka (whether Saṃvara or Hevajra) and his consort. All these esoteric connotations, however, boil down to the union (sampuṭa) of emptiness (female) and compassion (male), or gnosis and skillful means. The cultivation of this nondual state (sampuṭa) is the central theme of the Father and Mother tantras, with the former laying the theoretical foundation for the processes that occur in the body by explaining the subtle body with its channels, winds, and drops, and the latter shifting the emphasis to consort practice with its powerful dynamic. Whatever the exact method, the result of this practice is the recognition of the ever-present (but mostly unrecognized), blissful, nondual wakefulness, in which emptiness and compassion are an indivisible unity.

I had a sort of success with the dream yoga last night. I woke and shook several times and before each time, and when I initially went to bed, I tried to progress through the four visualizations from Tenzin Wangyal Rinpoche's book -- first the red lotus at the throat with an A on it, then the white tigle at the ajna, then the black HUNG at the heart, then the black tigle at the perineum -- i.e. when I first went to bed I did the throat, when falling asleep after the first shaking, the white tigle, etc.

I had dreams before each shaking, the first was a 'normal' except for being vivid dream, the second (waking after sleeping after white tigle), was extraordinary, an entire Kundalini awakening experience within a dream and conscious of being in the dream (but not, I think, what they call 'lucid' because I didn't control it), ending in just a huge luminosity that was rainbow at the edges and gold inside. The third, climbing down from my throat to my heart as if it were inside a bell tower and an enormous 'Tock' sound, the forth a lesser luminous thing that turned into a series of 'vision thoughts' about the thing at my chest. During two of the shaking periods there was more clawing at my chest -- this time there was a vision of a forest or glen there, which later seemed like a mirage from looking into a green jewel.

I don't know whether I'm actually headed for all the 'lucidity' that this author and others talk about in the dreams, they seem more like they are being 'purposed' to be used in my shaking, when I wake into shaking, the very first thing is to check the dream for 'portability' and 'usefulness' (which has nothing, apparently, to do with the content of the dream, but more where it is in my 'being' when the shaking starts.

Hope that wasn't a confusing mess, the thing at my chest seems to be some kind of 'plant' version of the familiars directly opposite that place on my back.

But in terms of all these things we have been discussing, the dirt and the green at my heart seems to conform with at least what some of the texts have for there, and the 'feel' seems right.

[shaberon]

Posted by Old Student (here)
Sorry for the late reply, we are trying to move mountains -- cleaning up clutter of many years and it is slow and a lot of lifting.

Understandable, same here, except this really isn't productive or actually doing it...I guess they expect mountains to move themselves.

I am not very versed in different scripts; Evam does not seem to have an unusual appearance in Devanagari:

evam एवम्

According to an artist, there is a Tibetan Evam, and a lesser-known one that he learned in Sikkim called Wartu Sanskrit, similar to Lantsa:






Visible Mantra picked up on it and made several scripts, Siddham,. Lantsa, Tibetan, Devanagari:








(Siddham stack)



"However in the Hevajra Tantra (ca. late 8th century) this first word takes on esoteric significance. I think this is largely related to the shape of the Siddhaṃ script letter 'e' which is an inverted triangle which in the Hevajra becomes a yoni symbol..."

Well, it was probably prior to that, especially if there is any inkling they are dealing with a pre-Indic writing, it is hard to put a time stamp on it.

He then used Brahmi script to post a version of "Causation Formula" which he posted on Flickr, was told by a critic that he wrote ivam instead of evam. He corrected the image and said, nevertheless, it was a script you could take "artistic license with", and was told by the critic:

There are lots of variants in Brahmi . You can flip the characters, turn them upside down and do whatever u want, & still not claim artistic license at all !

The author of the reply has put up a Tamil Brahmi alphabet, several Buddhist credos, including Causation, and says there is a font that trivially converts Devanagari to Brahmi.

The Brahmi script cannot be viewed from here, but, there are some samples of it.

"Sixteen" is profound and no doubt related, having much to do with the Moon, and Sodashi = Tripura Sundari or Kurukulla, sixteen syllables being a representative group with Nairatma. A "mantric knot" lurks here.


So I do think this works with what I had said before, and it certainly is close to some of my shaking, except that the bliss at my throat is sometimes tinged with nausea, or is just pure nausea. I know that doesn't sound 'close' but it is.

I can believe it although have not experienced it.

Because different people have wildly variant "Muscle Memories" and different mental symptoms of "knots", that is the real place for a Guru or Vajracharya, whereby they "personalize" instructions rather than having a "one size fits all". I don't think nausea is associated with any of the teachings or rites, and so whether it is a type of blockage or barrier that has presented itself to you there, seems likely. Yes, it is entirely possible to get this huge fireball going, and, it can exacerbate standing problems, could give you permanent hiccups or something, and you have to deal with whatever odd thing is going on that may not have been specifically elucidated in the growth of Vajrasattva.

There might be a potion or pill about nausea, maybe even right there in the Samputa, and certainly deities intended to remove illness. Interestingly, Ghasmari is in the original Dakini Jala as the bearer of Agni Kunda--but, in the slightly more advanced Hevajra-style retinue, she has Bhaisajya--Medicine. Anyone who can really "get" Medicine Buddha is awesome. But no matter how you slice it in Buddhist tantras, the "final" Nectar also has the aspect of long life--removal of illness.

On this subject, I am like H. H. D. L. about depression. He does not understand that; I do. Conversely, I am nearly useless about physical things where the body has pain or disease, because I just don't know what any of that is like.

Also, if you can expand to the categories of "Sixteen", I cannot. I am sort of limited to Eight. I can understand Eight Joys because I have experienced them, and, mentally, I can process a retinue ring of Eight. But I was raised believing there are five vowels, and not using the Moon as a timer. And so Sixteen is still a bit big for me, and why it may only have Fifteen Yoginis like the syllable Ksa gets re-located out of the alphabet are even more intricate subtleties hard for me to do much besides note their existence.

That being said, I am a total adherent of Sambhogakaya in the way it has been described there.

it's more like a badger or some other animal with very long claws, wolverine, badger, bear or something, pawing and clawing at the dirt. That at least once became sharp flaying knives cutting and peeling back, which looked vaginal like the way a Georgia O'Keefe painting of a flower does, but the association was of charnel.

So you are saying an aggressive animal, and that its activity around such "heart dirt" is like killing Enemies. Such as if charnel then if you have a Fresh Head, it means a Freshly Slain Enemy, and so on.

Well normally we say Vajra Family governs the heart, and, Vajra Family is not exclusively wrathful, but, is responsible for the major frenzying burst of wrathful experience which in tantric terms is considered necessary for Tummo, which is still wrathful and carries forward as such. The heart usually has eight petals, related to the Cemeteries and to Asta Vijnana, and to Eight Directions without the vertical axis.

Concerning the Earth Square, I cannot say it is not the heart, except none of the other sources seem to attribute Water Circle to the abdomen; Circle is supposed to be the Dharmacakra or Heart, to which, we would be forced to say the Earth Square is the direct child of it, but, "where" it is, was not said.

What may be confusing to people is that the Inverted Stupa is not the chakras, it is a process applied to them. Nirmana Chakra "is" the Earth Chakra, but, it gets showered by the process of Fire. The Throat "is" the Fire Chakra and it applies the process. Nothing about the Throat or the Head is really shown by the Inverted Stupa, their meaning and use being implicit in the instructions, as it were.

[shaberon]

Posted by Old Student (here)
This is something I'm not sure I understand, why someone would prefer this to the Rainbow Body. It seems more like a peculiar kind of attachment.

The power of it.

It is very arcane and I believe for most of us, we should accept those two kinds of conditions as contemporaneous or co-existent during the course of their development.

If we look at most of our Buddhist saints, they lived eighty years or so, and passed on in an unusual way, Rainbow Body.

Suspended animation has been known in yoga for countless ages; it has been reported in relatively modern times as lasting over fifty years in some cases.

The main physical immortal is Parasu Rama.

The Tibetan Delok tradition is suspended animation. Mahatma Koothoomi was described as doing his "last but one" initiation in suspension for three months. According to HPB, this would be the method of "Cinnamasta tantrikas".

Santikar Acharya was considered as living underground for some outrageous number of years and may still be.

If Manjushri is like Source Chakrasamvara, Santikar is perhaps the source for its Tibetan transmissions. The age of the written Dakini Jala is probably pretty close to his "lifetime", or, at least, his public interaction.

It is like Jivanmukta, liberation while living, rather than liberation at death.

first the red lotus at the throat with an A on it, then the white tigle at the ajna, then the black HUNG at the heart, then the black tigle at the perineum -- i.e. when I first went to bed I did the throat, when falling asleep after the first shaking, the white tigle, etc.

Ajna = Om and lower center = Ksa?

Red lotus = Four Dakinis centered on A--Vajrasattva or Manjushri?

During two of the shaking periods there was more clawing at my chest -- this time there was a vision of a forest or glen there, which later seemed like a mirage from looking into a green jewel.

the thing at my chest seems to be some kind of 'plant' version of the familiars directly opposite that place on my back.

But in terms of all these things we have been discussing, the dirt and the green at my heart seems to conform with at least what some of the texts have for there, and the 'feel' seems right.

I can tell you there is only one Forest Pure Land.

That is where I am going, but more like a Delok.

Verdance has only one meaning to me, which is from Khadira to Mahasri Tara. If it was Vasudhara, it would seem a bit more agricultural, would have more of a grain or fruit theme, whereas Tara is arboreal, trees, vines, flowers, etc., particularly green, bluish green, and yellowish green. Hevajra's Ghasmari is yellowish green.

Forest, overall, can also simply be considered the domain of Sabaris and the slope of Mt. Meru where you want to hear their tinkling bells.

It, perhaps, all is a mirage from a green jewel, but, is stable and useful.

Green Tara is not particularly associated with the heart center, but, as much as the digging/clawing is similar to "loosening knots", that part is in the domain of her Activity. It also sounds like opening pathways such that your momentum can leap into the head and then rebound and descend.


In a few things we looked at recently, we found that what looks like the root name for modern Cambodia was oringally an area towards Kabul, and that, in Swayambhu Purana, Vasudhara's Sampatti is related to Kamabhojya. This slightly extended spelling must be quite rare but is mentioned by an ardent devotee of Indian history:

Today we are told about Persians as a Different civilization because most of knowledge of Persia comes from Greeks. They re-named Persian Emperors like Kurush (As Cyrus), Kambhoja (As Cambysses) So on.. If you look into their real Persian names, Persian King names are very similar to Sanskrit. Kurush is derived from Kuru - Eesha (A Relation to Kuru Clan of Ancient India). Kambhoja is derived from Kama - Bhoja (A Reference to Bhoja Clan which might have been involved in Sexual misadventures). Bhoja were Ancient Warrior Clan of Bhaarat.


I am not sure that any other interpretation applies here. I am not sure we can retrofit it to a more familiar Jewel--Bodhyanga. It would probably be pronounced about the same, but, the latter almost always appears the same in stock phrases like Sapta Ratna Bodhyanga. Why the historical royal claim would be important, I am not sure, but this seems to be all there is to it.


Here is another example from Samputa that is like a "coded siddhi":

“The twenty-seventh method;

“He should draw a wheel with eight spokes in the center of a moon disk. In the divisions he should draw, in short, a vajra scepter, a banner, an axe, a trident, a noose, a double vajra scepter, [F.133.b] a khaṭvāṅga, and a goad. In the center of the circle he should draw a full moon disk and, in the center of this moon, he should write, “May such and such a man and such and such a woman obtain a son.” In the hub of the wheel he should write the following mantra:

“Oṁ, Maṇidharī! Vajriṇī! Mahāpratisarā! Hūṁ hūṁ! Phaṭ phaṭ! Svāhā!669 {7.3.74}

7.­206
“Then, in the center of a moon disk, he should write this mantra:

“Oṁ, Amṛtavilokinī! Protectress of the womb! Summoner of the being to be born! Hūṁ hūṁ! Phaṭ phaṭ! Svāhā!670 {7.3.75}

7.­207
“If he writes this mantra on birchbark using saffron and bovine orpiment while the moon is in the asterism of Puṣya, and wears it, he will obtain a son. {7.3.76}


Here, the root name Vilokini has no other meaning than a retinue member of Padmanarttesvara. Then, in Sadhanamala, it has only one form of repetition--which is the thing just mentioned, which is the weird Pancha Raksa 206:

oṃ amṛtavilokini garbhasaṃrakṣaṇi
ākarṣaṇi huṃ huṃ phaṭ phaṭ svāha

except that it is actually Maha Mayuri. So the moon-based charm is addressing both Pratisara and Mayuri. This Mayuri is in Jewel Family, arises from Mam and is on a sun disk, so, modestly similar to Marici. After her is the freakish Mantranusarani that is also in Jewel Family. Three-quarters of the retinue ring concern Amrita until Sitabani is Bhara Sambhara.

Is it about the anthropological meaning of fertility and childbirth, not really, it is more that Generation Stage is as fetal development, whereas Completion is really "complete", i. e., birth of a son or complete working unit in Heruka Yoga terms.


Similarly, Ganapati is probably not that much of a weather manipulator since Mt. Meru is esoteric and, from studying Ganapati Hrdaya, we found the following Dancer Ganesh as among his most important or Maha Ganapati form which has entered the throat and contacted his consort Prana Shakti and meditation on the Maha Bhuts, which is tantric transformation.

“The twenty-third method;

“He should draw Mount Sumeru with its eight spurs, adorned on top with a crossed, three-pronged, crossed vajra scepter. The spurs should be marked, in the corner areas of the yantra, with the syllable naṁ, and each enclosed by a pair of hūṁ syllables. He should write the four words alakta, kata, vāya, and māṃsaṃ between each two cardinal directions, starting from the northeast. He should surround all this with a circular line, and at its center draw Gaṇapati. He should be depicted in the form of the lord of dance, with a dish of sweetmeats and a rosary in his right hands, a three-pronged vajra scepter and a leaf-crowned radish in his left hands, seated on a lotus, and riding a shrew. {7.3.67} [F.133.a]

7.­199
“The mantra to recite is:

“Hūṁ gaḥ hūṁ hūṁ gaḥ gaḥ hūṁ! Please send rain! Hūṁ gaḥ gaḥ hūṁ! {7.3.68}

7.­200
“He should write the short version of this mantra on the elephant god’s forehead, chest, hips, and above the navel. If he draws this on unbaked earthenware using blood from his ring finger mixed with the three pungent substances, and heats it in a fire of cutch-tree wood, it will definitely bring rain—it cannot be otherwise. If he draws the same, but with orpiment instead on the inner surface of the earthenware, and then heats it over fire, he will stop the rain. {7.3.69}

It is followed by his Yellow Paralysis mode.

But he is using Heat in relation to Moisture, and so, if thought of in terms of Tummo versus the watery components of the body and of the sadhanas, that is how it would work in terms of Inner Homa.

As to the accuracy of the Samputa's Sanskrit, when it comes up, they use the Puranically-concordant mantra Sumbha Nisumbha, rather than the common Tibetan Sumbhani Sumbha which confuses this.

Standing alone, intended as a female Sumbha, is Herukasamnibha, she is Sumbhani, who, here, is Dipta Samaya. Similar to Diptachakra, the light blue consort of Vajrakilaya. Since this has to do with the base of the spine, then, this Nadir or underworld goddess is arising, related to Serpent and Noose and Aparajita.

Jnanadakini has Vajradiptateja in her retinue, who is apparently the Buddhist Aim syllable. Her other attendant, Cusini or Cusani, is "an attendant of Durga", a Hora goddess in Vajradaka, or:

Cūṣaṇīya (चूषणीय):—[from cūṣ] mfn. what may be sucked

Anna (अन्न) refers to “food” classified into six kinds according to the Vālmīki-Rāmāyaṇa Ayodhyākāṇḍa 94.20.—Vālmīkirāmāyaṇa gives us a five-fold classification of food items, which are:—

bhakṣya - to be eaten
bhojya - eaten without mastication
lehya - to be licked
coṣya - to be sucked
peya - to be drunk

Spelled as her name, probably means she is the subject who is doing the sucking, not the object.

These Hora goddesses are used around the Panch Amrita Offering to the Five Dakinis. Interestingly, Cusini is the last, the end. Shortly before her is Kamboji. The thing includes female Vinayaka, and Aparajita is at twelve o'clock.

Sambhara as used in Sitabani's mantra has to do with "requisites", Punya and Jnana, Merit and Knowldedge. It is a "full load" (of wood, pregnancy, etc.), similar to Sampanna, "fully ripened".

It is used in a general, mundane sense in a 100,000 Samadhis from Prajnaparamita, which then hints at Lion's Sport (Simha Vikrdina):

What is samādhi? It is the fixing on one point of a good mind (kuśalacittaikāgratā), the immobility of the mind (cittācalatā).

There are three kinds of samādhis: i) samādhi with vitarka (investigation) and vicāra (analysis); ii) samādhi without vitarka but with vicāra; iii) samādhi with neither vitarka nor vicāra.[1]

There are four other kinds of samādhi: i) samādhi connected with the world of desire (kāmadhātvavacara); ii) samādhi connected with the world of form (rūpadhātvacara), iii) samādhi connected with the formless world (ārūpyadhātvacara); iv) samādhi not connected with anything.

Here it is a question of the bodhisattva samādhis that have already been mentioned. They are not as complete (paripūrna) as those of the Buddhas. The bodhisattvas produce them (abhinirharanti) by the practice and cultivation of effort (prayatna).

Question. – Why do the bodhisattvas produce (abhinirharanti) and play with (vikrīḍanti) these [110c] hundred thousand samādhis?

Answer. – Beings are innumerable (apramāṇa) and the functioning of their minds (cittapravṛtti) differs: some have sharp (tīkṣṇa) faculties, others have weak (mṛdu) faculties; the fetters (saṃyojana) are heavy among some, light among others. Therefore the bodhisattvas use the hundred thousand kinds of samādhis to cut through the disturbances of the passions [among beings]. Thus, those who wish to enrich the poor (daridra) must first gather all sorts of wealth (vasu) and provisions (saṃbhāra) to be able then to go and help the poor; those who wish to cure sick people (vyādhita) must first prepare all kinds of drugs (bhaṣajya) to be able then to cure the sick. In the same way, the bodhisattvas who wish to save beings use hundreds of thousands of samādhis.

Question. – Why are they not content with just producing (abhinirhāra) these samādhis, but they also play (vikrīḍana) with them?

The bodhisattvas who produce these samādhis amuse themselves by entering into (praveśa) and emerging from (vyutthāna) them; this mastery (vaśita) of the samādhis is called play (vikrīḍana). This play is not attachment to desire (tṛṣṇābandhana); it is a mastery (vaśita). Thus the lion (siṃha) who appears as a fearless sovereign (īśvara) among gazelles (mṛga) is called mṛgarati (the one who plays with the gazelles). In the same way, these bodhisattvas who have mastery of these samādhis go in and out of them at will. [Other people do not have such mastery over the samādhis]: some enter into them at will but remain there and do not emerge easily; others remain there at will but do not enter and emerge freely; others enter and remain freely but do not emerge easily; finally, others remain and emerge at will, but do not enter freely. Because the bodhisattvas have the threefold power over these samādhis of entering, remaining there and emerging at will, the sūtra says that they produce a hundred thousand samādhis and play with them.


Similarly to Sampanna, Nispanna is the term for Completion Stage. It is in a relatively simple Kurukulla, the only one and only thing in the book attributed to Indrabhuti.

Backwards, check out her warrior stance gatekeepers first:

pūrvadvāre vajravetālīṃ lambodarāṃ
vikṛtamukhīṃ raktavarṇāṃ akṣobhyamukuṭāṃ dakṣiṇahastābhyāṃ
tarjjanyaṅkuśadharāṃ vāmakarābhyāṃ vajraghaṇṭāpāśadharām,

dakṣiṇa-dvāre aparājitāṃ pītavarṇāṃ ratnasambhavamukuṭāṃ dakṣiṇa-
hastābhyāṃ daṇḍāṅkuśādharāṃ vāmahastābhyāṃ ghaṇṭāpāśadharām,

paścimadvāre ekajaṭāṃ kṛṣṇavarṇāṃ ūrddhvakeśāṃ lambodarāṃ
dantāvaṣṭabdhauṣṭhāṃ amitābhamukuṭāṃ dakṣiṇakarābhyāṃ vajrā-
ṅkuśadharāṃ vāmakarābhyāṃ ghaṇṭāpāśadharām,

uttaradvāre vajra-gāndhārīṃ kanakaśyāmāṃ amoghasiddhimukuṭāṃ vikṛtamukhīṃ
lambodarāṃ dakṣṇabhujābhyāṃ khaḍgāṅkuśadharāṃ vāmabhujābhyāṃ
ghaṇṭāpāśadharāṃ cintayet /

Her inner ring is one of the few retinue appearances of Cunda, in Ishana or the same direction she has in Manjuvajra mandala. These independent Taras have all been placed in Kurukulla form:

pūrvvadale prasannatārāṃ dakṣiṇadale niṣpanna-
tārāṃ paścimadale jayatārāṃ uttaradale karṇatārāṃ aiśānadale
cundāṃ āgneyadale aparājitāṃ nairṛtyadale pradīpatārāṃ
vāyavyadale gaurītārāṃ ca dhyāyāt /

So you have to "have" Prasanna in order to start this, she directly leads to Completions Stage, and then you must be working within that to achieve several further purposes up to Gauri.

That is the one with two Aparajitas, and not even Lotus Family Ekajati has a Chain. It is an Eight Arm Kurukulla who is mild, youthful, and compassionate.


Concerning "Six Gunas", it is similar to the attributes of Sadguna Brahman. Iy is like a doubling of the ordinary Gunas of the Tri-Shakti, Tamas, Rajas, and Sattva, having become interlaced with the second or male triangle. In Lakshmi Tantra, they are elaborated, but, the basic group is the Vyuha or Magical Array as used in Buddhism:

During the first phase of the manifestation of the universe (Śuddha-sṛṣṭi), the six attributes of the Supreme Being make their appearance. These six attributes together form the "body" of the Supreme Being who gets the name vāsudeva thereby.

jñānam,
aiśvarya,
Śakti,
bala,
vīrya,
tejas.

In their totality these six qualities form the "body" of the Highest Being—God Vāsudeva and His consort Lakṣmī. (ṣaḍguṇa-vigraham-devam). The Pancarātra teaches a chain of other emanations proceeding from these six qualities, each one originating from the one before, just as one flame proceeds from another flame. The primary emanations are known as Vyūha.

[shaberon]

The compilers of Samputa Tantra told us the first line of Dakini Jala was "famous", so I tried to see how.

It is quoted by David Gray in note 100 shortly after telling us that Candamaharoshana begins with Vajrasattva in the Vagina of Vajradhatvishvari.

Laghutantratika has:

rahasye ḍākinīguhye sarvātmani sadā sthitaḥ|
sarvadūtīmayaḥ sattvo vajrasattvo mahāsukhaḥ|| [6]



Chakrasamvara has:

uttarādapi cottaraṃ ḍākinījālasaṃvaram |
rahasye parame ramye sarvātmani sadā sthitaḥ || 2 ||

and in another area seems to equate "rahasye parame" with Heruka Yoga.

It is in Caryamelapakapradipa in an easy-to-find sectional view, or on one page where the beginning suggests it is a Khasama tantra. It is an Aryadeva Guhyasamaja commentary: Lamp for Integrating the Practices. One can check, but he almost certainly just melded Sadanga Yoga to the Abhisambodhis there.

It occurs partially in Vajradaka Chapters Eleven and Fifteen, which are the Subtle Body Yoga, which culminate in Mrtyu Vacana or Cheating Untimely Death.


As it turns out, Dakini Jala is not lost, it is, of course, "on the shelf" for those who have access, and Szanto gave a more complete beginning of it which is just "sanskrit notes" from a talk in Munich.


Sarvabuddhasamāyogaḍākinījālaśaṃvara [< Paramādya , Tōh. 488]

rahasye parame ramye sarvātmani sadā sthitaḥ |sarvabuddhamayaḥ sattvo vajrasattvaḥ paraṃ sukham || 1.1

asau svayaṃbhūr bhagavān eka evādhidaivataḥ |sarvabuddhasamāyogaḍākinījālaś(/s)aṃvaraḥ || 1.2

na rāgo na virāgaś ca madhyamā nopalabhyate |sarvastrīmāyamudreyam advayaṃ yānam uttamam || 1.3

sarvāsām eva māyānāṃ strīmāyā praviśiṣyate |prakṛtyaiva hi sā siddhā prabhāvena svabhāvataḥ || 1.4

anayā striyas triloke 'smiṃ gauravyam upayānti hi |duścāriṇyo pi sidhyante sarvalābhasukhotsavaiḥ || 1.5




tam ahaṃ kalpayiṣyāmi sarvabuddhātmaś(/s)aṃvaram |ātmasādhanam atyantaṃ sarvabuddhātmaś(/s)aṃvaram || 1.19

ātmā vai sarvabuddhatvaṃ sarvasauritvam eva ca |svādhi daivatayogena tasmād ātmaiva sādhayet || 1.24

anena sarvabuddhatvaṃ sarvasauritvam eva ca |sarvavajradharatvaṃ ca sidhyatehaiva janmani || 1.25


svam ātmānaṃ parityajya tapobhir na ca pīḍayet | yathāsukhaṃ sukhaṃ dhāryaṃ saṃbuddho 'yam anāgataḥ || 6.80

sarvayogopabhogais tu ramadhvam akutobhayāḥ |mā bhaiṣṭa nāsti vaḥ pāpaṃ samayo duratikramaḥ || 6.8




Ramye is not particularly common in Sadhanamala, although it is near the beginning in a way that seems to pass the Five Buddhas through Rasa resulting in a type of Ramye siddhi. And the weird Pancha Raksa 206 mentions it right before Products of a Cow. But otherwise it is just in compounds.

“secret and supremely blissful nature of all beings/things” (rahasye parame ramye sarvātmani), wherein "Secret" means his unity with Dakini Jala. Generally it means "Secret Doctrine".

I am not quite sure that "Ramye" = "blissful nature", since this latter is already attested by such phrases as Svabhava Mahasukha.

When feminized, Ramya may mean "night", but, usually, is like a female Rama, like Remati or Ramate "playful", delightful, pleasing, E. ram to sport. So, it perhaps is a bit more like Vkridita or Lion's Sport or Tara's Activity. It is being used about dakinis, so, making them play, or something close to that, is in all these metaphors. It does not seem to be any devi until relatively latter days:

Ramyā (रम्या, “charming”).—Illustration of Ramyā-śruti according to 15th century art:—The colour of her body is golden. She holds a vīṇā with both hands. The colour of her bodice is sky-blue and the scarf is red with white-coloured design and borders of sky-blue colour; the lower garment is green with a black-coloured design and borders of yellow and red colour. A garment of rosy colour with a crimson-coloured design is on the waist.

Something could just "be" beautiful or blissful; if it becomes sexual, it is Lama, and if it becomes a sport of arising the Vyuha, samadhis and dakinis and so forth, it is Ramya.

Union with dakinis is the supreme sport of all or universal atma. That seems to be what it says, something a little more effervescent than "in a condition of bliss".


The actual Dakini Jala Samvara Rahasya was not even published in India until 1990. It is an Ananga Yoga related to Jaganatha:

praṇīpatya jagannāthaṃ dākinījālasaṃvaram |
rahasyaṃ paramaṃ guhyāṃ likhyate'naṅgayoginā || 1||

and it does refer to Ramye in conjunction with Sadanga practice:

ṣaḍaṅgaṃbhāvayet tasmat svā[dhi] ṣṭhānasamaṃ tataḥ |
sarvāṅgasundaraṃ ramyaṃ sarvāsaṅga vivajitam ||

ramyaṃ tu ḍākinīcakraṃ svādhiṣṭhānaṃ mahādbhutam |
yadudeti kṣaṇenaiva gurupādaprasādataḥ ||


In Abhisambodhi terms, Svadisthana is a self-blessing stage involving the Mahabhuts. In fact, these verses are right after the Dissolutions and beholding Prabhasvara, and so I think it is saying something like the sport of such a dakini circle is the stage of Svadisthana. It seems less likely to have much to do with a certain chakra, since this is well past the point where it took their energy to run a tantric catharsis.

[Old Student]

"However in the Hevajra Tantra (ca. late 8th century) this first word takes on esoteric significance. I think this is largely related to the shape of the Siddhaṃ script letter 'e' which is an inverted triangle which in the Hevajra becomes a yoni symbol..."

Well, it was probably prior to that, especially if there is any inkling they are dealing with a pre-Indic writing, it is hard to put a time stamp on it.

He then used Brahmi script to post a version of "Causation Formula" which he posted on Flickr, was told by a critic that he wrote ivam instead of evam. He corrected the image and said, nevertheless, it was a script you could take "artistic license with", and was told by the critic:

There are lots of variants in Brahmi . You can flip the characters, turn them upside down and do whatever u want, & still not claim artistic license at all !

Okay, if you take the two characters in the bottom left (along the bottom row), the triangle, and the circle with a line above it and a dot along the line: the triangle, which both your guy and me have said can be at various angles and is still an "e", so take it as your Siddham script takes it as a "yoni" triangle. The next one over to the right of it is the circle with vertical line with a dot, that's "vam" in Brahmi script. So put the yoni above the "vam" and that's what I was describing.

Because different people have wildly variant "Muscle Memories" and different mental symptoms of "knots", that is the real place for a Guru or Vajracharya, whereby they "personalize" instructions rather than having a "one size fits all". I don't think nausea is associated with any of the teachings or rites, and so whether it is a type of blockage or barrier that has presented itself to you there, seems likely. Yes, it is entirely possible to get this huge fireball going, and, it can exacerbate standing problems, could give you permanent hiccups or something, and you have to deal with whatever odd thing is going on that may not have been specifically elucidated in the growth of Vajrasattva.

I have a breathing problem, it's a form of central apnea, and it is (my own theory) caused by something out of balance in my vagus nerve. I was taught by the Dakinis, with Samaya Tara in command, to create a ball of bliss at my heart, and split it vertically, and let the bottom half sink into my abdomen and expand there as bliss, and let the top half rise to my throat as nausea. It fixes that problem and balances my vagus nerve somehow, or associated nerves around it. Because of that, I am quite used to, and even happy about, a particular kind of nausea in my throat, which to me is derived from and a useful form of bliss. So for me, this is "normal", and a sign of balance.

So you are saying an aggressive animal, and that its activity around such "heart dirt" is like killing Enemies. Such as if charnel then if you have a Fresh Head, it means a Freshly Slain Enemy, and so on.

More like the animal instinctively knows that the dirt has to be cleared away for a plant to grow out of the hole. It's some kind of balancing 'familiar' to the aggregation of the animals. There is a spot on my back from which all of the animals issue and take me over, they are somehow trying to create a similar spot on my chest, directly opposite to it, from which something else issues, related somehow to plants or jewels.

I directly saw it as one of those tropical ravines that exist in the Tibetan plateau -- these odd carvings out of the mountainside by rivers that are protected and are warm and tropical only a few thousand feet from the cold and snow. The same exact sight also looked like a jewel of some kind seen from a different point of view.

[Old Student]

Verdance has only one meaning to me, which is from Khadira to Mahasri Tara. If it was Vasudhara, it would seem a bit more agricultural, would have more of a grain or fruit theme, whereas Tara is arboreal, trees, vines, flowers, etc., particularly green, bluish green, and yellowish green. Hevajra's Ghasmari is yellowish green.

Forest, overall, can also simply be considered the domain of Sabaris and the slope of Mt. Meru where you want to hear their tinkling bells.

It, perhaps, all is a mirage from a green jewel, but, is stable and useful.

Green Tara is not particularly associated with the heart center, but, as much as the digging/clawing is similar to "loosening knots", that part is in the domain of her Activity. It also sounds like opening pathways such that your momentum can leap into the head and then rebound and descend.

As I said in the other response, I thought of the valleys in the high plateau that are apparently verdant rain forests only thousands of feet from ice and snow. That may be because right now the one in command is Locana, and I had once associated her with snow, even though she tends to glow a yellow color at times.

“Oṁ, Amṛtavilokinī! Protectress of the womb! Summoner of the being to be born! Hūṁ hūṁ! Phaṭ phaṭ! Svāhā!670 {7.3.75}

Amrtavilokini is beholder or holder of amrta? of nectar? And is protectress of the womb. More fluids.

But he is using Heat in relation to Moisture, and so, if thought of in terms of Tummo versus the watery components of the body and of the sadhanas, that is how it would work in terms of Inner Homa.

Is this an analog to throwing liquids and things like yogurt on the flame?

Cūṣaṇīya (चूषणीय):—[from cūṣ] mfn. what may be sucked

Anna (अन्न) refers to “food” classified into six kinds according to the Vālmīki-Rāmāyaṇa Ayodhyākāṇḍa 94.20.—Vālmīkirāmāyaṇa gives us a five-fold classification of food items, which are:—

bhakṣya - to be eaten
bhojya - eaten without mastication
lehya - to be licked
coṣya - to be sucked
peya - to be drunk

Spelled as her name, probably means she is the subject who is doing the sucking, not the object.

This is interesting.

Her inner ring is one of the few retinue appearances of Cunda, in Ishana or the same direction she has in Manjuvajra mandala. These independent Taras have all been placed in Kurukulla form:

pūrvvadale prasannatārāṃ dakṣiṇadale niṣpanna-
tārāṃ paścimadale jayatārāṃ uttaradale karṇatārāṃ aiśānadale
cundāṃ āgneyadale aparājitāṃ nairṛtyadale pradīpatārāṃ
vāyavyadale gaurītārāṃ ca dhyāyāt /

So you have to "have" Prasanna in order to start this, she directly leads to Completions Stage, and then you must be working within that to achieve several further purposes up to Gauri.

That is the one with two Aparajitas, and not even Lotus Family Ekajati has a Chain. It is an Eight Arm Kurukulla who is mild, youthful, and compassionate.

What does this mean, to be placed in Kurukulla form?

[Old Student]

“secret and supremely blissful nature of all beings/things” (rahasye parame ramye sarvātmani), wherein "Secret" means his unity with Dakini Jala. Generally it means "Secret Doctrine".

I am not quite sure that "Ramye" = "blissful nature", since this latter is already attested by such phrases as Svabhava Mahasukha.

When feminized, Ramya may mean "night", but, usually, is like a female Rama, like Remati or Ramate "playful", delightful, pleasing, E. ram to sport.

Union with dakinis is the supreme sport of all or universal atma. That seems to be what it says, something a little more effervescent than "in a condition of bliss".

This would indicate that the "condition of bliss" is actually maybe the supreme sport.

I did mention the four visualizations from the dream yoga. There seems like I have a special affinity or something to the second one, the white tigle at the ajna point. I haven't figured it out yet, but perhaps it is only because it is physically close to where I experience that liquid transitional state.

[shaberon]

Posted by Old Student (here)
As I said in the other response, I thought of the valleys in the high plateau that are apparently verdant rain forests only thousands of feet from ice and snow. That may be because right now the one in command is Locana, and I had once associated her with snow, even though she tends to glow a yellow color at times.

Yes, I forget the name, but there is indeed a tropical ravine along a river which, I think, is said to pass through five kinds of climates/ecosystems on its way through Tibet to India. Used to be pretty secret and unexplored by Europeans.

Interesting that the animal is less a "blind clawer" and more of a "tiller".

We can corral various animals in ways to make them fertilize the land, there is a thread here on Avalon about one family in New Zealand who had a dust farm and dragged it with...horses, I think, and within a couple years it was flourishing.

Usually we attribute this behavior to worms, although they are kind of slow.

Amrtavilokini is beholder or holder of amrta? of nectar? And is protectress of the womb. More fluids.

Yes, beholding, looking at, investigating, observing is the context of forms of "vilokana", as distinguished from Avalokita, which seems more passive, "is beheld", so, i. e. Avalokiteshvara is a light/form/sound which is perceived, not that he is "looking down from high". Amrita Locana is probably looking out/from/through the Nectar Eye, but, Amritavilokini is the same style as:

Sūryavilokana (सूर्यविलोकन).—the ceremony of taking a child out to see the sun when four months old

So it is probably like "she sees nectar".

Mayuri is protecting the "Garbha", which may be Tathagatagarbha. It may be many--"garbha" is frequent in Sadhanamala, never appearing to be a physical womb; there is a Bija Garbha, Caitya Garbha, Amitabha Garbha, Kurukulla has a Vajragarbhabhisambodhi, and Halahala has a very peculiar:

anantaśaktigarbhā

which is like saying Garbha for Varuni.

In Pancha Raksa 206, it is the only cold/unqualified Garbha, it is not compounded with a type or purpose. Is this ritual really about conception?

It is extremely weird. I could probably teach the basic Pancha Raksa to the fifth grade in a matter of minutes. This one, I am not convinced anyone is giving the real sense of it.

The first retinue member, Sahasra Pramardani says it is a Raudra Krama, and her mantra involves:

amṛta-vare varapravaraviśuddhe

Then you have Mayuri who does amṛtavilokini garbhasaṃrakṣaṇi ākarṣaṇi, which is about attracting someone or something into some kind of protected womb.

Then there is Mantranusarani who takes a grab at the most exalted epithets, those of Parasol:

vimale vipule jayavare amṛte viraje


And then Sitabani:

bhara bhara sambhara sambhara indriyabalaviśodhani

and after that, what appears to be attracted, is a Jnana Cakra to a Samaya Cakra, moving into a Five Nectar process.

Sitavati is the Cool Forest and the Peaceful Cemetery. To make this mandala, she has exited Lotus Family and the syllable Jim from how she works in the basic version, turns green, moves north, and enters Tathagata Family from the syllable Tram.

Her mantra is tantric transformation; sense bases are called indriyas when weak, balas when strong, and Raudra Krama or wrathful harnessing of the winds does this.

I think it is a very magical, dharani-based equivalent of "named tantras", a very weird perturbance to a standard Quintessence, snipped away from the basic series and catalogued between Vajragandhari and Vajrasrnkhala.

It has no Lotus Family members, nor Karma.

Is this an analog to throwing liquids and things like yogurt on the flame?

It might be.

What I was thinking of was closer to Naga Disease and Water Poison. You definitely would like to dry away the poison, whereas, in Cemetery meditation, you are trying to get rain. You are trying to build inner heat, but, it needs a cooling radiator, such as the movement of Sitabani appears to me. Some idea of any of these is probably closer to the purpose than actually relying on the spell to, for instance, save a failing crop.

This is interesting.

Eleventh hour, sucking it all away.

What does this mean, to be placed in Kurukulla form?

In other words, stand-alone deities such as Cunda and Prasanna which do not look like this, are all converted into the standard Four Arm Kurukulla Archer, whereas the central Kurukulla is a major form.

To say such a form is a Sambhoga Kaya means that it is stable and reliable. That is why you can't just make stuff up and get it to work--"the Sambhogakaya won't let you". So if we see how this is a revealed process based through throat energy and bliss, you have an inkling of where and how they arise. That is sort of the ideal of Pure Land; it doesn't decay. Whatever we make up, does. So we merge into the condition and follow its trail.

[shaberon]

Posted by Old Student (here)
This would indicate that the "condition of bliss" is actually maybe the supreme sport.

Is the basis of it, certainly, but does not always result in magical manifestations, Strimaya.

I did mention the four visualizations from the dream yoga. There seems like I have a special affinity or something to the second one, the white tigle at the ajna point. I haven't figured it out yet, but perhaps it is only because it is physically close to where I experience that liquid transitional state.

I downplay Ajna just because it is very over-done.

Buddhism has that flavor but, the Ajna has a role in Upacara such as in reading and writing these comments.

I do not think I could do a repetitive sleeping/waking thing like that. Very impressive.

Going back over what happened long ago, looking at the Vinasikha and music system made me wonder. When I was sixteen a girl gave me a cheap, low quality guitar and I had a hard time getting used to it. Nevertheless I started a band, and everything we wrote was violent, except we made a joke version of Wild Thing which was so funny I laughed into the tape when I was singing it.

When I was seventeen, I got some better stuff, and my room had a lot of windows, four each on two walls, and a mirror the size of a door. As I became more comfortable playing, I was getting weird, timeless states of being and started writing strange things like A Dream Without a Mind. It was about this time of year, and that is when the psychic or tantric process "cracked open" with sunlight and the Bees.

It took me about six months to reach an energetic equivalent of Eight Joys, very cold and deathly. Before long I must have realized bliss, and I remember penning this combination of feelings into a tune called Death Ecstasy that I had when I was nineteen. The energy of the thing was just getting stronger but at that point I was still not very versed in Buddhism. Maybe a year or so after that it started seeming important. Then in about five years I suppose it was dominant.

I suppose playing music opened some of my channels. It probably helped. They seemed to work together. It is far, far easier for me mentally to do any kind of soundcraft than visualization.

[shaberon]

From finding a couple more Vajradaka chapters, we can see that the translator has worked up four batches of them. It is big, over fifty chapters, and it probably has areas of recipes and other miscellaneous rites which may be hard to fathom. The important Seven Syllable sadhana must only be a small part of it. A lot of the rest of it is similar or redundant to Chakrasamvara, except it must be a phase two or three deployment because:


The text mentions the name and functions of an inner fire. The fire is named "Mahāmāyā" (“great
illusion,” which is also a name of the consort of Vajraḍāka). It is also called "Mahāvidyottamā" (“the
highest of the great Vidyās”). It is a Vidyā (“knowledge”) that brings the supreme perfection
(paramasiddhividyā) (and the “supreme perfection” means the state of the Buddha according to the
Vivṛti [72b3]). It produces all powers, or virtues, that Lord is complete with (sarvaiśvaryakārikā), and
it subjugates all creatures (sarvasattvadamanī).

11.3-6:
The text explains characteristics of the emanation cakra (nirmāṇacakra) in the navel area as well
as characteristics of the inner fire named Mahāmāyā that appears on the emanation cakra.


At that point, Mahamaya is "magic" by very old and general standards, and the supreme yoga of Lakshmi. There is the male Mahamaya who is a sex-changed Lakshmi with its own set of texts; here she is female.


They iterate the chakras, and it is curious the Throat has Sixteen Petals, but only Eight Syllables:

The text explains characteristics of the enjoyment cakra (sambhogacakra) in the throat. According to the Vivṛti, the enjoyment cakra is red; it is of the shape of a lotus of sixteen petals (looking
upward); the letter Oṃ (looking downward) is placed on a moon disk at the center of the lotus; the letters Āṃ, Īṃ, Ūṃ, and Aiṃ (all looking downward) are put on the petals that face the four cardinal
directions; and the letters Ya, Ra, La, and Va are placed on the petals that face the four intermediate
directions (74v2-v4)


It says there are no outer formal Pujas connected with its practice, no Vrata, Rosary, Homa, etc.:

This yoga consists in mandalas of mantra (mantramaṇḍala),
their forms (saṃsthāna), and the dharma (dharma). According to the Vivṛti, they indicate the four
cakras (on which letters are arranged), their lotus forms, and the “keeping” (’dzin pa = *dhāraṇa)
(which means going and coming of rays projected from letters inside the body), respectively (75r7-
v1). If he performs the yoga for six months, he will be equal to Vajrasattva.


Among its miscellaneous rites is an unusual un-named one:

The text explains a practice of attracting liquor (madyākarṣaṇa). The Vivṛti interprets the instruction as follows ― A pracititioner meditates that he is Lord (whose name is not given) born of the
letter Vi placed at the center of a vajra. The Lord is yellow, is of four faces and four arms, wears a
crown made of skulls on his head, holds a rope to which a vajra mark is attached (vajrapāśa) with one
of the left hands that assumes the finger-threatening posture (tarjanī) and a skull bowl with the
remaining left hand, has a blazing vajra and a hook in his right hands, and is of the face of a horse.
Then he draws liquor to him. (It is not explained in detail how he draws liquor.)


If A or Ah was male, Am becomes female:

The text deals with the yogic union of the “wisdom” (prajñā) and the “means” (upāya). The text
contains several code words, and the Vivṛti gives three interpretations closely related together and one
interpretation made from a completely different viewpoint. The first interpretation is that the text
describes a meditation of inner rays, in which the letter Aṃ on the emanation cakra (representng
Lordess) and the letter Haṃ on the great bliss cakra (representing Lord) are linked together by means
of rays projected from these two letters (93v3-v6). The second interpretation is that the text describes
a physical practice of sexual yoga between a male practitioner and his female partner (93v6-94r2).
The third interpretation is that the text explains the Fourfold Bliss (viz., the ānanda, paramānanda,
viramānanda, and sahajānanda) (94r3-v5). The fourth interpretation is that the text explains a practice
of attracting a person by meditating any appropriate goddess (such as Pātanī and others), who holds a
rope, a hook, a vajra, and a pestle (muṣala) in her hands and who takes the target's consciousness and
carries it to the practitioner (95v5-v7).

The variously-named lordessess are all aspects of Candali:

The text details the yoga of the inner fire named Mahāmāyā. A practitioner meditates as follows
― The inner fire, Mahāmāyā, is ignited on the circle in the navel area (viz., the emanation cakra) with
the wind of karma (karmamāruta). The fire is a hundred-thousandth of the point of a hair in size, and
it looks like a mass of flashes of lightening. The fire blazes upward, enters the dharma cakra in the
heart, and burns (letters put on) the dharma cakra. Then the fire passes the enjoyment cakra in the
throat, and it goes out from the body both through the right nostril and through between the eyebrows.
Subsequently, the fires spread and go into the bodies of Buddhas and Bodhisattvas in the ten directions
through their left nostrils. The fires enter the cakras in the heads (viz., the great bliss cakra) of the
Buddhas and Bodhisattvas, burn them, (take bodhicittas or amṛtas [immortal nectars] produced in the
great bliss cakras in the heads of the Buddhas and Bodhisattvas,) and go out from their bodies. The
fires (holding bodhicittas or amṛtas) come back into the body of the practitioner and enter the great
bliss cakra in his head. Then the bodhicittas, or amṛtas, drip from the great bliss cakra to the dharma
cakra and cause the experience of bliss of the burnt letters (which represent the Five Buddhas). Finally
they drip into the emanation cakra and reside there. This is the whole process of the yoga described in
the text. The Vivṛti comments that it is a form of the yoga of Caṇḍālī (96r4-r5). The Sampuṭodbhava
and Kṛṣṇācārya's Vasantatilakā have almost the same teachings. The fire is named "Nairātmyā" in the
former scripture and "Vārāhī" in the latter scripture.


Mrtyuvacana turns out to be almost exactly the same as the idea of using Vetali or Vajrayogini as a "nectar judge":

A practice of deceiving untimely death. According to the Vivṛti, a practitioner visualizes
any appropriate goddess (such as Pātanī and so on) who holds a staff and a skull bowl filled with the
fivefold immortal nectar. The practitioner asks the goddess for the nectar, receives and drinks it, and
recites mantras such as "kara kara" and others taught in this tradition. By this practice, he is released
from untimely death.

What? "Anyone appropriate" can do it.

Vajradaka is still not on the DSBC site.

Close to "where it should be" is a Vajradevi Stotram by Nagarjuna. Here is actually some tantric Annapurna.

The invocation is to Sri Yoginidevi, and on the first line, there is Visvamata (Annapurna). She is a Two Arm Red Khecari with a Khatvanga, and something weird, Tika Dharini. Then she is called Sri Devi and a Vidyadhari of:

vajradīptistvatpādau padmarūpau praṇamitaśirasā

Then you take refuge in her.

Soon, out of nowhere is Vajravarahi, doing Rddhi and Siddhi like Ganapati's "wife". She has three eyes, is in Vairocana Family, dusky vermillion color, carries a khatvanga, and is equivalent to Vajravilasini. She is a three faced Bhairavi.

Then there is Jnanadakini, who seems to have gotten the five heads--skandhas from Varahi's khatvanga and made Five Nectars. At this point he mentions Sahaja, and then she is Siddhidatri (Durga). Then it seems to be re-iterated she is Vajravarahi and Vajrayogini.

It is not quite a sadhana, but sounds like a song-summary of using Visvamata to initiate transformations or arisings of other murtis, similar to Samputa.

Then I also noticed there is a Vajrasuci which is not the anti-caste pamphlet. It is a Manjughosha treatise apparently stemming from Patriarch Asvaghosha. It deals with Kurukshetra and for some reason has Renuka on the same line with Mriga--Deer. Then there is Candali as Visvamitra. Manjushri usually gets to Maithuna:

devamānuṣanārīṇāṃ tiryagyonigateṣvapi|

maithunaṃ nādhigacchanti te viprāste ca brāhmaṇāḥ||17||

Arani (Fire by Friction) Garbha (in Dakarnava's Medini Chakra)
Kaivartigarbha (wife of a fisherman? found in Dakarnava's Guna Chakra)
Urvasigarbha (Ganga or an apsara)
Harinigarbha (Deer; Rohini)
Candali garbha
Tanduli garbha (a gourd?)

The last is related to Narada; they are all related to Sages.

According to Vaisnava on the Gita:

As the popular saying goes, if it walks like a duck and quacks like
a duck, it cannot be something else, even if it was found in a place
very different from a duck nest. This is called vrscika tanduli
nyaya, "the logic of the scorpion and the rice"; it is said that
sometimes scorpions lay their eggs inside a mound of rice to take
advantage of the warmth of the grains that are drying up, so when
the eggs hatch, it appears that the little animals were born from
rice grains, while in fact the rice was simply the host.

So actually a form of tandula, rice.


The maithuna verse repeats, and then there is satyam saucam daya, i. e. such a reality is the source of the Suci--Purification. Then it seems to compare this to Yudhisthira, who is referenced several times.

According to Britannica:

Ashvaghosha, (born 80 CE?, Ayodhya, India—died 150?, Peshawar), philosopher and poet who is considered India’s greatest poet before Kalidasa (5th century) and the father of Sanskrit drama; he popularized the style of Sanskrit poetry known as kavya.

That is interesting that a Buddhist Patriarch is explaining through Bhagavad Gita, using a sequence from Fire by Friction (mantra) through Candali, resulting in a grain, like you give Dhumavati, or perhaps male seed.



Considering there is female Mahamaya who becomes male for the purposes of Mahamaya Tantra and maybe a couple other places, this is represented in Sadhanamala. At first it is in Maha Sarasvati 162 and she is problematic because she is Sapta Hasta Pramana, with "pramana" being "means of valid knowledge", the number or amount of which defines one's philosophy; there can be two, three (Samkhya), Four (Ayurveda), Five, or six (Adwaita), the grand aggregate being:

Pramāṇa (प्रमाण).—Ancient Mīmāṃsā’s central concern was epistemology (pramāṇa), that is what are the reliable means to knowledge. Unlike the Nyāya or the Vaiśeṣika systems, the Prābhākara sub-school of Mīmāṃsā recognizes five means of valid knowledge (pramāṇa). The Bhāṭṭa sub-school of Mīmāṃsā recognizes one additional sixth, namely anuapalabdhi (non-perception), just like Advaita Vedānta school of Hinduism.

These six epistemically reliable means of gaining knowledge are:

pratyakṣa (perception),
anumāṇa (inference),
upamāṇa (comparison and analogy),
arthāpatti (postulation),
anupalabdi (non-perception),
śabda (relying on word)

Her extra Pramana leads to a Moon Disk with Hrih, her sva bija garbha, and a white lotus:

śaśimaṇḍalaṃ tanmadhye hrīḥkāraṃ śuklaṃ tena sitakamalaṃ svabījagarbhaṃ bhāvayet /


She has the four mental devis as her retinue who are associated with Svana or dog:

tatas tatpurato bhagavatīṃ prajñāṃ dakṣiṇato medhāṃ paścimato
matiṃ vāmataḥ smṛtiṃ etāḥ svanāyikāsamānavarṇādikāḥ
sammukham avasthitāś cintanīyāḥ /

She doesn't have a sitar, it is a flaming white lotus; we studied this one under Matta Kokila.


Vajravarahi--Jvalamukhi 221-2 are Mahamaya Maheshvari.

223 is Mahamaya Smasani. This setting evidently makes of her a Sukara Pisaca Mukhi. And yet she also has to do with Great Lion's Roar. What is accomplished by her sadhaka (practitioner) is:

Anugraha (अनुग्रह) refers to “blessing” and represents the “liberation from the cycle of birth and death”

Anugraha (liberation, the blessed state) in the firmament [...]

anugraha (creation, sustenance, dissolution, annihilation and grace or re-creation)

1) anugraha (unveiling, making the individual realize the Truth beyond Māya)

and the eight-fold cemetery is for:

vetālabhūtādaya

Usually Varahi is just called a Sukara Mukhi, This is the only place revealed to be a Pisaca--Tramen.

[Old Student]

Mayuri is protecting the "Garbha", which may be Tathagatagarbha. It may be many--"garbha" is frequent in Sadhanamala, never appearing to be a physical womb; there is a Bija Garbha, Caitya Garbha, Amitabha Garbha, Kurukulla has a Vajragarbhabhisambodhi, and Halahala has a very peculiar:

anantaśaktigarbhā

which is like saying Garbha for Varuni.

In Pancha Raksa 206, it is the only cold/unqualified Garbha, it is not compounded with a type or purpose. Is this ritual really about conception?

Garbha also means the interior of anything, and it can also refer to the fetus or to the pregnancy in toto. But on the fluids thing, if, as you say, Amrtavilokini is the seer of the nectar, and the protectress of the -garbha- and the summoner of the being to be born, what fluid is this, what nectar? Bloody show? It seems not like it's about conception, it's about birth.

Sitavati is the Cool Forest and the Peaceful Cemetery. To make this mandala, she has exited Lotus Family and the syllable Jim from how she works in the basic version, turns green, moves north, and enters Tathagata Family from the syllable Tram.

Her mantra is tantric transformation; sense bases are called indriyas when weak, balas when strong, and Raudra Krama or wrathful harnessing of the winds does this.

I think it is a very magical, dharani-based equivalent of "named tantras", a very weird perturbance to a standard Quintessence, snipped away from the basic series and catalogued between Vajragandhari and Vajrasrnkhala.

Sitavati turns green -- from white? Previous to all the digging, almost everything at my heart was reddish orange. White is what it sort of feels like when the drop separates into bliss and nausea, but it is never something I can see.

[Old Student]

Is the basis of it, certainly, but does not always result in magical manifestations, Strimaya.

My dictionary lists Strimaya as specifically "woman's craft", magic done by a woman.

I downplay Ajna just because it is very over-done.

Buddhism has that flavor but, the Ajna has a role in Upacara such as in reading and writing these comments.

I do not think I could do a repetitive sleeping/waking thing like that. Very impressive.

I had to do it with the 'alternate' version. He has a regimen where one does exactly two hours of sleep on each of the four meditations, I couldn't get that to work. What does work for me is that each time I wake, when I go to sleep the next time I do the next meditation. This works because if I'm working on this combination of dreaming and shaking, I get clear 'commands' to go to sleep during the shaking.

I

t took me about six months to reach an energetic equivalent of Eight Joys, very cold and deathly. Before long I must have realized bliss, and I remember penning this combination of feelings into a tune called Death Ecstasy that I had when I was nineteen. The energy of the thing was just getting stronger but at that point I was still not very versed in Buddhism. Maybe a year or so after that it started seeming important. Then in about five years I suppose it was dominant.

It's interesting that it was important to whatever in you creates a tune, but not important to the 'rest of you' for another year afterwards.

It is far, far easier for me mentally to do any kind of soundcraft than visualization.

You've told me this before, I just have no real understanding of it, I hear music in my head and I see things with my mind and they don't seem much different or like they are one is better and the other is not, they both just seem 'inside'.

[Old Student]

The text mentions the name and functions of an inner fire. The fire is named "Mahāmāyā" (“great
illusion,” which is also a name of the consort of Vajraḍāka). It is also called "Mahāvidyottamā" (“the
highest of the great Vidyās”). It is a Vidyā (“knowledge”) that brings the supreme perfection
(paramasiddhividyā) (and the “supreme perfection” means the state of the Buddha according to the
Vivṛti [72b3]). It produces all powers, or virtues, that Lord is complete with (sarvaiśvaryakārikā), and
it subjugates all creatures (sarvasattvadamanī).

That sounds right, 'maya' meant magic long before it meant 'illusion' or samsaric illusion. It also sounds right as a preoccupation of Buddhists.

the letter Oṃ (looking downward) is placed on a moon disk at the center of the lotus; the letters Āṃ, Īṃ, Ūṃ, and Aiṃ (all looking downward) are put on the petals that face the four cardinal directions; and the letters Ya, Ra, La, and Va are placed on the petals that face the four intermediate directions (74v2-v4)

In the dream yoga, the lotus at the throat is also red, but has an A on it, only 4 petals, and they have Ra, La, Sha, and Sa on them, although it seems (I don't know if this is a peculiarity of writing these sounds in Tibetan) in the pictures that those are actually RRha, LLha, ShShHa, and SSha -- they are composed (e.g. Ra) of two Ra's and a Ha vertically and so on.

If A or Ah was male, Am becomes female:

My first thought went to the word Am and not the syllable. It means mango, and is the shape that we in the West call "paisley".

The first interpretation is that the text describes a meditation of inner rays, in which the letter Aṃ on the emanation cakra (representng Lordess) and the letter Haṃ on the great bliss cakra (representing Lord) are linked together by means of rays projected from these two letters (93v3-v6). The second interpretation is that the text describes a physical practice of sexual yoga between a male practitioner and his female partner (93v6-94r2).
The third interpretation is that the text explains the Fourfold Bliss (viz., the ānanda, paramānanda, viramānanda, and sahajānanda) (94r3-v5). The fourth interpretation is that the text explains a practice of attracting a person by meditating any appropriate goddess (such as Pātanī and others), who holds a rope, a hook, a vajra, and a pestle (muṣala) in her hands and who takes the target's consciousness and carries it to the practitioner (95v5-v7).

This description sound similar in some respects to that of Kurukulla's similar 'magic'.

The inner fire, Mahāmāyā, is ignited on the circle in the navel area (viz., the emanation cakra) with the wind of karma (karmamāruta). The fire is a hundred-thousandth of the point of a hair in size, and it looks like a mass of flashes of lightening. The fire blazes upward...

So there are two ways that bliss ignites in the abdomen in shaking, one sounds willful the other passive, but they are actually both sort of passive. The one that sounds willful is almost identically as in the above phrase, the 'willfulness' being only that one directs one's listening there, but after that it is just as 'passive', but when one does that, the bliss ignites exactly like in the above phrase, from a start that is infinitessimal and then blazes upwards.

[shaberon]

Posted by Old Student (here)
It seems not like it's about conception, it's about birth.

Conception is the odd moment where those in the Sidpai Bardo "select and enter a womb".

I am not sure it is about physical birth; it almost certainly is a ploy to have a Dharani-based Generation Stage. The basic version is Kriya Tantra, much closer to "just do this", but here is energy and mind at work in the inner sense.

The unit desired for Completion Stage is raised on Nectar, and so it seems to me to exemplify the birth metaphor of that.


Some use of Janma or "birth" is used a few times in the book, perhaps most noticeably by Pratisara 196, where, at the beginning, we might guess it is about purifying birth and death:

mantrīṃ sarvvajane 'pi janmamaraṇavyādhivyathāvihvale
kāruṇyaṃ muditām upekṣaṇamatiṃ kṛtvopadeśādataḥ /
māyāsvapnasamaṃ samagramakhilaiḥ śūnyaṃ vikalpair jagat
vijñānaikavapur vibhāvya purato mantrī tatas tena ca //

Then there is a Double Lotus Garbha of a Vilasa nature:

viśvasarojagarbhavilasaccandrāsanasthāyinī


related to Bees--mailinda:

mailīratnamayaṃ

otherwise "maili" is either not Sanskrit or misspelled.

She does Vajra Muttering with the Three Syllables and then manifests the retinue after milita, "rustling", possibly the sound of bees, her syllable Pram, and Janma of Arccisa which is most likely Rays, then the Complete Full circle appears:

saccandre kucayugmamadhyamilitapraṃkārajanmārcciṣā
niṣpannaiḥ paripūritaṃ nijavapurdhyāyāt sa devīgaṇaiḥ //

It is an odd turn of phrase..."Pram makes the Birth of Rays".


206 is fairly advanced and tells you to generate Nirvikalpa from Emptiness Mantra and uses a full mandala with the finishing touch of Vitana or Curtains. Pratisara is the mysterious "gaura" color, possibly orange. When the retinue is cast, it becomes equated to the Wrathful Prajnas (Irsyavajri, etc.) and the Skandhas. On this, you use a "Samayi Bhutva mantra".

There is an ocean of blood, and something for Karmavajri, followed by suci and ramye; about three pages of instructions like this. The Curtains become Vitate, which suggests spread open, and the clothes or Vastra are Pralambita, hanging down, due to the Sport with Products of a Cow...

There is Mahabali and ten Yaksha, and then white, red, and green garlands are hanging down...

There is Laddu and Modaka, the Sweets of Ganapati...

Sampanna (fully grown) Karuna Sattva--because this is the only one in the book, it could be construed as taking birth here.

Towards the end is invocation of Buddha

anantagocaraṃ: anantagocara-, Adj.: having an endless sphere. It is a compound of:
ananta-, Adj.: endless, infinite. It is the word anta-, N.n.: end, with the negative prefix an-.
gocara-, N.m.: pasture, sphere. This can be further analyzed as:
go-, N.m.: cow
cara-, N.m.: going, walking. Derived from the verb car- (to walk, to roam).


The Go are also Sense Objects, or Mental Sense Objects


and that divine forms are part of the Dharmadhatu.


Although it is much too confabulated for me to read, it does actually sound like a rare tantric activation of the Prajnas. It looks like it could be intended as birthing a Karuna Sattva, which you would expect to be done by Avalokiteshvara and Lotus Family, neither of which is present.

Sitavati turns green -- from white? Previous to all the digging, almost everything at my heart was reddish orange. White is what it sort of feels like when the drop separates into bliss and nausea, but it is never something I can see.

No. In the basic quintessence, she is an ordinary red Lotus Family devi, and so in the position of Fire on a Sun Disk:

200.

mahāsitavatī caturbhujaikamukhī raktā dakṣiṇabhujadvaye
akṣasūtravaradavatī vāmabhujadvaye vajrāṅkuśahṛtpradeśastha-
pustakavatī jīṃbījā amitābhamukuṭī arddhaparyyaṅkasthitā
nānālaṅkāravatī sūryyasanaprabhā ceti /

// ity āryyamahāsitavtīsādhanam //


That is all, no purpose or clue to her name, but if one dug into the relation of her seed syllable, it is not a basic one.

Her final item is a weird "Heart District Book Garden".

I almost think the whole thing is a ruse so they will become popularly known for Protection purposes, so then you will look at what in the world that the major and weird retinue is doing in 206.

Pratisara is Mamaki so there is no question if she may have some weird tantric role.

Mahasitavati has white, red, and green faces, like the "hanging clothes". she has to do with Yakshas and Yakshini, Kakoluka "Crows and Owls--natural enemies", Sakama or Lust Deva, and underworld creatures such as Pisaci. These are the sambhara, "requisite materials or ingredients".

She is in Tathagata Family, but, then is slapped with the role of Green Tara--Irsyavati--Entire Surface, functionally just as if she were Karma Family, as we also see Karma Vajri singled out in this rite.. Sitavati has Jewel Family Tram syllable, Tathagata as her Crown, and Karma Family behavior and appearance, with her main "item" being Abhaya Mudra and her last being Jewel Banner.

She is weird and her name just means Cool Forest Peaceful Cemetery, where most of the tantric transmissions are from. That, in itself, is kind of a big deal.

Nothing in her description seems to describe heat and cooling the way I take it, but her name does and you can look in almost any kind of tantra and when you get Tapas it will tell you to be careful about actually burning your brain/nerves. So even though it doesn't really say that here, it needs to be pointed out.

Mantranusarini is a Samala Vidyadhara Arccita--and this is a highly esoteric condition related to Sampatti in Formless Dhyanas:

These four formless absorptions are each of three kinds: stained (samala), acquired by birth (upapatti) or acquired by effort (prāyogika). Of the four formless (ārūpya) absorptions, one, namely, the naivasaṃjñānā-saṃjñā-āyatana, is always impure (sāsrava). For the other three, one can single out: the ākāśānantya-āyatana is sometimes impure (sāsrava) and sometimes pure (anāsrava). If it is impure, this ākāśāyatana contains four impure aggregates (sāsrava-skandha); if it is pure, it contains four pure aggregates. It is the same for the vijñānānantya-āyatana and the ākiṃcanya-āyatana.

Because Samala is Impure or Stained, no wonder her mantra is Vimala or Stainless.

The difference between Samala and Vimala is the purity of the Skandhas.


Mayuri appears to have ingested Janguli's role of combatting Seven Poisons.

Pramardani also appears to refer to Raudra Krama as Maha Bhuta Maha Yaksha Krama. She does that with Revati and Vasuki and what looks like your Ayurvedic essences Vata and Pitta and Slesha (Kapha).

In the correct order, then, you have Ayurvedic--Pranic Rejuvenation, removal of sources of poison, Formless Dhyanas, and Sitavati concatenating it in wrathful practice.

[shaberon]

Posted by Old Student (here)
My dictionary lists Strimaya as specifically "woman's craft", magic done by a woman.

Almost no matter which way we turn, whether as physical batteries of shakti, or as Mental Seals which give initiations, or Sport of dakinis and samadhis, yes, that is it, and why a system of Taras and proficiency in Dharani is particularly effective.

You've told me this before, I just have no real understanding of it, I hear music in my head and I see things with my mind and they don't seem much different or like they are one is better and the other is not, they both just seem 'inside'.

On this, maybe it is "sealed", not so much as unknown/unperceived, but more like how you described Avesa as being "purposefully sealed" as if Banished.

I figured out that it was actually a problem that my consciousness would follow the Empty Forms "Magic Theater" and degrade into lower states, rather than being attentive to Prabhasvara.

The difference between Five Dissolutions and Eight is in that.

Now with the first set, no, you do not automatically get a nice Sanskrit Tam syllable which orderly fades away according to pre-determined steps; it may seem like either Smoke or Mirage is first, and there are a great deal of Phenomena that occur which may be distracting which is more or less what the "Book of the Dead" is telling you not to be distracted by. I was distracted.

The remaining Three Dissolutions however, *are* bolder and much more distinct. and it is this process which would be a Completion Stage focus with what is commonly called Clear Light. And you do not have to dig that far in the teachings to realize this experience should be stabilized and that is really where the wisdom lies. I was just kind of using it as an energetic trigger.

Because I figured out I was doing something wrong, without having a particularly good guide about a better way, this whole system was shut down.

That is why I believe that, so to speak, a Vajrayogini system aimed at Yoga Tantra and Generation Stage is so important.

Mahamaya becomes male in order to Enter Union with Buddhadakini who is Vajravairocani.

If those are basically both fire at the navel, it makes little sense unless thought of as something like Mother and Daughter natures, although they may be more like Sisters. Vairocani is a product of Varuni, who is a Sister of a manifested Lakshmi.

According to sadhana structure, Entering the Mandala--Noose corresponds to Opening Vajra Eyes.

If I watch my step then really I am still on first base or Akarsya or Hook which is Jah which most likely is Janma. As a Yoga Deity that is Janguli. With a little study, she stands for both the Tri-kaya and the System of Seven, and I find her personally compelling.

I never studied self-generation except that one time in Chod, so, my entire conception of Tara deities is external, and if I was ever to go through a self-generation practice then I would probably become a male deity and keep "talking" to her. Since I am not raised connected to the Sutras and popular practices, I am closer to Vajrapani, and so whatever is going on with Mamaki and the evident close operation of Jewel Family with Vajra Family and the Yaksha Kingdom makes sense, to me, as a Taste, a stream of Winds, which is even hastily summarized by the character of Sitavati.

So to me, Taras are a little more external, because they give Seals, which are initiations. That is really what we are supposed to be looking for in a Quintessence. If it was me, I would just behold it in a state of Adbhuta and most of the boons would fade; applying the Seals is for the clarity, stability, and "please remain". That is why there is a minor model of this in Guru Yoga. I am supposed to train it until I can actually do it with a retinue.

I can more or less either do that, or, be deluded by the raw power of the subtle body making appearances out of my own karmic seeds, which, at best, will probably cast me into Preta Loka. Karma, roughly, is to be purified by expressing Paramitas and Karuna without any concern for fate. And so I have to actually do that part, too, which may sound easier, except that my opportunities are unnaturally stifled in this "kennel" situation. I have a lifetime nuclear reactor supply of karma to burn off.