+ Reply to Thread
Page 56 of 61 FirstFirst 1 6 46 56 61 LastLast
Results 1,101 to 1,120 of 1218

Thread: Does Anybody Else Have Clear Body Experiences?

  1. Link to Post #1101
    United States Avalon Member
    Join Date
    1st April 2016
    Posts
    2,584
    Thanks
    3,819
    Thanked 7,918 times in 2,281 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    I had a heck of a time finding someplace that would tell me what that suffix meant, but since it shows up in a lot of the stuff you post, it could be useful going forward.

    Tremendous!

    Yes, I am pretty slipshod outside of the parts that are just the mantras and spiritual terms.

    I was a bit puzzled since the name "Dakini" seems to come up as "Dakinyah" plenty of times.

    I am learning that a final "h" seems to be a significant change of meaning to things that look similar.

    "Udaya" = -daya or -odaya as in Dharmodaya.

    Udaya (उदय).—1. The rising of a planet on the eastern horizon. 2. Heliacal rising of a planet. 3. udaya lagna i.e., the rising point of the ecliptic. 4. Addition, as in kṣayodayau i.e., subtraction and addition.

    Rising, ascension, growth, source of produce, etc., all apply.

    "Adayah" = headed by with fifty examples, and usually appears as -dayo when combined.

    This one I already know from Brihadaranyaka Upanisad:

    Om Purnat Purnam Aham Idam
    Purnas Purnat Udacyate
    Purnasya Purnam Adayah
    Purnam Eva Vasisyate


    I think the Mothers are in the Pitha called Maru but they are sort of just declared ad hoc.

    We are pretty familiar with standard descriptions of Armor Deities:

    Ṣaḍyoginī (षड्योगिनी) refers to the six Yoginīs of the Ṣaḍyoginīmantra, which represents one of the four major mantras in the Cakrasaṃvara tradition, as taught in the eighth chapter of the 9th-century Herukābhidhāna and its commentary, the Sādhananidhi.

    The six Yoginīs are:

    Vārāhī (vaṃ), who resides at the center;
    Yāminī (yoṃ),
    Mohanī (moṃ),
    Saṃcālanī (hrīṃ),
    Saṃtrāsanī (hūṃ),
    Caṇḍikā (phaṭ), who reside around Vārāhī.

    These six Yoginīs are also found in Nāgārjuna’s Dharmasaṃgraha.


    Ṣaḍyoginīmantra (षड्योगिनीमन्त्र) refers to the “six-yoginī mantra”, and represents one of the four major mantras in the Cakrasaṃvara tradition, as taught in the eighth chapter of the 9th-century Herukābhidhāna and its commentary, the Sādhananidhi.

    These six mantras are taught to be the six Yoginīs:

    oṃ vaṃ,
    hāṃ yoṃ,
    hrīṃ moṃ,
    hreṃ hrīṃ,
    hūṃ hūṃ,
    phaṭ phaṭ;

    Each mantra consists of two syllables, and each Yoginī is visualized to be developed from the latter syllable of each mantra.

    The six Yoginīs are:

    Vārāhī (vaṃ), who resides at the center;
    Yāminī (yoṃ),
    Mohanī (moṃ),
    Saṃcālanī (hrīṃ),
    Saṃtrāsanī (hūṃ),
    Caṇḍikā (phaṭ), who reside around Vārāhī.

    These six Yoginīs are also found in Nāgārjuna’s Dharmasaṃgraha.


    Let us see Chapter Eight.

    Herukabhidana Chakrasamvara vol. 1

    Yes:

    om vam vajravārāhī nābhau | hām yom yāminī hṛdaye | hrīm mom mohanī vaktre | hrem hrīm saṃcāriṇī śirasi | hūm hūm trāsanī śikhāyām | phaṭ phaṭ caṇḍikā sarvāṅgeṣvastram |

    followed by something terrific:

    hā svā ye nī ca ro vai jra va om |


    Faked me out again. Obviously it does have something to say about them in the beginning.

    The only way it would work is if you took Vajravarahi as "doubled" and casting a mini-her in the retinue.

    The way I personally deal with it is that she is able to be substituted by Vajrabhairavi or perhaps Vajracarcika. And then grant the whole thing to Varuni. Then there is a closely-corresponding practice outfit without needing to invoke Varahi.

    Otherwise it remains unclear how there get to be seven.


    If we dig around, early in the text is a bit about Mothers:

    ṣaṭsaptatiṃ caiva mātṛkādvitīyena tu || 32 ||

    ṣaṭsaptatimaṃ ṣaṭsaptatimamakṣaraṃ makāraṃ mātrikādvitīyena bhedayet | caivaśabdaḥ pūrvavat || 32 ||

    It looks like "Makara" would be a main subject here, but, upon analysis, there is a good chance it is about the only other meaning of the word, sound of the syllable Mam.

    From that, one would expect Varuni, Khandaroha, and Mamaki, and if not, I am going to argue that the Big Varuni is On the Other Shore of a Big Makara Ride.


    Further along it is going to explain something sevenfold about the heart which appears to be the basis for Seven Syllable mantra:

    prathamaṃ tu hṛdayañcaiveti | tu-śabdaḥ svadevatāṃ samuccinoti | evamuttaratrāpi | om ha hṛdayam | vajrasattvaḥ prathamaḥ | hṛdayamiti saptamyarthe prathamā | dvitīyantu śiraḥ smṛtimiti | namaḥ hi vairocanaḥ śirasi | smṛtaṃ cintita ityarthaḥ | tṛtīyantu śikhāṃ dadyāditi | svāhā hū padyanarteśvaraḥ | caturthaṃ kavacaṃ bhavediti | tu-śabdo'nuvartane | vauṣaṭ he | kavacaṃ śrīherukaḥ skandhadvaya ityupadeśato jñeyam |
    pañcamaṃ tu bhavennetramiti | hū hū ho vajrasūryaścakṣurdvaye | ṣaṣṭhasyāstramucyateti | phaṭ haṃ hayagrīvaḥ | sarveṣvaṅgeṣvastram | ṣaṣṭhasyeti prathamāyāṃ ṣaṣṭhī | hṛdayādiṣu saptamyarthe prathamāyā dvitīyā | sarvatraiva hṛdayānīti hṛdayānuvartanam || 4 ||



    Chapter Sixteen concerns:

    saptayoginīlakṣaṇaparīkṣāvidhi


    Something about them is perpetually dressed in white:

    sitavastrapriyā nityaṃ navacandanagandhinī || 3 ||


    we find:

    karpūragandhā satataṃ vairocanakulānugā |
    saptaitāni mayoktāni yoginīnāṃ kulāni tu || 10 ||


    and then we are given Hayagriva Gotra led by Padmanartesvara.

    We possibly are being given white with six colors:

    svamudrā sitavarṇādi varṇo mṛṇālagauratvādi | tābhyāṃ saṃkulāḥ sambaddhāḥ | kulavidyākṣarāṇi ceti | kulaṃ sādhakastasya vidyāstā evākṣarāṇi vajrāṇi dṛḍhādhimokṣatvād yoginījanāḥ | ete cāvicalitarupā devyo bhavantītibhāvaḥ | ṣaḍvarṇāni bhavanti hīti | ṣaḍvarṇāḥ prakārāḥ yoginīnāṃ jñātavyāḥ |


    prathamārthe saptamītyarthasamudāya iti pañcamaḥ |



    saptayoginītyupalakṣaṇam | ṣaṇṇāmapi lakṣaṇamapi | trayodaśayoginyaḥ | lakṣaṇaṃ cihnam | saptānāṃ ṣaṇṇāṃ ca yoginīnāṃ lakṣaṇaparīkṣā saptayoginīlakṣaṇaparīkṣeti madhyapadalopīsamāsaḥ |


    The next chapter is where it starts making sense to me.

    tataḥ-
    durlabhā yoginīnāṃ tu ḍākinīnāṃ tathaiva ca |
    pañcāmṛtasadbhāvāt yāminī trāsanī [ tathā ] || 1 ||

    kāminī bhīmā rupā sañcārā bhāsurāḥ |
    ḍākinyaḥ sapta saṃhṛtāḥ svalakṣaṇamihocyate || 2 ||

    lakṣaṇānantaraṃ vaktuṃ saptadaśaṃ paṭalamāha - tato durlabhā ityādi |


    So there is a yoginis into dakinis kind of thing, equivalent to the Five Nectars generating some Armor Deities mixed with others not usually found there.



    ḍākinīnāṃ lakṣaṇamāha - yāminī - trāsinī - kāminī - bhīmā - rupā - sañcārā - bhāsurā - ḍākinyaḥ sapta saṃhṛtā iti | etā yāminyādayaḥ saṃhṛtāḥ saṃkṣepeṇa sapta vyāhṛtā iti bhāvaḥ | svalakṣaṇamihocyata iti | anvayena tāsāṃ nāma etallakṣaṇakathanadvāreṇocyata ityarthaḥ || 1-2 ||

    rupikā cumbikā lāmā parāvṛttā sabālikā |
    anirvṛttikā aihikī devī ḍākinyaḥ saptadhāḥ smṛtāḥ || 3 ||


    tāsāṃ sānvayaṃ nāmāntaramapyāha - rupikā - cumbikā - lāmā - parāvṛttā - sabālikā - anirvṛttikā - aihikī devī ḍākinyaḥ saptadhā smṛtā iti

    Is it molding alternates or characters to Yamini and others?

    This section seems to be protective of Khandaroha.

    This longish part appears to be the commentary on the majority of the chapter:

    tāsāṃ sānvayaṃ nāmāntaramapyāha - rupikā - cumbikā - lāmā - parāvṛttā - sabālikā - anirvṛttikā - aihikī devī ḍākinyaḥ saptadhā smṛtā iti | rupāyā rupikā'parābhidhānāyā lakṣaṇamāha - aviraktāmityādi | vīrādvayasevitumiti | vīrādvayasevinītyarthaḥ |

    yāminyāścumbikāparābhidhānāyā lakṣaṇamāha - iṣṭaṃ vetyādi | ḍākinī ceti | ḍākinyaghanāśinīti bhāvaḥ | ata eva yamaḥ saṃyamaḥ, sa eva yāmaḥ svārthe'ṇ | sa yasyā'sti sā yāminī | nāśanaṃ karoti yataḥ | bhīmāyā lāmāparābhidhānāyā lakṣaṇamāha - tiryagdṛṣṭirityādi | tarjayanti heti | ekatve bahuvacanam | ata evārthaḥ | anyathā niśvāsaḥ kāmāsakto'pi bhairavo viśeṣeṇa prayāsāt | turviśeṣe | ato viśeṣeṇa ramata iti rāmā | rephe latvāllāmā | lakṣaṇadvayayogād bhīmaiva lāmā | trāsanyāḥ parāvṛttāparābhidhānāyā lakṣaṇamāha - varāhetyādi | śarabhaḥ paśuviśeṣaḥ | śarameti pāṭhe tu śvā | sarvāṃstāṃstrāsayediti | tasyā darśanena te bibhyatītyarthaḥ | ataḥ parāvṛttā sā | hiryasmādarthe | pare parāvarttante yasyāḥ sā tathā yasmāt | sañcārāyāḥ sabālikāparābhidhānāyā lakṣaṇamāha - prahṛṣṭetyādi | bhūyo'nivartitatvāt sañcāraḥ | kāminyā aihikyaparābhidhānāyā lakṣaṇamāha - anurukta ityādi | khaṇḍarohā khaṇḍe'bhinnapradeśe punaḥ punarārohati tiṣṭhatīti sā tathā | hiryasmāt | iha pradeśe ciramavatiṣṭhati ityaihikī | bhāsurāyā anivartikāparābhidhānāyā lakṣaṇamāha - manodvignetyādi | yā bhāsurā'nivartikāparasaṃjñā sā manasodvignā bhavati | tathābhūtayā ca tayā loṣṭhādinā spṛṣṭaḥ sattvo na jīvati | anivartyā nivartayitumaśakyatvāt | kuta ityāha - asādhyā hīti | hiryasmat || 3-10 ||


    there is this kind of continuity near the end of the volume:


    lakṣaṇaṃ kulaṃ ca sāṅkaryeṇa na tu [ manasā yathāvatāritaṃ ṣoḍaśe |] varṇagandhādinā kulena ca saptayoginya uktāḥ | kriyāmātreṇa ṣaṭ | saptadaśe nāmagrahaṇādinā kapālādinā cihnena ca sapta |


    So yes, from the first half we do get something about Vairocani and it looks like Varnani may be distributed in the general meaning of colors. She is not a mantra, but is Golden Color related to the Seven Jewels:

    ratnasauvarṇāni ca bhūṣaṇāni ceti tāni tathā sarvairyathopalabdhairebhiḥ | kutaḥ pūjāṃ vikiret , maṇḍale tāni yatastataḥ pūjā | hastiratnam , aśvaratnam , maṇiratnam , khaḍgaratnam , cakraratnam , pariṇāyakam , strīratnaṃ caite( tāni )saptaratnā[ ni ] | tāni suvarṇe saguṇe bhavāni sauvarṇānīti kecit | ātmānaṃ sarvato mukhamiti | ātmānaṃ śrīherukaṃ puramadhye pūjayediti sambandhaḥ || 24-25 ||



    Varnani is then the destination of Chapter Sixteen about seven yoginis:

    kulavidyākṣarāṇi [ ca ] ṣaḍvarṇāni bhavanti hi || 11 ||


    She is six of her there, but came from white.

    Without having it nailed down pat, there is quite a bit that goes into the Seven Syllable mantra, it is not something anyone can read off the page and get it to work.

    If it can be seen that the Six Yoginis and Four Dakinis are the majority of what you "need" in order to do it, and these work in a stand-alone way with systems of Taras and so on, then we actually can make a pretty heavily-gestated Generation Stage of it.

    I still suggest the elegance of Vajradaka is that it is really a short sadhana of its own fifty chapter tantra, which focuses the Seven Jewels in relation to the tantric aspects.

    This Root Tantra conjures most of the Yoginis as Nagna and Raudra and is based in Jnanacakra:

    pīṭhādiṣu śrīherukādidevatāṃ darśayediti | kāyānusmṛtyupasthāne ḍākinī , vedanānusmṛtyupasthāne lāmā, dharmānusmṛtyupasthāne khaṇḍarohā, cittānusmṛtyupasthāne rupiṇītyādimaṇḍalatattvaṃ devatātattvaṃ pratipādayet |


    yoginī lāmā rupiṇī ḍākinī tathā khaṇḍarohā yoginyaḥ kāmarupiṇyaḥ


    Khandaroha is plainly "doubled" into the Pithas, and of likely her primary form:

    khaṇḍarohā kulodbhūtā mahāyogeśvarī varā |
    māṃsapriyā ca yā nityaṃ tṛṣā kṛṣṇāñjanaprabhā || 15 ||

    śūlākāraṃ lalāṭaṃ tu krūrakarmaratā ca yā |
    śmaśānaṃ yāti nityaṃ nirbhayā nirghṛṇā ca yā || 16 ||

    yasyā lalāṭe śūlaṃ kapālaṃ ca likhitaṃ pūjyate gṛhe |
    śrīherukadevasya ḍākinī sā kulodbhavā || 17 ||


    So from the yoga view, we are trying to say a whole lot about Khandaroha, rather than Vajravarahi. Khandaroha here is a mamsa priya or flesh or meat eater or lover. In Dharmasamgraha, specifically, it is the physical eye, i. e. the visual power of it. That almost makes more sense in the line above.

    Khandaroha can be dealt with in yoga by porting her over to Guhyajnana Dakini.

    Varuni is like the outer extended tantric hand that can be invoked and trained until she works along with Vajravairocani and Khandaroha, which are the products of hers, until eventually it is Bharati (Sahaja).

  2. The Following 2 Users Say Thank You to shaberon For This Post:

    Old Student (11th May 2021), william r sanford72 (12th May 2021)

  3. Link to Post #1102
    United States Unsubscribed
    Join Date
    24th May 2020
    Language
    English
    Posts
    668
    Thanks
    607
    Thanked 1,434 times in 639 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote I was a bit puzzled since the name "Dakini" seems to come up as "Dakinyah" plenty of times.
    Dakinyah going into another thing is a sandhi, it's a combo of 'i' and 'u', or its a declension, the 'h' is the one with the dot under it, which is just an outbreath.

    Quote Ṣaḍyoginī (षड्योगिनी) refers to the six Yoginīs of the Ṣaḍyoginīmantra, which represents one of the four major mantras in the Cakrasaṃvara tradition, as taught in the eighth chapter of the 9th-century Herukābhidhāna and its commentary, the Sādhananidhi.
    Not understanding this. The passage I did has 7 matrkas total, right?
    Quote Otherwise it remains unclear how there get to be seven.
    There are 7 matrka, there is a list on Wisdomlib.

    Quote So yes, from the first half we do get something about Vairocani and it looks like Varnani may be distributed in the general meaning of colors. She is not a mantra, but is Golden Color related to the Seven Jewels:

    ratnasauvarṇāni ca bhūṣaṇāni ceti tāni tathā sarvairyathopalabdhairebhiḥ | kutaḥ pūjāṃ vikiret , maṇḍale tāni yatastataḥ pūjā | hastiratnam , aśvaratnam , maṇiratnam , khaḍgaratnam , cakraratnam , pariṇāyakam , strīratnaṃ caite( tāni )saptaratnā[ ni ] | tāni suvarṇe saguṇe bhavāni sauvarṇānīti kecit | ātmānaṃ sarvato mukhamiti | ātmānaṃ śrīherukaṃ puramadhye pūjayediti sambandhaḥ || 24-25 ||
    I think it's jeweled and gold ornaments.
    I can't figure out what sarvairyathopalabdhairebhiḥ is.
    sarva iryatha upalabhda ira abhih
    all 'that which is about to get excited' known/learnt wind to rush forth.
    ?

  4. Link to Post #1103
    United States Avalon Member
    Join Date
    1st April 2016
    Posts
    2,584
    Thanks
    3,819
    Thanked 7,918 times in 2,281 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    This will be a few bits of Dakarnava and Chakrasamvara.



    Here is a bit of what can be sifted from the header of the 1935 Dakarnava Apabrahmsa Verses which is what we have the digitized Sanskrit version of.

    Almost all of the page is the Sanskrit to Bengali comparison, but, the scan is pretty rough and only about half accurate.

    And so this guy wrote English fluently and would not dare to begin to try to translate the actual meaning.

    On my side that is why I try to get as much of the "operative" Sanskrit as possible in its own terms and just translate the narrative.

    Anyway the practice of it is obviously not the subject but he does describe the tantra itself, which, for whatever reason, brings something to our attention.


    Vasana perhaps has a main meaning as "dwelling", but, it has an almost-as-prevalent meaning of "clothed in". So you could interpret Patala Vasini and Pandara Vasini slightly differently.

    However if I quit thinking of it in sadhana terms, then with the ending of "a", it has a further meaning from the Sutras called Karmic Seeds:

    Vasana (वसन).—m., ardent desire, passion, attachment [Pandara]: °naḥ Mahāvyutpatti 7534 (so also Mironov) = Tibetan chags zhen; meaning con- firmed Chin. and Japanese Nowhere else recorded.


    Vāsanā (वासना).—

    1) Knowledge derived from memory; cf. भावना (bhāvanā).

    2) Particularly, the impression unconsciously left on the mind by past good or bad actions, which therefore produces pleasure or pain.

    3) Fancy, imagination, idea.

    4) False idea, ignorance.

    5) A wish, desire, expectation, inclination; संसारवासनाबद्धशृङ्खला (saṃsāravāsanābaddhaśṛṅkhalā) Gīt.3.

    vāsanā (वासना).—f (S) Disposition, disposedness, predominant inclination or mind. Pr. vāsanēsārakhēṃ phaḷa. 2 A desire or wish generally. Ex. cittīṃ dharilī vā0 || siddhi nyāvī nārāyaṇā ||. 3 Conversancy with; acquaintance with through versedness in. Ex. kāṃhīṃ śāstrācī vā0 asalī mhaṇajē bōlaṇēṃ prauḍha paḍatēṃ. Ex. of comp. śāstravāsanā, gaṇitavāsanā, nyāyavāsanā. 4 Specifically, the dying desire, the last and earnest longing of the departing soul. This sentiment and the use of this word to express it are familiar to the very vulgar. vā0 ōḍhāḷa āhē Desire (i. e. the heart) is craving, grasping, insatiate &c.

    Vāsanā (वासना) refers to “abode”.—Subconscious inclinations. From vās, “dwelling, residue, remainder”. The subliminal inclinations and habit patterns which, as driving forces, colour and motivate one’s attitudes and future actions. Vāsanā also means literally “perfume”. It is something which remains like a perfume after an action has been done. Suzuki translates it as “habit energy”, and explains it as “a kind of super-sensuous energy mysteriously emanating from every thought, every feeling or every deed one has done, or does, which lives latently in the store house ālayavijñāna.

    Vāsanā (वासना).—A wife of Arka, a Vasu.*

    * Bhāgavata-purāṇa VI. 6. 13.

    Vāsanā (वासना):—Recitation of Śrī Rudram removes our vāsanās (the impression of anything remaining unconsciously in the mind, the present consciousness of past perceptions), by imparting higher spiritual knowledge like Upaniṣads.


    Vāsanā (वासना, “imaging”) is explained in the 10th-century Kakṣapuṭatantra verse 1.60-66.—The vāsanā (imaging) refers to the object that the practitioner visualizes in each sādhana.

    Vāsanā (वासना):—Sanskrit technical term corresponding to “mental imprints”, used in various texts on Yoga.


    This is again like a recycling program, something purified and agglomerated into the Image or Bimba.

    Here it is in one of the cleaner bits of the scan.

    Dakarnava moves the doctrine of Sunya onto a Vajra prong, it is based on a three-spoked Vajra comprised of Sunya, Vijnana, and Mahasukha:


    The doctrine of the Dakarnava is based on the Yogacara
    system of Buddhist metaphysics where Citta (Mind) holds a very
    exalted position. It is all in all there. This same idea finds
    expression in the Dakarnava where the metaphysical Citta is
    deified and invoked to enlighten all beings and to deliver them
    from Maya —


    Mind is at the root of all happiness and miseries, there is
    an oft-quoted maxim, ‘mana eva manusyS/imm lcd.ram,m bandha^
    molqayoh' [?], which is true to a word. A purified mind directs one,
    towards the path of salvation, while a polluted mind leads one to
    destruction and this is why Buddha has laid a special stress on
    the purification of mind (citta-sodhana) in his dialogues. The
    phenomenal world grows itself from Citta and hence happiness
    or miseries which one enjoys or undergoes depends or depend on
    the purity or impurity of mind. Mind becomes dull and inactive
    by mundane desires and attachments (kamana or vasana) and is
    subject to bondage. When kamanas, both internal and external,
    are relinquished, the flow of the mind is virtually stopped and the
    goal is easily attained. Kamana or Kama is Mara and Mara is
    Mrtyu (death or destruction). Kama is called Mara, because it is
    the root of all miseries and sufferings. When Siddhartha, a Royal
    prince, 2500 years ago, could conquer Mara. (i. c., Kama, ‘lust’),
    the Highest Wisdom shone of its own accord and he became
    Buddha. He is also called Marajit or Mrtyunjaya (conqueror of
    death). The tendency of Kamana or Vasana should be annihilated
    by the development of real knowledge as salvation is never attained-
    without the cessation of the work of Vasana. Thus the practice
    of controlling Vasana and mind should go hand in hand with the
    development of real knowledge and they will remove all obstacles
    barring the path to salvation. When Vasana is destroyed, the
    mind will be full of boundless compassion (Karuna) and sympathy.
    The development of Bodhi (Supreme Knowledge) which is the
    most important factor for annihilating Kama or Vasana, has been
    fully and emphatically discussed in the Dakarnava where Bodhi
    is deified and the sadhaka is instructed to set his mind on it.
    One obtains Nirvana (salvation), and freedom from constant
    sufferings and the continuous flow of births and rebirths by dint
    of the development of Bodhi.


    Sunya is Nairatma, Bodhi merges into her to enjoy Mahasukha.

    The combination of prajna and upaya, leads one to the stage of Mahasukha, represent-
    ing Vajra, gradually leading through the four kinds of anandas,
    such as ananda, paramananda, sahajananda, and viramananda.

    So it is a Sahaja text, literally, in tantric terms rather as a genre of literature, meaning it guides one to the Fourth Joy.


    It also uses Yantras.

    It appears to be a Nirakara-qualified Yogacara with absence of the objective world.

    It looks like it uses an odd Six Chakra system neglecting the crown:

    nabhithia — nabhisthita — Seated on the Manipura Cakra also called Nabhi-
    padma, which is at the spinal centre of the region of the navel.

    There are six centres of Consciousness (Caitanya), called
    Cakras or Ikulinas, which are the seat of Sakti (Energy) inside the
    Meru or the spinal column. These are — (i) Muladhara, (2) Svadhi-
    sthana, (3) Manipura, (4) Anahata, (5) Vishuddha and (6) Ajna.

    All the elements which are eighteen in number — six indriyas, six
    visayas and six vijnanas.

    Visayas are Vajra devis or Vajris or Objects:

    Viṣaya (विषय, “object”).—What is the meaning of ‘nature of the objects identified’ (viṣaya)? The objects of thoughts in the mind of others which the owner of mental-modes knowledge wishes to cognize are its subjects. according to the 2nd-century Tattvārthasūtra 1.25, “Telepathy (manaḥparyaya) and clairvoyance (avadhi) differ with regard to purity (viśuddhi), spatial-range, and species of the knower and the nature of the objects (viṣaya) identified by them”.

    I am guessing that when they highlight Ajna Cakra like this, it is in line with Pracanda manifesting the Pithas.






    On Chakrasamvara just kind of spitting out seven yoginis, there seem to be two iterations of them which are:


    yāminī - trāsinī - kāminī - bhīmā - rupā - sañcārā - bhāsurā - ḍākinyaḥ sapta saṃhṛtā iti

    Seven Vyahrta, "words" are thereby born.

    rupikā - cumbikā - lāmā - parāvṛttā - sabālikā - anirvṛttikā - aihikī devī ḍākinyaḥ saptadhā smṛtā iti

    These seem to be the source of non-dual Heros/Heroines.


    The first group includes Armor Deities such as Yamini, and others that are found in various synonymous spellings of [Sam]trasani and Sancara[ni] or Samcalini. Bimba = Icon is Ekajati, but, Bhima is likely named for Bhishma and if anything we found I believe it means Gandhari. As far as Bhasura = Radiant, it is suggested as the alternate spelling of:

    Bhāsvara (भास्वर).—a. [bhās-varac] Shining, bright, radiant, brilliant.

    -raḥ 1 The sun.

    2) A day.

    3) Fire.


    The group is explained with Khandaroha interceding almost at the end, but then there is:

    yā bhāsurā'nivartikāparasaṃjñā sā manasodvignā bhavati |


    Now if we "stick to the original", the Puranas say that man's general consciousness is the domain of Chhaya Samjna, or Impure Mundane Consciousness, who is effectively the wife/power of the sun/indra/senses while the actual Samjna or Purified Mundane Consciousness roams Maru in the guise of the Best Mare. Purified Mundane Consciousness is then designated as the ground of Lokottara or spiritual Samjna.


    Bhasura is, here, it seems to me, in the opposing role of a Chakravartin active wheel turner, more as the energy of the wheel withdrawn to the center:

    Nivartin (निवर्तिन्).—a.

    1) Turning back, flying from, returning.

    2) Desisting or abstaining from.

    3) Allowing to return or turn back.



    Parasaṃjñaka (परसंज्ञक):—[=para-saṃjñaka] [from para] m. ‘called Supreme’, the soul


    It may be rather strange to see a typically solar deity expressed as "returned to source", but that looks like what it is talking about.


    As for the second group of seven, these do no resemble any retinue and may just be character traits of the foregoing, since they are all plebian words. The first part is lifted straight from the textbook statement that Rupika and Cumbika are two kinds of Lamas.


    Parāvṛtta (परावृत्त).—p. p.

    1) Returned, turned back.

    2) Revolved.

    3) Exchanged.

    4) Reversed (as a judgement).

    5) Restored, given back.


    Sabali (सबलि).—m.

    (-liḥ) Evening twilight. E. sa for saha with, bali offering of food to evil spirits; the proper hour for such ceremonies.



    Anirvṛtti (अनिर्वृत्ति).—f.

    1) Uneasiness, anxiety, disquietude.

    Anirvṛtti (अनिर्वृत्ति):—[=a-nirvṛtti] [from a-nirvṛtta] f. incompleteness.


    Aihika (ऐहिक).—a. (-kī f.) [इह-ठञ् (iha-ṭhañ)]

    1) Of this world or place, temporal, secular, worldly.




    It sounds a bit to me like the bliss devis of the start are going to give back energy to the source by making a fire offering of worldly miseries.


    Either this Herukabhidhana or the Laghu Samvara are thought to be the oldest recordings of the tradition. By word of mouth, it is traced to Manjushri at the time of making Kathmandu Valley inhabitable. If we take this at face value, what he did for over twenty thousand years until anyone else was there, I am not sure, but I would not put anything past him. Perhaps it was the current Veda cycle.

    The enshrining of Bhrkuti's loom on a restricted floor of a Vajrayogini temple suggests something strongly about her which is hardly discussed.

    From general information, awareness of Bhrkuti Tara is found in the earliest sources:


    The concept of Bhrikuti Tara is noted in the earliest text of Arya Manjusrcemulakalpa. Bhrikuti Tara appears along with Arya Tara and a host of other feminine divinities called Vidyarajnis in Chapter 2 named Mandalavidhana Parivarta of that sutra. Bhrikuti is also mentioned in Hevajra Tantra (2nd chapter). Bhrikuti Tara is generally depicted as a companion deity of some forms of Avalokiteshvara viz. Khasarpana, Padmanarteshvara, Amoghpasa, etc. Bhrikuti appears in different forms. When she appears in blue color, Bhrikuti Tara is depicted as three headed and a six armed form. When yellow; she is single faced three eyed and four armed and with frowning eyebrows. Her four hands hold a rosary, a trident, a Kalasa and display Varada Mudra.

    Taranatha in his history of Buddhism in India describes a visit of an Upasaka Santivarman from Pundravardhana to the top of the Potala hill, the abode of Avalokiteshvara. It is said that Santivarman once prayed to Bhrikuti to cross a sea and there appeared a girl with a raft and who took him across.

    While climbing Potala hill, an Upasaka saw an image of Bhrikuti on the way up the hill. It is also said that Bhrikuti Tara manifested herself as a Nepalese princess in seventh century, who was married to the Tibetan king, Tsrong Tsong Gampo (617 – 650 A.D.). Bhrikuti Devi was instrumental in diffusing Buddhism in Tibet. Bhrikuti Tara brought the artistic images of Arya Tara, Avalokiteshvara and Akshobhya Buddha into Tibet.


    They are not "related namesakes", historical Bhrkuti is viewed as an actual emanation of Bhrkuti.

    According to Atisha's legend, the king of Tibet sent a treasure train to Nepal to get Bhrkuti based on seeing her in a dream. The offering was originally refused in the following way:

    When they arrived in Nepal they met with the king. Gartong Tsen offered the gifts and asked for the princess for the king of Tibet, while Thönmi Sambhota acted as translator. The king of Nepal flew into a terrible rage and told them, “You are insulting me greatly! I will only give my daughter to someone of my own rank and I am superior to the king of Tibet: I have the holy Dharma and supports of the Buddha's body, speech and mind from the time of Buddha Kashyapa. The Dharma has been well established here since king Kri Kri, who reigned at the time of the Buddha Shakyamuni. My riches are like the smoke of the eternal fire, plates are never empty of food, the sound of flour mills never ceases. In Tibet, the king of the hungry ghosts, doesn't have all this, and since there is no law, thieves reign and battles rage. I won't give him my daughter!”


    So although he expresses it in a different way, he at least believes that something has been established there for a long time. Most of the other historical Buddhas were said to visit there, and the last Buddha established what we know as modern disciplic succession.

    Concerning his daughter she is certainly early if not the first to be recognized as such a tantric deity. She has easily accessible Nirmanakaya forms and then her blue wrathful form which seems to take place with the display of the overall Tara Family or Twenty-one Taras. Otherwise in a retinue or on her own it seems she should be peaceful. It is possible for her to be white, but, she is usually yellow. As yellow she is usually a Pitcher or initiation deity.

    That may seem unusual because she is in Lotus Family, but, she is Jupiterian, Bhrim--Bhrkuti. And since this is "accessible", it would then have continuity into the more subtle Jewel Family because then you could get Bhrim--Cintamani and thereby Vasudhara and so on. Then combined with Hum you get an effective Usnisa Vijaya.

  5. The Following 2 Users Say Thank You to shaberon For This Post:

    Old Student (11th May 2021), william r sanford72 (12th May 2021)

  6. Link to Post #1104
    United States Avalon Member
    Join Date
    1st April 2016
    Posts
    2,584
    Thanks
    3,819
    Thanked 7,918 times in 2,281 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    There are 7 matrka, there is a list on Wisdomlib.

    True.

    It is usually expressed as Eight and would generally be a ring expected to stack into the retinue at some point.

    However those names do not appear, and, whereas we found Six Mothers before Seven, here, in Volume One, there is:

    pūrvakulikāmiti jātimātreṇaikavacanam

    darśanamātrādeva

    mātṛkāpañcama ukāraḥ |

    mātṛkā caturtha īkāraḥ |


    in other words those last two are probably coming from the vowels U and I.

    It has this meaning in Saivite philosophy:

    Another important aspect of Mantra is matrika, which are also known as the “little mothers” of creation. They represent the inherent sound vibration of each akshara or indelible sound vibration contained within the letters which make up words and language. Mantra is the source of matrika, or creative energy. In fact, they are so closely linked that another name for Mantra is matrika.

    Mātṛkā (मातृका) is a well-known alphabet goddess mentioned in many tantric texts, irrespective of their age or affiliation. Her name is traditionally explained as the matrix or source (yoni), i.e. the source of all mantras, all śāstras, and in general, of everything that is made of words.This explanation is commonly given by exegetes, who paraphraseher name with synonyms for Mother, mātṛ.

    But in this system, they show the regular names, as consonants:

    Śiva Sūtra further says, that the basis of knowledge is Mātṛkā. Mātṛkā stands for the mystic sound corresponding to each letter of Sanskrit alphabet. This is called Mātṛkā (the mystic soniric power) because it produces the entire universe. The Sanskrit alphabet from ‘a’ to ‘kṣa’ the mother of entire universe is a presiding deity. She is called Mātṛka because she is unknown. When the Mātṛkā is known she leads one to salvation. The different letters are being presided over by different deities.

    Avarga; (the class of vowels) – Yogīśvarī or Mahālakṣmī,
    Kavarga (ka, kha, ga, gha, ṅa) – Brāhmī,
    Cavarga (ca, cha, ja, jha, ña) – Māheśvari,
    Ṭavarga (ṭa, ṭha, ḍa, ḍha, ṇa) – Kaumārī,
    Tavarga (ta, tha, da, dha, na) - Vaiṣṇavī,
    Yavarga (ya, ra, la, va) – Aindrī or Indrāṇī,
    Śavarga (śa, ṣa, sa, ha, kṣa) - Cāmuṇḍā


    So it may all have to do with building syllables in the mantra.

    I was simply reserving judgement that it may be using "Matrika" in a less-than-obvious way, which is similar to, but a change from, this Shiva system, so it may intend different goddesses.



    Quote I can't figure out what sarvairyathopalabdhairebhiḥ is.
    sarva iryatha upalabhda ira abhih
    all 'that which is about to get excited' known/learnt wind to rush forth.
    ?

    Probably not too far off but I am not sure "ira" is a separate word, and, the excitement seems to have a particular flair:


    1) Irya (इर्य):—mfn. active, powerful, energetical

    2) Name of Pūṣan and of the Aśvins

    7) Īryā (ईर्या):—[from īr] f. wandering about as a religious mendicant (id est. without hurting any creature).


    Upalabdhṛ (उपलब्धृ).—a.

    1) Gaining, acquiring.

    2) Knowing, perceiving. m. Soul, self.


    The final "-bhih" is somewhat common having an "of or from" feel:


    ebhiḥ śrīherukasambandhibhiḥ

    siddhisādhanārthaṃ ḍākinībhiḥ



    The seven jewels are followed by a relation to gold:

    tāni suvarṇe saguṇe


    The first term is expansion or stretching, based from:

    tāṇī (ताणी).—f (Dim. of tāṇā) A division or separate portion of the warp.

    Tanī (तनी):—(nf) a string or fastening of a garment


    It is used a few times in the text, including right before this to ensure we are talking about gold:

    hemāni ca tāni ratnāni ceti hemaratnāni |


    This is also the only Saguna in the volume. It would either be Brahman or Six Families.

    The Seven Jewels are the same in Buddhism as they are in Vayu Purana.

    Perhaps a great deal of this is all going into its own mantra related to those.

  7. The Following 2 Users Say Thank You to shaberon For This Post:

    Old Student (11th May 2021), william r sanford72 (12th May 2021)

  8. Link to Post #1105
    United States Avalon Member
    Join Date
    1st April 2016
    Posts
    2,584
    Thanks
    3,819
    Thanked 7,918 times in 2,281 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    So far in a rough handling of Chakrasamvara, something called Sadvarna has come squeaking out, which must be a little different than the standard tantric Five Color Rainbow Light.

    It would seem to be a stock phrase with an easy explanation, but it, perhaps, is a little obscure. There is a
    Sadvarna Mantrastaka probably related to Adi Sankara's Soundaraya Lahiri.

    There is also a Sadvarna country, probably Kashmir.

    It is a general expression, such as in Colorful cooking which is said to be done by Radhika's hands, although it actually says Gandharva hands.


    I do not read Indonesian and they perhaps commit a few Sanskrit misspellings, but, even today, there is a Buddha Flag or
    Sadvarna Dhvaja, which derives from the revival of Col. Olcott and HPB. What they accomplished in Ceylon is incomparable.

    These flags have variants in all the Buddhist countries, and, at most, they show five colors. Perhaps it cannot show the sixth?


    Biru (Nīla) dari warna rambut Sang Buddha melambangkan bakti atau pengabdian,
    Kuning emas (Pīta) dari warna kulit Sang Buddha melambangkan kebijaksanaan,
    Merah tua (Lohita) dari warna darah Sang Buddha melambang cinta kasih,
    Putih (Odāta) dari warna tulang dan gigi Sang Buddha melambang kesucian,
    Jingga (Manjesta) dari warna telapak tangan, kaki dan bibir Sang Buddha yang melambangkan semangat,
    Gabungan kelima warna di atas (Prabhasvara) melambangkan gabungan kelima faktor yang tersebut di atas (makna sebenarnya istilah Prabhasvara adalah bersinar sangat terang atau cemerlang).


    No, according to that definition, they cannot really draw or paint it.

    However we can find a modern translation telling us about civilized countries where Buddhism is taught to children and of course behind the hedge of telling them not to automatically "believe" anything but to process and experience it. So they have a lot of, I guess, non-scriptural children's songs, and the description accompanying Buddha Flag song says:

    Planting Buddhist moral values also moved from the introduction of Buddhist symbols
    as seen in the song "Buddhist Flag". This song is not only introduces the Buddhist flag
    as a unifying symbol of Buddhists, but rather emphasizes the deep religious significance
    of the flag colors as the soul of a Buddhist foundation, "That color Buddhist flag emblem
    student life of the Buddha." The Buddhist flag was formed in color- aura color or light
    outward from the body of the Buddha when he attained sanctity under the Bodhi tree in
    Bodhgaya. Six Buddhist Flag Color or the Dvhaja Sadvarna means: (1) the blue color of the
    Buddha's hair symbolizes devotion or dedication; (2) Golden yellow color of the Buddha
    symbolizes wisdom; (3) The deep red color of the blood of the Buddha symbolized love;
    ( ) The white color of bones and teeth of the Buddha symbolized chastity (5) orange is
    the color taken from the color of the hands, feet and lips of the Buddha which symbolizes
    the spirit; (6) composite combined five colors symbolizing the five factors mentioned
    above. The actual meaning of the term "Prabhasvara" is shining very bright or brilliant...


    It is from Pali where Odata = White and

    Mañjeṭṭha, (adj.) (cp. *Sk. mañjiṣṭhā Indian madder) light (bright) red, crimson, usually enumerated in set of 5 principal colours with nīla, pīta, lohitaka, odāta; e.g. at Vin. I, 25; S. II, 101 (f. mañjeṭṭhā).

    and that is Manjistha or Bengal Madder.

    The word Mañjiṣṭhā is derived from Mañjiṣṭha (“very bright” or “bright red”), which is the superlative of Mañju (‘beatiful’, ‘lovely’ or ‘sweet’).

    So the list excludes Green which for some reason is used by one Japanese sect.

    Otherwise, we find "orange" encoded as pink, brown, or purple, none of which is a madder or alizarin color.

    I started to grow the stuff once, it is not only a drug but historically important as a major dye prior to synthetics, this and indigo, which is also of course highly occultly significant.

    The roots are sensitive to oxygen and change color when exposed:







    So you could argue it is capable of a color other than its commercial application.

    Here is also a good physical correspondence to "saffron-colored" Manju Vajra.

    Sneaky, but, saffron is hard to get, whereas madder will take over.

    We might not expect a national symbol and children's song to be accompanied by the most elaborate details of the tantras, such as, it does not exactly mean Prabhasvara as "the shiny color".

    Nevertheless I would say the flag is highly esoteric by representing Prabhasvara by not showing it, or by taking it as the whole flag. Then you get the tantric teaching of Sadvarna in Chakrasamvara.

    Five to Six colors is for example what you do in Volume One right before expanding from Pracanda:

    upadeśāttaducyate - ādhāramaṇḍalaṃ rajaso'bhilikhya tasyā'ṣṭadalakamalamadhye pañcāśadvarṇaparāvṛto hūmkāro bhāvyaḥ |

    It is an Eight Petaled Lotus in which the five and six colors are involved with Hum by means of Paravrtta, returning or restoration.
    Last edited by shaberon; 11th May 2021 at 21:30.

  9. The Following 2 Users Say Thank You to shaberon For This Post:

    Old Student (12th May 2021), william r sanford72 (12th May 2021)

  10. Link to Post #1106
    United States Unsubscribed
    Join Date
    24th May 2020
    Language
    English
    Posts
    668
    Thanks
    607
    Thanked 1,434 times in 639 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote yā bhāsurā'nivartikāparasaṃjñā sā manasodvignā bhavati
    The hero turning away from conceiving of the other from(connected to) one's own mental distress.

    This looks like a sentence about so-called deity-pride.

    Quote As for the second group of seven, these do no resemble any retinue and may just be character traits of the foregoing, since they are all plebian words. The first part is lifted straight from the textbook statement that Rupika and Cumbika are two kinds of Lamas.
    That sounds right. My textbook says that nouns and adjectives can be interchanged in Sanskrit because the language regards them as two types of nouns.

    Quote While climbing Potala hill, an Upasaka saw an image of Bhrikuti on the way up the hill. It is also said that Bhrikuti Tara manifested herself as a Nepalese princess in seventh century, who was married to the Tibetan king, Tsrong Tsong Gampo (617 – 650 A.D.). Bhrikuti Devi was instrumental in diffusing Buddhism in Tibet. Bhrikuti Tara brought the artistic images of Arya Tara, Avalokiteshvara and Akshobhya Buddha into Tibet.
    Interesting. The Chinese believe it was their princes in about the same time frame who brought Buddhism to Tibet.

    The Khotanese were conquered by pre-Buddhist Tibet and then 100 years later by Buddhist Tibet, and the times work out.

    Everybody knows when Tibet became Buddhist and various sources believe various royal infusions were at root. It is believed by historians that the change was much more gradual and came as Tibet conquered Buddhist lands (not necessarily much of a contradiction).

  11. Link to Post #1107
    United States Unsubscribed
    Join Date
    24th May 2020
    Language
    English
    Posts
    668
    Thanks
    607
    Thanked 1,434 times in 639 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote I was simply reserving judgement that it may be using "Matrika" in a less-than-obvious way, which is similar to, but a change from, this Shiva system, so it may intend different goddesses.
    It could easily be both, there is also a list of 7 gems, and some discussion of gold adornments, etc. I think all of them are supposed to both correspond to and 'be' the armor deities from Varahi.

    Quote Upalabdhṛ (उपलब्धृ).—a.

    1) Gaining, acquiring.

    2) Knowing, perceiving. m. Soul, self.
    With an 'a' it is gained knowledge or 'known'.

    Quote The first term is expansion or stretching, based from:

    tāṇī (ताणी).—f (Dim. of tāṇā) A division or separate portion of the warp.

    Tanī (तनी):—(nf) a string or fastening of a garment
    'tani' also just means 'they'. I took 'tani tatha' to mean 'they thus..."

    Taking another crack at the other,
    sarvairyathopalabdhairebhiḥ
    sarva er yatha upalabdha er abhih
    'All arise in accordance with known 'arise', be fearless.'
    It hangs together better and uses the right combo's not sure if it's any better (er means "arise" but I have no idea what tense/person it is).

  12. Link to Post #1108
    United States Unsubscribed
    Join Date
    24th May 2020
    Language
    English
    Posts
    668
    Thanks
    607
    Thanked 1,434 times in 639 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote These flags have variants in all the Buddhist countries, and, at most, they show five colors. Perhaps it cannot show the sixth?
    They are called Sadvarna (six colors) flag because they show 5 vertical stripes of colors, and a sixth stripe that is made up of the other 5 and is the color 'all colors' or rainbow or whatever.

    Quote So you could argue it is capable of a color other than its commercial application.

    Here is also a good physical correspondence to "saffron-colored" Manju Vajra.

    Sneaky, but, saffron is hard to get, whereas madder will take over.
    Not surprised. They are required to wear saffron-colored robes, not saffron robes. I don't think anyone flying an Indian flag at Republic Day actually has the orange part of the flag dyed in saffron, but their colors are listed as green, white, and saffron.

  13. Link to Post #1109
    United States Avalon Member
    Join Date
    1st April 2016
    Posts
    2,584
    Thanks
    3,819
    Thanked 7,918 times in 2,281 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    That sounds right. My textbook says that nouns and adjectives can be interchanged in Sanskrit because the language regards them as two types of nouns.
    Yes, the impossibility of translating how a Quality is held to be a Substance.


    Quote The Chinese believe it was their princes[s] in about the same time frame who brought Buddhism to Tibet.

    I do not know as much about her, but, together, they are the two Taras Avalokiteshvara wept into manifestation, i. e. Tara (Upaya) and Bhrkuti (Prajna).


    The Buddhist conversion of Tibet and its many power struggles are what the Nepalese king was glad he never had to worry about.

    We have an original Mahamaya text which is "strongly associated" with Kukkuripa who mainly inhabited Nepal.

    He is called Dog Guru since Kukkuripa had a dog that really was the dakini.

    Gesar's vision is much more expansive and calls her Vajrayogini and tells us Padmavajra, Guru of Tilo and Naro, was a student of his.

    84000 has a translation of Mahamaya Tantra which does not suggest an author. It, however, has an excellent introduction, telling us it is mainly about Laukika Siddhis and is on the low end of the scale mentioning Completion Stage or becoming a Buddha only one time. They also argue that Mahamaya "is" female, who has become male as "this" Heruka, which is supposed to be the meaning of Ratnakarasanti's commentary.

    It also suggests the tantra is mnemonic and allusive and that the unwritten tradition is a major part of it. This Introduction is very well done.

    When she takes embodiment, she can do so in any form necessary, which in the context of this tantra is Heruka, the male deity most frequently found at the center of tantric maṇḍalas. Ratnākaraśānti makes explicit the ontological primacy of the feminine Mahāmāyā; in his commentary he equates her with Vajradhara, the embodiment of absolute reality, who is typically male, and identifies her as “she who has the form of Heruka.”

    Because it is short, three chapters, and far less instructive than Hevajra, etc., it is thought to be among the first Yoginitantras.

  14. The Following 2 Users Say Thank You to shaberon For This Post:

    Old Student (13th May 2021), william r sanford72 (12th May 2021)

  15. Link to Post #1110
    United States Avalon Member
    Join Date
    1st April 2016
    Posts
    2,584
    Thanks
    3,819
    Thanked 7,918 times in 2,281 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    It could easily be both, there is also a list of 7 gems, and some discussion of gold adornments, etc. I think all of them are supposed to both correspond to and 'be' the armor deities from Varahi.

    I agree they correspond but in a "layering" effect.

    For instance the male Hindu deities have not gone anywhere, they are just Loka Pala or related to the outer world. They are, so to speak, "converted" to Buddhism into the Wrathful Ones, who, themselves, by Vajrahumkara, are eventually compelled to arise in a Maha form, viz., Mahosnisa and others.

    Similarly, the Armor Deities are Wrathful Prajnas and therefor "Mothers" in that sense--whereas the Seven Jewels are the "things protected" or the factors which actually cause the Noble Eightfold Path to manifest, being Right Knowledge, Right Endeavor, and so on. So we don't know what those things really mean without the tantric inflow.

    In the Vajradaka explanation, it is easy, because Vajradaka himself is the seventh ingredient.


    Interestingly from the commentarial tradition of Vajradaka ch. 12 and 13 about Four Magical Females:

    In his Bodhicittāvalokamālā, Kalāka teaches a visualization practice of the same mandala of Vajraḍāka (except for one thing: In the Bodhicittāvalokamālā, a practitioner visualizes Vajraḍāka s consort Mahāmāyā, who is not mentioned in the twelfth chapter of the Vajraḍāka)

    But in the Durjayacandra Vajradaka sadhana, the Jewels are also called the Six Yoginis, but they do not have the same names as Candi etc.

    They are counterclockwise in a way that can be its own opposite, Sa + Dara or Sa + Adara, but actually:

    1) Ṣaḍara (षडर):—[=ṣaḍ-ara] [from ṣaḍ > ṣaṣ] (ṣaḍor ṣal-) mfn. having six spokes, [Ṛg-veda; Nṛsiṃha-tāpanīya-upaniṣad]


    They are about Paramananda and Jnana and you use Four Activities mantra to bring them.

    Their six colors are blue, yellow, red, green, smoky, white.

    They are Digambara Three Eyed Maha Raudras in Alidha pose. The ring, per se, is born from Six Syllables.

    Heruka is Smrti and the other jewels are:

    Heruki--dharma pravicaya
    Vajrabhairavi--virya
    Ghoracandi--priti
    Vajrabhaskari--prasrabdhi
    Vajraraudri--samadhi
    Vajradakini--upeksa

    Can these correspond to Armor Deities, yes, Vajrabhairavi can stand in for Varahi, Heruki is almost certainly Yamini, here we still have six yoginis and so a pattern can at least be attempted. Smoky Vajraraudri--Samadhi only changes Smoky Candi--Samadhi so much. Are there really seven, yes, Vajravarahi is the consort.

    Heruki faces Heruka but, is not, directly his consort.

    Are they a similar retinue to the Vajraraudris of Samputa, yes, except those are Saumya, with Sabda and Prithvi and are clearly interfaced with the Gauris and Vajradakini is still present.

    I would tend to surmise that "these" Vajraraudris are more about explaining Generation Stage, because they are Wrathful, and the Samputa version is a bit more comprehensive because it then reflects Weapon Hevajra or, almost solely, Completion Stage, suggestive of having found some of the Peace behind the Wrathful or Rudra Krama training.

    This short sadhana is totally clear about four elements, five nectars (Dhatus and Skandhas), six family wheel (Ayatanas, followed by a sixth Urahsirahskandha, possibly a combined Urna and Sirah, and Armor Deities), and seven jewels, without having any explanation about how it works, aside from it being probably the only place where the jewels are deified like this. The Seven Syllable mantra is a proceeding of Amrta.

    The seven jewels seem to arise above Meru, Srngaka, on the horns of the moon, whereas the personal forms are called Devis rather than Dakinis.

    Skin Worker is perhaps the exalted caste in other tantras since these deities are portrayed with human skin (also drum and bell), on a sun disk with corpses.

    "This" Heruki I tend to take as the continuation of Heruka Sannivesa from Dakini Jala and most likely corresponding to Yamini, i. e., Vajra Family.

    When a sadhana wants to indicate "sister of Yama", it is Yami, the Tramen. By being called Yamini, it is something a bit more specific:

    Name of a daughter of Prahlāda

    ‘consisting of watches’, night

    bringing forth twins, [Atharva-veda]


    Prahlada is significant in the Puranas:

    Diti gives birth to two demons Hiraṇyakaśipu and Hiraṇyākṣa. Hiraṇyakaśipu has four sons—Prahlāda, Anuhlāda, Saṃhlāda and Hlāda. Hiraṇyakaśipu was killed by Narasiṃha. [...] Then Prahlāda ascended the throne. His son was Virocana who was killed by Viṣṇu and his son Bali became the king.

    So on this point we are saying Dhyani Buddha Vairocana is *not* this Asura, whose son Bali is the basis of Bali Offering and so on. However, tantric Vairocani *is* the Asura's sister who becomes Sakti of Tvastr, and because it is Buddhism she usually is associated with Vairocana.

    So, ok. Yamini is then perhaps like a sister to her associated with Akshobhya.

    More significance to Vairocani able to emanate "Yamini and others" as Armor Deities in the overall scope of Varuni.

    The relatively brief teaching of this sadhana says:

    vistaro durgraha prayo balastrinam bhaved iti



    The Seven Jewels certainly correspond to Six Yoginis by being representative of the Families, but, again, by way of layering, as in how samadhi goes from indriya to bala to bodhyanga. Similarly we find Prasrabdhi--Khandaroha of the main Chakrasamvara Pitha system becomes concentrated into Prasrabdhi--Vajrabhaskari, and consider whether perhaps the synonymous name Bhasura is how it is used in Herukabhidana Chakrasamvara. The internal Pitha devis such as Khandaroha are already considered bodhyanga, but both sadhanas appear to extract them (Bodhyangas or Ratna) as an individual retinue ring as well.

    Herukabhidhana does not explicitly refer to Bodhyanga as being its special group of seven, aside from having apparently identified the jewel objects, horse, minister, etc., as them, which requires the additional step of explanation which is blatant in Vajradaka.

    Similarly to how Devihrdayamantra is the half-secret rollout of Vajravarnani, the mantra is common within Chakrasamvara, but to assign deities they had to get them from Vajradaka, as perhaps only the mantra is established in Herukabhidana:

    Upahṛdayamantra (उपहृदयमन्त्र) refers to the “quasi-heart mantra of Heruka”, and represents one of the four major mantras in the Cakrasaṃvara tradition, as taught in the eighth chapter of the 9th-century Herukābhidhāna and its commentary, the Sādhananidhi. The Upahṛdaya-mantra consists of seven letters.

    The mantra is as follows: “oṃ hrīḥ ha ha hūṃ hūṃ phaṭ”.

    The seven associated deities are:

    Vajraḍāka, alias Heruka, and his consort Vārāhī (hūṃ), who reside at the center;

    Herukī (phaṭ),
    Vajrabhairavī (hūṃ),
    Ghoracaṇḍī (ha),
    Vajrabhāskarī (ha),
    Vajraraudrī (hrīḥ),
    Vajraḍākinī (oṃ), who reside around Vajraḍāka and Vārāhī.

    The purity of these seven deities is the Seven Limbs of Enlightenment (bodhyaṅga).

    And so the Muttering of the Vajraraudris' ring is the mantra minus one Hum, I think, and backwards.

    The Raudris or Jewels witness the various rites such as Armor and Kaya Vak Citta and then you have Seven Syllable mantra forwards, which purifies Khinna or distress. At that point is where it tells you the Jewel Attributes of the Vajraraudris, perhaps a bit like the conjuration was to establish their forms, and in this final part you focus their qualities.

    It eventually concludes by saying you have bonded Six Paramitas and the forms of the Mudras. So that is a bit like saying it is not the final word in tantra because it isn't doing anything with the Mudras.


    Quote Upalabdhṛ (उपलब्धृ).—a.

    1) Gaining, acquiring.

    2) Knowing, perceiving. m. Soul, self.
    With an 'a' it is gained knowledge or 'known'.
    Sure, like a combination, or hypostasis.

    Quote 'tani' also just means 'they'. I took 'tani tatha' to mean 'they thus..."
    Allright. The usual source can be a bit sparse with nuts and bolts like pronouns and articles.
    Last edited by shaberon; 12th May 2021 at 06:06.

  16. The Following 2 Users Say Thank You to shaberon For This Post:

    Old Student (13th May 2021), william r sanford72 (12th May 2021)

  17. Link to Post #1111
    United States Avalon Member
    Join Date
    1st April 2016
    Posts
    2,584
    Thanks
    3,819
    Thanked 7,918 times in 2,281 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    they show 5 vertical stripes of colors, and a sixth stripe that is made up of the other 5 and is the color 'all colors' or rainbow or whatever.
    That should have been more obvious. Some variants only use three colors or something a little different, but, most of the major ones have this.

    Quote Not surprised. They are required to wear saffron-colored robes, not saffron robes. I don't think anyone flying an Indian flag at Republic Day actually has the orange part of the flag dyed in saffron, but their colors are listed as green, white, and saffron.

    No, I believe using the name of a rare substance is to indicate its "robe" symbolism = solar prana and its "inner symbolism" = Amrta.

    More commonly made by mixing red and yellow powders abundantly available.

    It is used with Manjushri, Khaganana, and in nectar and long life practices, and I suggest is on the axis with Turquoise. This is artistically rare but the combination is shown by Achi Dharma Tara.

    As to why the flag does not really match colors of six families, I am not sure, and it is a bit unclear about white or gold being primal and also in the mix.

    But then, the "layers" of visualization are increasing, i. e. in dealing with four colors on up, starting I suppose with a Mahamaya-type explanation and refining itself in a modular fashion, from form elements to occult color.


    This may be worth a review, since any chance of us saying basic Vajradaka "resembles" Mahamaya is overwhelmed by the commentary that states he is with Mahamaya.

    I had perhaps paid less attention to its first part.

    So the Vajradaka tantra does have a pattern wherein chapters twelve and thirteen he is Four Faced like male Mahamaya and he has four goddesses which are intended as Wrathful Prajnas, such as Locana = Patani I believe. The main difference in the layout is the devis do not have four faces like in Mahamaya tantra and no consort seems to be apparent in the Vajradaka text. After this Mahamaya-esque practice he later evolves more Chakrasamvara features, which would more closely match Durjayacandra's sadhana.


    The translator describes early Vajradaka like so:


    A practitioner visualizes a corpse (mṛtaka), which is of the nature of the true reality of existences (dharmadhātvātmaka), and stands on it in meditation. Then he emits rays from the center of the moon meditated in his heart, develops female deities such as Ḍākinī from the rays, and makes the female deities perform oblation. Subsequently, in meditation, he bows and recites the words to make vows.


    Some of its workings are consistent with Yoga tantra:

    ...the pledges of the five lineages to observe the three pure precepts and the three jewels [which is the pledge of the Buddha lineage]; to preserve the vajra (vajra), bell (ghaṇṭā), seal (mudrā), and teacher (ācārya) [which is the pledge of the Vajra lineage]; to keep performance of various kinds of charity (dāna) [which is the pledge of the Ratna lineage]; to be intent on the right teachings (saddharma) [which is the pledge of the Padma lineage]; and to perform various kinds of oblation as much as possible [which is the pledge of the Karma lineage] ( ), and to save, release, encourage, and locate in the state of liberation all sentient beings (12.12). (The Vivṛti, D 79v2 81r6.) The oldest versions of these words (which are almost identical with the verses of the version in the Vajraḍāka) can be found in the Vajraśekhara, and, among scriptures whose Sanskrit manuscripts are extant, the Sarvadurgatipariśodhana. The Sampuṭodbhava and Abhayākaragupta s Vajrāvalī, whose Sanskrit manuscripts or editions are available, provide versions that are almost identical with the whole texts (viz ) in the Vajraḍāka edited here.

    The practitioner recites a mantra saying that all existences are pure by nature (svabhāvaśuddhāḥ sarvadharmāḥ) and the practitioner himself is also pure by nature (svabhāvaśuddho 'ham). Subsequently, he contemplates that all existences are devoid of their own selves (sarvadharmanairātmya). The practitioner meditating the purity and non-self is equal to the holy one (bhagavat), Vajrin, Vajrasattva, and Tathāgata.

    [That is the name used here, Vajrasattva, who simply has a Four Face Mahaghora appearance, and nothing seems to be said about a consort.]


    When the retinue is cast, these have one face and four arms:

    East Pātanī Is whitish blue. Has a skull staff and a bell in her left hands and a vajra (vajra) and a skull-bowl containing an elephant in her right hands. North Māraṇī Is greenish white. Has a skull staff and a rope (pāśa) in her left hands and a drum (ḍamaru) and a skull-bowl containing a jackal in her right hands. West Ākarṣaṇī Is reddish white. Has a bow and a colorful lotus (viśvapadma) in her left hands and an arrow and a skull-bowl containing a human in her right hands. South Narteśvarī Is whitish yellow. Has a spear (śūla) and a jewel (ratna) in her left hands and a flag (patākā) and a skull-bowl containing an ox in her right hands. What are implied in the directions and colors assigned to these four deities? They seem to be in accordance with the symbolism of directions and colors in the Vajradhātumaṇḍala system found in the Sarvatathāgatatattvasaṃgrahasūtra: they represent the five lineages. Pātanī, residing in the east, is bluish, which is the direction and color of the Vajra lineage in the Vajradhātumaṇḍala system; Māraṇī, in the north, is greenish, which belongs to the Karma lineage; Ākarṣaṇī, in the west, is reddish, which belongs to the Padma lineage; Narteśvarī in the south is yellow, which belongs to the Ratna lineage; and all deities are whitish, which is the color of the Buddha lineage. In the four intermediate directions of Vajraḍāka, the practitioner visualizes four skull bowls (karoṭaka). They are filled with the fivefold immortal nectar (pañcānūna) and are adorned with a crown to which images of Buddhas are attached. According to the Vivṛti, the circle consisting of Vajraḍāka, the four female deities and the four skull bowls described above is encircled by four concentric circles. These four circles are identical with the mind circle, word circle, body circle, and vow circle that constitute the Heruka mandala most popular in the Cakrasaṃvara Buddhist traditions. (Vivṛti, D 81v4 82r1.) As for the Heruka mandala, consisting of the great pleasure circle, mind circle, word circle, body circle, and vow circle [separate text].


    The corollary with Mahamaya is presented right before the first half of Inverted Stupa:

    In his Bodhicittāvalokamālā, Kalāka teaches a visualization practice of the same mandala of Vajraḍāka (except for one thing: In the Bodhicittāvalokamālā, a practitioner visualizes Vajraḍāka s consort Mahāmāyā, who is not mentioned in the twelfth chapter of the Vajraḍāka) : The text gives an instruction regarding a meditation on syllables, fire and fluid and their effects. The Vivṛti calls this practice the refining of the fivefold immortal nectar (bdud rtsi lnga sbyang ba) and explains details of this practice as follows. Having transformed himself into Vajraḍāka, the practitioner visualizes a wind disk from the letter Yaṃ, a fire disk from the letter Raṃ above it, a skull bowl from the letter A above them, and the five letters Bhrūṃ, Āṃ, Jrīṃ, Khaṃ, and Hūṃ in the skull bowl. Then the five letters are transformed into the fivefold immortal nectar, which is of the nature of the five Buddhas. Meanwhile, he meditates that letters Oṃ and Hūṃ emerge above them and are developed into a vajra. Subsequently, he makes fires in the fire disk flare up, fanned by winds from the wind disk. The fires boil the fivefold immortal nectar in the skull bowl, heat the vajra, and melt it. The melted vajra drips into the skull bowl and burns the fivefold nectar empowered by three letters. By this meditation, the practitioner attains various effects not only mundane supernatural effects (siddhi) but also conviction (pratyaya). According to the Vivṛti, the conviction means the right intention (yang dag pa'i rtog pa) (Vivṛti, D 82r1 83r1) : Some features of the mandala are explained. The mandala is square in shape, is complete with four gates, and is decorated with four threads, cloths, flower garlands, vajra jewels, and a wreath of wheels. A white lotus is placed at the center of the space bordered by the four gates. A red lotus with a wreath of vajras is situated on the white lotus. A lotus in dark blue, which has eight petals, resides on the red lotus. On the lotus in dark blue, there is a lotus of various colors (padmaṃ viśvarūpaṃ). This is the lotus located at the top of Mt. Sumeru, and on this base, a practitioner visualizes the mandala of Vajraḍāka described earlier (Vivṛti, D 83r1 v2).

    In other words, it has more or less "concocted" orange nectar suitable for Rasa or what we have seen as a Taste Offering to certain appropriate goddesses, something like a gate before finishing the Inverted Stupa.

    It is like an intensified version of Four Activities:


    Pātanī ( one who makes fall ), Māraṇī ( killer ), Ākarṣaṇī ( drawer ), and Narteśvarī ( dance master ).

    According to the Vivṛti, these verses explain a physical practice of sexual yoga and a visualization of the inner fire Caṇḍālī blazing in the practitioner s body (Vivṛti, 84r4 r6).

    A practitioner performs a sexual yoga with a goddess (or a female equated with a goddess), and during sex he meditates that a mantra bound in a circle circulates between his body and her body, through his penis into her womb and through her mouth into his mouth.

    So the rites have "outer" descriptions of summoning and so forth, but must lead to the Mudras.

    Armor Deities are then employed, having Dakini Jala's male names:

    The six consort Vīras (and their mantras for protection) are Vajrasattva (oṃ ha), Vairocana (namaḥ hi), Padmanarteśvara (svāhā hu), Heruka (vauṣat he), Vajrasūrya (hūṃ hūṃ), and Paramāśva (phaṭ haṃ).


    It is virtually identical to Chakrasamvara because:

    A meditation of placing the five mantras on the five bodily regions of a male practitioner and his female partner for empowerment. A practitioner places in meditation the heart mantra of Vajravārāhī on the navel, the quasi-heart mantra of Vajravārāhī on the heart, the heart mantra of Heruka on the mouth, the quasi-heart mantra of Heruka on the forehead, and the fundamental mantra on the top of the head (Vivṛti, 85v1 v5) : According to the Vivṛti, these verses teach that Ḍākinī (viz, divine female), as well as the physical body of one s own, is devoid of intrinsic nature and, if a practitioner fully understands it, he can approach the state of all-knowing (sarvajña) (Vivṛti, 84v4 85r4).

    The heart mantra of Vajravārāhī is generally: oṃ sarvabuddhaḍākinīye vajravarṇanīye hūṃ hūṃ phaṭ svāhā.

    The quasi-heart mantra (upahṛdaya) of Vajravārāhī is generally: oṃ vajravairocanīye svāhā.

    The heart mantra (hṛdaya) of Heruka is generally: oṃ śrīvajra-he-he-ru-ru-kaṃ hūṃ hūṃ phaṭ ḍākinījālasaṃvaraṃ svāhā.

    The quasi-heart mantra of Heruka is generally: oṃ hrīḥ ha ha hūṃ hūṃ phaṭ.

    The fundamental mantra (mūlamantra) is generally: oṃ namo bhagavate vīreśāya mahākalpāgnisaṃnibhāya jaṭāmakuṭotkaṭāya daṃṣṭrākarālograbhīṣaṇamukhāya sahasrabhujabhāsurāya paraśupāśodyataśūlakhaṭvāṃgadhāriṇe vyāghrājināmbaradharāya mahādhūmrāndhakāravapuṣāya kara kara kuru kuru bandha bandha trāsaya trāsaya kṣobhaya kṣobhaya hrauṃ hrauṃ hraḥ hraḥ pheṃ pheṃ phaṭ phaṭ daha daha paca paca bhakṣa bhakṣa vaśarudhirāntramālāvalambine gṛhṇa gṛhṇa saptapātālagatabhujaṃgasarpaṃ vā tarjaya tarjaya ākaṭṭa ākaṭṭa hrīṃ hrīṃ jñauṃ jñauṃ kṣmāṃ kṣmāṃ hāṃ hāṃ hīṃ hīṃ hūṃ hūṃ kili kili sili sili cili cili dhili dhili hūṃ hūṃ phaṭ.


    11 : A meditation of the goddess Narteśvarī ( dance master ) to make the targeted person dance (Vivṛti, 86r2 r4) ab: One can fulfill all kinds of rituals by practicing oblation adamance (pūjāvajra). According to the Vivṛti, the word oblation indicates the four classes of oblation, namely, (1) the external oblation (phyi) by means of external matters such as flowers, (2) the secret oblation (gsang ba), in which the fivefold immortal nectar and goddess are used, (3) the truth oblation (de kho na nyid), which means the thorough understanding of the nature of wisdom, and (4) the great oblation (chen po), which refers to taking the immortal nectar from inside the lotus. The word adamance means that a practitioner assumes a deity and enjoys various things without fear as he wishes (Vivṛti, 86r4 r6) c 16: One should perform a meditation of placing the mantras of six Vīras and six Yoginīs on particular regions of one s body for protection. In this meditation the six Yoginīs are equivalent to the Six Perfections (ṣaṭpāraṃgata). According to the Vivṛti, the bodily regions where a practitioner visualizes the mantras are the navel, heart, mouth, head, top of the head, and each limb (Vivṛti, 86r6 v4) : One should perform meditations of consecration (abhiṣeka), oblation, one s identity with Heruka, the union of the gnosis being with the pledged being (jñānasamayasambhūta), and mantra placement (mantranyāsa) (Vivṛti, 86v4 87r2) : One should start a ritual (karma) after the performance of the hero s oblation (vīrapūjā). (According to the Vivṛti, the hero s oblation indicates the oblation in the Tantric meeting.) The ritual means a meditation of mantras in one s body. The practitioner visualizes letters of mantra in reverse order. The color of letters that constitute a mantra must be in accordance with the prescribed color of the ritual that he is performing (e.g., white in the case of the pacifying ritual). The Vivṛti interprets that it is the meditation of mantra circulation between the body of a practitioner and the body of his female partner, whose details have already been explained in the comment on 13.4.



    cf. Mahamaya on Summoning:


    Meditate upon the first syllable which is the color of Indra.
    Merged fully with one’s own awareness it is summoned in an instant.
    Ratnākaraśānti comments:

    This is explained as follows: once the vulva of Buddhaḍākinī and so forth is rendered red like saffron, imagine the syllable oṁ red like saffron in the vessel of the Virile One and fix the Virile One in the subtle sphere. Once the Virile One has been made red by the light of the syllable oṁ, two rays of red light emerge from the Virile One. Imagine a noose on the tip of the first and a hook on the second. Binding the neck of the object to be accomplished with the noose and piercing its heart with the hook, imagine that it is quickly summoned.

    It thus becomes apparent that the words of the tantra itself provide merely an outline, a shorthand version for tantric practitioners already well versed in its practices. Likewise, each of the subsequent verses of this chapter points to complex meditation techniques, a type of knowledge that is, as verse 2.17 indicates, “secret, obscure, and unwritten.”
    Last edited by shaberon; 12th May 2021 at 18:37.

  18. The Following 2 Users Say Thank You to shaberon For This Post:

    Old Student (13th May 2021), william r sanford72 (12th May 2021)

  19. Link to Post #1112
    United States Unsubscribed
    Join Date
    24th May 2020
    Language
    English
    Posts
    668
    Thanks
    607
    Thanked 1,434 times in 639 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote As to why the flag does not really match colors of six families, I am not sure, and it is a bit unclear about white or gold being primal and also in the mix.
    It's supposed to match the colors in the Buddha's aura, one of which is rainbow. As for what is primal between white and gold, that does actually sound like a dispute that would be had between painters and jewelers. In painting, the primal color behind a painting if the colors applied would be true is white. In jewelry, especially in enameling, cloisonne, damascene, niello or (more modern) limogine, gold is the background color that trues the transparent glasses and jewels. (Full disclosure, once many decades ago I did that stuff, and spent a lot of time reading about it and about anodizing).

    Quote Subsequently, he contemplates that all existences are devoid of their own selves (sarvadharmanairātmya).
    All dharmas (here existences) are devoid of their own selves nairatmya. That is a feminine 'devoid of their own selves', as with the Dakini, atma --> atmya to make it feminine.

    Quote A practitioner performs a sexual yoga with a goddess (or a female equated with a goddess), and during sex he meditates that a mantra bound in a circle circulates between his body and her body, through his penis into her womb and through her mouth into his mouth.
    It's interesting that the thing starts with visualizing mrtaka as dharmadhatvatmaka and ends up here. I did out dharmadhatvatmaka to dharmadhatu atmaka, the 'of' in the description is literally 'consisting of or belonging to.'

  20. Link to Post #1113
    United States Unsubscribed
    Join Date
    24th May 2020
    Language
    English
    Posts
    668
    Thanks
    607
    Thanked 1,434 times in 639 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote When she takes embodiment, she can do so in any form necessary, which in the context of this tantra is Heruka, the male deity most frequently found at the center of tantric maṇḍalas. Ratnākaraśānti makes explicit the ontological primacy of the feminine Mahāmāyā; in his commentary he equates her with Vajradhara, the embodiment of absolute reality, who is typically male, and identifies her as “she who has the form of Heruka.”
    This is interesting. It recalls the presence of Shiva as a corpse with his consort reflecting the Shakti belief that he is a corpse without her energy (shakti).

  21. Link to Post #1114
    United States Unsubscribed
    Join Date
    24th May 2020
    Language
    English
    Posts
    668
    Thanks
    607
    Thanked 1,434 times in 639 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Are there really seven, yes, Vajravarahi is the consort.
    This is how I had gotten to seven before, I assumed Yamini was in the lead of six, they were emanating from the heart of Vajravarahi, that makes seven.

  22. Link to Post #1115
    United States Avalon Member
    Join Date
    1st April 2016
    Posts
    2,584
    Thanks
    3,819
    Thanked 7,918 times in 2,281 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    It's supposed to match the colors in the Buddha's aura, one of which is rainbow.
    Okay. Well, the Armor or Six Yoginis are Wrathful which is a darker assortment and not the right basis for comparison.




    Quote All dharmas (here existences) are devoid of their own selves nairatmya. That is a feminine 'devoid of their own selves', as with the Dakini, atma --> atmya to make it feminine.

    Aha. Yes, I noticed in Vajradaka there is also "Dakinyah", so it is really attaching a preposition, is not a form of the invocative -iye or anything like that.




    Gold--Suvarna seems to be used early on concerning all twenty-four Pitha devis who are all apparently Mothers at least of Yoga:

    evamityādinā pṛṣṭhapūraṇamāha - anantaroktaḥ suvarṇādidānavidhiḥ sādhakena suṣṭhu niścitaḥ śobhanatvena svīkṛto'numodita ityarthaḥ | tata iti vidheḥ | aniṣṭhitavidhiphalamāha - ḍākinya ityādi | ḍākinya iti ḍākinījātayaḥ | viśeṣamāha - yogetyādi | yogamātarāścaturviṃśati ||


    The additional twelve are the ones led by Kakasya:

    mātṛśabdena kākāsyādayo dvādaśa


    I am not sure if I should take Matar, Matr, and Matrka as flat equivalents.





    White and Six Colors was in the following verse--it looks repetitive because the second one is commentary which is the part where we see it is white:

    vāmācāraratā nityaṃ hyete svamudrāvarṇa saṃkulāḥ |
    kulavidyākṣarāṇi [ ca ] ṣaḍvarṇāni bhavanti hi || 11 ||

    vāmā nāryastāsāmācāro'tikrodhāhaṅkārādikam | hi samuccaye | ete yoginījanāḥ | punaḥ kīdṛśā ityāha - svamudrā sitavarṇādi varṇo mṛṇālagauratvādi | tābhyāṃ saṃkulāḥ sambaddhāḥ | kulavidyākṣarāṇi ceti | kulaṃ sādhakastasya vidyāstā evākṣarāṇi vajrāṇi dṛḍhādhimokṣatvād yoginījanāḥ | ete cāvicalitarupā devyo bhavantītibhāvaḥ | ṣaḍvarṇāni bhavanti hīti | ṣaḍvarṇāḥ prakārāḥ yoginīnāṃ jñātavyāḥ | hi samuccaye || 11 ||



    The subject is a rather strange color compound:

    paramaḥ samayo varṇagandhādiḥ |


    The previous verses certainly mention colors followed by commentary that...I don't know where it got Hayagriva,etc., from:

    mṛṇālagaurā tu yā nārī padyapatrāyatalocanā |
    sitavastrapriyā nityaṃ navacandanagandhinī || 3 ||

    saugatagoṣṭhīratā caiva sā jñeyā kulagotrajā |
    yā nārī taptahemābhā raktapītāmbarapriyā || 4 ||

    jātivatyekagandhā ca sā vīrānugā bhavet |
    sarvendīvaraśyāmā nīlāmbaradharapriyā || 5 ||

    nīlotpalaśubhagandhā ca śrīherukānugā hi sā |
    yā nārī [ sundarī caiva ]puṇḍarīkadalacchaviḥ || 6 ||

    mṛṇālagandhā ca satataṃ sā tu vīramatī tathā |
    raktagaurā ca yā nārī raktavaktrasurupiṇī || 7 ||

    mallikotpalagandhā ca sā vajrakulasambhavā |
    pītaśyāmā tu yā nārī śuklāmbaradharapriyā || 8 ||

    śirasi( śirīṣa )puṣpagandhā ca tathāgata[ kulā ]nugā |
    āraktavarṇā ca yā nārī tadvarṇāmbaradhāriṇī || 9 ||

    karpūragandhā satataṃ vairocanakulānugā |
    saptaitāni mayoktāni yoginīnāṃ kulāni tu || 10 ||

    saugatānāṃ ca goṣṭhyāṃ rataiva | kulaṃ hayagrīvastadeva gotraṃ yasyāḥ sā śauṇḍinīkulagotrā | tasyā jāteti hrasvatve kulagotrajā bhavati | vīra ākāśagarbhastadanugā cakravarmiṇī tatkulasaṃbhavatvāt sā tathā | śrīherukānugeti | suvīrākulānugā | vīramatīti | vīramatīkulānugā | vajrakulaṃ vārāhīkulam | tathāgataḥ padyanarteśvaraḥ tena kulyata iti tathāgatakulā mahābalā tadanugā | mayeti mayaiva | abhisaṃpratyayāya | turanantaratvasūcakaḥ || 4-10 ||


    Gold Light--Hema Bha--is perhaps orange, Raktapita. There we can find the colors Sita, Hema, Nila, Raktagaura, Pita Syama, and Arakta.





    Quote It's interesting that the thing starts with visualizing mrtaka as dharmadhatvatmaka and ends up here. I did out dharmadhatvatmaka to dharmadhatu atmaka, the 'of' in the description is literally 'consisting of or belonging to.'


    It is like Aparajita Swing Recitation.

    Vetali = Corpse = Mental Element.

    Yes that has its meanings in philosophy, I am afraid it is also almost literal, i. e. the mind of an ordinary worldling does make a rotten corpse out of their mindstuff and they are going to see it when they hit the Bardo.

    It is similar to Prajnaparamita which carries out a lot of Dharmadhatu Purification with "nine kinds of corpses" or something to that effect.


    But yes Corpse and Dharmadhatu or Source of All Phenomena are of one nature and you stand on it.

    Yes if I was to think of those four goddesses it would never really be in terms of what might sound like external spellcasting, it would be the Activities followed by Seals. Because I can barely visualize a spot, it would be a really long time before I could get such a thing as a Jnana Mudra.

    I believe it is like this, if you are a rare individual such as Tson kha pa who can manifest Jnana Mudra without difficulty, then you just use it as Karma Mudra.

    Otherwise you are a bit hamster-on-a-wheel until you can.

    That is why it is said some monks used Golden Zombie.

    In other words one can heighten and gear the Bell Activity to what a Karmamudra is supposed to mean, do, etc., and then actually accomplishing the Seal, would, I suppose, depend.

    If I think of the Karmamudra as the far end of a Quintessence whose, perhaps, beginning, or Hook, is where I am now, that is probably more accurate.

  23. The Following User Says Thank You to shaberon For This Post:

    Old Student (14th May 2021)

  24. Link to Post #1116
    United States Avalon Member
    Join Date
    1st April 2016
    Posts
    2,584
    Thanks
    3,819
    Thanked 7,918 times in 2,281 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    This is interesting. It recalls the presence of Shiva as a corpse with his consort reflecting the Shakti belief that he is a corpse without her energy (shakti).

    That Vajradhara can hardly directly do anything?

    But perhaps female Vajradhara can slip out and enact tantras as what would apparently amount to being both partners?


    The instance of Mahamaya--Heruka is the only situation it is, I guess, attempted to be called male.


    As female it does appear elsewhere in Buddhism:


    “Mahākāla should be surrounded by seven goddesses, three in the three cardinal points, (the fourth being occupied by his own Śakti) and the other four in the four corners. [...] To the East is Mahāmāyā (consort of Maheśvara), who stands in the ālīḍha attitude and rides a lion. She has four arms, of which the two left hands carry the kapāla and the ḍamaru, and the two right the kartri and the mudgara. She is blue in complexion, has dishevelled hair, three eyes and protruding teeth. All these deities are terrible in appearance, with protruding teeth and ornaments of serpents. [...]

    Surrounded by all these deities [viz., Mahāmāyā], Mahākāla should be meditated upon as trampling upon Vajrabhairava in the form of a corpse”.

    He embraces a prajna, but his own sakti is supposed to be in the north:

    To the East is Mahāmāyā (consort of Maheśvara); To the South is Yamadūtī; To the West is Kāladūtī; The four corners are occupied by the following Goddesses: Kālikā (South-east); Carcikā (South-west); Caṇḍeśvarī (North-west); Kuliśeśvarī (North-east).

    So he should really be surrounded by eight.



    And, if we forgot Vajradaka ch. 1, the guy who wrote the consort comment into the sadhana probably did not:


    Mahāmāyā (महामाया)or Padmaraśmī is the name of a deity associated with the Bhūta (element) named Ākāśa, according to the 9th century Vajraḍākatantra chapter 1.16-22.—Accordingly, this chapter proclaims the purity of the five components (skandha), five elements (bhūta) and five senses (āyatana) as divine beings [viz., Mahāmāyā].


    Having also called Heruka, Parameswar, from the Shiva lore I remembered an old song Amba Parameshwari Akhilandeshwari.

    What I did not know was that Akhilandeshwari is Khodiyar Maa.

    Khodiyar is installed in a temple believed to be over 11,000 years old.

    Akhilanda is a double negative meaning Never Not Broken.

    Khodiyar is Makara devi:













    She is a Naga devi as well.

    As seen here, Makara has to do with a very special "consort of Shiva", similarly to how in Buddhism they are almost restricted to forms of Sri.

  25. The Following User Says Thank You to shaberon For This Post:

    william r sanford72 (16th May 2021)

  26. Link to Post #1117
    United States Avalon Member
    Join Date
    1st April 2016
    Posts
    2,584
    Thanks
    3,819
    Thanked 7,918 times in 2,281 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote Posted by Old Student (here)
    This is how I had gotten to seven before, I assumed Yamini was in the lead of six, they were emanating from the heart of Vajravarahi, that makes seven.


    In the sense that Varahi plus:

    Vārāhī (vaṃ), who resides at the center;
    Yāminī (yoṃ),
    Mohanī (moṃ),
    Saṃcālanī (hrīṃ),
    Saṃtrāsanī (hūṃ),
    Caṇḍikā (phaṭ), who reside around Vārāhī.

    equals seven.

    If we took the format that is only given in Samvarodaya as far as I am aware, it would be:

    Vajravairocani (vaṃ),
    Yāminī (yoṃ),
    Mohanī (moṃ),
    Saṃcālanī (hrīṃ),
    Saṃtrāsanī (hūṃ),
    Caṇḍikā (phaṭ),

    And from there, potential cases that the first could be Vajrabhairavi or Vajracharchika.

    But that would be pretty standard in most Varahi-centered rites, you still cast her in the Armor Deities. Well, yes, I guess that does give you an individual "number" like in other retinues where we see two of the same at once.

    Look at the Mahakala thing just listed above, they placed his consort twice and she doesn't even have a name, but then they skipped counting the second her.

    Again, at least for my purposes, it is best to see the whole thing as a hypostasis of Varuni and so, provisionally, these are Armor Deities of Varuni.


    Yamini and the Armor Deities come up in the second chapter. But Yamini comes around again in another way.

    Exactly what Chakrasamvara is saying or why later in Chapter Seventeen "Cihna Mudra" it has another Seven that have "some" Armor Deities, I am not sure.


    The previous Chapter Sixteen with the Six Colors is continuous to this on the theme of seven yoginis. It may have told us why seven is five:

    prathamārthe saptamītyarthasamudāya iti pañcamaḥ |



    Five Nectars are the Sat Bhava or real existence of Laksana Maha:

    yāminī - trāsinī - kāminī - bhīmā - rupā - sañcārā - bhāsurā



    The commentary tells us:

    lakṣaṇānantaraṃ vaktuṃ saptadaśaṃ paṭalamāha - tato durlabhā ityādi | yoginīnāṃ tu ḍākinīnāmityādi prathamārthe ṣaṣṭhī | tato yoginyo devyaḥ | turviśeṣārthaḥ | yoginīnāmiti | ḍākinyo māniṣyo yoginyo yoginīguṇānuvartinya ityarthaḥ | atastathaiva ceti padam | kuta ityāha - tato durlabhā iti | yato devīguṇatvatyo ḍākinyastato duḥkhenopalabhyanta iti bhāvaḥ | yadyevaṃ kathamupalabhyanta ityāha - pañcāmṛtasadbhāvāditi | tadupayogine sādhakāya tiṣṭhantyetā iti bhāvaḥ |



    and they seem to be renamed as characters, Cumbika etc.

    The commentarial block for what is going on with their descriptions:


    yāminyāścumbikāparābhidhānāyā lakṣaṇamāha - iṣṭaṃ vetyādi | ḍākinī ceti | ḍākinyaghanāśinīti bhāvaḥ | ata eva yamaḥ saṃyamaḥ, sa eva yāmaḥ svārthe'ṇ | sa yasyā'sti sā yāminī | nāśanaṃ karoti yataḥ | bhīmāyā lāmāparābhidhānāyā lakṣaṇamāha - tiryagdṛṣṭirityādi | tarjayanti heti | ekatve bahuvacanam | ata evārthaḥ | anyathā niśvāsaḥ kāmāsakto'pi bhairavo viśeṣeṇa prayāsāt | turviśeṣe | ato viśeṣeṇa ramata iti rāmā | rephe latvāllāmā | lakṣaṇadvayayogād bhīmaiva lāmā | trāsanyāḥ parāvṛttāparābhidhānāyā lakṣaṇamāha - varāhetyādi | śarabhaḥ paśuviśeṣaḥ | śarameti pāṭhe tu śvā | sarvāṃstāṃstrāsayediti | tasyā darśanena te bibhyatītyarthaḥ | ataḥ parāvṛttā sā | hiryasmādarthe | pare parāvarttante yasyāḥ sā tathā yasmāt | sañcārāyāḥ sabālikāparābhidhānāyā lakṣaṇamāha - prahṛṣṭetyādi | bhūyo'nivartitatvāt sañcāraḥ | kāminyā aihikyaparābhidhānāyā lakṣaṇamāha - anurukta ityādi | khaṇḍarohā khaṇḍe'bhinnapradeśe punaḥ punarārohati tiṣṭhatīti sā tathā | hiryasmāt | iha pradeśe ciramavatiṣṭhati ityaihikī | bhāsurāyā anivartikāparābhidhānāyā lakṣaṇamāha - manodvignetyādi | yā bhāsurā'nivartikāparasaṃjñā sā manasodvignā bhavati | tathābhūtayā ca tayā loṣṭhādinā spṛṣṭaḥ sattvo na jīvati | anivartyā nivartayitumaśakyatvāt | kuta ityāha - asādhyā hīti | hiryasmat || 3-10 ||




    ḍākinīnāṃ kulānīha mahāvādīni lakṣayediti | vāyuvegādayo mahāvīryāntā yoginyo yāminyādīnāmaihikāntānāṃ kulāni | ḍākinī yoginīti samānārthaḥ | ḍākinīnāṃ kulamudrāvīrasevituṃ lakṣayediti pāṭhāntare | ḍākinīnāmuktānāṃ kulāni mudrā eva | yoginya eva vāyuvegādayaḥ [11]


    The seven Ratna jewel items, physically, do emerge from the golden background and the original five nectar process. It may be footnoting that there are jewels, teaching other stuff, and connecting back to it here, since it is due to five nectars.

  27. The Following User Says Thank You to shaberon For This Post:

    Old Student (14th May 2021)

  28. Link to Post #1118
    Sweden Avalon Member Rawhide68's Avatar
    Join Date
    25th May 2017
    Age
    52
    Posts
    494
    Thanks
    1,543
    Thanked 2,756 times in 454 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    I like this part"śūlākāraṃ lalāṭaṃ tu krūrakarmaratā ca yā "

  29. The Following 2 Users Say Thank You to Rawhide68 For This Post:

    Old Student (14th May 2021), shaberon (14th May 2021)

  30. Link to Post #1119
    United States Unsubscribed
    Join Date
    24th May 2020
    Language
    English
    Posts
    668
    Thanks
    607
    Thanked 1,434 times in 639 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote The additional twelve are the ones led by Kakasya:

    mātṛśabdena kākāsyādayo dvādaśa


    I am not sure if I should take Matar, Matr, and Matrka as flat equivalents.
    Not sure either. Most of the words with Matr- are the same root, but that doesn't mean they are the same.

    Quote kulavidyākṣarāṇi [ ca ] ṣaḍvarṇāni bhavanti hi
    This appears to be saying
    "Wisdom handed down in the family and spelling the six colors present tense therefore."
    Seriously.
    kulavidyaksarani means 'wisdom handed down in the family'
    aksarani means 'spelling'
    sadvarani we've had before, it's 'six colors'
    bhavanti means 'present tense'
    hi means therefore or surely.

    What is this about?

    Quote Yes if I was to think of those four goddesses it would never really be in terms of what might sound like external spellcasting, it would be the Activities followed by Seals. Because I can barely visualize a spot, it would be a really long time before I could get such a thing as a Jnana Mudra.

    I believe it is like this, if you are a rare individual such as Tson kha pa who can manifest Jnana Mudra without difficulty, then you just use it as Karma Mudra.

    Otherwise you are a bit hamster-on-a-wheel until you can.
    I should work on my onion appreciation. Maybe in the modern world it's about TOR.
    (Tsongkhapa mixing languages is the man from Onion Valley tsong (now written zong) still means 'onion' in standard Mandarin).

    Quote But yes Corpse and Dharmadhatu or Source of All Phenomena are of one nature and you stand on it.
    The reason it caught my eye was that the expression was that it "consisted of" the source of all phenomena. As if the substance of the corpse itself, what it was made from was from 'source of all phenomena'.

  31. Link to Post #1120
    United States Unsubscribed
    Join Date
    24th May 2020
    Language
    English
    Posts
    668
    Thanks
    607
    Thanked 1,434 times in 639 posts

    Default Re: Does Anybody Else Have Clear Body Experiences?

    Quote lakṣaṇānantaraṃ vaktuṃ saptadaśaṃ paṭalamāha - tato durlabhā ityādi
    These passages seem to be something about the difficulty of saying something? Would that be difficulty with intoning it or what?

    Quote The seven Ratna jewel items, physically, do emerge from the golden background and the original five nectar process. It may be footnoting that there are jewels, teaching other stuff, and connecting back to it here, since it is due to five nectars.
    Ah, emerge. That sounds interesting.

+ Reply to Thread
Page 56 of 61 FirstFirst 1 6 46 56 61 LastLast

Tags for this Thread

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts