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Thread: Nirakara and Shentong Buddhism, Tara, Sadhanas, Sanskrit culture

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    Default Re: Nirakara and Shentong Buddhism, Tara, Sadhanas, Sanskrit culture

    Siddharajni, Dharma Tara, Six Yoginis and Dakini Jala Families, synonyms and degrees of Samadhi, Cunda, Manohara






    What looks like Jamgon Kongtrul's Treasury of Kagyu Mantras really looks more like a sadhana basket involving:

    Amitayus - empowerment of the single deity and single vase, from the tradition of the Queen of Siddhas (Siddharajni)


    Followed by a Guru Yoga which is described as Drukpa Lama Chopa. Then there is a collection of Marpa's tantras.

    In the seventeenth century, the Drikung Monkey Year became Transference or Drikung Phowa Chenmo when adding Siddharajni's Amitayus, become a major public pilgrimage of Wang or empowerment.


    So the main Amitayus or Long Life practice is from Siddharajni, not from the common White Taras. This one lived around the twelfth century, although there is at least one who had lived before. Although this one also transmitted some of the Jinasagara practices, the one in the thangka is not her, since she was almost entirely deleted out of the database. She was a teacher of Rechung, the founder of Shangpa.

    It is the considerably prior eighth century incarnation:


    Guhyajnana Dakini appears with Jinasagara Avalokiteshvara, wherein sometimes Guru Rinpoche is replaced by an Indian tantrika named Siddhirajni (Machig Drupa'i Gyalmo), a Niguma-like figure, Red with a drum. Both Dakini and Guru may be Red or White. Hers is not even a name, but a title, "Sole Mother Queen of the Siddhas", which was [also] given to Mandarava.


    Mandarava, in turn, is also an ancient long-life being, usually having an Arrow.

    It does seem to be accepted that Niguma was a Mandarava incarnation. Perhaps that is who they are talking about. Siddharajni is both of them and others.

    Tiphupa was another teacher of Rechung and gave the Kagyu lineage the "nine-fold cycle of the formless Dakinis". Siddharajni's only biography is in that of Rechung. Tiphupa composed a song to her. He calls her Vajravarahi, Vajrayogini, and Pandaravasini and says she met Vajradhara, Chakrasamvara, Avalokiteshvara, Hayagriva, all the dakinis of the sacred sites, and Simhamukha. She has a skullcup and knife. She is also shown with dorje, bell, and third eye. She transmitted the Padmanarta--Guhyajnana meditation, wherein the Four Arm form is the beginning and Two Arm is secret practice. She calls the fact that anger is baseless, Hayagriva, and that desire has no root, Guhyajnana.



    Ocean Victor Jinasagara Avalokiteshvara personally contains Hayagriva and Guhyajnana.

    It is explained fairly well in Lord of the Dance about the Mani Rimdu festival. Jinasagara Avalokiteshvara is Lord of the Dance, he contains Hayagriva, who contains Contemplation Hero. Around them are Four Dakas, and the gates have four female Tramenma or animal-headed deities--the Four Activities. Six Syllable Avalokiteshvara as a Karmapa Yidam introduced by Rechung, is lord of the dance of compassion or incarnation, and has nothing inherently to do with a dance festival. In Nepal, he is Padmanartesvara. He tosses a syllable of his mantra into each of the six realms, preventing rebirth there. In this sadhana, Guhyajnana is Avalokiteshvara's consort. Hayagriva has an unnamed light red one with two hands holding knife and skull.


    Siddharajni is a type of Tulku who was Mandarava (Machig Drub'pai Gyalmo) usually white, and Niguma usually brown. However both are associated with Drum and Arrow.

    Sukhasiddhi is a similar Tulku who was Yeshe Tsogyal and I think Machig Labdron.


    Lady of Illusion is probably the main resource on Niguma, who, in the opening invocation, is named distinctly from Sukhasiddhi. Inner Heat is the first of the Six Doctrines; after that, you go on the Path of Seeing. The Seven Jewels of Enlightenment become the first Bhumi at this time. That is why it makes sense to "time" Vajradaka sadhana to this point, since it deifies the Seven Jewels. That is how I understand it.

    Niguma is a lot more direct than the Kriya to Chara to Yoga format. She is the Shangpa lineage.

    Niguma's practice is truncated and advanced:

    Three Action Meditations: Guru Yoga, Deity Yoga, and Illusory Body.

    Then Flowers, or two dakinis, Red and White Celestial Women (Khechari).

    The Fruit is Deathlessness and Non-Entry (of either samsara or permanently still nirvana).

    Guru Yoga itself has four degrees:

    Outer Guru Yoga (Vajradhara)
    Inner Guru Yoga (Vidyadharas)
    Secret Guru Yoga (Peaceful Avalokiteshvara)
    Most Secret Guru Yoga (Quintessence)



    In Female Founders, Vajravati and Siddharajni are mentioned side-by-side. The second of these was perhaps an office or title or Tulku in India. The last known one of these was profoundly influential to Rechung:

    When Rechungpa first met Siddharajñi, her powerful presence
    made his hair stand on end. He trembled, wept, and threw himself
    to the ground at her feet, placing her feet on his head in a gesture
    of supreme respect.

    As to how he knew her:

    Vajravarahi [female Buddha] incarnate...,
    Mother of all Buddhas,
    Homage to you, Siddharajñi!
    You have the thirty-two signs of a Buddha.
    Your rainbow body is brilliant as a diamond.
    Bliss-bestowing woman, with every excellence,
    wearing jewels and ornaments of bone,
    You hold a flaying knife and skull cup full of nectar.
    Amid an ocean of enlightened females (dakinis),
    In a crystal meditation bower,
    On a throne of gold, silver, turquoise, coral, and pearls,
    You are our only mother, Siddharajñi!


    She may have had an ordinary appearance but:

    His purified vision revealed her to be seated in a jeweled bower, a type of canopy designed to welcome and honor a Buddha.

    She had attained revelation directly from Amitayus and so is a major source of Long Life practice, as well as a few things on Guhyajnana Dakini.

    By doing an Agni Homa, it is very close to saying an Amitayus Homa.

    In the Homa, if he is a trigger to Annapurna, who, at least in the Nepalese context, might be thought of as the wife of Vishnu, the Homa is really the Yoga of Agni Vaisvanara, Vishnu Man, which has to do with the scattered pieces and layers of shadow and all the adjustments necessary to our aura in order for the power and awareness to Expand Fully.








    Tara Fifteen is most like Dharmakaya, and there is an amazing individual of a similar name.

    Achi was around the 1100s and this is just calling her "Lady", her name being Chokyi Drolma which means Dharma Tara, which she was not called because she was Tibetan. She is mainly in Bhutanese Kagyu, her grandson is the founder of Drikung, although she is also at Sera.

    She had begun spontaneously reciting Tara's song at about age four, composed herself into sadhanas she said to keep secret for several generations, and was seen to leave the world for Akanistha by going into the sky on a blue horse.

    She is considered a Vajrayogini who can manifest all five classes of dakinis as evident in a one-page preview which includes Four Dakinis mantra and says she is white. In a full version she is also wrathful red, and, she understands at least some Sanskrit and they do call her Dharma Tara.

    She also at least once is considered an Akshobya emanation.

    Achi is currently a living transmission in Drikung.









    She is usually quickly identifiable by a drum and being on a blue horse, on which she rode into the sky to Akanistha. So this is likely her on an 1800s Nyingma Jinasagara:















    So she is a very powerful Nirmanakaya of Tara probably in Vajra Family. Her actual training though is very profound and almost just like the Dharmakaya on its own.






    Six Yoginis


    We said something about "layers" or "degrees" of Samadhi, and so in tantric terms, this gives us a few ways to show the Six Yoginis. We can show their Dakini Jala format, combined with the Armor Yoginis. "Samadhi" has a kind of unfolding definition with the goddesses at the core of what is in the Sutras. Furthermore, Dakini Jala is a very old tantra which was contemporaneous with, and quite possibly an underground tradition prior to, the more rigorous and formal STTS. Dakini Jala is already complete with all tantric components, whereas STTS is in a disadvantaged position of not being able to explain Six Families.

    Anandagarbha is called one of the Three Experts on Yoga in the Sarma transmission. The Root Tantra of Dakini Jala and most of the related literature are in the First Transmission. There are three related Sadhanas (one from Anandagarbha and two in Sadhanamala), and Anadagarbha's commentary called Vajrajvalodaya. The only part new in Sarma is a supplement called Sarvakalpasamuccaya. There are more articles only in Tibetan.

    Anandagarbha's writings and Tson kha pa's review of them illustrate the same tantric structure going through Taming and into Four or Five Families we are describing. He therefor post-dates STTS, Sarvadurgati Parishodhana, etc., but he was at Vikramashila so he had access to everything.


    He deals with Vajradhatu mandala, then Trailokyavijaya, then Taming. If STTS is a somewhat bulky, unwieldy system, to which Dakini Jala is more intuitive, colloquial, and tantric, they are still built on the same Maheshvara subjugation myth of all tantra, which, in Buddhism, is accomplished by Vajrapani generally, but, specifically, Ghasmari defeats the chief or Isana Mahesvara.



    Heruka's first appearance in the Buddhist mantras is in the Sarvatathagatatattvasamgraha [STTS], where his name appears in a Mantra for the drawing of all the [Saiva] Mother-goddesses into Buddhism, and it is that, with the insertion of a single seed syllable, that is adopted as the Mantra of Heruka in the Sarvabuddha Samayoga Dakini Jala Samvara [Seven Syllable mantra].

    Heruka as Dakini Jala Samvara is four faced, eight armed, having for its seed a Blue Hrih.

    In Vajrajvalodaya, there is a Tri-shakti similar to the one in Paramadya:



    Pramoha is invoked as Vajranarayani, Cauri as Vajracandesvari, and Ghasmari as Vajramahesvari.

    The titles are the same as their "consort" roles in Paramadya Tantra, which is the major basis of Dakini Jala:

    Visnu, Rudra, and Brahma (Narayan, Candesvara, Padmodbhava) and their consorts Vajrasri, Vajragauri, and Vajratara, join
    Akasagarbha and Khavajrini to form the retinue of Vajrasattva in the central section of the abridged Mandala of the Yogatantra Paramadya.

    Ok. In a Five Family format, Khavajra is Sparsha Vajra entering the secret place. Here, it is first like making the fourth or Jewel Family out of the Hindu Tri-shakti and Buddhist Three Jewels simultaneously. It is misleading, since Gauri is equivalent to Mahesvari--Ghasmari, and Brahma's Tara is equivalent to Candesvari--Cauri. You would think Candesvari belongs with Candesvara, but, these names do not seem to meet. Here, tantra is based on perhaps steering the Hindu trinity in a new direction, not denying or removing it. This is almost the same thing as calling the Gauris Shaktis, and it is not this class that defines the Families or are them on their home plane.




    When understood as Six Families:


    Luminous Wisdom (Hevajra commentary) gives Hevajra's Ghasmari as the purified sixth principle, manas of self-grasping, or sakkaya-ditthi or what we have called Sixth Skandha and Gnosis Element. Nairatma "is" this principle, Ghasmari is its purified state.

    Ghasmari is in Panchadaka (Hevajra explanatory system) as a green Bell goddess, and she becomes the South Gatekeeper of Dakarnava Heruka's Jnana Chakra, having characteristics of the southern dakini. Ghasmari is power of food, or taste, similar to Rasa, and the enjoyment of soma or amrita or nectar. She is defined by Drakpa Gyaltsen as the Samputa Tantra itself. Samputa and Hevajra are slightly different systems of similar ingredients; Samputa having more to do with making a Bliss Chakra of Four Dakinis, whereas Hevajra takes this for granted and applies it to higher stages of the Path.

    She is one of the extremely few who carries the Agni Kunda or the main tantric fire, as well as a Sword.

    So, she has two different gatekeeper roles, and the intent is that she is ultimately a purified Dharmadhatu Vajra goddess in the Offering or Bodhisattva or Sister class. This sounds a bit like Cunda if she is supposed to be a Vajrasattva sisterly emanation.



    Dakini Jala Families


    In Dakini Jala, once we realize the Dhyani Buddhas are present simply in older names, then the Prajnas, at least the four principal ones, are the same as anywhere, considering that Mamaki is with Vajrasurya (Jewel Family).


    Allright. So it does have four families that are sort of standard, perhaps having a wrathful edge. These are Form Elements, the Mahabhuts, related to the Four Dakinis, and can similarly be placed around various central figures. This likely seventh-century format for the purposes of realizing Vajrasurya initiation (i. e. of all Upa Yoga or Charya Tantra) has the following for its central and/or hypostatic families, Vajra Family and the Sixth, Gnosis, or perhaps Kumara Family:


    Heruka + Isvari

    Vajradhara + Samvari



    Heruka is Heruka Yoga, i. e. Peaceful and Wrathful Vajrasattva, and Vajradhara is scarcely operative in sadhanas except perhaps as a realization or accomplishment performed by Vajrasattva. Heruka in this practice means he is subject to arise in his two, four, and six arm forms, much like in Samputa Tantra.


    The first indicated Prajna, Isvari, is designed to be an office upheld by anyone appropriate, frequently as Vajravarahi, Nairatma, or Jnanadakini.


    Samvari is also mentioned in Vajrasattva's retinue; at first, this would sound like a female Chakrasamvara, but grueling looks at all possible Shakti Pithas gives:

    Samvari Devi/Vimala Devi

    In Kurukshetra, Samvari and Vimala occupy the same Pitha, where the Bhairava is Samvarta.

    She is on a Japanese dharani page, which is p. 413 of Dharani Samgraha.

    Where we are is under a profound mantra which re-iterates several of the main subjects and adds Jayavahini:

    Om vipule vimale jayavale jayavahini amrte hum hum phat svaha. Om bhara 2 sambhara 2 indriyavala visodhani hum 2 phat 2 svaha.


    related to Mahamaya commentary:

    gunavati akasavati akasa visuddhe

    cintamani makuta


    Increases Bala:


    vala varddhani svaha


    rare yogini:

    vajravati tathagata hrdaya purini ayuh sandharani vara


    If we continue in Dharani Samgraha, Samvari disappears from p. 423:

    vidhāriṇi | mahile 2 mahāmahile | nigaḍe nigaḍabhaṁje | maṭṭe maṭṭini | dānta cakre cakra vākini | jvala 2 jvālāni | śavari śāvari || sarvva vyādhihariṇi |


    whereas the corresponding "correct" section reads:

    vidarini vidharini, mahile 2 maha mahile, nigade nigadabhan ca, matte mattini, dante, cakre cakra-vakini, jvale 2 jvule jvalini, savari, samvari, sarva vyadhi harani, cudi 2 cudini 2 maha cudini


    If we are hyper-critical, at least the Nepali does not show "2" but has a variation on savari.


    The Nepalese dharani goes on to p. 425 which I believe means it is Pratisara's personal practice:

    āryya mahāpratisarāyāḥ mahāvidyārājñāḥ rakṣā vidhāna kalpaḥ samāptaḥ


    It may happen to include PR 206, it is really big.


    I am not sure how it was translated, but, the only other apparent use of "samvari" in Dharani Samgraha is after Mahamaya Vijayavahini dharani is recited:

    bodhisattva saṁvarīca | nārāyaṇo aho ārścyami ti kṛtvā śaṁkhacakraga ḍā vana mālāmukūṭa.


    It may just mean that Bodhisattvas renewed their vows or something like that.



    Sam Vari also means "full water" or high tide. Yet also appears to be Vimala as understood by Kubjika at Kurukshetra. She is also a Tamang Poultry Farmer who started Boudhanath Stupa in Nepal, is addressed as a Dakini in prayer, and even has her picture in a Lama Chopa article. She for some reason had Kasyapa's relics. There are multiple versions of the stupa's history, but these are the only real meanings of Samvari.

    Samvari is also a Nepalese Nirmanakaya mentioned by Chokyi Lodro, probably meaning that same one.



    Although the name has almost no use, she is in Samputa Tantra in a critical area. Her Tibetan name is:

    sdom pa ma


    It is the same as Samvara in the meaning of Vow. Also, samcara, samlekha. This is one area where the Tibetan is quite clear:

    in all these = Tibetan sdom pa restraint, obligation, vow

    one word for about eight Sanskrit synonyms.

    If "samvara" ever was to have the connotation of Bliss, it is called Demchok. And this is highly infrequent outside of the sadhanas. Although "sambhara" sounds similar, it is more like what is required to Accomplish a sadhana:

    puṇya-sambhāra (the requisite of merit),
    jñāna-sambhāra (the requisite of knowledge).




    Samvari and Cunda are in Samputa Chapter Six, which is an enquiry by devi and the lord explains the subtle body. He talks about the physical constituents and then:

    Now, the goddess, having inserted
    The lord’s bola into her kakkola,
    Gratified the great being
    And spoke these words: {6.1.41}

    Section Three is operation of the channels similar to Inverted Stupa, called Yoga Puja.

    Section Four explains deities and the secret circle of dakinis, to which:

    Then all the goddesses, headed by Nairātmyā, including Locanā, Māmakī, Pāṇḍaravāsinī, Tārā, Bhṛkuṭī, Cundā, Parṇaśavarī, Ahomukhā and Śaṃvarī—yoginīs as numerous as the dust particles on Mount Sumeru—became utterly bewildered, fainting and trembling. {6.4.22}


    One of those is probably an alias:

    Ahomukha (अहोमुख).—commencement of the day, morning, dawn.

    They had just been told some fairly basic things, such as the Buddhist Crown or Mahasukha Cakra is not exactly physical, but, arises via the Tri-kaya:

    The three bodies are said to reside within the body
    In the form of the three cakras.
    The cakra of great bliss is understood
    In terms of fully cognizing the three bodies. {6.4.5}


    Then, pregnancy and the Bodhisattva stages are equivalent, as we are saying is also the case in Pancha Raksa:


    Inside the womb, the embryo is the renunciant;
    The embryo’s membrane is the flame-colored robe. {6.4.14}

    The ten months of pregnancy are the ten stages,
    And the beings in the womb are the lords of the ten stages.
    Referred to by the name semen, a buddha is implanted
    In the bhaga of a queen, which is the realm of Sukhāvatī. {6.4.17}


    and what sounds like a pro-Buddha Nature statement:

    Therefore, all beings are the innate condition;
    The innate condition is said to be their very nature.


    If we re-read the fainting goddeses as if Marici were there, you would get a Nairatma mandala where she is ringed by four normal Prajnas, then has dharanis as corner goddesses, and Samvari would effectively be cast in the tenth or upmost-center position. This is the type of casting done by Vajravilasini and a few others. And then you are left with Samvari is the pranic harnessing of even Nairatma, and if you make the Elements and Objects faint, you have probably entered void or formlessness.







    While Himalayan Passages clearly gives the Vajradaka sadhana, this itself does not contain any type of family information regarding the dakinis on the six spokes representing the Jewels of Enlightenment. What makes them "recognizable" is that it calls them Six Yoginis and says that Vajraraudri is Smoky colored and that she is Samadhi--and so we would guess she is equivalent to Candi in the usual set. And so if we fan out the rest of them also by color, we can arrange the Dakini Jala Families, Samvarodaya Armor Viras, and six of the Jewels of Enlightenment in correspondence.

    Six Yoginis:



    Vajrasattva...Vairocana...Vajrasurya...Padmanarttesvara...Paramasva...Heruka..........[Buddha Families]

    Samvari........Locana........Mamaki.........Pandara..................Tara..........Isvari..........[Prajnas]

    Vairocani.......Yamini......Samtrasani........Mohani...................Candi.......Sancalini.....[Armor Viras]

    Vajrabhairavi...Vajradakini..Vajrabhaskari...Ghoracandi........Vajraraudri...Heruki.........[Jewels]



    The last group is still the Near Heart mantra of Chakrasamvara.



    Parasol represents Heroic March or the first class of Samadhi. She is from the earliest highly-mantric Sutra. She is not concealed whatsoever and is frequently taken for a "female Avalokiteshvara", but she is actually Buddha's telepathy.

    Buddhakapala is arguably the realization of emptiness of all these telepathies or usnisas as it goes on in a similar but highly unfit-for-children manner.


    Vasudhara, Pratisara, and Parasol can all be said to have "expansive" dharanis, until you get to something like the titanic Pratisara just quoted. They are so multi-faceted it is not every day you can browse a Japanese title and recognize a corrected Nepali Sanskrit, which reveals one of the only invocations of a reticent Dakini Jala Prajna.


    And so there is no such thing as "the Parasol mantra" or even "the long mantra" because there are many, and then she has a dharani going up to the scale of the one just mentioned.


    But she has another version that overwhelms even these.

    Paramartha Parasol imports one of her Pratyangira mantras, following it by Shurangama Samadhi and 108 Samadhis, which is her Punya Sambhara. This is only really explainable by Vajra Mala or Rosary Tantra. The idea is that the Six Families experience Nine Moods, the winds, which is fifty-four, and these are doubled to a hundred and eight. This is the intent of Dakini Jala, and is almost the same as crossing the Six Yoginis with the Gauris.

    Along with this, we are allowing various Taras to perform as the male seed, until, such a time as our Upaya or Method has attained the ability of Luminosity, which is the male deity or technical definition of Smrti as required by the Sadhana. This is the Fifth Yoga, before Samadhi, both of which being relatively inaccessible to normal means.






    One-pointedness

    In Shakti terms, the Sword points from multiple outer facets to the center of Sri Yantra, and the Buddhist Kila or Phurba--Peg is similar.



    The Phurba itself is Ekaggata, which is a non-removable universal cetasika in which samadhi develops, One-pointedness.

    Kila is related to Karma Family, and, so, must be the progression of Ekaggata to Samadhi. In other words, you start with normal Vajrasattva, and he becomes increasingly wrathful as he emanates in different families, until Karma Family (Kila) is Extremely Wrathful. Likewise, Karma Family is the last Yoga, represented by Candi who may be thought of in those terms.


    The Vajramala-tantra, an early Indian commentary on the GST, adds that the ritual kila should be made of acacia wood, thirteen inches in length and three-sided in shape. It is to be marked with 'the three words' (Om Ah Hum), blessed with one hundred syllables and purified by the rite of Amrtakundalin. The samayasattva whose form comprises the upper half of the peg is, according to Candrakirti, the triple-faced, six-armed Amrtakundalin.

    A single kila of acacia wood (khadira) is mentioned within a long ritual in the
    MMK. The passage in question concerns solicitation of the beautiful Manojna in order to gain her wealth and sexual favours. This charming nymph bestows the elixir (rasayana) granting long life to the sadhaka who may chose to live in a palace of the gods so long as he meditates upon the kila stuck into the ground.

    195. F. Edgerton, BHS Dictionary, 418, describes her as a yakshini. She also occurs in the retinue of Vajramrta (Nispannayogovali, mandala no. 7).

    She is really a Wisdom to be realized by Vajramrita Tantra.

    Manojña (मनोज्ञ) is also the name of a Kinnara mentioned as attending the teachings in the 6th century Mañjuśrīmūlakalpa.

    There is a sudden appearance of Female Vajramrita as Ulukha Mukhi (Owl Face).

    Next is the consecration of the five-lobed crown which is bestowed with the same verse as found in the empowerment rite of the mahottara cycle above but for which the mantra given here is RATNAMUKUTA-ABHISINCA MAM TRAM TRAM TRAM TRAM TRAM.


    So the most basic understanding of Kila is already delimited by Amrtakundalin. The result again is a Crown and Jewel Family. One finds almost instantly a continuity in MMK, Vajra Rosary, and Vajramrita Tantra.



    And so in tantra, we see there is a kind of vocabulary builder, which is not that different from the more generalized Pali scriptures doing the same thing. Superficially, samadhi, sati, smrti, and ekaggata, all mean Mindfulness or Concentration.

    They are mostly trying to explain the Nine Dhyanas or Janas.

    Ekaggata could be highly evil, there is nothing spiritual in it.

    Smrti, on the other hand, is spiritual or is even the ability to do a spiritual practice relying on Luminous Mind. This is what we need in order to do a Samadhi as intended in the Six Yogas. And so the mental terms for concentration are going to bounce back mainly under the umbrella of "Chara" and the first one or few Dhyanas, similar to the whole Charya stage as described. From older Pali sources:



    There can be numerous kinds of samādhi. Here we distinguish three types of samādhi or mindfulness:

    Momentary mindfulness (khanika samādhi)
    Access mindfulness (upacāra, pronounced “upachāra,” samādhi)
    Absorption mindfulness (appanā samādhi)

    I think for Mahayana purposes, we are only calling the last one Samadhi, and the pre-cursors would be more like Ekagatta and Sati. Nothing momentary or transient about the Samadhi we have in mind in the Six Yogas.

    They say:

    Samādhi (“sama”+”adhi” where “sama” means “same” and “adhi” means “dominance”) means the object becomes the priority. Then the mind gets focused on it. As we discussed in many posts when the mind becomes focused on one object (ārammana), the ekaggata cetasika takes over and makes the mind latched “on to it.”

    [Allright. There are forty-some-odd unnecessary momentary cetasikas that we would like to drop off while we latch to a Dharmadhatu Vajra or mental object.]



    That is how one gets to not only samādhi but also anāriya jhāna using breath meditation, just by focusing the mind on the breath.

    One gets to samādhi on whatever the activity one gets absorbed in.

    Being mindful depends on the situation. The kind of mindfulness needed while driving a car is different from the mindfulness required to design something (or read a book). And the mindfulness required to attain a jhāna needs to be different from those two.


    So, driving is more like Momentary or Khanika--you can concentrate one-pointedly while still shifting across many external objects.

    Reading, etc., is more of Upacara--steadier and with fewer distractions.



    Upacara as the foundation of Vajrayana Samadhi proceeds in the process of concentration as described in the Abhidhammattha Sangaha (IX 17, 18):

    When that sign has been thoroughly apprehended and enters into range of the mind door just as if it were seen by the eye, then it is called the learning sign, and that meditation becomes concentrated. When one is thus concentrated, one then applies oneself to meditation by means of that preliminary [parikamma] concentration based on the learning sign. As one does so, an object which is the counterpart of that (learning sign) becomes well established and fixed in the mind -- (an object) which is freed of the flaws of the original object, reckoned as a concept, born of meditation. Then it is said that the counterpart sign has arisen.

    Thereafter, access [upacāra] development is accomplished, consisting in concentration of the sense sphere in which the obstacles have been abandoned.


    Allright. Upacara as meant with regards to Yoga is now Indriya Bala which has shed the obstacles, Klesha or Nivarani. That roughly still agrees with "steadier, fewer distractions" as before, but more precise.

    The overcoming of these 5 hindrances by the absorptions [Dhyanas] is, as already pointed out, a merely temporary suspension, called 'overcoming through repression' (vikkhambhana-pahāna). They disappear forever on entering the 4 supermundane paths (s. ariyapuggala), i.e. skeptical doubt on reaching Sotāpanship; sensuous desire, ill-will and mental worry on reaching Anāgāmiship; sloth, torpor and restlessness on reaching Arahantship.

    In the presence of them we cannot reach neighbourhood-concentration (upacāra-samādhi) and full concentration (appanā-samādhi), and are unable to discern clearly the truth. They are:

    sensuous desire (kāmacchanda),
    ill-will (vyāpāda),
    sloth and torpor (thīna-middha),
    restlessness and scruples (uddhacca-kukkucca), and
    skeptical doubt (vicikicchā).

    Kilesa (“defilements”), are mind-defiling, unwholesome qualities. Vis.M. XXII, 49, 65: There are 10 defilements, thus called because they are themselves defiled, and because they defile the mental factors associated with them.

    They are:

    greed (lobha),
    hate (dosa),
    delusion (moha),
    conceit (māna),
    speculative views (ditthi),
    skeptical doubt (vicikicchā),
    mental torpor (thīna),
    restlessness (uddhacca);
    shamelessness (ahirika),
    lack of moral dread or unconscientiousness (anottappa)."

    For 1-3, s. mūla; 4, s. māna; 5, s. ditthi; 6-8, s. nīvarana; 9 and 10, s. ahirika-anottappa.


    Dhyāna is again subdivided into five kinds:

    Vitarka (cogitation),
    Vicāra (thinking),
    Priti (pleasure),
    Sukha (happiness),
    Ekāgratā (concentration).


    Vitarka is the first moment of a coarse mind, vicāra is a more subtle (sūkṣma) analysis. Thus, when a bell is struck, the first sound is strong, the subsequent sound is weaker; this is vicāra”.

    Also, “although the two things reside in the same mind, their characteristics are not simultaneous: at the moment of vitarka, the vicāra is blurred (apaṭu); at the moment of vicāra, the vitarka is blurred. [vitarka and vicāra are distinct names of one single mind]

    vitarka (वितर्क).—m (S) A thought, a reasoning, a conjecture, a fancy, conceit, scheme, device, speculation. In this sense the use is generally plural, and the implication is of Deviousness, wildness, airiness, flightiness. 2 S Reasoning or considering widely and largely; contemplating the bearings, the alternatives, the contingencies, the possible issues.

    4. Consideration of probabilities, mental anticipation of alternatives, conjecture.


    Vicara or the foot of Dharma Praviccaya is an opposite swing from Vitarka--Discursion in the development of Dhyana.




    Fast forward to our current century on Upacara:

    Access concentration is characterized by the significant reduction or complete dropping of the five hindrances and the arising and strengthening of jhāna factors. [...] It is easy to confuse momentary concentration with access concentration. One difference is that with access concentration, the meditator's continuity with the object is much longer and more stable over time. Another difference is that with access concentration, the object is much more energized and "bright". [...] In access concentration, the jhāna factors are present but insufficiently strong for full absorption into jhāna.

    -- Stephen Snyder & Tina Rasmussen (Practicing the Jhānas)


    This "full absorption" is called Sampatti, and so prior to that, you are in Dhyana, which is powerful enough to make your hairs stand on end, but is still relatively easily washed out by anything.



    More broadly speaking:

    The Buddhist tradition has introduced the term upacāra samadhi [...] to refer to a non absorptive experience of concentration that begins with the arising of the counterpart sign and endures until consciousness enters into full absorption. Upacāra samadhi implies concentration that is in the vicinity of jhāna [...] and describes the experiences that precede absorption, but it does not necessarily leads to jhāna. It may refer to the conditions that precede jhāna; it may refer to experiences that are reminiscent of first jhāna mental factors, but without the seclusion of absorption; and it may describe the mature concentration that accompanies those meditation objects (such as discernment of the body parts, and various recollections) that do not have the potential to reach full absorption. [...] Some meditators use the term upacāra samādhi so loosely that it merely describes the feeling of being concentrated and a mind that is stable and happy during meditation.

    -- Shaila Catherine (Wisdom Wide and Deep)


    If we re-arrange the vocabulary somewhat, we would still use the summation from the Pali site:

    Samādhi is the endpoint of being mindful (sati).

    Samādhi is a synonym for the cetasika (mental factor) of ekaggata, i.e., having a focus. One can cultivate it by being mindful the correct way, i.e., via sammā sati.


    Wiki's Dhyana in Buddhism is a reasonable article which begins:

    In the oldest texts of Buddhism, dhyāna (Sanskrit) or jhāna (Pāḷi) is the training of the mind, commonly translated as meditation, to withdraw the mind from the automatic responses to sense-impressions, and leading to a "state of perfect equanimity and awareness (upekkhā-sati-parisuddhi)." Dhyāna may have been the core practice of pre-sectarian Buddhism, in combination with several related practices which together lead to perfected mindfulness and detachment, and are fully realized with the practice of dhyana.


    "Leading to a state" means those are the qualities of the Fourth Jana:

    Upekkha Sati Parishuddhi

    Sati or "mindfulness" is a base-level word which would apply to all activities in ordinary waking consciousness, but, due to changeable or altered states of consciousness, goes through various synonyms. So there is something like Complete Purification of Sati--Mindfulness that takes place in the condition of Upeksa, which itself goes from the first to last ranks of all this.



    The Wiki article suggests that Buddha's two Gurus mean that he learned both Element and Formless meditation--so again, it is more like "both, together", than one at the expense of the other.

    Upacara means that one has overcome the Five Hindrances or Nivarani, which are not the Skandhas, but obvious types of Vitarka or discursion or distraction that would obviously burden Mindfulness or Sati.


    In Prajnaparamita Sutra:

    If he has been able to reject the five sense objects (kāmaguṇa) and remove the five obstacles (nīvaraṇa), the ascetic practices the five dharmas:

    aspiration (chanda),
    exertion (vīrya),
    mindfulness (smṛti),
    clear seeing (saṃprajñāna),
    concentration of mind (cittaikāgratā).

    By practicing these five dharmas, he acquires the first dhyāna furnished with five members (pañcāṅga-samanvāgata).


    Those are more or less the Five Balas, so, they give Dhyana or the First Dhyana, being the Second Yoga.



    The four upāyas of Guhyasamaja are the sequential development of the Six Yogas:

    Sevā [Pratyahara and Dhyana]

    Upasādhana [Pranayama and Dharana]

    Sādhana [Smrti]

    Mahāsādhana [Samadhi]




    Correspondingly, when one uses all of the Pithas in terms of Thirty-seven Point Enlightenment, Samadhi is found in three levels:

    samādhīndriyasvabhāvā drumacchāyeti

    samādhibalasvabhāvā śyāmādevī


    and then as a Samadhi Bodhyanga, Haya Karna, who turns out to be kind of vague.


    The whole thirty-seven point classification is given in Bodhipaksika. The pattern says it has Ten Roots, i. e. these things repeat in new levels.


    Mahāprajñāpāramitāśāstra chapter XXXI.—Accordingly, “when the concentrated mind (pragṛhītacitta) stops worrying (āśvasiti) about things (ālambana), there is “foundations of magical power” (ṛddhipāda)”. Also, “as a result of this expenditure of energy (bahuvīrya), his mind is distracted (vikṣipta). The Yogin concentrates his mind and controls it (damayati): this is called ‘foundation of magical power’ (ṛddhipāda)”.

    Also, “when the four right efforts (samyakpradhāna) are practiced, the mind is slightly distracted (vikṣipta); this is why the concentrations (samādhi) are used to fix the mind: concentrations of zeal (chanda), of exertion (vīrya), of the mind (citta) and of examination (mīmāṃsā). These concentrations are called bases of magical power (ṛddhipāda)”.

    The Rddhipadas are Pracanda--Cinamasta's domain.

    Right Efforts are:

    1) eliminating the bad dharmas that have already arisen; 2) preventing the arising of the bad dharmas that have not yet arisen; 3) making the good dharmas, faith, etc., that have not yet arisen, arise; 4) developing the good dharmas that have already arisen. When these four exertions are abundant during the four doundations of mindfulness (smṛtyupasthāna), they take the name of right efforts (samyakpradhāna)”.

    Instead of Four Efforts, the tantric systems has Prahana or "abandonments". But, their meaning is the same.



    The subjects of the Four Dakinis are:

    Smriti-upasthana

    “foundations of mindfulness”


    Virya and Smrti go through almost every group.


    The lowest level of Smrti is at the eyes and is Lankesvari, and with her, we have to understand the Coromandel Coast of India as being West Lanka. Not only is this a prod towards Ramayana, once we found the Gilgit manuscripts were busy with the same jargon as in the dharani system, then there was Lankesvari as the main salutory deity in one of the scriptures or Sutras. That makes us think there must have been a close to contiguous system from Sri Lanka to Pakistan even prior to Ellora.

    Bala Smrti sounds more like something that might be effective for Generation Stage, which is Surabhaski at the tip of the nose, and her consort happens to be Vajrahumkara. She may be a slight change to Vajrabhaskari as above, and if we put together the boundary-ness of this male with what "nose tips" are, there is something to it. Neither Bhaskari name has any other application, however it is Name Seventy-seven of Lakshmi.


    In the body, Smrti as a Jewel is represented by Chakravarmini with Akashagarbha, but, if we are focusing the Seven Jewels as the retinue of Vajradaka, at this point, Smrti is seized by the male figure.

    If one had a good or Bala Yoga Samadhi, it would be Syama Devi of Kalinga--Mouth. This is just a color, and is just an adjective in most of the rest of Buddhism. But again this name is also easily known:


    Syama is the second form of Matangi who opens the Vishnu Granthi or blockage around solar plexus and heart. This form also has a Parrot. Her Gayatri goes:

    Om Shukrapriyayai Vidmahe Shrikameshvaryai Dhimahi Tannah Shyama Prachodayat॥


    Allright. Armor is more or less the "top end" of this, since we consider ourselves unable to manifest the Jewels of Enlightenment at a beginner stage. We are trying to build up the Six Yogas first, represented by the Armor. The first, weak samadhi here is Drumacchaya, Tree Shadow or Shade, who is actually in the Heart, having for her husband Vajradeha or Vajra Body or Vajrakaya. The second is Syama, and the third is Candi of the Armor.


    Most of the Jewels of Enlightenment in the Pithas are recognizable goddesses:


    Virya--Khaganana, Priti--Cakravega, Prasrabdhi--Khandaroha, Dharmapraviccaya--Saundini, Smrti--Cakravarmini, Upeksa--Suvira.



    Vajravarahi is an over-arching Samyak Samadhi, with the Four Dakinis as Smrti Upasthanas or Foundations of Mindfulness.


    Pithas consist of Indriyas, Balas, and Bodhyangas, which are again mostly the same as Pali texts and Buddhist information at large. As we see, it separates Indriyas and Balas into different groups, "starting as you are" and "trained".


    Śraddhā, vīrya, smṛti and prajñā are called faculties (indriya) when they are weak, called powers or strengths (bala) when they are strong.

    Also, “when the five faculties (pañcendriya) have been developed (vṛddha), they are able to intercept the afflictions (kleśa): this is like the power of a big tree (mahāvṛkṣa) that is able to block off water. These five faculties, when they have been developed, are able to gradually penetrate the profound Dharma (gambhīradharma): this is called ‘power’ (bala)”.

    Basic Balas include Faith--Sraddha, Virya, and then three "mental synonyms", Sati, Samadhi, Prajna.

    They "become manifest" as the Four Dhyanas; or, as the Four Foundations of Mindfulness.


    Allright. It didn't say the ninth Dhyana or Nine Dhyanas, but it is about interiorizing some values while strengthening them in practice. This must be equivalent to Rudra Krama or Mahabala Krama because in Dharani Samgraha, we find it on Pratisara:

    indriyavalaviśodhane

    upahṛdaya vidyā ||


    And in Sadhanamala, Indriya Bala is part of Pancha Raksa 206.

    And so this is going to inhale some "mental synonyms" from times when it was hard to find anyone who would understand the difference, and boomerang it out like a Thor's hammer as a useful practice at the intensity meant by Six Yogas and Seven Jewels.

    The Chain is the missing link here. Vajrasrnkhala may be considered the Activity of samadhi goddesses Raudri and Candi.

    Vajrasrnkhala is a Hevajra consort. In other words, if we take preliminaries to the point where this is meaningful, then we are prepared for the actual Completion Stage as would be given in the system.

    If we look at the Paramitas, Dhyana and Prajna are there, but then Upaya or Smrti--Sadhana corresponds to the seventh. So actually having this or actually being able to do it is equivalent to successful use of a bonded Prajnaparamita.

    We can let goddesses take over, as much as possible, the first Four Yogas.

    We see that Pratisara is very poignant whether classed as some of the earliest teaching of meditation, or, the tantric Pitha system, it is the same. It does not say she does the Jewels of Enlightenment like Vajradaka. It says she is the initial gathering of a certain power, Bala.


    With proper cultivation, this results in a fire, which is to be handled otherwise.

    The subjects of Tara Thirteen are Bala and the removal of Hindrances, like fire at the end of the world, using Mudita or Joy to shatter enemy circles.




    A "simple" samadhi Yidam as mentioned in Samadhi of Vajra Garland of Waves in Guhyasamaja, it tells us to do Om Ah Hum of Cunda.

    The samadhi called "Garland of waves of the Vajra hero'

    Then the Blessed. One, Vajradhara, entered. the samadhi
    called "Vajra of universal sound", and brought forth from his
    vajra body, speech and mind this great vajra meditation word,

    CUM

    74-75 At the centre of space visualise the holy sun mandala,
    and. according to the ritual, clouds of Buddhas, the most renowned.
    Three Vajras; to make them descend into body, speech
    and mind, visualise Cundavajri, white in colour, complete
    with every adornment; visualising Vajrasattva the great King,
    place the mantra word.

    In Guhyasamaja, Cunda vajri is the Tri-kaya of a particular samadhi:

    || vīravajrormimālā nāma samādhiḥ||

    atha bhagavān vajradharaḥ samantanirghoṣavajraṁ nāma samādhiṁ samāpadyedaṁ mahāvajrabhāvanāpadaṁ svakāyavākcittavajrebhyo niścārayāmāsa|

    |cum||

    khavajramadhyagataṁ cintetsūryamaṇḍalamuttamam|
    buddhameghān vidhānena trivajrātmā mahāyaśāḥ||76||

    pātanaṁ kāyavākcitte cundravajrīṁ vibhāvayet|
    sarvālaṅkārasampūrṇāṁ sitavarṇāṁ vibhāvayet||77||

    vajrasattvamahārājaṁ dhyātvā mantrapadaṁ nyaset|


    She translated "Kha Vajra Madhya" as "center of space", although there might be a little more to it.



    The subject of this samadhi is Vira or Heroine Vajra Urmimala Wreath or Garland of Waves.


    It is not exactly a samadhi from the system of Six Yogas unless it arises from the state of Candi, who typically has the seed syllable Ca, "to move", which Cunda also uses.


    Prior to that state, Pratisara, for example, can cause a powerful reversion of life force which can cause one's aura to ignite, and in the tantras, this produces an interface with Generation Stage goddesses. Khandaroha herself personally means Generation Stage, and so do Gauris or Kye Rim. I think the main "warning" in Buddhist tantra at least, is that we are not trying to force their appearance by Hatha Yoga. We are trying to eventually expose them by mostly mental practices. This very distinctly is its own realm of experience which is unlike a direct perception of voidness. It may be more of a struggle as to why we are not very good at it. This can also be summarized as Candali Yoga. Just like Isvari, the "inner flame" may become known as her more personal manifestations, such as Vajravarahi, Nairatma, or Mahamaya.

    As a universal aspect, it may be Vairocani or Pandara (as per Sukhasiddhi--Yeshe Tsogyal). If you are only thinking in terms of limited families or deities, then you could probably call it Pandara; if it happens after Six Families has become meaningful, you could call it Vairocani. As a famous name that continues in most all the tantras, Candali. As "the consort of the Mahasiddhas", Vasanta Tilaka or Springtime Drop in Avadhut symbolism.


    From the Dakini Jala approach, these deities are the contingents of Heruka.





    Manohara is also going to present herself. There are perhaps a few ways, such as Ganapati, that one could become familiar with the Hook in the sense of invitation and attraction, summoning, Akarsana. It is the first Activity, so, if it is flimsy, the rest of them cannot work any better. The general context of her name is "mind captivated by beauty". And so she is a bit of a mixture of Hook as conceived in any way, with Ila and Bhu, basic Vasudharas. She is made like this, and she, in turn, does something.


    It can be a little hard to see due to the abundance of other deities of similar appearance. Lha Chenpo is a terma that is a Mahadeva Avalokiteshvara which is prominent at Mindroling and gets mixed up with Jinasagara, which it is not a part of.


    Remarkably similarly in appearance to it, there is Red Jambhala, which is a terma "evidently based on" the system of Gayadhara, i. e. the Sakya system. This form of Red Jambhala belongs to the Nyingmapa 'Terma' - Revealed Treasure Tradition and was discovered as an 'Earth Treasure' by Trapa Ngonshe Wangchug Bar (1012-1090). Written on yellow parchment paper, it was extracted from above the door of the central shrine at Samye Chokor Ling. This famous 'terton' (treasure finder) is also responsible for uncovering the 'Four Medical Tantras.'

    The Sakya branch comes from:

    Jnana Dakini, Mahasiddha Virupa, Krisna, Damarupa, Avadhutipa, Gayadhara, Drogmi, Gyichu Khonton, Sachen...





    Here's the thing. The vast majority of modern available information is that of Pabonkha, who took Vajrayogini empowerments in Sakya, and then transmitted them in Gelug, while maintaining that it was a secret practice of Tshon kha pa. It may have been, and it may have been around the Panchen Lamas, but it had never really been a part of that order. Similarly, the Guhyajnana Dakini that is attached to King Konchog Bang is with someone who has no historical evidence, worse yet having a non-Indic name. Most of the Mahasiddhas have the opposite problem--there were two or three Indrabhutis, Sarahas, Nagarjunas, etc., of which the most clearly distinguished is Krsnacharya Elder and Younger. Coupled with the non-historical king are also White Taras that do not come from accomplishment of the Six Yogas system.


    The Sakya tantric system is chiefly patterned around the stages of groups of deities called "The Three Reds", and then there is a limited basket of Completion Stage practices. And so in Yoga, we are not necessarily "doing" Sakya or Kagyu or Jonang, but we have found that the context of Inner Meaning--Profound View and Nirakara--Shentong have continuity mostly in these sects. And so the Sakya system simply is highly instructive just as it is. It has nothing to do with whether they are among the first or most important political powers as well as lineage holders, or whether or not we are a part of it. The system is good at explaining all tantra, but, moreover, mostly in Red with a high preponderance of Lotus Family.

    So if there is a sort of "outer system" of Tara and Vasudhara, which is preparatory for a more esoteric or occult Vajrayogini system, this would adapt to the first rank of Three Reds which are:

    Three of the four Vajrayoginis of Nepal (Indrabhuti, Maitri, and Naro Dakinis)


    Well, the equivalent "Fourth Red" is Guhyajnana Dakini, who in turn is something of a publicly-known accomplice of Blue Mahacinakrama Tara. This is more accessible. The others are ways of bundling Vairocani, etc., in the way that composes Vajravarahi and Cinnamasta. Too advanced to really use, but, identical with what the Yoga system is working its way into.

    At the next rank, there are:


    (7) Kurukulla-Tara of the Vajrapanjara Tantra, (8) Red Vasudhara of the Chakrasamvara cycle of Tantras and (9) Tinuma, the activity form of Vajravarahi, also of the Chakrasamvara cycle.


    By the first it means Tarodbhava Kurukulla and Golden Drop Lakshmi, the second is Manohara, and the third is more fully called Tinuma Vajrayogini, who uses a close twist on the Four Dakinis' mantra. Since Guhyajnana has this, and, she can appear with Nyan's Ziro Bhusana Vajrayogini, there remains this type of alternate parallel. For the first two there is not. So we take a closer look at Manohara as an important manifestation.


    By using Lotus Family, Kurukulla gains an increase in power, and repeats herself in a layer with male deities, which by the numbers was out of order:

    (4) Kurukulla of the Hevajra Tantra, (5) Takkiraja of the Guhyasamaja Tantra and (6) Maharakta Ganapati associated with the Chakrasamvara Tantra



    That seems a bit odd that they have suddenly plucked out one of the Ten Wrathful Ones, Takkiraja. However he is the metamorphosis that causes Vajrosnisa. As this "inevitable male presence" arises, it is not hard to see that ultimately Agni is the principal deity in Homa, after, equivalently, Trailokyavijaya is accomplished by Vajra Humkara:


    Ṭakkirāja is described in the Niṣpannayogāvalī (mañjuvajra-maṇḍala) as follows:—

    “Ṭakkirāja is in the Agni corner and is blue in colour. His three faces are blue, white and red. He holds the blue staff, the sword, the jewel and the lotus”.

    [In the vajrahūṃkāra-maṇḍala his name is Vajrayakṣa. In the dharmadhātuvagīśvara-maṇḍala he is Vajrajvālānalārka]


    Usually, if something is in Agni's area, it shares Agni's nature. Ok, he is not quite "the Element Fire" which is Pandara. He is a Wrathful Bodhisattva who is red and fiery.


    The last name here just calls him Great Blaze. Takkiraja is the deity that responds with a Hook to Manohara. They Hook each other. And so in the strict sense, this would become the first time that deities Enter Union. As we see in most senses, it would mean finishing Upayoga preliminaries. Vajrahumkara manipulates the Wrathful Ones to foster Vajrosnisa or Fiery Crown.

    Meanwhile, Red Ganapati is still a Hindu deity who pursues Sumukhi Devi, who is a Pisaci aspect of Matangi. This in itself constitutes a vast field of preliminaries, is really an entire school of its own.

    Those deities are mostly for Subjugation and Power, as in Lotus Family generally, however Power is also Wang which is Abhisekha or Initiation, and so again Guhyajnana Dakini does this.


    Among limited types of other deities such as for removing Disease, Sakya uses a few others. Manjushri and Garuda are standard, along with:

    (12) Simhanada Avalokiteshvara from its own tantra and (13) Red Jambhala from the Chakrasamvara Tantra

    Because it is different in each sub-school, such as Ngor, Bodong, or Jonang, there may be the alternates:

    (14) Simhamukha Dakini associated with the Chakrasamvara Tantra, (15) Amaravajradevi also of the Chakrasamvara Tantra


    Ziro Bhusana could be described as similar, but all-red, to Simhamukha. This Jambhala is really an evolution. The first Red Vasudhara was Manohara, who is a bit like a tantric edge, and the second is Bharati, who is The Vessel or Sahaja of the tantras. Takkiraja is a Worldly Guardian whose nature and experience was changed. Jambhala is something else entirely. He is trying to get Bharati, who does not normally exist.

    Manohara was the Kinnara maiden involved with Sudhana in Amoghapasha's retinue. Bharati physically was Vairocani, who has expanded and risen and produced Nectar and rained back down into her origin (Navel). She is like the definition of a state, having little to do with whether you used any kind of Nyasa or any other details of your practice. And so if these are not yet in concordance, the only way to do Yoga is to shape everything around Bharati properly. That is also like a message to myself, from knowing her as the energetic condition, only, without the benefits and protection that the sadhana provides.

    And so the arising of Vasudhara and what happens with Jambhala is kind of important. Jambhala is similar to Acala, or has something like a root and Five Families. Manjushri is really the same way.

    Jambhala is similar to Ganapati and to Yakshas, and is mainly Yellow with a Citron which is a shiny bindu of retained semen, as well as a mongoose which typically vomits gems or i. e. Nidhana Treasures that fill Vasudhara or Lakshmi's Nine Vases.


    If you see it that way, then, it is filling the unknown-to-us Nine Moods, Nine Sampattis, or how Vasudhara is an Adi Prajna of Nine Families, the Buddhist Vasudhara or Lakshmi is like a scaling recipient of Gnosis related to that. Jambhala is something like an overall gatekeeper of the Yaksha Kingdom, in this sense meaning Amanusya or non-human classes, external or internal. The internal meaning is the Maruts, Dakinis, etc., which are the subtle body. Relative to the tantras, it is mainly in Jewel Family.

    As Yakshas, one or both Jambhala or Vasudhara is frequently dwarfish, and it is within their classes that are the dark dwarfish Raksasis such as Ekajati. In practice, it appears that a bond or Samaya to Vajra Family is what begets the operation of Jewel Family, which turns around and does something like causing a much more vivid appearance of Vajra Family. Intensification of this opens Karma Family.







    Rinchen Terdzo as part of Volume Tha shows a significant Jambhala and Vasudhara collusion.

    The first part of this volume uses the Four Dakinis, and the Six Arm form of Parasol that does not personally hold a parasol:







    This part goes through the samaya beings Ila:







    and Manohara:









    then there is Ganapati, and various scenes leading to the advent of Worldly Protectors such as the Four Kings and Tseringma. And so it is a story line giving Jambhala in different forms granting the benefits of these allies. He is not alone, because the rewards he brings are the outcome of his frolics with Vasudhara. And so he is going about his rounds in various ways such as Black Jambhala:








    as a more common Jambhala:










    Conjuring Yugu Chesum or the Three Sisters:








    So if you take into account, Black is more or less Blue, where he will be somewhat similar to Bhutadamara Vajrapani, Yellow is his normal playing field, and Red actually is part of the tantra at a very core level, then he and his colors and antics are perhaps more significant than others prior to him.

    The Yellow color is similar to Vairocani and to Vajravilasini and Varahi in Jewel Family.

    The final Gatekeeper of the Four Kings is Vaisravana, with whom Yaksha General Vajrapani is associated, as well as Jambhala. He nominally at least is associated with the domain Alakavati, and his personal palace is also used for such things as the teaching of the Mahamaya Vijayavahini dharani. That makes it a Lotus Family practice associated with Yakshas in some unknown way. Because it is also magic, and the subject mahamaya has a lot to do with colors, this is also something being focused here.

    It, so to speak, "crafts" Buddhakapala's retinue such as Citrasena and others.


    Manohara is a Hook power, which, in a broad way, is shared with others, and her specialty is that eventually she will turn it on Takkiraja. That means it is on part of the inner being of the practitioner.

    His somewhat strange looking name appears to be Pali in origin:

    Takkin, (adj. -n.) (fr. takka1) thinking, reasoning, esp. sceptically; a sceptic D. I, 16≈(takkī vīmaṃsī)


    Pretty close to the Vitarka or Nivarana as discussed above. The Pitha system intercepts this or "takki vimamsi" as Mimamsa, and evolves it to Dharma Praviccaya, this is the exact definition of Vimamsa:

    'Investigation' (vīmamsā) is one of the 4 roads to power (rddhipāda, q.v.) and one of the 4 predominants (adhipati; s paccaya 3). -

    i. of truth: dhamma-vicaya, is one of the 7 factors of enlightenment (bojjhanga, q.v.).


    So as we see Vasudhara kind of spices things up running around, and so what on earth Hook on Hook could be must be lively indeed.

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    Default Re: Nirakara and Shentong Buddhism, Tara, Sadhanas, Sanskrit culture

    Manohara



    We found that essentially the first Union is between Takkiraja and Manohara, which is between:


    Takkin, (adj. -n.) (fr. takka1) thinking, reasoning, esp. sceptically; a sceptic

    manōhara (मनोहर).—a (S) That steals away the mind; charming, captivating, delightful, lovely.



    It is the same Anuraga which has been the driving force of many mandalas since Pramadya:


    Although one regularly meets with the beloved and is well-acquainted with the beloved, the ever-fresh sentiment of intense attachment causes the beloved to be newly experienced at every moment as if one has never before had any experience of such a person. The attachment which inspires such a feeling is known as anurāga.




    Takkiraja is "picked up" as a worldly guardian in the Agni or Fire area and affected by Vajrahumkara such that:

    In the vajrahūṃkāra-maṇḍala his name is Vajrayakṣa. In the dharmadhātuvagīśvara-maṇḍala he is Vajrajvālānalārka.

    In Sadhanamala, Takkiraja is in the Agni corner with Siddhaikavira Manjushri as usual, and he is also affected by Usnisavijaya 212 (Cf. RG 96).



    Vajrahumkara just has the mandala of Wrathful Ones, while he is being propelled into Vajramrita Tantra into this form:


    Vajrahūṃkāra, who has three faces and six arms, has to be placed in the centre of this maṇḍala, surrounded by a halo of trembling lights, embellished with ornaments, and encircled by four mudrās (Kelikilā, Vajrāstrā, Vajragarvā, Sparśavajrā).

    The text continues with a list, sometimes accompanied by iconographical descriptions, of the objects and the deities that have to be drawn in the maṇḍala; the latter include Umā, the Vidyās (Puṣpā, Dhūpā, etc.), the door-guardians, and the eight Bodhisattvas (Maitreya, Mañjuśrī, etc.). By making oblations to deities (bali), by making offerings of food to living beings (balya), and by drinking liquors and juices, on the eighth and fourteenth days of the black fortnight, the practitioner should throw (an animal) made of powdered grains into the maṇḍala and offer it ritually.

    This is the same as Mitra 28.

    Mitra 25 is Krodhahumkara, i. e. normal Vajrahumkara, followed by Six Cakravartins i. e. Dakini Jala, followed by Vajramrita Tantra mandalas, including the increased Vajrahumkara. It says basic Vajrahumkara is not well-known in Tibet.

    His Two Arm form is disguised in the big Laughing Ekajati thangka in the first post. It is all about the Mudra, the one used for holding Bell and Dorje.




    Takkiraja then becomes called:

    Vajrayakṣa (वज्रयक्ष) is one of the sixteen samādhi deities appearing in the Vajradhātu-mahāmaṇḍala, according to the Nāmamantrārthāvalokinī v5.32-35. Correspondingly, he is the Northern associate of Amoghasiddhi in NSP 19.

    Vajrayaksha is almost certainly conflated with Vajraraksha who has the same position in the mandala. Sumda Chun in Ladakh has one of the best Amitabhas, ever, and examples of this deity spelled both ways. However, in another Namasangiti commentary mixed with Vimalaprabha, the two are distinguished.

    According to Tsem Rinpoche, he is unmistakable because he holds a suit of Armor. The second picture of the ones in Ladakh is pinkish and looks like it was doing this.

    In Vajrosnisa Tantra and Charyamelakapradipa, it is asserted that self-generation takes place in Kriya Tantra. It could. This again is a touchy subject because you ought to be using it by the time you start Yoga Tantra, but, to respect the protocols, it cannot really be suggested to do it with anyone until you get the empowerment. That is the main difference. It is ok to Hook almost any of these deities, as an outer view or in the sky, or build a retinue, just not on yourself.



    The weird lens of the mandala that is not "slightly shifting" this retinue, but, baptizing it with new identities entirely, NSP 11 says Vajrahumkara (same as the Humkara sound) is equivalent to the Trailokyavijaya Mudra and name.

    The "conversion" he does to the usual Ten Wrathful Ones goes:


    Yamantaka..........Vajradanda
    Prajnantaka...........Analarka
    Padmantaka...........Vajrosnisa
    Amrtakundalin.....Vajrakundali
    Takkiraja................Vajrayaksa
    Niladanda...................Vajrakala
    Mahabala...................Mahakala
    Acala.......................Vajrabhisana
    Usnisa.......................Usnisa
    Sumbha.................Vajrapatala


    For example, these have also been perturbed by Vajrakilaya, while in Dharma Samgraha, the above is a standard set. Hevajra is nearly identical, but has placed Humkara at the Zenith or Usnisa. Vajrosnisa is a synonym of the whole Vajrasekhara system. Roughly put, it covers the whole Kriya--Charya Tantra. And so we are looking into dharani-based equivalents similar to the goddess or Guhyavajradhatu Mandala. The goddesses are more immanent and convey initiations in the inner sense.


    What it seems to me is that this "Pinnacle" goes crashing in to Vajrasurya, and on the other side is Vajramrita Tantra. Vajrasurya Abhisekha is the main way in which that tantra was produced; and the changes above are at least somewhat related to the esoteric Sun of Sarvadurgati Parishodhana, i. e. female Vajramrita.


    Analarka, here, is a regular, ordinary blaze and smaller name compared to the final state of Takkiraja or Great Blaze in Sadhanamala.

    Vajrajvālānalārka is also a personal emanation of Akshobhya on a somewhat large scale:

    He is four-faced, eight-armed, stands in the Alidha attitude, and tramples upon Visnu, who is accompanied by his wife. He is blue in colour and has a terrible appearance...his four-faces display the sentiments of love, heroism, disgust, and compassion.



    So Takkiraja and Humkara are both up to something, but, at the same time, Takkiraja is more or less answering Manohara's call. She is a Vasudhara who can be communed with and can place this character in subjugation--willingly it looks like.


    She has a relatively obscure personal name, although close to:


    2) Manoharā (मनोहरा).—A nymph of Alakāpurī. Once when Aṣṭāvakra went to the court of Kubera this nymph gave a performance in dancing in honour of that sage. (Śloka 45, Chapter 19, Anuśāsana Parva).



    Amoghapasha is a tale of Serpent Noose, and of Sudhana Kumara winning the Kinnara maiden Manohara twice. It gives her father as:

    Druma, the king of kinnaras



    3) Druma (द्रुम).—The leader of the Kinnaras (heavenly musicians). Mahābhārata Sabhā Parva, Chapter 10, Stanza 29). He sits in the Durbar of Kubera (God of wealth) and sings. He was the teacher of Rukmin, the son of Bhīṣmaka and he gave a bow to his pupil Rukmin. (Mahābhārata, Udyoga Parva, Chapter 158.)

    Druma (द्रुम).—The king of the Kimpuruṣas and Kinnaras (s.v.) stationed on the west during the siege of Gomanta;1 stationed by Jarāsandha at the western gate of Mathurā;2 attended the conference at Kuṇḍīna summoned by Śālva.3

    1) Bhāgavata-purāṇa X. 52. 11 [11]. Vāyu-purāṇa 41. 30.
    2) Ib. X. 50 11 [5].
    3) Ib. X. 76. 2 [9-10].

    Druma (द्रुम) is the name of a Gandharva king according to the 2nd century Mahāprajñāpāramitāśāstra (chapter XV). Accordingly, “The king of the Gandharvas is called T’ong long mo (Druma); in the Ts’in language, ‘tree’”. Note: Druma is best known from the adventures of his daughter, the Kiṃnarī Manoharā, captured by the hunters of king Sucandrima, wed by prince Sudhanu (Sudhana), pursued by her father-in-law Subāhu, retrieved in the Himālaya by her husband and finally brought back in triumph to Hastināpura.

    Druma is mentioned as the king of the Kinnaras (Kiṃnaras) according to the 2nd century Mahāprajñāpāramitāśāstra (chapter XXVIII). Accordingly, “some Śrāvakas heard T’ouen louen mo (Druma), king of the Kin t’o lo (Kiṃnara) playing the lute, singing and praising the Buddha according to the true nature of dharmas. Then Mount Sumeru and all the trees shook; the great disciples of the Buddha, Mahākāśyapa, etc., were unable to sit still on their seats”.

    2) A tree of Paradise.

    3) An epithet of Kubera.

    Druma is a Kinnara in MMK, Manohara is a Yakshi.



    As to Amoghapasa:


    This story was told by the Buddha Shakyamuni when his wife Yasodhara [glanced] down from the window to see the dazzling countenance of Buddha who was coming to the royal palace of Suddhodana after six long years of separation, He said that Manohara was no other that the present Yasodhara herself in her previous Life and Sudhana kumar was The Buddha himself. This story is related in detail in Divyavadana [and other places].


    Manohara is popular in Thailand, and Borobodur has an entire bas-relief wall of her story. As the youngest of Seven Kinnari, the original story has had embellishments, name changes, and migrations over wide areas. Nothing especially mysterious about her background.

    Paramartha Parasol ends with a Kinnari Sadhana that strongly resembles this, and seems to have no correspondence elsewhere in Buddhism.


    We found a first century edict against Bhikkus having sex with Kinnari women in an indeterminate proselytism. Cf. Sudassanavibhasha. To this day, Kinnaur only has about 84,000 people in an area the size of Delaware, if it were on the moon. Why all the attention?


    Polyandry was most prevalent in Kinnaur.

    There probably is such a thing as Kinnari nuns. Note that Kinnari is an unwritten language. Not many legacies about what happened.


    In Tibet the kinnara is known as the 'shang-shang' which is a play on the word for cymbal, as they are frequently shown playing cymbals. As celestial musicians they symbolize "enlightened activity." They are related to Karma Family, to Garuda, or Harpy.



    Their character is clarified in the Adi parva of the Mahabharata, where they say:

    We are everlasting lover and beloved. We never separate. We are eternally husband and wife; never do we become mother and father. No offspring is seen in our lap. We are lover and beloved ever-embracing. In between us we do not permit any third creature demanding affection. Our life is a life of perpetual pleasure.



    Kinnara (literally means "what human?" in Sanskrit) is related to the word Kimpurusha (meaning "what man?" i.e. hermaphrodite, half man-half woman).



    Manohara is a common story, but minor to absent in the tantras except in Sakya.

    The Thirteen Golden Dharmas of Sakya use Red deities, but, a special "offering thangka" uses gold color. The basket of dharmas is together in one place in this style.

    Beginning at the viewers top left and proceeding clockwise are Maitri Khecari, Naro Khechari, Rakta Ganapati, Indra Khechari, Takkiraja [with Manohara], donor figure, Rakta Jambhala, Simhamukha, Black Manjushri, Red Vasudhara [Bharati], Shabala Garuda, Tinuma, Gold Drop Kurukulla.










    So even while Manohara may be successful, it is still only implied that Bharati could have a consort. This means that a Red Jambhala is getting ready for her.

    On the "related" terma Four Arm Red or Rakta Jambhala, we can see a few things. The upper Amitayus consort is Orange, color of Long Life deities. There is a Black Hat or i. e. Karmapa on the left. Under him, there appears to be Takkiraja on the left, and, opposite him is actually a simple Padma Tara, over Green Tara and Ila.







    Perhaps in his male view, there isn't exactly a Manohara yet. Jambhala is watching or perhaps is behind what Takkiraja does.


    In Rinjung Lhantab or IWS, there is Red Jambhala and Bharati (IWS 319), then Four Arm Red Jambhala of the terma, and "Wealth deities", such as Mahalakshmi, Vasudhara of the Dharani, Gopali, and then Manohara (IWS 326) with Hook and Mongoose in Lalita:










    Manohara:










    Om Manohara Hara, Om Ankusa Ankusa Hri Hri Hri Hum Hum Hum Phat

    She is evoked from Alakavati in front generation. This section of deities is not included in the older RG. As it appears to flow from the dharani, most of the preliminary Vasudharas also invoke her Cow Herder form.

    Ila with Gopali and Manohara:









    That sounds about right. Minor Vasudharas make Gopali, who is then counterpart to Manohara. Vasudhara is definitely up to something. First we depict her in some sort of infidelity with someone who takes a bit of tantric experience to muster.

    Takki and Manohara in their level of Three Reds:





















    Manohara does this and I suppose you could say Increases the power of Hook, which means that more deities can be invited.


    When Humkara has conquered these Three Worlds where it is starting, he will go to Vajramrita Tantra.




    At that point you are probably moving towards Sahaja which is The Vessel which is Bharati. In the meantime there may also be such a thing as Yellow Jambhala with Vasudhara.

    If so they each carry a thing called Treasury Mice:















    If Manohara is first, you might be in "this" for a while, before there is a Bharati.

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    Default Re: Nirakara and Shentong Buddhism, Tara, Sadhanas, Sanskrit culture

    Gauris and Vajraraudris



    These are two retinue rings, the Gauris being almost universal in all the tantras, the others much more elusive. Or, almost. Gauris are always about the same, but change one to three members depending upon the lineage. There are two kinds of Vajraraudris--the Seven Jewels of Enlightenment, and the other shares members with a retinue only found in the NSP version of Samputa Tantra, which usually replaces the Gauris.

    The Gauris group is significant in Yogacara as they deal with the Eight Consciousnesses or Asta Vijnana and the Cemeteries. The Tri-kaya is Three Eight-spoked Wheels, and the Cemetery is usually another one stuck to it. In the Pitha system, it is just the last eight places. But the representative goddesses are diabolical, they may sometimes have animal heads but are not really the Tramen--Pisacis, they are more like wrathful counterparts of Offering Goddesses, therefor, Bodhisattvas. We will add a Cemetery system soon using these.

    Because Gauri and the others are called Pisaci in the Indian sources, it seems the Tramen are probably a different class, are probably the Cemetery deities as in the last eight sites of the Pithas. There is nothing that specifically suggests Pisacis are animal-headed like Tramen:

    Piśāca (पिशाच).—Description of a women of piśāca type;—A woman who has more or less than the usual number of fingers, is merciless during sexual acts, has the habits of roaming in gardens and fields, and of terrifying children, is treacherous, speaks with a double entendre, behaves abominably during sexual acts, has a hairy body and loud voice, and is fond of spiritous liquor and sexual indulgence, is said to have the nature of a piśāca.

    Piśāca (पिशाच) and the rest (yakṣa and rākṣasa) are lower classes of beings, ignorant of the law relating to what should and what should not be eaten; and it is they that eat meat (See the Manubhāṣya verse 11.95)

    In the Atharvaveda they are described as kravyād, ‘eaters of raw flesh’

    Agni--Kravyad is cremation.

    Generally it is a malevolent ghost, the devil. Tramen is a "hybrid". I am not sure that group has any correspondence in Generation Stage; and so while they say Pisacis are Tramen, we are going from their mantric identity led by Parnasabari. If it is obvious we are not talking about a person, they are a magical being, probably dwarfish and fat like their relatives, and Parnasabari:










    It is not clear to me whether she is the "Savari" of later tantras. It does seem understandable that there is a dharani system with Pisacis that pre-dates the written tantras considerably. Some of them have their own sadhanas, and some of them are Gauris.



    I have always been a bit confused about them because I could never figure out how the Gauris translation worked. If we take what I thought was their name in Tibetan:

    Kyerim (Skt. utpattikrama; Tib. བསྐྱེད་རིམ་, Wyl. bskyed rim) is the ‘generation’ or ‘development phase’ of practice—otherwise known as visualization practice—the goal of which is to purify our perception into the purity of our inherent nature.

    The most precise spelling I have found is "skyes":

    be born; be produced; be engendered



    Sogyal Rinpoche writes:

    The development stage consists of three phases, known as ‘the three samadhis’:

    The practice of Mahayoga begins with meditation on emptiness, the ‘samadhi of as-it-isness’ where all phenomena are realized as empty in their pure nature. This is the realization of absolute bodhichitta.

    From this state arise exuberant waves of compassion in what is known as the ‘samadhi of all-perceiving compassion’. This is the realization of relative bodhichitta.

    The union of these two is known as the causal samadhi, in which state arises a seed-syllable, from which rays of light emerge, purifying the entire environment of samsara and the beings within it into the nature of emptiness. One’s mind becomes this seed-syllable, which in turn transforms into the pure appearance of the deity. The mandala is seen as the palace of the deity. The form of the deity is the indivisible appearance of skilful means and wisdom. All experience is perceived as the retinue and activity of the deity. As one realizes that all perceptions, sounds and thoughts are the vajra-nature, one rests in this state of vajra dignity.

    Dilgo Khyentse Rinpoche says:

    “To practise the Inner Tantra one should realize that everything is primordially pure. Accordingly all outer elements are not perceived as ordinary, but as the five female buddhas. The five aggregates within the body are also not perceived as ordinary, but as the five male buddhas. In the same way, the eight consciousnesses as well as their eight objects are perceived as the eight male and eight female bodhisattvas. In this way one will not only see the purity of all phenomena, but one will also perceive the ‘great evenness of samsara and nirvana’. So samsara is not considered to be something to be discarded and nirvana something to be achieved, but as the Great Union of purity and evenness. Such a state is not something which has to be fabricated anew; it has been there since the very beginning.

    The essence of kyerim, or Mahayoga is to recognize all appearances as the deity, all sounds as the mantra, and all thoughts as the dharmakaya. This is the most profound path, through which one can actualize all of the qualities of the body, speech and mind of the Buddha.”


    Allright. Mahayoga begins as a basic samadhi, and becomes profoundly divine. The Eight Objects are the Offering Goddesses and/or Gauris. But Kye Rim is not really the translation of "Gauri" because it means Generation Stage, which these goddesses are the main part of.


    Now I guess this is what RY Wiki is made of, and sometimes it may be better to have 3,000 pages on one page by looking in
    Rangjung Yeshe dictionary pdf:

    ke'u ri - female deity, female deity of fearful mien [JV]
    ke'u ri - fearful goddess [IW]
    ke'u ri - n. of a female deity [RY]
    ke'u ri brgyad - eight Gauris (Gauri, Cauri,
    Pramoha, Vetali, Pukkasi, Ghasmari,
    Smamani, Candali; ko'u ri, tso'u ri, pra
    mo, be'e ta li, pus ka si, kas ma ri, sme
    sha ni, tsan dha li), matrikas, female nature spirits found in wild and awesome
    places [JV]
    ke'u ri brgyad kyi khro mo - the 8 wrathful
    gauris {gnas kyi ma mo brgyad} [IW]


    So she or they are really spelled Keuri, which means Gauris, but is not quite her name, which can be spelled differently such as:


    ka ya go'u ri - Gayagauri (n. of a stupa in
    ancient Gaya in Bihar)


    Keurim is evidently equal in meaning to "the goddesses of Kye Rim", although I guess those are different words.


    In passing, I also sometimes thought the misspelled part of Guhyajnana's mantra might be related to Gaya; in RG, it has Dhuma Kaye, and IWS has something different that also doesn't make sense. If it is not Gaya, maybe it is:

    ka ye - 1) cry. 2) call. 3) oh! [RY]


    Anyway, the personal name is also spelled:


    ko'u ri - Gauri, 1 of ke'u ri brgyad [JV]

    Kouri is a member of eight wrathful females.


    dkar mo or White is not a sufficient name for a deity--could be Marici, Durga, or:

    gauri (purity of universal basis) [JV]



    Here are more spellings:


    ga'u ri ma brgyad - the eight Gaurimas


    This looks like they used "Ghori":

    gO ri brgyad - Eight Gauris [RY]



    Same as Mamos:

    gnas kyi ma mo brgyad - SA dkar mo [JV]

    gnas kyi ma mo brgyad - 1) {go rI ma}. 2)
    {tsO rI ma} 3) {pra mo ha} 4) {be ta lI}
    5) {puk ka sI} 6) {gha sma rI} 7) {sma
    sha nI} 8) {tsaN Da lI} the eight Mamos,
    [gaurima, caurima, pramoha, betali,
    pukkasi, ghasmari, smashani, candali]).
    Syn {gnas kyi khro mo chen mo
    brgyad} [RY]


    So there is not much confusion as to what they are, but it is confusing how to write it in Tibetan.

    Another confusing point is that Heruka does not really mean Blood Drinker:

    khrag thung - blood drinker, heruka drink blood [IW]


    It may be named for some of his forms, but, the original meaning is either a class of ghost that was not really used until "dakini" also entered the lexicon, or, in art, it just means a simple two-armed form. Most teachers will say his real meaning is based from the three syllables of his name. Some have said his etymology is in Ruci. Nothing in India really suggests it is blood, and that is why the system that uses lots of winged deities is not that much like Sarma. Those are more like extrapolations from Vajrakilaya.

    But Khrag thun ma is probably their way of writing Heruki.




    Evidently, the underlying Mahesvara subjugation myth has three main versions, which is the difference in STTS, Chakrasamvara, and Hevajra traditions. The Gauris seem to be copies of Bhairavis according to Davidson:

    In order to subdue this ungodly army, the Lord manifested his wrathful form and the eight goddesses, these latter
    having the same names as the eight consorts of the "Big
    Worldlies": Vetali, Gauri, Cauri, Ghasmari, PukkasI, Savari,
    Candali, and Dombini. The major retinue of Mahesvara was
    overcome by Heruka while Mahesvara himself and the seven
    remaining "Big Worldlies" and their consorts were overcome
    by the the eight Buddhist goddesses. The subsidary minions
    were all finally collected into the eight great charnel grounds at
    the periphery of the mandala. This being done, each of the Buddhist goddesses had the title "Adamantine" prefixed to her name,
    so that they become Vajra-Gauri, and so forth. The goddesses'
    names indicate their representative castes; Vajra-Ghasmari
    was the actual subjugatrix of Isana-Mahesvara, while Heruka
    converted Indra, Brahma, Mara, and the like: thus their positions as seats of the deities in the mandala. This arrangement is
    in accord with the explanations of the teachers of the tradition,
    and the chronicle is derived from the Tattvasamgraha, the Vajrasekhara, the Trailokyavijaya, and the Candraguhya-tilaka.



    For his own reasons, he just bound STTS, Vajrasekhara, and Trailokyavijaya into a unit, as we have done by following the symbolism.

    The "worldlies" they are consorts of are:

    'jig-rten chen po

    The first part translates Loka and is used in names of Avalokiteshvara and Trailokyavijaya.



    Woodroffe was able to come up with:

    Then again proceeding further inward, He came upon the daughters of the Rutras and of Rākṣasas, named respectively, Nyobyed-ma or “She who maddens,” Tagbyedma “She who frightens,” Dri-medma “The unsullied,” Kempama “She who dries one up,” Phorthogrna “She who bears the Cup” and Zhyongthogma the “bowl bearer.”

    The Glorious One united with these in the same manner, and from them, were born the eight Mātṛkās of the eight Sthānas (sacred places), known as Gaurīmā and so forth. These, too, possessed divine wisdom from their father and terrific features and shapes from their mothers.

    There are 24 Sthānas which are places of pilgrimage and eight great cemeteries making 32 in all. In each of these cemeteries there is a powerful Goddess also called Mamo, that is, Mātṛkā. These terrible Goddesses are..."nerve-leafs of the conch-shell mansion” (brain) respectively. These are the eight great Mātṛkās of the eight great Cemeteries, to whom prayer is made, that when forms are changed and entrance is made on the intermediate plane (Bardo), they may place the spirit on the clear light path of Radiance ['od sal]...

    ...Then going right into the innermost abode, he found that the Rutra had gone out in search of food, which consisted of human flesh and of Devas. Adopting the disguise of the Rutra, the Glorious One went in to the Consort of the Rutra, the Rākṣasi-Queen Krodheśvarī (Lady of wrath) in the same spirit as before, and blessed the act. By Krodheśvarī, He had male issue, Bhagavān Vajra-Heruka, with three faces and six hands, terrific to behold. Then the Glorious One, Hayagriva, and his divine Consort, Vajra-Vārāhī, each expressed their triumph by neighing and grunting thrice.


    Rudra's body is scattered in eight pieces and:

    Thus the eight Mātṛkās of the eight Sthānas, headed by Gaurimā and others: the eight natural Stūpas headed by Potala; the eight occult powers, which fascinate; the eight guardians (female), who enchant; the eight great trees, the eight great realm-protectors (Shing-hyong), the eight lakes, the eight great Nāga spirits, the eight clouds, and the eight great Dikpālas (Chyogskyong or Protectors of the Directions) as well as the eight great cemeteries originated.


    According to a Khmer Hevajra study, concerning the Gauris:

    There are eight of them in the eight points of the compass…They
    repeat a syllable of the Mantra of the four-faced deity and as each
    pada [syllable] is repeated they make a snapping sound with the finger
    and thumb of the left hand. By these means let him [the adept] think
    that he has expelled all mischievous spirits. Then in a flood of light
    issuing from the ‘hum’ in the heart, they proceed by stages to make the
    vajra-bhumi [ritual ground], next the wall, ceiling, ceiling curtain and
    network of arrows, and outside all a fence of divine flames.


    Occasionally the Gauris may be dispersed into something like Gatekeepers for a Mahakala Puja:


    OM VAJRA GAURI AKAR SHAYA JAH OM VAJRA CAURI PRAVE SHAYA HUM

    OM VAJRA VETTALI BHANDHA BAM OM VAJRA GHE MARI VASHAM KURU HOH



    Vetali is kind of her own thing, but, we can find why the three others have probably been selected.



    They are also gatekeepers in Dakarnava in a way we can only pull up by guessing:

    Caurī (चौरी) is also mentioned as the Ḍākinī of the northern gate in the Jñānacakra, according to the 10th century Ḍākārṇava chapter 15...The four gate Ḍākinīs [viz., Caurī] each has the same physical feature as the four Ḍākinīs starting with Lāmā.


    jñānaheruka is composed of multi-colored Apsarases such as Tilottama. Strangely, Gnosis is his lowest Element...but this lowest edge is so to speak the tip top of our Kaya Vak Citta, like a Vajrosnia or Pinnacle as a meeting-area. What are those Apsarases? Probably Jnanamudras.





    By Dakini Jala, this is just the end of the title that is usually referred to as Sarvabuddha Samayoga, or even just Samayoga. That is what the academics probably call it. It could be said to create the mantric being Dakini Jala Samvara, and it is this which becomes the principal male deity of Chakrasamvara Tantra. In fact we are working from Dakini Jala Samvara Rahasyam, i. e. the Secret Doctrine of Dakini Jala.

    As far as we can tell, it is the first exemplary use of Six Families, combined with Nine Moods--which did not really carry forward into current traditions. The intent of this teaching is imbued with the Gauris which as we can tell are kind of one-dimensional in the Zhitro or Hundred Peaceful and Wrathful Deities as ordinarily known. It is entirely possible, if not eminently likely, that they will be quite wrathful, but I don't think you can make a point that they are limited to this.

    Dakini Jala has a similar foundation to Zhitro, or Peaceful and Wrathful deities, and so in this case, Vajra Family is Wrathful, and the Gauris are more specifically the retinue of Heruka. This ring is changed or different in every family, the outer portions being constant.



    Dakini Jala Gauris are a little different than most retinues, they are not a ring of eight; there is an inner ring of four, and then the second ring has the others again in the cardinal directions, and then is filled with more deities in the intermediate directions (Capadharini, Khatvangadharini, Cakradharini, and Citrapatakadharini). They are listed in a standard casting order.

    These are a weird amalgamation of the Tri-shakti, Pramoha is invoked as Vajranarayani, Cauri as Vajracandesvari, and Ghasmari as Vajramahesvari. This is from Vajrajvalodaya which also calls Cauri a Khatvangi or Staff goddess. In the following form, she is like Tara Seventeen affecting the Three Worlds with her Feet.



    According to Anandagarbha,



    Gauri (E) is fair in colour and tranquil-faced. Eight-armed, she cuts off each of the four heads of Brahma by simultaneously firing arrows from four bows.

    Cauri (S) is red and fierce-faced. Wearing a chaplet of skulls she holds a goad-hook (ankusah) in her left hand at her heart with a skull-staff in the crook of her left arm resting on her left shoulder, and holds aloft an eight-spoked discuss with the middle finger of her right, pressing down on the three worlds with her left foot.

    Pramoha (W) is black and four-armed, with the face of Visnu's boar-incarnation (adivarahamukha, or, according to Humkaravajra, boar above and a red head below. Moreover, he has her raise with her two lower hands a wheel ('khor lo) rather than the earth). In her first left hand she holds a skull-bowl full of wine and in her first right a Vajra. With her other two hands she imitates the boar-incarnation by raising up the earth.

    Vetali (N) is white and joyful-faced. With her right hand she pours a stream of the nectar of immortality from a transparent skull-cup and with her left shows the Vajra banner gesture.

    Pukkasi [E] is multi-coloured (visvavarna) and dancing in a smoky cremation-ground full of strings of skulls and the like. In her right fist she clasps a five-pronged Vajra and in her left a wind-buffeted tendril from the wish-granting tree of paradise (kalpavrksalata).

    Candali (S) is dark blue and riding on a whirlwind (vatamandalika). In her right fist she clenches a Vajra-topped trident and with her left releases a whirlwind against her victims.

    Ghasmari (W) is black [?] and eating a corpse [?]. In her left hand she holds a blazing sacrificial fire-vessel (agnikunda-) and with her right grasps a sword. She also represents Samputa Tantra, or, i. e., this later synthesis must be derived from her influence, Secret of Food.

    Herukasamnibha (N), black like Heruka, holds a skull-cup [to her heart] in her left hand, with a skull-staff resting on her left shoulder, and a five-pronged Vajra in her right.



    What happens in the later editions of Gauri practice is that Pukkasi's multi-colored nature is swiped by Dombi, who goes in the final slot and offers her body to the principal deity, when they are all in a single ring of eight. The final deity in this version is guilty of being "just like" Heruka, who is the principal deity, so her intentions may be similar to Dombi's. Is she likely contiguous to Heruki, the Enlightenment Jewel of Dharma Investigation, probably so. That is what Mamaki is, or does, explain and guide us in Vastness, in the role of the Flask(s).

    At least four moods are readily apparent, tranquil, fierce, Boar faced probably intoxicated, and joyful. The impression I get is about producing Herukasamnibha. It does not say she is his consort here, and seems a bit more like "process of becoming". I do not see why you could not have a build-up like the stuff Vasudhara does. I can see why one might want to shorten her to Heruki.


    I have not looked heavily into why the commentators equate Ghasmari to the overall Samputa Tantra. But as we trace her back, we get Buddhist Mahesvari, who overpowered Isana Mahesvara. And then in her hands we find the rare Agni Kunda or Dharmodaya. The subject of Food is familiar enough, since in the Rahasya it is the Fifth Offering which corresponds to Void or Dissolution. Or:

    Kosa means "layer of mind." There are five layers of the human mind, in addition to the physical body, which—although technically not a kosa itself—is given the name Annamaya ("food") Kosa.

    Kamamaya Kosa (The Crude Mind)
    Manomaya Kosa (The Subtle Mind)
    The next three deeper layers of mind are collectively known as the Causal Mind. Causal sig - nifies that these layers are in the most direct contact with the Causal Consciousness from which the mind has evolved and within which it exists.

    Atimanasa Kosa (The first layer of the Causal Mind)
    Vijnanamaya Kosa (The second layer of the Causal Mind)
    Hiranyamaya Kosa (The most subtle layer of the Causal Mind).





    The translation of Dakini Jala says Ghasmari is "eating a corpse", but if we challenge this against the original, it actually says:

    mrta-carvanamukhi bhaksanadrstih

    and it may have to do more with catharsis:

    Mrta is dead, but the expression carvana is obscure, does not seem to mean "eating"; according to Rasa, or, the expression of emotion in theater:

    "Bhattauta, another scholar from Kashmir, in his treatise called Kavya Kautuka, also says that a dramatic presentation is not a mere physical occurrence. In witnessing a play we forget the actual perpetual experience of the individuals on the stage. The past impressions, memories, associations etc. become connected with the present experience. As a result, a new experience is created and this provides new types of pleasure and pains. This is technically known as rasvadana, camatkara, carvana."

    The next phrase, Bhaksana, is a deity's consumption of sacrificed food. Drsti has to do with eyes, view, wrong view, look, divine eye, or in theater, "has the look in her eye". Ghasmari's hands are busy, so, she does not seem to be eating a corpse the way some deities do, by hand. It sounds like she has a dramatic expression of eating the meditator's death. Mrta is not a noun, unless it means food obtained by begging, it is the adjective, dead, and the closest noun is mrtam, death, neither one of which is a body. If taken almost literally, it would say face of begging for food of catharsis, and satisfied look of receiving food offering. The closest term for "corpse" is Mrtaka; all other forms of "corpse use" abandon this word and use a form of Zava, or, occasionally, Kravya. Black corpse-eater seems to be a hasty translation, especially in context, they sound more like actresses, with expressions, gestures, and moods.

    drsti, "look in her eye", such as Gauri is:

    santadrstih (peaceful expression)


    I am not sure what it literally means, because I am more sure these phrases are the way they are expressing the Moods:


    santadrstih saumyamukha

    raudradrstimukha yajnopavitayogena

    adivarahamukha pramohadrstih

    harsamukhim mrtakotthapanadrstih

    nrtyamukhi nrtyadrstih

    mrtacarvanamukhi bhaksanadrstih

    herukarupa-samnibha, presumably having Heruka's mood


    Again taken from Genesis and Development.

    Vetali is laughing while having this look at death:

    Utthāpana (उत्थापन, “revival”) refers to “revival of form” and represents to the fourth of eighteen alchemical purification processes of mercury (mahārasa, rasendra or pārada). A religio-philosophic base was given to mercury-based alchemy in India. Mercury was looked upon as the essence of God Śiva, and sulphur as that of Goddess Pārvatī.

    Utthāpana is the “resurrection” of swooned mercury


    Ghasmari could be "tasting" death, or:

    Carvaṇa (चर्वण) refers to “relish”, according to the Mahānayaprakāśa by 12-century Kashmiri Śitikaṇṭha.—Accordingly, “By its unfolding, the will arises which generates (all things). It is emanation (sṛṣṭi). The supreme and the first, she is called the Pervasive One (vyāpinī). Whenever this will falls spontaneously on (any) external object, that relish (carvaṇa) (of its essential nature) is persistence and is said to be the Equal One (samanā). Assuming its own essential nature, (that same energy is) withdrawn because (of the ensuing) indifference (to the object once known and experienced) and the contraction of the expansion (in the previous phases). Thus, due to the power of the Transmental, withdrawal (saṃhāra) takes place”.


    Vetali is laughing about it, and Ghasmari appears to be an obssessed fiend of it. Since "she" is a part of one's inmost being, something in there has "assumed the essential nature" of death.


    Ghasmari is a Black or Dark Mahesvari with a Sword in her Musti--Fist and an Agni Kunda which is a Dharmodaya. This is not a name generally used in Buddhist sadhanas, but is readily understood as female Shiva:

    1) Maheśvarī (महेश्वरी).—The Goddess enshrined at Mahākāla;1 a name of Lalitā;2 Gā and Virūpā dropped out of the face of Maheśvara; also Rudrāṇī and Mahādevī; was Mati, Smṛti, and Buddhi; asked by Mahādeva to bring the world under control by Yoga.3

    1) Matsya-purāṇa 13. 41.
    2) Brahmāṇḍa-purāṇa IV. 10. 7; 14. 3; 28. 89; 29. 102; 40. 2.
    3) Vāyu-purāṇa 23. 5.


    In the Asta Matrika of Katmandhu, she is:

    Māheśvarī or Rudrāyaṇī

    where one would probably say that Camunda is Candi.

    Vajramahesvari continues in Samputa Tantra. That is one reason Ghasmari could be considered the tantra's equivalent. But it is only as this mantra. She rephrases herself:

    bhakṣaya sarvaduṣṭān nirmatha hṛdayaṃ


    She may be eating evil (dusta), or, if evil is Food, the symbolic version as described, if eaten will place you in Dissolution.

    Her heart is composed of something which could be violent, sexual, or mantric (Fire by Friction):


    Nirmatha (निर्मथ).—(-nirmatha), adj. (to Sanskrit nir-math-, used of churning the ocean), churning, i.e. doing violence to (a figurative ocean): sarvasattvābhiniveśasāgara-nirmathānāṃ (bodhi- sattvānāṃ) Gaṇḍavyūha 188.23.

    2) The wood used for producing fire by friction.

    3) Rubbing two pieces of wood together to produce fire.

    Mātha (माथ).—[math-ghañ]

    1) Stirring, churning, shaking about.

    2) Killing, destruction.

    manmatha (मन्मथ).—m (S Stirrer or agitater of the heart.)


    That is multi-faceted in a way you can't argue against the facets.




    When calling Cauri Candesvari, it is a bit more difficult as it may also reflect a "consort of Shiva", but not necessarily here. Candisvara is with Gauri in Paramadya Tantra, and the obscure name Candesvari is not present there.

    This is explained in a footnote right under Rukmini = Vishnu consort (rather than Rupini) and Bhimadevi = Shiva consort (rather than Uma) in an alternate copy of Dakini Jala in the context where he is taking Hindu shaktis by force for enjoyment, in a motif that seems to intend replacing Raudra with Saumya. One is evidently also lifting Prasanta Devi from Prajapati, and Ratipriti from Kamadeva.


    In this Buddhist Tri-shakti, Candesvari has been taken in a context where she appears to over-write a Brahmani character. She perhaps is the result of Brahma's advice.


    This first Wrathful Cauri is Red with a Wheel, Hook, and Staff, in Tandava on the Three Worlds by way of implication. That is the same way you understand Gauri as having eight arms, by firing four bows.

    She has approximately one other specific appearance in Buddhism with Sixteen Arm Mahakala:


    [The sādhana further adds that 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); 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).

    Caṇḍeśvarī in the North-west corner has yellow complexion, carries in her two hands the grass and the deer, and stands in the ālīḍha attitude on a corpse. [...] These four deities are nude, and look terrible with bare fangs, three eyes and dishevelled hair. [...]


    By examination, Candesvari is not Mahesvari there, either.

    But she is still known:

    Candesvari aka Candika, Nepal

    Inscribed Indian figurine, ca. 7th-9th century.

    First name after Durga in her Puja.

    Modern title about her festival.


    From Keith Dowman's site:

    Ekajati: Cantishwari: this shrine is in visual range of Banepa. Ekajati and Devi Candika have one essence.

    It is one of the best sources of folklore, but not the most technical description of Vajrayogini or Mahakala tantra. So we are looking in a deep ocean wherein, ostensibly, Candika = Samadhi, Ekajati = Pramardani = Final Samadhi. If Ekajati is with Karma Family Tara, that is equivalent to being with Candi.




    Second line of 108 Names of Cinnamasta uses Candesvari.

    Attributed to the location Kalipitha.

    Mentioned before Carcika as a goddess of phallic rites and serpents at Hingulaja.

    Mentioned by Buhnemann with respect to its Bhairava mural.

    Her temple is the site of the Asta Matrika's daily Nityakarma or dance in a relatively interesting history. She is tall, and transforms into a snake.

    Candesvari is among many Candis in the battle for Sonitpur against Bana.

    At that point it is like the Pitha system, including Pracanda--Cinnamasta, along with the "Sonitpur resident" (Bhima), Kotari. So that would say "one essence" with various Candikas as aspects. But we do not want to lose the point of Vajra and Karma Families distinguishing them.

    Koṭarī (कोटरी, “naked”).—One of the names of the Goddess, Devī

    Koṭarī (कोटरी).—

    1) A naked woman


    Yet:

    Koṭarā (कोटरा).—An evil spirit and mother of Bāṇa. Appeared naked and with dishevelled hair before Kṛṣṇa who had deprived Bāṇa of his chariot.

    Koṭara (कोटर).—mn.

    (-raḥ-raṃ) The hollow of a tree. f. (-rī) 1. A name of the goddess Durga, 2. A naked woman: see koṭavī.

    Koṭavī (कोटवी).—f. (-vī) 1. A naked woman. 2. A name of Durga.

    a form of Durgā and mother of Bāṇa

    Name of the tutelar deity of the Daityas, [Viṣṇu-purāṇa]


    According to Wiki, there is a Durga form called:


    Hingula Devi (the red goddess or the Goddess of Hingula) and Kottari or Kotavi.

    Hinglaj, a town on the Makran coast in the Lasbela district of Balochistan

    Hiṅgūla (हिङ्गूल, “cinnabar”)

    Hiṅgula (हिङ्गुल) refers to “vermilion”, a preparation of mercury with sulphur.

    [that just revealed the sacred alchemy]

    According to a Pitha study, it is the site of the brain or third eye, and the corresponding Shiva is Bhima Locana.


    Pinga, Karburi, Kotari, Candi, Syama, Bhairavi, Bhima, Mahasuri meaning Maha Asura is a trand of her epithets. Rajasi, Rakta Danti, Skanda Mata, Vijaya follow.

    Candesvari is the legs in virgin worship.

    She is a recipient from Shiva of:

    K A K A C A N D l or K A K A C A N D E S V A R l or K A K A C A N D E S V A R l - M A T A (or -TANTRA)

    which is a Rasayana doctrine.

    Found in Nandavaram, Kurnaul.




    Cauri in her own name has a few things.

    Her name is perhaps not a fan:

    1) Caurī (चौरी):—[from caura] a f. a female thief. (heart-) captivator, [Kathāsaritsāgara vc, 54; civ, 168]


    Wrathful Cauri found in Thailand with a Peaceful Plough devi.

    In Hevajra, Cauri holds the Deer Sign (Moon), which sounds like our question about Hare Moon on Tara Eighteen. It also echoes her form with Mahakala.

    The basic Pancha Daka format makes them the Four Activities, such that there is White Gauri Hook, Yellow Cauri Noose, Red Vetali Chain, Green Ghasmari Bell.

    On Varahi, there is Cittavajra--Varnani--Heart, Vakvajra--Cauri--Throat, and Kayavajra--Vairocani--Navel. Cauri uses two Hums and Phat. So she also has the Humkara nature of Tara who hits the Three Worlds with her Feet. Now she is Varahi's Voice.


    Or see Short Chakrasamvara translation. This is--what?--makes her a mantric fulcrum between the two aspects of Cinnamasta.

    On Nairatma 228, Cauri is Sabda--Sound. In the Hevajra system, the Gauris mainly become arms of the Asta Vijnana or Eight Consciousnesses, such that Cauri is Sound and Ghasmari is Taste and so on. And so it is not surprising to find this, but, I was not aware that Cauri can overtake the Speech Mandala.

    Tara Seventeen uses her Feet like Cauri, and is related to Hum, and the same Deer symbol as with the next Tara.

    Tara Eighteen is usually Mayuri who is sometimes found using a Camara or Whisk, and it is entirely plausible to say there is such a thing as Cauri or Fan made of camara deer hair.

    Cauri and camara without further clarification are generally understood to be the same item, although a cauri could also be made of feathers. It may be a bit unusual to take an ordinary word and apply it to a goddess that can hardly be found using the item. She has the Hook or i. e., power of Manohara, and Staff, meaning she knows she has a consort and knows his mind and abilities, but he is somewhere else. She seems to be a Red emanation of Tathagata Family by displaying the Wheel; Red Varahi is the same way. Moreover, she is like a Manohara who has Accomplished her consort and been re-emanated by Vairocana. She has the raudra emotion, not the personal name of Shiva's consort. We have discussed it before and of course it is possible to be violent and beautiful at the same time. Is it "terrifying" or "terrific"? Even in English, terrific could mean terrible, it just means "very infleuntial, awe-inspiring". Ugra also means "fierce", as does "canda", so it is hard to say any of these mean bad, ugly (vikrita, aparupa, .


    Mitra's Jinasagara 62 comparatively "is centered" on Tathagata Family, although he is with Guhyajnana and the Four Dakinis and Messengers or Dutis of the Four Families, Vajra, Jewel, Lotus, and Karma. The following Eight Arm Padmanarttesvara 63 with Pandara has effectively "centered" Lotus Family and pushed Blue out to the West. His retinue includes Vilokini--E, female Vajrasattva--SE, Isvari--S, Ratnasattva--SW, Bhrkuti--W, Padmasattva--NW, Tara--N, Visva--NW. It says three of these are from Lotus Family in Dakini Jala, the first place to use a Six Family system. It then also has Four Offering Goddesses and the usual Gatekeepers.




    Gauris start in Samputa Tantra Chapter Two:


    The nature of the letters and colors visualized in the development stage,
    And the order and arrangement of the deities’ arms.


    With Two Arm Heruka:


    Alternatively, he should visualize him,
    With strong faith, as reddish-blue,
    Picturing him, the venerable one, in the sky above
    As being of adamantine origin and filled with great compassion.




    “He should worship him by means of visualizing
    The eight goddesses of offerings, adorned with all kinds of jewelry:
    Gaurī who is holding a moon disk,
    Caurī holding a sun disk, {2.3.18}


    So, they are similar to Offering Bodhisattvas. Interestingly, they are holding "Deer Sign" and "Egg":

    gaurī mṛgalāñchanadhartrī caurī mārtaṇḍabhājanaṃ


    Gauri and Cauri effectively just took over almost every thangka you will ever see, although Gauri is in the normally-male role of Moon. As actually parts of a trinity, it is as if they are passing something to Ghasmari farther along, and "Heruka-alike" is the recipient overall.

    The lord should be worshiped by these goddesses
    According to the elaborate ritual procedure for offering. {2.3.20}

    This roster is a bit like Hevajra's. The Gauris do an Offering Ceremony, and the situation proceeds:


    Then he should become the nature of all phenomena,
    Which is free from any reference.
    He should visualize the seed syllable between the moon and sun disks,
    Which emerge from the vowels and the consonants respectively. {2.3.21}

    “That cognition is precisely what is called the being
    Whose nature is the supreme joy.
    Forms of light identical to his own body emanate forth,
    Flooding the expanse of the sky. {2.3.22}


    These do Hook Rays and return, and then a new Heruka form arises:

    The lord frolics in a charnel ground,
    Surrounded by the eight goddesses.

    He has Four Arms representing the Four Joys. Now he is with Vajravarahi, surrounded by Eight Vajraraudris in Pleasant aspect.

    “The syllable hrīḥ of the goddesses
    Should then be placed on the petals.
    It should be joined with the four seed syllables
    That are the nature of the four types of offerings. {2.3.54}
    “It should be joined with the first sound (oṁ), and so forth,
    And placed on the female gatekeepers all around.
    Then the practitioner should insert
    His vajra into the bhaga. {2.3.55}


    Aside from the mandala, it appears to be sexual yoga. The way that reads, the Gauris start it, the scene changes, and then the Vajraraudris are there for the occasion.



    Samputa Tantra Chapter Three expects your Heruka to melt as directed in Samvarodaya. Subsequently, four Gauris give verses of imploring Heruka or Hevajra--Nairatma to arise and fulfill their desires. He comes back with Sixteen Arms and Nine Moods, using Shastras or Weapons, so this is not the typical skull or cup Hevajra. The Eight Gauris appear and are similar to, but not identical to, their Dakini Jala forms, and they express the Moods.

    Caurī is red in color,
    And is known to hold a wheel, a goad,
    A skull cup, and a ḍamaru drum.
    One should visualize her as divinely beautiful. {3.1.21}

    She has a Boar, and here, Pramoha has a Plough and a Tortoise. Cauri has added a Cup like Bharati.


    They have another appearance with Nairatma 3.3.1, they all have four arms and are beautiful.


    One should visualize a corpse there,
    Which is the seat for each of the fifteen goddesses. {3.3.4}
    “Above it there is a moon disk,
    And above the moon disk is the seed syllable;
    Resting upon that is a sun disk.
    From the meeting of these two disks comes great bliss. {3.3.5}
    “The moon is then transformed into the vowels
    And the sun into the consonants.
    The meeting of the sun and the moon
    Is also known to be Gaurī and the other goddesses. {3.3.6}
    “The moon represents mirror-like wisdom,
    And the sun, the wisdom of equality.
    The symbols of the chosen deity along with their seed syllables
    Are said to be discriminating wisdom.



    All the goddesses manifest in full
    From the nature of skillful means and wisdom.
    The vowels are wisdom and the consonants, means,
    Reflecting the distinction between the moon and sun. {3.3.11}
    “Since Gaurī and the others should appear one by one,
    Following the division of the colors,
    He should make every effort
    To correctly execute the maṇḍala procedure.

    This is what you follow and correctly execute:

    They are different colors, very wild,
    And adorned with the five mudrās.
    They have one face, four arms,
    Three eyes, and are divinely beautiful.


    If we can't assign the colors, we can be reasonably confident that they are better-looking than Gauris in most other tantras.




    Chapter Eight is mainly on mantras and uses several deity forms.


    8.124 (or 8.4.8) begins a Hrih-arisen Heruka followed by the Gauris from Dakini Jala ending on Herukasamnibha. These have fairly violent mantras and seed mantras such as:

    Of Caurī, Oṁ eṁ svāhā!
    Of Vetālī, Oṁ aiṁ svāhā!


    Those are exemplary because Aim is an almost-hidden Shakti styllable in Buddhism; further, Cauri is E which in Brahmi script is the downwards-pointing triangle, or Yoni or Dharmodaya. Cauri is related to Sound and Speech Mandala and this important syllable.



    In his Heart mantra, he is called Picuvajra.

    This chapter comes after the teaching of Transference and Jnanadakini, which is called Yoga Tantra, and begins by saluting Vajramrita and has its Vajraraudris.

    It has a special Hook for Transference:

    “One should attach the hook of Ghorā (kṣuṁ),
    And so forth, to the syllable of Vajrī (suṁ).
    One should imagine Ghorā pulling [the consciousness]
    Through the twenty-four places in the ten directions. {8.3.14}


    I am not sure if Ghori was Cauri; it is an Earth syllable, and Vajri is Sum--Sumeru--summit of Mt. Meru.

    Comm1 (643) explains, “‘Ghorā’ is at the navel as Caṇḍālī, who, because of incinerating all thoughts,
    is difficult to implement; thus it is the place that frightens those of meager
    inclination. Through the hook-like shape of its light rays . . .”

    Ghora is in the retinue at the same time as Candali, but, here, it is mainly using her Hook. Jnanadakini is an extremely powerful syllable Nyasa once you understand these deities.


    It gives Seven Syllable mantra for "the king of spells" (8.4.27), followed by those of Vairocani, Marici, Parnasabari, Amoghasiddhi, and Vajradakini. Followed by:

    “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!”

    Those are actually four prongs of a vajra with Jnanadakini as the central.

    And then another Jnanadakini. There are other goddesses, but, she is probably the Isvari of this tantra.


    The following mantras are for "the retinue of Heruka", although they do not seem to be attached to a mandala. Since it refers to two Two Arm Herukas--one fond of charnel grounds, the other on a seat of Rudra--and his Seven Syllable form, that seems to be what they would match.

    The Gauris' original mantras in this section give Gauri the title Smasanavasini:

    oṁ vajraguhye siddhaparamayogeśvari kapāla mālādhāriṇi rudhirapriye
    śmaśānavāsini hūṁ phaṭ svāhā | gauryāḥ || 8.4.9 ||


    Candesvari is Cauri:

    oṁ vajracaṇḍeśvari khaṭvāṅgi mahāvajriṇi kapālamālāmakuṭe ākaḍḍa •
    ākaḍḍa sarva duṣṭa hṛdayam ākaḍḍa rulu rulu bhyo hūṁ phaṭ | cauryāḥ ||
    8.4.10 ||


    Guhyesvari is Pramoha:

    oṁ vajrāparājite paramaguhye kapālamālāvibhūṣite {C81r} sarvaduṣṭamohani
    priye ehi • ehi bhagavati vajraguhyeśvari bahu vividha veśadhāriṇi
    sarvaduṣṭa nivāriṇi hūṁ phaṭ | pramohāyāḥ || 8.4.11 ||


    Vetali with Akash syllable:

    oṁ vajravetāli kha kha khahi khahi sarvaduṣṭān vikṛtaveśadhāriṇi
    vikṛtālaṅkāra bhūṣite | hana hana daha daha paca paca mā vilamba mā
    vilamba samayam anusmara praveśaya maṇḍalamadhye utthāpaya sarvaṃ
    hūṁ hūṁ phaṭ | vetālyāḥ || 8.4.12 ||


    Guhyesvari is Pukkasi strongly related to Narta or Dance:

    oṁ ehi • ehi bhagavati vajraguhyeśvari bahuvividhaveśadhāriṇi
    sarvatathāgata puṣṭe samayam anusmara hana hana raṅga raṅga raṅgāpaya
    raṅgāpaya pūraya pūraya āviśa āviśa sarvabhūtān narta narta nartāpaya
    nartāpaya haḥ ha ha ha ha hūṁ hūṁ phaṭ | pukkasyāḥ || 8.4.13 ||


    Sula or Spear and Akarsa or Hook power are with Candali:

    oṁ vajraśūlāgri bhinda bhinda sarvaduṣṭahṛdayam ākarṣaya ākarṣaya hana
    hana daha daha nirmatha nirmatha māraya māraya mā vilamba mā vilamba
    samayam anusmara hūṁ hūṁ phaṭ | caṇḍālyāḥ || 8.4.14 ||


    Mahesvari is Ghasmari:

    oṁ vajramāheśvari haṁ haṁ haṁ haṁ haḥ rulu rulu bhyo hūṁ phaṭ |
    bhakṣaya sarvaduṣṭān nirmatha hṛdayaṃ hūṁ phaṭ svāhā | ghasmaryāḥ ||
    8.4.15 ||


    Sumbhani and Dipta--Lamp is Heruki:

    oṁ sumbhani dīptasamayavajre hūṁ phaṭ | herukasaṃnibhāyāḥ ||
    8.4.16 ||



    In Chapter Eight, they clearly copied the names and mantras from Dakini Jala, which makes it a bit odd that you might change one or two of them in the retinues previously described. It is probably because the Samputa is intended to prepare you for Hevajra Tantra, in which case retaining the names and mantras like this becomes the odd thing.


    According to one definition:

    In Sanskrit, the aura is called prabhamandala, "luminous circle," or diptachakra, "wheel of light."



    Vajrakilaya is a tantra that adds the base of the spine center; his consort is Diptacakra.

    In the Pitha system, base of the spine is inhabited by:

    Cakravegā has for her husband the hero (vīra) named Mahābala.

    Vega, high power.

    This begins a trend of a consort appearing lighter blue.

    Sumbhani--Nadir plus Dipta would seem to have this meaning for "Heruka-alike".






    Chapter Nine presumes you can access Five Gnoses and make Nectar:


    Should one wish these activities to occur incessantly,
    One should please all the yoginīs,
    But without sexual addiction;
    One should not become attached to bliss.



    and then you offer it to deities including Rudra and his consorts, including yoginī Śūlakālī, and several others which are incorporated into Pithas elsewhere. These are invoked in the wilderness, in "places all around", followed by "yoginis dwelling in the villages" who are not named.


    and then:

    He should also summon the five ḍākinīs
    Of the five great elements who accomplish every type of activity, {9.2.21}
    “And the great queen of the maṇḍala of the union,
    Along with the mighty vajra lord.
    In the great assembly of the tathāgatas
    She is the stainless emanation from the union.

    “By the command of the vajra queen [Vajra Gharvi, et. al.], he should invoke all of them
    from all their respective places.


    The original reads slightly differently; Five Dakinis of the Mahatattva:

    pañcaḍākinī mahātattva


    Queen (Rajni) of the Yoga Mandala with Vajra Isvara Prabhu:

    yogamaṇḍalamahārājñī vajreśvaraprabhus


    Body of All Tathagatas:

    tathāgatamahākāye nirañja yogasṛṣṭikā


    And "vajra queen" is Vajra Isvari:

    vajreśvarī


    The commentaries flex on this:

    Comm1 (687) has the “great queens,” in the plural,
    referring to a few sets of four goddess, such as “Pukkasī and so forth,”
    whereas it treats “the vajra ladies” (instead of “the vajra lord”) also in the
    plural, as referring to the four goddesses, “the Horse Faced One,” and so
    forth. Comm2 (1027) has this whole verse, including the second two lines
    and even the “vajra queen” in the next verse, as referring to the “five queens
    of the maṇḍala: the main vajra lady, Samantabhadrī; the body of the
    tathāgata, Locanā; the stainless (nirāmaya), Māmakī; the bestower,
    Pāṇḍaravāsinī; and the vajra queen (from the next verse), Tārā.”


    This is before Purifying the Nectar with an additional Three Syllables prior to personal use. This is also something ultra important I did not know about when I did it. This means Bharati or Sahaja, i. e. the admixture of white and red Bodhicitta which makes Mercury. That even sounds poisonous. And it actually is that way without a special Muttering for it.

    Everything prior, from an initial mixture, to a hot one, to a hot one that has melted Heruka, is mostly under the aegis of Taste or Rasayana where it is Orange and not really dangerous and the way the Samputa talks about it is "you fill their mouths with it". Before we can exactly have a keg party, we have to get a drop, to a few drops, and so on, and works more like an alchemy lab, Rasayana. This is like the One Taste of Nine Tastes. Something like nectars characterized by one or other of the Moods. Until someone is actually able to manifest the cool silvery Nectar of Immortality, just about anything starting from initial results of Pranayama falls in here.

    The Reality Source, Dharmodaya, or Triangle is at first White and in the presence of Locana and Prajnaparamita related to Gaganaganja Samadhi. Then it is Red and Inverted and in the hands of Dharmadhatu Vajra, the Object or Bodhisattva of the Sixth principle. Then it becomes fiery in the hands of Ghasmari. This becomes equivalent to the inner version in the Navel. Ghasmari is similar to the digestive fire of Agni. Ghasmari is the Purified Sixth Element. So, when we are looking for a heat source, why is the triangle red and fire, etc., then in a yoga sense, Ghasmari is very appropriate.





    Vajraraudris


    These are a particular ring that in the main example, become the Seven Jewels of Enlightenment with Vajradaka.

    The six similar goddesses from Samputa Tantra are:

    Vajraraudri, Vajrabimba [Ekajati], Ragavajra [Mahamaya in Vajradaka 1.16], Vajrasaumya, Vajrayakshi, Vajradakini


    The main difference from Vajradaka's Jewels of Enlightenment is that these are Pleasant or Saumya, and we see the presence of Vajrasaumya, who does not have a direct equivalent in the wrathful Vajradaka format. Vajraraudri and Vajradakini are the same, Raga expresses Lotus Family, Ekajati is almost certainly in the place of Heruki, we could quickly make a case that a Yakshi is like a Bhairavi, and would be left with Saumya--Moon in place of Bhaskari--Sun. I am not sure if that is what is supposed to happen here. I am sure if we pursue the scaling ladder of Samadhi that it goes in the domain of Candi, and that Samadhi intensified into a Jewel of Enlightenment is defined as Vajraraudri. There is nothing after that. Just the combination.


    In Samputa Chapter Two, these Raudri goddesses are pleasant, but, "of different colors". In Chapter Three, the colors just match the directions as if it were Akshobhya-centered, so White Vajraraudri in the East, followed by yellow, red, and green, and then the corner deities are blends, such that the Agni occupant is:


    In the southeast, yellow and red Vajraḍākinī


    Exactly why this circle is completed by Sabda and Prithvi has not even been questioned. In Tibetan, Yakshi is Nojinma, Raudri is Dragmo. Saumya is Zhi ba mo; Bimba is Vajravisva or rdo rje gzugs brnyan. Ragavajra is from the same style as Sabdavajra, and is listed as a deity personifying the true nature of the faculty of taste.

    M51 in Mitra's Mandalas is Maitri's Seven Syllable deity, which the author did not know also has thangkas--there is at least one from the 1100s and the one at Tibet House--nor did he try to give Sanskrit names of its retinue. Two of them are identical to these--Dragmo (Raudri) and Dorje Khandro (Vajradakini). Jigs byed ma is separate (Bhima or Bhairavi). He also lists Krag thun ma, Drag gtum ma, and sNan byed ma.

    If we stuck to the Tibetan, we would probably conclude that the Vajraraudris as Jewels of Enlightenment are not quite the same as the retinue used in Samputa, perhaps most obviously because Vajraraudri is Pleasant. Her function is elusive and indeterminate, unless she is simply carrying forward the "pleasing to the mind" role so the practitioner does not swerve from the thought of enlightenment. If then it is possible Prithvi means Touch:

    rdo rje sa

    then it is possible Bimba could be "Sight Object". And then it would just be Four Sense Objects intermingled with Vajraraudri, Vajrasaumya, Vajra Yaksi, and Vajradakini.

    It certainly means Earth.

    IWS 70 identifies his consort (Gegmo) as Lasya. Its retinue includes He ru ka ma (Blue Heruka/Heruki), Jigs ma (Yellow Bhima), Dragmo (Red Rudrani), dBan byed ma (Green), rNam [lhas] ma (Smoky), and White Vajradakini. This does not quite match the Japanese version above. This is Mitra's Avalokiteshvara, who is in an aspect of Vajradaka, or, this retinue is part of that sadhana. And so those Sanskrit originals are definitive and give their assignments. It is kind of up to the Tibetan to figure how they fit.

    RG 23 is the same Heruka Avalokiteshvara, using Blue Herukama, Yellow Jigma, Red Dragmo, Green Wang jema, Smoky Nam ta ma, and White Vajradakini. In this case, they are seated.

    In both texts, the following Sahaja Heruka is Picuvajra.

    For the Green name:

    rdo rje dban byed pa

    It has a meaning of Power, similar to Wang Je ma. and is also the power of the Sixth Heaven:

    mastery over other's creations heaven

    i. e. is the "power or mastery", with "others' creations" being a different Tibetan word.


    The Smoky name--kind of fuzzed out--is probably:


    rnam mkhas ma

    clever and wise woman [JV]

    learned woman [IW]

    rnam mkhas and "Nam ta" probably both boil down to the more familiar Namkha.

    In the Bön and Vajrayana Buddhist traditions, a namkha is constructed as the temporary dwelling, or temenos, for a deity during ritual practice. The structure of the namkha is traditionally made with colored thread symbolic of the elements (blue, green, red, white, and yellow; space, air, fire, water, and earth respectively ), the sequence, and the shape of the namkha differing for each deity or yidam. The namkha is placed on the practitioner's altar or shrine and an image of the deity may be placed beneath. The namkha is often accompanied in rites and ritual workings with the tantric and shamanic tool, the phurba. Pearlman (2002: p. 18) states how Padmasambhava consecrated the land for the building of Samye Monastery by the enactment of the rite of the Vajrakilaya dance which employed namkha to capture malevolent spirits and thoughtforms.

    Ngak’chang Rinpoche comments: "These threads symbolise the ‘thread’ that is the literal meaning of the word ‘tantra’ and describe the manner in which each point in time and space is the warp and weft of the loom of experiential / existential emptiness."

    Aro says:

    ‘Namkha’ is the Tibetan word that means ‘sky’, and also ‘space’, ‘sphere’, or ‘dimension’. In Tantra, we talk of the ‘skies’ of the five elements: earth, water, fire, air and space.

    Each element is a sky (dimension) of meaning, and each element is associated with an emotional confusion and a liberated energy. Weaving ‘skies’ of coloured wool links our energy with the energy of the elements, through the Tantric craft of sound and vision. The beauty of the sky weaving (empowered through mantra) magnetises personal ‘demons’ (neuroses, fears and obsessions); and releases them within the skies of each element.

    There is a Bon sky goddess Kaladugmo (mkhah.la.gdug.mo) or Ma Namkha (ma.nams.mkha) or 'Mother Sky'.
    She is in a famous Refuge Prayer that saved Sakya Monastery.

    The first line usually changes her nature and associates her with the number infinity:

    All mother sentient beings as infinite as space

    Palyul Translation:

    I and motherly sentient beings, equal to space,

    If it is one singular mother--Ma, and she is Equal to Infinite Space, this might be a better translation, something like Mother Khasama.



    As to whether the Vajraraudris of Samputa are the Seven Jewels retinue, it seems unlikely. At this point, it is only clear they share two members. The Jewels of Enlightenment are above and beyond sensory transformations which are being done with deities such as Raga, Sabda, etc. in Samputa. Chances are, these are incidental to the Gauris, who are probably more of active agents.

    Samputa Vajraraudris have the appearance of:


    viśvarūpamanoramā


    Bimba, the South goddess, has a Sula--Spear and Noose.


    The fourth goddess is drawn in the West, having a "flame thrower":

    musuṇḍī

    They are drawn in an unusual order, and have skullcups of varying contents, semen, blood, water, fat, substances (Dravya). This last one also has a Kalasa--Pitcher.


    “The syllable hrīḥ of the goddesses
    Should then be placed on the petals.
    It should be joined with the four seed syllables
    That are the nature of the four types of offerings. {2.3.54}
    “It should be joined with the first sound (oṁ), and so forth,
    And placed on the female gatekeepers all around.
    Then the practitioner should insert
    His vajra into the bhaga. {2.3.55}



    In Chapter Three, they make a more standard appearance in a large, vivid mandala.

    3.4.38 is White Six Arm Vajrasattva in response to the subject:

    “What, O Blessed One, are the secret vajra and lotus families?”

    They are simply described as Tathagatas and Goddesses, and then you are abruptly given a visualization without any further explanation. In the second ring, there is:

    “White Raudrī in the east,
    Yellow Vajrabimbā in the south,
    Red Rāgavajrā in the west,
    And green Vajrasaumyā in the north. {3.4.48}
    “In the northeast there is white and yellow Vajrayakṣī;
    In the southeast, yellow and red Vajraḍākinī;
    In the southwest, red and blue Śabdavajrā;
    And in the northwest, green and white Pṛthivīvajrā. {3.4.49}



    One can find Hevajra mandalas where an example such as Green and White Prithvi is apparent; but only if drawn according to Abhayakaragupta--NSP.



    In Chapter Seven, Mamaki is used as a basket of Guhyamantra, while Cauri gains a certain feature:


    In the pleasant maṇḍala with three corners
    Is the secret lotus, Māmakī. {7.3.2}


    Now I will give you the auxiliary heart mantra. One should take the second
    letter of the seventh group (ra), join it with Vajraḍākinī (u)...Caurī (e), who is the
    highest boon. {7.3.6} [F.129.a]

    There is a sudden praise of Locana and mantra of Vairocani. He then explains more Mamaki and that she is the consort of Ratnasambhava.

    After Pandara it says:

    Mahākoṣavatī always generates energy,
    Which fosters the Dharma
    Merely by reciting the mantra,
    Similar to the words of Vāgvajra. {7.3.13}
    “Oṁ, Vajradharma hrīḥ! Svāhā

    There are no Gauris in this assembly.

    Pandara's energy is nearly meaningless unless we take into account Kosa as discussed earlier.


    It has followed a standard casting order, whereas Chapter Two has the same list, but does it strangely:

    First, Second--South, Third--North, Fourth--West, Fifth--Northeast, Sixth--Northwest, Seventh--Southwest, Eighth--Southeast.

    “There is Vajraraudrī
    And also Vajrabimbā.
    Vajrarāgī is the third
    And Vajrasaumyā the fourth. {2.3.58}
    “The fifth is Vajrayakṣī
    And the sixth Vajraḍākinī.
    The seventh is Śabdavajrā
    And Pṛthvīvajrā is the eighth.” {2.3.59}


    And so it is hard to say if Vajradakini is in the Southeast and you draw her last, or, if it means the last one, Prithvi, went there. That sounds unusual, but this is written weirdly and separated.


    The Samputa is rather obscure here, since this is a unique ring that does not seem to match anything. Vajraraudri's only known appearance is in the Seven Jewels of Enlightenment. This Seven Syllable deity is known here, in Chapter Eight, where he is closest to the Dakini Jala Gauris. Vajrasattva's retinue has the Vararaudris in "letter" form; Heruka has the Gauris as full mantras; Nairatma (Mitra 10) mixes them, changes a little bit and uses Gauri twice. There are multiple Hevajras (Mitra 14-17) and Herukas with only their own mantras. According to the author, NSP states that for Mitra 15-18, the Gauris are replaced by Vajraraudris. The last of the Samputa mantra males is Seven Syllable deity (M51). He is followed by Vairocani. This meeting point is what we are studying and practicing.

    Some of Mitra's mandalas at Tibet House are linked but unidentified. The work on these is production grade probably for this purpose. You cannot miss Seven Syllable deity which is a rather large image:







    Lasya is supposed to be red, but she is lighter blue like Diptacakra.





    Circle of Bliss explains Samputa Vajrasattva's retinue (Vajravali 3) as eight Jinas and Prajnas, then eight dakinis:

    Vajrachandi, Vajrarupini, Ragavajri, Vajrashanti, then Vajrayakshi, Vajradakini, Sabdavajri, and Vajrabhumi.


    Here they have Candi instead of Rudrani; NSP 3 says Vajraraudri. They do not seem to be equivalents, because in Buddhism, they are different Families, and in Hinduism, Rudrani is the consort of Shiva, Candi is not.


    M27 is Vajrajvalanalarka, the last of the Sarvadurgati Parishodhana mandalas. These are rare. Mitra includes Paramadya and Vajramrita, he has pocketed quite a few things missing elsewhere. That positions the really big blaze above and beyond Trailokyavijaya, meaning Humkara has "changed" the wrathful males. Actually I am a bit off here:

    Vajrajvalana (वज्रज्वलन):—[=vajra-jvalana] [from vajra > vaj] n. thunder-flash, lightning, [Kāmandakīya-nītisāra]

    Analārka (अनलार्क) is another name for Vighnāntaka.

    Vajrajvālānalārka (वज्रज्वालानलार्क) is another name for Ṭakkirāja.

    Whereas the long form of the name is equivalent to Encircling Blaze of a mandala:

    Encircling blaze: Om vajrajvalanalarka hum hum hum


    It is the final component of protection, used by Seven Syllable Vajradaka in a way that caught my attention, since a lot of mandalas lack Vitana--Curtains, but, this one has in addition, Sarajala or Arrow Shield.

    Elizabeth English calls him the Head of Vajra Family and has an identical list. Jamgon Kongtrul uses it.

    All of the mandala components are the accumulation of Thirty-seven point Enlightenment, and so you normally find the Seven Jewels of Enlightenment in their ordinary symbols, Horse, Minister, etc. The protective items, however, are this strand of things that has grown to include Ground (Vajrasattva), Fence (Sukla Tara), Canopy (Panjara), Curtains, Arrow Shield, Encircling Blaze. If this last item is buried at the end of Sarvadurgati practices, it is something more than a picture and symbol.


    Gray describes his form as a footnote to Vajrapani's dominion in the planes:


    In the Paranirmitavaiavartin [heaven] he disciplined criminals as the Fierce One Trailokyavijaya; the obstacle demons
    {vinayakam} were disciplied in the Nirmanarati [heaven]
    by the Fierce One Vajrajvalanalarka, in Tusita by Vajragarbha, in the Yama [heaven] by the Fierce One Vajrahumkara, and on the peak of Sumeru by Vajrapani. Then
    Mahavajradhara established himself as the manifestation
    body Sri Heruka, who is inseparable from the Four Bodies
    [of a buddha]. Vairocana [offered him his] palace which is
    the mandala with perfected wheels. Amitabha [offered him]
    the vase of nectar in a brimming skull bowl. Amoghasiddhi worshipped him with the gods [who consecrate]
    the sense media and the blessing goddesses. Through the
    complete gnosis of mantra that is a glorious treasure, Aksobhya consecrated him with his vajra, [giving him] unexcelled authority as Lord of the Clan. Vajrasattva taught
    him the supreme bliss of the play of passion in the form of
    the fierce Samvara who completely embodies the nine
    dramatic sentiments.

    There was a previous origination of this gnosis in the krtayuga of the first eon.

    That was taken over by Bhairava and Kalaratri, until Vajrapani cleared it in this eon. Practice is the reverse, you climb Mt. Meru first where there is Vajrapani Abhisekha, and then you are in the planes, starting as Humkara in Yama Heaven. Then according to this, Trailokyavijaya would be a higher form of him, and so by that name the mandala shows union. In between is Vajragarbha, the interlocutor in many tantras generally understood as Mantra Wheel, and then what is a very serious Six Arm Form, Vajrajvalanalarka. The Grounds of Meru have, so to speak, been built up to Blaze. The nature of his plane means you get whatever you want. The highest plane of Trailokyavijaya is a bit weird because it means that others bring and offer you whatever you want. And so it is a lot like looking at the human ego in terms of this.


    If a website would perhaps replace "also known as" with something like, a different form, because...


    An inscribed Trailokyavijaya and Eight Mahadevas shows there is not just a "the" Trailokyavijaya mandala. According to a Nepalese mural, it should be the Bhairavas. This one makes a bit of sense in the light of the Vajraraudris:

    Bhairavas and saktis are here depicted in peaceful mode, but the Bhairavas' residences are usually cremation grounds. Here, then, Trailokyavijaya is seen in his function as transmogrifier of the wrathful forms of Siva perceived as dynamic aspects of the divine ego.


    It is noted this rare deity is found repeatedly here in these murals, where he is considered an aspect of Vairocana. That is because he has a complex parallel relationship with Acala. We could say it appears that Candamaharoshana Vajrapani emanates Acalas of other families; it is more like a state or power level, immovable, meaning Acala or Trailokyavijaya establish the "boundaries" (Sima). Regardless of family, it appears accurate to say that Trailokyavijaya is the Six Arm Form of Humkara.

    If one can reach the plane of Trailokyavijaya, what is above that is Akanistha or Seventh Heaven. Roughly put, it becomes the meditations of Completion Stage. Here, one would find, for instance, those Apsarases of Dakarnava. "Above" the Akanistha is Formlessness.

    Humkara uses about the same gesture as Vajrasattva and Vajradhara, but, he is almost always standing. There are not a lot of representations of him, but, the medieval mandalas show us something the text does not say--Union:








    We would also say it is not a simple Heruka form.

    In fact it looks like this outstanding 1600s Sakya Khyenri style which the site says is from Abhidhana Tantra, although it is probably him in Vajramrita Tantra; they give one as a source for the other:










    Given the previous information, the way we will do this on a dharani basis is because Mitra's M51 is called Trailokyavijaya mandala, but, what it means is Chapter Two of STTS, which is the "goddess Vajradhatu mandala" in the first post. Yes, it looks like he "did something" to the Wrathful Ones. And, he "sounds" a lot like Tara's song.


    The art site says he can have various numbers of arms; although his oldest representation must be this Indian stone:















    As something that may be almost too much resource, 900 pages of Padmavajra's Hevajra has Gauri over a hundred times. But it showed up.
    Last edited by shaberon; Yesterday at 06:26.

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

    Bill Ryan (25th September 2021)

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